2010 brubeck festival program

2 S C H E D U L E | S T O C K T O N , C A


T E N Y E A R SO F T H E

B R U B E C KI N S T I T U T E

C O N T E N T S

J A Z Z G O E S T O C O L L E G E . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

L E T T E R S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 – 6

T H E B R U B E C K C O L L E C T I O N . . . . . . . . . . . . . . . . . . . . . . . . . 8 – 9

S C H E D U L E O F E V E N T S . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 – 11

B I O G R A P H I E S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 – 20

A D E C A D E O F A C C O M P L I S H M E N T . . . . . . . . . . . . . . . . . 21– 26

I N S T I T U T I O N S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 – 2 8

H O N O R A R Y B O A R D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

F R I E N D S O F T H E B R U B E C K I N S T I T U T E . . . . . . . . . . . . 30 – 31

C R E D I T S & A C K N O W L E D G M E N T S . . . . . . . . . . . . . . . . . . . . . . 32


The terms “jazz studies” or “jazz education” were unknown when

I graduated from College of the Pacific with a Bachelor’s degree in

music in 1942. As a matter of fact, a student could be ejected from

the Conservatory for even playing jazz in a practice room. Those of

us who loved this music learned the fundamentals by listening to records

and playing with other musicians who shared our “illicit” passion.

When I returned from Europe after World War II to study

composition on the G.I. bill, I chose to study with Darius Milhaud

at Mills College, because he, unlike most classical composers, had

embraced jazz as a new art form. He encouraged his students who

were jazz musicians to incorporate classical elements into our jazz

playing and jazz elements into our classical writing. With this in

mind, we formed the Jazz Workshop Ensemble, later known as the

Dave Brubeck Octet. We played our first concert at Mills College in

1947. It was so successful that we were invited to play at an assembly

at the University of California. It soon became apparent that our

most appreciative audiences were college students who were open to

fresh ideas and willing to listen seriously to jazz in a concert setting.

My wife, Iola, contacted all the colleges within driving distance,

offering the services of the Octet or the Dave Brubeck Trio. We often

played for little more than expenses, but we gained new friends for

jazz and a following that lasted a lifetime. Within five years after the

Octet played an historic concert at College of the Pacific, we had

established a college concert circuit throughout the nation and

opened the door for other jazz groups to follow. My first album for

Columbia Records was Jazz Goes to College (1954) recorded live at

campus concerts.

Today, when my quartet and I participate in a jazz residency at various

universities, my thoughts often go back to 1953. Over the protest of

some faculty members, a student group from the prestigious music

conservatory at Oberlin College in Ohio had daringly hired the

Dave Brubeck Quartet to play a concert in Finney Chapel. When we

arrived, I discovered that the good grand piano was locked and I was

relegated to a beat-up piano that must have been requisitioned from

a practice room. The concert hall was packed with eager students

and some faculty. The campus radio station asked permission to

broadcast the concert. I agreed with the stipulation that I would own

the tape after one airing. From that tape Fantasy Records produced

Jazz At Oberlin, the album many consider the “breakthrough” for the

Dave Brubeck Quartet.

On the 50th anniversary of that concert, we were invited back for

a gala performance. What a contrast! The jazz studies program

at Oberlin is now prominently advertised. I was even given the

use of a beautiful concert grand and an honorary doctorate with

a presentation speech by the great jazz trumpeter and composer

Donald Byrd.

The introduction of jazz as serious concert music had a far-

reaching effect in overcoming the prejudice toward jazz that was

rampant throughout U.S. music schools. For example, in 1949 I was

teaching jazz appreciation for a University of California extension

course. One professor told my supervisor that she would “rather

sleep with a dog” than have her name listed in the same brochure.

Throughout the ‘20s and ‘30s and into the ‘40s there were articles in

music magazines such as The Etude warning music teachers against

the contaminating nature of jazz. In 1947 there was one brave lone

beacon for jazz education at North Texas State University in Denton.

That school’s One O’clock Lab Band became the “farm team” for big

bands such as Stan Kenton’s and Woody Herman’s.

What seemed an impossible dream 60 years ago when we and other

like-minded lovers of jazz crusaded for jazz to be accepted as an art

form has now become a reality. Even bastions of classical music like

Juilliard offer degree programs in jazz studies. When I view with

pride the accomplishments of the Brubeck Institute and the training

that the Brubeck Fellows receive, I feel as if a lifetime of work has

been validated. These young musicians will continue the legacy and

determine the future of jazz, the ever-evolving contemporary art form.

Dave Brubeck

4 I N T R O D U C T I O N

J A Z Z G O E S T O C O L L E G E | B Y D A V E B R U B E C K

5

April 8, 2010

Welcome to the 2010 Brubeck Festival, an annual event that explores the music and legacy of Pacific alumnus Dave Brubeck ’42. Over the past ten years, the Festival has explored Dave’s impact on diplomacy, civil rights, literature, poetry and multi-cultural understanding. This year, the Festival takes a more introspective look at the impact of the Brubeck Institute itself. We especially celebrate the Brubeck Fellowship Program, which brings some of the country’s top college-age jazz musicians to our campus for one- or two-year residencies at the Institute. For this year’s Brubeck Festival, we are excited to welcome back several former Brubeck Fellows as well as a number of professionals who have worked with the Institute over the past decade.

The 2010 Brubeck Festival is part of the President’s Inaugural Series, which marks my first year as President of University of the Pacific with a year-long series of concerts, lectures, symposia and other events showcasing the great strengths of this University, its history and its people. Dave Brubeck and the Brubeck Institute represent core values of the University: celebrating talent, taking creative risks and sticking to principles. Dave Brubeck did all that and more, and he continues to inspire Pacificans today.

I look forward to the academic discussions about Dave Brubeck and music education, as well as the three concerts featuring current and former Brubeck Fellows. And I hope to see you on the final day, when the Festival presents “Jazz on the Mile,” a day-long celebration of jazz in Stockton.

Please join me at the Festival this year as we expand our knowledge and appreciation of music and all things Dave Brubeck. I congratulate the Brubeck Institute on ten years of important work celebrating the Brubeck legacy, and I anticipate many great things to come.

Sincerely,

Pamela A. Eibeck, PhD, PEPresident

6

The Brubeck Institute

Dave BrubeckChairman

Steve AndersonDirector

Honorary Board

Clint EastwoodChairman

Herb AlpertDavid N.BakerJames R. BancroftDavid BenoitKen BurnsDavid CeroneJohn DankworthDonald V. DeRosaClive GillinsonRalph GuildTom HallAl JarreauTim JacksonQuincy D. JonesErich Kunzel, Jr.Cleo LaineNorman M. LearLarry LeasureRamsey E. Lewis, Jr.Dennis A. LeVettGeorge LucasYo-Yo MaWynton MarsalisChristian McBrideMarian McPartlandDoug RamseyLarry RosenBilly Taylor

A. Earle WeatherwaxGeorge T. WeinGordon Zuckerman

3601 Pacific Avenue

Stockton, CA 95211

Tel 209.946.3970

Fax 2 09.946.3972

www.brubeckinstitute.org

8 April 2010

“You can’t understand America without understanding jazz. And you can’t understand jazz, without understanding Dave Brubeck.”

–President Barack Obama December 6, 2009 The White House

This statement about Dave Brubeck by the President of the United States on the occasion of the 2009 Kennedy Center Honors underscores the reason the Brubeck Institute exists. Our mission is to build on and assure the legacy of Dave Brubeck, not just the person, but the extraordinary breadth and depth of his accomplishments, and the profound and lasting influence they will have on current and future generations of Americans, as well as the citizens of the world.

The Brubeck Institute is celebrating a decade of accomplishment. This year’s Brubeck Festival is focusing on contemporary issues in jazz education, the Institute’s educational programs, and some of its many outstanding alumni. Dave Brubeck’s life, values, and influence can be heard through the vitality, creativity, and virtuosity of the young artists performing this week. They, along with scores of other outstanding young creative artists are the hope for our future.

For a vivid picture of how far the country has come in the incorporation of jazz into our educational system, read Dave’s message entitled Jazz Goes to College in this program booklet. This, of course, was also the title of the famous 1954 album by the Dave Brubeck Quartet. The vision and hard work of Dave and Iola Brubeck in pioneering jazz concerts on college campuses brought this quintessential American art form to the public in new venues and created lifelong fans who then demanded that jazz be an essential component in our educational system at all levels, as well as in our cultural life. The academic symposium of the 2010 Brubeck Festival will feature presentations and discussions by six extraordinary jazz educators, each of whom is profoundly involved in the lives of young people in this country through jazz education. We urge you to participate in this forum.

There are two pieces of poster art that are of great importance this year. First is the poster created to celebrate 10 Years of the Brubeck Institute. The image represents the breadth, depth, and extraordinary richness of the Institute’s activities and accomplishments through its first decade. The second is the poster created by the Smithsonian Institution to celebrate Jazz Appreciation Month that features a new portrait of Dave Brubeck by the brilliant American artist, Leroy Neiman. Dave is the first living artist to be featured on the JAM poster.

Thanks to everyone who is participating in the 2010 Brubeck Festival . . . performers, presenters, and audiences alike. We hope you have a wonderful and meaningful experience. Best wishes!

Steve AndersonDirector

8 T H E B R U B E C K C O L L E C T I O N

Holt-Atherton Special Collections offers an annual $1,500 research travel grant to students, professors, or independent researchers to come to the campus and use the Brubeck Collection. In addition, a traveling exhibit with audio about Brubeck

and his music is available for venues to display. Visit the website for more information.

The Brubeck Collection is the keystone to the Brubeck legacy at the

University of the Pacific. It consists of a broad range of materials

created and accumulated by Dave and Iola Brubeck throughout their

career. It includes thousands of letters, business records, photographs,

concert reviews and programs, musical scores, and recordings that

document their lives from Dave’s birth in 1920 to the present.

The Collection is housed in the University of the Pacific Library’s

Holt-Atherton Special Collections and is open to the public for

research. A finding aid, digitized materials, and information on the

Paul Desmond Papers and other Brubeck related collections can be

found at http://library.pacific.edu/ha/brubeck/.

T H E B R U B E C K C O L L E C T I O N

Iola Whitlock (left) came to

the College of the Pacific in the

fall of 1940 to study radio and

drama. She met Dave Brubeck

through her work at the campus

radio station and they married

in September 1942.

Dave Brubeck graduated from

Pacific in 1942. He served in

World War II before he began his

studies under classical composer

Darius Milhaud at Mills College

in Oakland. He started The

Jazz Workshop Ensemble with

several like-minded students

and premiered the band in

Stockton in early 1949.

The University Extension at the University of California Berkeley

offered Lifelong Learning classes for the public. The music program

included “Nontechnical Classes” such as Brubeck’s jazz class in the

fall of 1949.

In 1954, Brubeck participated in the “Dave teaches teachers” program

in Alameda County. Later that same year, he would appear on the

cover of Time magazine as an icon of jazz music.

T H E B R U B E C K C O L L E C T I O N 9

It was not uncommon for jazz bands to play for college dances and parties. In 1952, Iola Brubeck realized that college students would

enjoy jazz concerts as well, and she began to book Dave’s band around the Bay Area and eventually throughout the country. Other bands soon

followed the trend.

The Dave Brubeck

Quartet recorded five

different albums with

a college theme. Jazz

at Oberlin is heralded

as one of the early

Quartet’s finest and

lead to the signing

of the band with

Columbia Records.

The Brubeck Collection is used by students

in a variety of courses at Pacific, as well

as any interested researchers. Brubeck’s

material reflects his devotion to civil rights

and a desire to use jazz as a diplomatic tool

for democracy world-wide.

10 S C H E D U L E O F E V E N T S

T H U R S D A Y , A P R I L 8 F R I D A Y , A P R I L 9

U N I V E R S I T Y O F T H E P A C I F I C & T H E B R U B E C K I N S T I T U T E P R O U D L Y P R E S E N T T H E

3:00 P.M. TO 5:00 P.M.TAYLOR ROOM IN THE UNIVERSITY L IBRARY

The Use of the Brubeck Collection and the Paul Desmond Papers in Scholarship & TeachingModerator: Shan Sutton, Associate Dean & Head of Special Collections

Faculty presenter: Keith Hatschek, Director of Music Management

Student presenters: Stephen Cross, Christopher Lopez, Bryce

McLaughlin, Randy Sandoli

7:30 P.M.FAYE SPANOS CONCERT HALL

2007 Brubeck Institute Jazz QuintetBrian Chahley, trumpet

Lucas Pino, saxophone

Glenn Zaleski, piano

Chris Smith, bass

Cory Cox, drums

Guest ArtistsBob Mintzer, saxophone

Joe Gilman, piano


2009 Brubeck Institute Jazz QuintetBen Flocks, saxophone

Chad Lefkowitz-Brown, saxophone

Javier Santiago, piano

Zach Brown, bass

Adam Arruda, drums

Guest ArtistsGilbert Castellanos, trumpet

Joe Gilman, piano

S C H E D U L E O F E V E N T S 11

S C H E D U L E O F E V E N T S | S T O C K T O N , C A

S A T U R D A Y , A P R I L 1 0 S U N D A Y , A P R I L 11

10:00 A.M. TO NOON & 2:00 P.M. TO 4:00 P.M.CONSERVATORY RECITAL HALL

Brubeck Festival Symposium – Jazz Goes to School!

David Baker, Professor & Director of Jazz Studies –

Indiana University

JB Dyas, Vice President for Education and Curriculum

Development – Thelonious Monk Institute for Jazz

Bart Marantz, Director of Jazz Studies – Booker T. Washington

High School for the Performing and Visual Arts in Dallas, TX

Mary Jo Papich, President of the Jazz Education Network

Harry Schnipper, Owner of Blues Alley Jazz Club and Jazz

Education Innovator in Washington D.C.

Chuck Tumlinson, Director of Jazz Studies at California State

University-Fullerton and President of the California Alliance for Jazz


2010 Brubeck Institute Jazz QuintetChad Lefkowitz-Brown, saxophone

Nick Frenay, trumpet

Noah Kellman, piano

Zach Brown, bass

Corey Fonville, drums

Guest ArtistChristian McBride, bass

Yosvany Terry QuartetYosvany Terry, saxophone

Taylor Eigsti, piano

Joe Sanders, bass

Justin Brown, drums

1:00 P.M. TO 6:00 P.M.PACIFIC AVENUE AT TUxEDO CIRCLE ON THE MIRACLE MILE

Jazz on the Mile!

Cesar Chavez High School Jazz Band

San Joaquin Delta College Jazz Ensemble

Delta College Monday Night Jazz Band

Brubeck Institute Jazz Quintet

Claudia Villela

B I O G R A P H I E S

M U S I C I A N S

G R O U P S

L E C T U R E R S

P R E S E N T E R S

P A N E L I S T S


Dave Brubeck, Chairman of the Brubeck Institute, received the prestigious Kennedy Center Honor on his birthday, December 6, 2009. In a career spanning more than six decades, his introduction of odd time signatures, improvised counterpoint, and distinctive harmonies has made him one of the defining voices of jazz. Approaching his 90th year, he continues to tour and record with the long-time members of his current quartet—Bobby Militello, Randy Jones and Michael Moore.

Born in Concord, California in 1920, Brubeck started studying piano at the age of four with his mother, a classical pianist. His family moved to a 45,000-acre cattle ranch near Ione, CA, when he was twelve. Through his teens he worked as a cowboy with his father and played in local dance bands on weekends. He entered the College of the Pacific in 1938 intending to become a veterinarian. While in college, he became increasingly involved in jazz and switched his major to music. In WWII he served in the Army under General Patton, where he led an integrated GI jazz band. After his discharge, he studied composition at Mills College in Oakland, CA with French composer Darius Milhaud, who encouraged him to incorporate jazz in his classical compositions. In 1949, Brubeck formed the award-winning Dave Brubeck Trio from the rhythm section of an experimental Octet comprised of fellow Milhaud students. Two years later, after a near fatal swimming accident, he established the Dave Brubeck Quartet with alto saxophonist Paul Desmond, an historic collaboration that lasted 17 years.

This Quartet toured campuses and clubs across the country, appearing with such artists as Duke Ellington, Ella Fitzgerald and Charlie Parker. Brubeck’s style of music was causing such a stir that in 1954 his portrait appeared on the cover of Time Magazine. The “classic quartet” with Desmond, Joe Morello and Eugene Wright made its first international tour in 1958, with performances throughout Europe, and under State Department sponsorship played in Poland, India, Turkey, Afghanistan, Iraq, Iran, Sri Lanka, East and West Pakistan. The following year, the historic Time Out album, featuring “Blue Rondo a la Turk” and “Take Five,” was released. It became the Quartet’s signature work and has a place in the Grammy Hall of Fame.

After the original Brubeck Quartet disbanded, Brubeck led a group with Jack Six and Alan Dawson that featured Gerry Mulligan and in the late ‘70s he performed with his sons, Darius, Chris and Dan. Over the years he has performed before many Presidents, Heads of State, Queen Elizabeth, and Pope John Paul II.

Brubeck’s compositional oeuvre extends far beyond the Quartet. In 1960, he composed Points on Jazz for the American Ballet Theatre; in 1962, he wrote a musical theater piece, The Real Ambassadors, starring Louis Armstrong and Carmen McRae, and Elementals, written for jazz combo and orchestra that was choreographed by Lar Lubovitch for the San Francisco Ballet in 2005. Other major works include his mass To Hope! A Celebration that has been performed throughout the English-speaking world and in Russia, Germany, Switzerland and Austria. He has written a string quartet, several oratorios and works for chorus and orchestra, ballet suites and chamber music in both jazz and classical styles. His most recent orchestral piece, the multi-media Ansel Adams: America, composed in collaboration with his son, Chris, received its world premier in 2009 with the Stockton Symphony, conducted by Peter Jaffe.

Brubeck has received innumerable accolades. The Library of Congress designated him a “Living Legend” and the National Endowment for the Arts inducted him as a Jazz Master. In 1994 President Clinton presented him with the National Medal of the Arts, and in 2008 he became the first individual recipient of the State Department’s Benjamin Franklin Award for Public Diplomacy. Internationally, the Austrian, French and Italian governments have honored him, and he holds honorary degrees from universities around the world. Other awards include a Grammy Lifetime Achievement Award, the Smithsonian Medal and induction into the California Hall of Fame. In addition to the accolades received as a jazz artist, he also has a place in the American Classical Hall of Fame.

D A V E B R U B E C K

14 B I O G R A P H I E S

2 0 07 B R U B E C K I N S T I T U T E J A Z Z Q U I N T E T

The Brubeck Institute Jazz Quintet was

named by DownBeat Magazine as the best

collegiate jazz group in the nation in 2007. The

members of the group were Brian Chahley,

trumpet, from Toronto, Canada; Lucas Pino,

saxophone, from Phoenix, AZ; Glenn Zaleski,

piano, from Boylston, MA; Cory Cox, drums,

from Houston, TX; and Chris Smith, bass,

from Minneapolis, MN. All finished the

Brubeck Fellowship Program and went to New

York. Lucas finished his degree at The New

School for Jazz and Contemporary Music and

is working on his master’s degree at Juilliard.

Glenn also finished his undergraduate degree

at the New School and is working on his

master’s degree at NYU. Brian, Cory, and Chris

are all working toward their undergraduate

degrees at the New School. All five are also

playing professionally in the New York area,

doing tours with major jazz artists, and have

been on numerous recording sessions. The

picture above is of the members of the quintet

in 2007. They are (back row) Glenn, Lucas,

Cory, (front row) Brian and Chris, on the

Pacific campus.

2 0 0 9 B R U B E C K I N S T I T U T E J A Z Z Q U I N T E T

The Brubeck Institute Jazz Quintet was named

by DownBeat Magazine as the best collegiate

jazz group in the nation in 2009. The members

of the group were Ben Flocks, saxophone, from

Santa Cruz, CA; Javier Santiago, piano, from

Minneapolis, MN; Adam Arruda, drums, from

Toronto, Canada; Zach Brown, bass, from

Columbia, MD; and Chad Lefkowitz-Brown,

saxophone, from Horseheads, NY. Ben, Javier,

and Adam finished the Brubeck Fellowship

Program; Ben and Javier went to New York

and Adam returned to Canada. Zach and

Chad are in their second and final year in the

Fellowship Program in the Institute. Javier

is currently a student at the New School for

Jazz and Contemporary Music in NYC, Adam

is studying in Montreal and preparing to

move to NYC, and Ben is also studying in NY.

All are playing professionally and working

regularly in the jazz and new music scene in

their respective areas. Zach and Chad plan to

move to the New York or Boston areas in the

fall. The picture above is of the members of

the quintet in 2009. They are (l-r) Javier, Dave

Brubeck, Zach, Chad, Ben, and Adam after a

performance at the Meridian International

Center in Washington, DC.

2 010 B R U B E C K I N S T I T U T E J A Z Z Q U I N T E T

The current Brubeck Institute Jazz Quintet

members are Chad Lefkowitz-Brown,

saxophone, from Horseheads, NY; Nick

Frenay, trumpet, from Syracuse, NY; Noah

Kellman, piano, from Fayetteville, NY; Zach

Brown, bass, from Columbia, MD; and Corey

Fonville, drums, from Virginia Beach, VA.

Chad and Zach are second-year Fellows, and

Nick, Noah, and Corey are all in their first

year in the program. All aspire to professional

careers in jazz performance and all plan to

pursue degrees upon completion of their

Brubeck Fellowship. This year’s BIJQ has

appeared at the Detroit Jazz Festival, opened

for the Dave Brubeck Quartet in Sacramento,

played in New York, Southern California, at

the California Music Educators Conference,

and will be performing in Washington DC in

April at the Blues Alley Jazz Club, Smithsonian

American Art Museum, area high schools and

universities, and in a feature concert on the 1st

Annual Jazz Education Network convention

in St. Louis in May. The picture above is of the

members of the quintet this year. They are:

back row (l-r) Nick, Chad, Noah, Corey, and

Zach; front row: Dave Brubeck, after rehersal

at the Detroit Jazz Festival.


B I O G R A P H I E S 15


B A R T M A R A N T Z

Bart Marantz has been director of jazz studies

at the Booker T. Washington High School for

the Performing and Visual Arts since 1983.

His program has garnered 207 DownBeat

Student Awards – the most of any school in

the competition’s history – and has graduated

students such as Roy Hargrove and Norah

Jones. He did academic work at Indiana

University and University of Miami where he

received a degree in Instrumental Jazz Studies/

Performance under the direction of Jamey

Aebersold, David Baker, Jerry Coker, and Dan

Haerle. He received his masters degree in

Afro-American Jazz Music at the New England

Conservatory of Music in Boston, where he

studied and performed with Phil Wilson, Jaki

Byard and George Russell. Bart has published

articles in the Florida Music Director, Music

Educators Journal, Jazz Educators Journal,

DownBeat, and the Band Directors Guide

magazines. He is co-author of Jazz Figure

Reading Studies and a contributing author

to Jazz: A Course of Study, released by MENC

and IAJE. Bart is a Selmer Clinician and

plays Bach/Selmer trumpets and flugelhorns

exclusively.

J B D Y A S

Bassist JB Dyas has been involved in jazz

education for the past three decades.

Formerly the Director of Jazz Studies at

New World School of the Arts and Executive

Director of the Brubeck Institute, he currently

oversees the Thelonious Monk Institute of

Jazz education and outreach programs as

Vice President for Education and Curriculum

Development. He also serves as Project

Director for the Institute’s Jazz In America

initiative (www.jazzinamerica.org) one of

the most significant and wide-reaching jazz

education programs in the world. Throughout

his career, Dyas has performed throughout

the country, taught students at every level,

directed large and small ensembles, developed

and implemented new jazz curricula, and

written for national music publications. He

has presented numerous jazz clinics, teacher

training seminars, and other jazz education

events nationwide with such artists as Dave

Brubeck, Terri Lynne Carrington, Regina

Carter, Herbie Hancock, Ingrid Jensen,

Christian McBride, Jackie McLean, and Bobby

Watson, and is the recipient of the DownBeat

Achievement Award for Jazz Education. He

received his master’s degree in jazz pedagogy

from the University of Miami and his PhD in

music education from Indiana University.

D A V I D B A K E R

David Baker is Distinguished Professor of

Music and Chairman of the Jazz Department

at the Indiana University School of Music,

and is conductor and artistic director of the

Smithsonian Jazz Masterworks Orchestra.

He has been nominated for a Pulitzer Prize,

a Grammy, and honored by DownBeat for

lifetime achievement, and as a member of

their Jazz Education Hall of Fame. He has

received the National Association of Jazz

Educators Hall of Fame Award, the James

Smithson Medal from the Smithsonian

Institution, the NEA American Jazz Masters

Award, an Emmy for his score for a PBS

documentary, and the Kennedy Center as

a Living Jazz Legend. As a composer, Dr.

Baker has been commissioned by over

500 entities, including Josef Gingold, Janos

Starker, New York Philharmonic, St. Paul

Chamber Orchestra, Beaux Arts Trio, and

the Audubon String Quartet, and has written

jazz and symphonic works, chamber music,

and ballet and film scores. He is a member

of the National Council on the Arts, on the

board of The American Symphony Orchestra

League, and the Afro-American Bicentennial

Hall of Fame/Museum. He chaired the Jazz

Advisory Panel of the Kennedy Center, the

Jazz/Folk/Ethnic Panel of the NEA, was

president of IAJE, and the National Jazz

Service Organization. He is senior consultant

for the music programs of the Smithsonian

Institution, has served on the Pulitzer Prize

Music Jury, and is chair of the jazz faculty

of the Stearns Institute for Young Artists at

the Ravinia Festival. He is a member of the

Honorary Board of the Brubeck Institute.

B I O G R A P H I E S | A C A D E M I C S Y M P O S I U M


M A R Y J O P A P I C H

Mary Jo Papich, currently President of the Jazz

Education Network, is known for her support

of arts education, specifically jazz – America’s

art form. She has served as Fine Arts Chair at

Highland Park High School in Chicago, where

she coordinates the school’s award-winning

biennial FOCUS ON THE ARTS festival.

She served as Vice President on the Illinois

Music Education Association Executive State

Board, and for eight years on the Executive

Board of the International Association for

Jazz Education. As the district’s Fine Arts

Coordinator in the Peoria public school

system, she founded the Peoria Jazz All-

Stars, who performed at the Montreux Jazz

Festival, North Sea Jazz Festival, the Umbria

Jazz Festival, and many others. Ms. Papich

has served on the Artistic Access to Excellence

Commission for the National Endowment for

the Arts in Washington DC. She has been a

presenter at the Mid-West International Band

and Orchestra Clinic in Chicago, numerous

IAJE conferences, chaired the first National

Jazz Band Advisory Council for Bands of

America, and was recently the keynote speaker

for the South African Jazz Conference in

Cape Town.

C H U C K T U M L I N S O N

Chuck Tumlinson is in his ninth year as

director of Cal State Fullerton’s Jazz Program.

As a jazz trumpeter he has performed at

the Wichita, Reno and Kool jazz festivals,

and has performed with the Count Basie

Orchestra, Dizzy Gillespie, Terence Blanchard,

Mark Murphy, Ray Charles, Lou Rawls,

the Temptations, Al Jarreau, Rosemary

Clooney, Danny Gottlieb, and Peter Erskine.

Tumlinson has been featured soloist at

national conventions and has appeared as

soloist, clinician, and adjudicator throughout

the country. His compositions and

arrangements have been recorded by leading

bands and performers such as Pete Christlieb,

Eric Marienthal, the University of Northern

Colorado Lab and the University of North

Texas One O’clock Lab Band. Tumlinson has

served as principal trumpet in the Wichita

Falls (Texas) Symphony and has performed

with the Wichita Symphony, Fort Worth

Symphony/Opera and Sunflower Chamber

orchestras. He currently serves as the Jazz

Corner column editor for the International

Trumpet Guild Journal, is a Yamaha Artist/

Clinician, and is President of the California

Alliance for Jazz. He received his Ph.D. and

masters degrees from the University of North

Texas, and he holds a BME degree from

Wichita State University.

H A R R Y S C H N I P P E R

Harry Schnipper is the owner of the Blues

Alley Jazz club in Washington, DC. Blues Alley

Jazz is America’s oldest, continuously operated

jazz supper club, and is the Executive Director

of the Blues Alley Jazz Society (BAJS). Blues

Alley has hosted every musical genre from

mainstream to the avant-garde for over half

a century. Jazz artists have included Carmen

McCrae, Count Basie, Ella Fitzgerald, Dizzy

Gillespie, Mary Lou Williams, Miles Davis,

Wynton Marsalis, Ahmad Jamal and many

more. Dizzy Gillespie once remarked that, “if

you do not cultivate your jazz audience then

there will be no jazz”. Blues Alley is the only

jazz club to offer and operate free, non-profit

music education programming for children.

For over 25 years Mr. Schnipper has expanded

educational programming to produce a free

“Summer Jazz Camp” for kids, the year-

round Blues Alley Youth Orchestra, and the

annual BIG BAND JAM! jazz festival on the

National Mall. Principal partners include the

Smithsonian Jazz Masterworks Orchestra,

United States Army and the Brubeck Institute.

BAJS, now in its third decade, has alumni at

many major musical schools in America. Through

strategic partnerships, the BAJS has incorporated

clinics, classes and workshops into its curriculum

to give student musicians access to visiting

artists and educators. This allows these aspiring

student musicians to attend camp, graduate into

orchestra, perform publicly at senior centers,

festivals, cultural institutions, and at Blues

Alley. Mr. Schnipper defines his approach as

one that folds education into opportunity and

opportunity into performance.



Y O S V A N Y T E R R Y

Yosvany Terry,saxophone, was born in Cuba,

received his early musical training from his fa-

ther, Eladio Terry, violinist and Cuba’s leading

player of the Chekere. He received his classical

training and graduated from both the presti-

gious National School of Art and Amadeo

Roldan Conservatory. While in Cuba, he was

known for his musical innovation while per-

forming with Cuban jazz legends, and then

forming the influential group, Columna B,

which represented the new voice of young

players and became a limitless workshop

where everything could be tried and experi-

mented with. Yosvany came to NY in 1999

and was immediately recognized as a spectac-

ular talent in the jazz scene as he played with

the greatest names in jazz. Always growing,

he has absorbed and incorporated Ameri-

can jazz traditions with his own Afro-Cuban

roots to produce compositions and solo work

that flow from the rhythmic and hard driving

avant-garde to beautiful lyricism.

T A Y L O R E I G S T I

Taylor Eigsti, piano, grew up in Menlo Park,

CA, and has rapidly become one of the

brightest stars on the jazz scene. Mentored

by David Benoit, he has shared the stage and

recorded with artists such as Dianne Schuur,

Diana Krall, Al Jarreau, Dave Brubeck, Bobby

Hutcherson, James Moody, and many others.

He has been featured on the covers of Jazziz

and Keyboard Magazine, was recognized

in the DownBeat critics poll for two years

running, received two Grammy nominations

for his CD, Lucky To Be Me, and is widely

known both his solo and ensemble virtuosity

and musicality.

J O E S A N D E R S

Joe Sanders, bass, is from Milwaukee, WI,

was the first bassist in the Brubeck Institute

Fellowship Program (2002-2004) and has

become one of the most in-demand bassists

on the New York jazz scene today. He plays

with a wide range of contemporary jazz artists,

including Gerald Clayton, Roy Hargrove,

Wayne Shorter, and Yosvany Terry.

J U S T I N B R O W N

Justin Brown, drums, is from Berkeley, CA,

was the first drummer in the Brubeck Institute

Fellowship Program (2002-2004) and has

become one of the most versatile drummers

on the New York jazz scene today. He plays

with a wide variety of jazz artists, including

Kenny Garrett, Gerald Clayton, Yosvany Terry,

Nicholas Payton, and Christian McBride.

B I O G R A P H I E S | Y O S V A N Y T E R R Y Q U A R T E T

G I L B E R T C A S T E L L A N O S

San Diego based trumpeter Gilbert

Castellanos is a major force on the San Diego

jazz scene and in Southern California. He is

known both for his work as a leader and as

a member of two top jazz ensembles in the

Los Angeles area, guitarist Anthony Wilson’s

Nonet, and one of today’s greatest big bands,

the Clayton-Hamilton Jazz Orchestra. He

follows in the footsteps of his father Gilbert B.

Castellanos, who, with his own group, made

popular records in Mexico in the late 1960’s.

His recording career includes projects such

as Jungle Music (Colombia Records) and

Nothin’ But the Swing (Impulse Records) as

a member of Black/Note. He has performed

and recorded with Dizzy Gillespie, Wynton

Marsalis, Charlie Hayden, Les McCann and

Poncho Sanchez, and has played festivals in

Montreal, New York, Japan, Holland, Italy,

Spain, and Germany. Gilbert appears regularly

in San Diego, leading bands in clubs and

producing tribute concerts to Horace Silver,

Lee Morgan, Miles Davis, Thelonious Monk,

Clifford Brown and other jazz giants. His

debut CD, The Gilbert Castellanos Hammond

B3 Quartet, features standards by such great

artists such as Joe Henderson, Sonny Rollins,

Wayne Shorter and Lee Morgan, along with

works of his own.

J O E G I L M A N

Joe Gilman is the music director of the Brubeck

Institute’s Fellowship Program, artistic

director of the Institute’s Summer Jazz Colony,

professor of music at American River College

in Sacramento, and music director of Capital

Jazz Project. He has been the primary pianist

with jazz vibraphonist Bobby Hutcherson

since 2006, and has performed professionally

with Eddie Harris, Woody Shaw, Marlena

Shaw, Richie Cole, George Duke, Chris Botti,

Eric Alexander, David ‘Fathead’ Newman,

and Slide Hampton, and has recorded

with Joe Henderson, Jeff ‘Tain’ Watts, and

Robert Hurst. He was an International Jazz

Ambassador through the Kennedy Center for

the Performing Arts and USIA in West Africa

in 1999, and East and Southern Africa in 2000.

He was named the first Brubeck Scholar at the

2005 Brubeck Festival, and in 2004, he won

the Great American Jazz Piano Competition

in Florida. His work with students in the

Brubeck Institute has produced several CDs

– Brubeck Revisited, Vols. 1 & 2 (Sunnyside),

and Wonder Revisited, Vols. 1 & 2 (Capri) all

recorded with Brubeck Institute Fellows Joe

Sanders and Justin Brown, the double CD of

the 2006-2007 Brubeck Institute Jazz Quintet,

and the 2007-2008 CD by the same group,

and a double CD of the 2008-2009 group. His

work with the 2006-2007 Fellowship students

resulted in four 2007 DownBeat Magazine

student awards, including the best collegiate

jazz group in the country. The 2008-2009

BIJQ again won the best collegiate jazz group

in DownBeat under his leadership.



C H R I S T I A N M C B R I D E

A Philadelphia native, Grammy Award winning

bassist Christian McBride served as the first

Artistic Director of the Brubeck Institute. In

that role he set both the educational and artistic

standards for the Institute, and especially the

Fellowship Program. He is a frequent visitor

to campus and works with the BIJQ in private

lessons, ensemble coaching, and advising about

professional life as a jazz musician. Christian has

played with countless artists across the musical

spectrum, from McCoy Tyner and Sting to

Diana Krall. His concert performances span the

globe, and his recordings, both as a leader and

member of other groups, are diverse in style and

brilliant in execution. But his accomplishments

as a player are only part of what makes him such

a highly respected artist. In addition to his work

at the Brubeck Institute, he has been artistic

director at the Jazz Aspen Institute summer

program, co-director of the Jazz Museum in

Harlem, Creative Chair for Jazz for the Los

Angeles Philharmonic, Artist in Residence for

the Monterey Jazz Festival, and the Detroit

Jazz Festival. As a composer, Christian was

commissioned by Jazz at Lincoln Center to write

Bluesin’ in Alphabet City, which was performed

by Wynton Marsalis with the Lincoln Center

Jazz Orchestra. The Portland Arts Society

and the National Endowment for the Arts

commissioned him to write The Movement,

Revisited, a dramatic musical portrait of the civil

rights struggle of the 1960s. Christian McBride

is a member of the Honorary Board of the

Friends of the Brubeck Institute, and he is the

2010 recipient of the Brubeck Institute Award

for Distinguished Achievement.

J A Z Z O N T H E M I L E !

Cesar Chavez High School Jazz Band

San Joaquin Delta College Jazz Ensemble

Delta College Monday

Night Jazz Band

Brubeck Institute Jazz Quintet

Claudia Villela



B O B M I N T Z E R

Arranger and saxophonist Bob Mintzer

has made his work merging a traditional

jazz approach with an all encompassing

modernism that embraces lyricism, a strong

sense of swing, and arrangements that take

the listener on an unpredictable and vibrant

journey. Besides leading his own New

York based big band since the early 1980s,

Bob leads a jazz quartet, is a fifteen-year

member of the Yellowjackets, and is active in

music education. In addition to his playing

schedule, Bob writes for the Yellowjackets, big

bands, symphony orchestra, and etude books.

Bob honed his skills playing and writing

for Buddy Rich, Thad Jones, Mel Lewis, Art

Blakey, Sam Jones, Jaco Pastorius, The GRP

Big Band, Mike Manieri, Tito Puente, Eddie

Palmieri, and the New York Philharmonic. He

has also done session work for James Taylor,

Queen, Steve Winwood, Aretha Franklin, and

countless others. Bob has been nominated for

thirteen Grammy Awards, both for his solo

work and big band recordings, including Art

of the Big Band, Departure, Homage to Count

Basie, One Music, and Only in New York, and

for his work with the Yellowjackets. Homage

to Count Basie won the Grammy in the best

large ensemble category for the 44th Annual

Grammy Awards in 2001.

On the 10th anniversary of the Brubeck Institute, it is valuable to look back and see

some of what the Institute has done during its first decade. While it’s not possible to

list every performance, every tour, and every other detail of the Institute’s activities,

it is important to recognize those who have participated in the Institute’s work as

students, performers, and teachers, to recall Brubeck Festival presentations, and

remember those who have been recognized for their distinguished achievement.

A D E C A D E O F A C C O M P L I S H M E N T

B R U B E C K I N S T I T U T E A W A R D F O R D I S T I N G U I S H E D A C H I E V E M E N T

The Brubeck Institute Award for Distinguished Achievement

was created to recognize an individual for his or her outstanding

contribution to the world of music and ideas, in an area where

Dave Brubeck has made significant impact upon the world.

2005 | Joe Gilman, pianist, composer, teacher –

Brubeck Institute

2006 | John Salmon, pianist, scholar –

University of North Carolina–Greensboro

2007 | Kevin Deas, world renowned singer

2008 | Penny Von Eschen, scholar – University of Michigan

2009 | Donald V. DeRosa, President – University of the Pacific

2010 | Christian McBride, jazz bassist

B R U B E C K S U M M E R J A Z Z C O L O N Y

C O L O N I S T S

2002 | Kai Ando, bass, NY, NY; Pat Carroll, sax, Pleasanton, CA;

Andrea Caruso, voice, Hartford, CT; Tobin Chodos, piano, LA, CA;

Nick DePinna, trombone, Pleasanton, CA; Tlacael Esparza, drums,

LA, CA; Marcus Gilmore, drums, NY, NY; Keith Karman, bass, LA,

CA; Micah Ke-Renzvi, guitar, LA, CA; Matt Marantz, sax, Dallas,

TX; Sean McCluskey, piano, Shrewsbury, MA; Scott McGinty,

sax, Houston, TX; Shawn McGinty, trumpet, Houston, TX; Perry

Morris, drums, Dallas, TX; Michael Palma, piano, Dallas, TX; Anja

Parks, trumpet, NY, NY; Dominic Thiroux, bass, LA, CA

2003 | Kyle Athayde, trumpet, Lafayette, CA; Pat Carroll, sax,

Pleasanton, CA; Rashann Carter, bass, Suitland, MD; Eldar

Djangirov, piano, San Diego, CA; Tom Gardner, sax, Washington,

DC; Hayden Hawkins, drums, Houston, TX; Dustin Kaufman,

drums, Houston, TX; Corey King, trombone, Houston, TX; Pascal

Le Boeuf, piano, Santa Cruz, CA; Matt Marantz, sax, Dallas, TX;

Perry Morris, drums, Dallas, TX; Michael Palma, piano, Dallas, TX;

Anja Parks, trumpet, NY, NY; Joe Sanders, bass, Milwaukee, WI;

Jennifer Sanon, voice, Miami, FL; Dominic Thiroux, bass, LA, CA;

Max Townsley, guitar, Dallas, TX

2004 | Kyle Athayde, trumpet, Lafayette, CA; Hans Bernhard,

bass, Santa Cruz, CA; Brian Chahley, trumpet, Toronto, Canada;

Cory Cox, drums, Houston, TX; Eldar Djangirov, piano, San Diego,

CA; Victor Gould, piano, LA, CA; Nick Jozwiak, bass, Naperville,

IL; Dustin Kaufman, drums, Houston, TX; Shaun Lowecki,

drums, Libertyville, IL; Joe McDonough, trombone, Langhorne,

PA; Matthew O’Grady, guitar, Green Bay, WI; David Palma, sax,

Miami, FL; Lucas Pino, sax, Phoenix, AZ; Peter Reardon-Anderson,

sax, Bethesda, MD; Earl Travis II, bass, Houston, TX; Nadia

Washington, voice, Dallas, TX; Glenn Zaleski, piano, Boylston, MA

2005 | Kyle Athayde, trumpet, Lafayette, CA; Julian Bransby,

piano, Bloomington, IN; Brian Crutchfield, sax, Houston, TX;

Ismael Cuevas, trombone, LA, CA; Gregory Diaz, trumpet LA, CA;

Woody Goss, piano, Skokie, IL; Nick Jozwiak, bass, Naperville, IL;

Graham Keir, guitar Wyndmoor, PA; Noah Kellman, piano, DeWitt,

NY; Isaiah Morfin, sax, Bakersield, CA; Harvel Nakundi, drums,

Miami, FL; Steve Renko, drums, Cleveland, OH; Katie Thiroux,

bass & voice, LA, CA; Ben van Gelder, sax, Netherlands; Nadia

Washington, voice, Dallas, TX; Max Wrightson, drums, LA, CA;

Charlie Zuckerman, bass, Miami, FL

22 A D E C A D E O F A C C O M P L I S H M E N T

A D E C A D E O F A C C O M P L I S H M E N T 23

Piano

Joe Gilman

Geoffrey Keezer

Taylor Eigsti

Mulgrew Miller

Glenn Zaleski

Trumpet

Brian Lynch

Gilbert Castellanos

Marvin Stamm

Ingrid Jensen

Terence Blanchard

Roy Hargrove

Nicholas Payton

Bart Marantz

Guitar

Mike DeMicco

Mark Boling

Steve Homan

THE S JC 09 ART I S TS | JOE G I LMAN P I A N O | BR IAN LYNCH T R U M P E T ANDREW SPEIGHT SAXOPHONE | STEVE DAVIS TROMBONE | RAY DRUMMOND BASS AKIRA TANA DRUMS | MADELINE EASTMAN VOICE | BART MARANTZ TRUMPET STEVE HOMAN GU I TAR | GLENN ZALESKI P IANO | RICK LOTTER DRUMSZ A C H B R O W N B A S S | C H A D L E F K O W I T Z - B R O W N S A X O P H O N ETHE SJC 09 COLONISTS | LUKE CELENZA PIANO | SAM CROWE SAXOPHONEGILBERT FIX BASS | HAYDEN HAMILTON DRUMS | JON HATAMIYA TROMBONE NICHOLAS HETKO PIANO | BEN LUSHER VOICE | ANTONIO MADRUGA PIANOMICHAEL MAYO VOICE | COLIN MCDANIEL DRUMS | CLINT MOBLEY DRUMSJARED MULCAHY BASS | TREE PALMEDO TRUMPET | CODY ROWLANDS TRUMPETKEVIN SUN SAXOPHONE | CAITLIN QUINLIN VOICE | GREGORY UHLMANN GUITAR B I L L V O N D E R H A A R B A S S | M A X Z O O I S A X O P H O N E

THE SJC 09 ARTISTS CONCERT | FRIDAY, AUGUST 14, 7:30 P.M. UNIVERSITY OF THE PACIFIC | FAYE SPANOS CONCERT HALL | FREE ADMISSION

THE SJC 09 COLONISTS CONCERT | SATURDAY, AUGUST 15, 3:00 P.M. UNIVERSITY OF THE PACIFIC | FAYE SPANOS CONCERT HALL | FREE ADMISSION

B R U B E C K I N S T I T U T E | D A V E B R U B E C K C H A I R M A NC L I N T E A S T W O O D C H A I R M A N O F T H E H O N O R A R Y B O A R DSTEVE ANDERSON EXECUTIVE D IRECTOR | JOE GILMAN MUSICAL DIRECTORFELLOWSHIP PROGRAM & ARTISTIC DIRECTOR–SUMMER JAZZ COLONY | PAT ECKERT ADMINISTRATIVE ASSISTANT | GINA BROWN RISHWAIN NATIONAL DIRECTOR OF DEVELOPMENT

09

W W W. B R U B E C K I N S T I T U T E . O R G

2006 | Adam Arruda, drums, Toronto, Canada; Aaron Bahr,

trumpet, Moraga, CA; Edwin Barbash, sax, Winston-Salem, NC;

Tim Carr, drums, Novato, CA; Ben Flocks, sax, Santa Cruz, CA;

Adam Gertner, drums, Denver, CO; Grace Kelly, sax, Brookline,

MA; Rustom Jehangir, trombone, Downers Grove, IL; Garret Lang,

bass, LA, CA; Ivan Malespin, trombone, Miami, FL; Luke Marantz,

voice, Dallas, TX; Jeff Picker, bass, Beaverton, OR; Sam Reider,

piano, San Francisco, CA; Charlie Stanford, guitar, Portland, OR;

Gary Thomas, bass, Gainesville, FL; Yuma Sung, piano, San Jose,

CA; Sam Yulsman, piano, Niwot, CO

2007 | Travis Antoine, trumpet, NY, NY; Adam Arruda, drums,

Toronto, Canada; Eliana Athayde, bass & voice, Lafayette, CA;

Aaron Bahr, trumpet, Moraga, CA; Bryan Carter, drums, Sycamore,

IL; Kate Davis, bass & voice, West Linn, OR; Maddie Deutch,

voice, LA, CA; Noah Kellman, piano, DeWitt, NY; Grace Kelly,

sax, Brookline, MA; Chad Lefkowitz-Brown, sax, Horseheads, NY;

Christian Li, piano, Horseheads, NY; Luke Marantz, voice, Dallas,

TX; David Meder, piano, Tampa, FL; Paul-Eirik Melhus, sax,

Glendale, AZ; Daniel Nadeau, drums, Wayland, MA; Kale Scherler,

trombone, Dallas, TX; Charlie Stanford, guitar, Portland, OR;

Jonathan Stein, bass, Oakland, CA

2008 | Lauren Desberg, voice, Los Angeles, CA; Samara Oster,

voice, Milton, MA; McKenna Whisler, voice, Pittsburgh, PA; Levon

Henry, sax, LA, CA; Grace Kelly, sax, Brookline, MA; Paul-Eirik

Melhus, sax, Glendale, AZ; Zachery Gillespie, trumpet, Glendale,

AZ; Griffith Kazmierczak, trumpet, East Amherst, NY; Ivan

Rosenberg, trumpet, NY, NY; Luke Celenza, piano, Bedford, NY;

Gregory Chen, piano, San Jose, CA; Noah Kellman, piano, DeWitt,

NY; Carlos Alabaci, bass, Miami, FL; Joshua Crumbly, bass, Quartz

Hill, CA; Kate Davis, bass, West Linn, OR; Jimmy McBride, drums,

West Hartford, CT; Colin McDaniel, drums, Davis, CA; Anthony

Polson, drums, Portland, OR; Gabriel Condon, guitar, Penfield, NY

2009 | Ben Lusher, voice, Dobbs Ferry, NY; Michael Mayo, voice,

LA, CA; Caitlin Quinlan, voice, NY, NY; Sam Crowe, sax, Denver,

CO; Kevin Sun, sax, Skillman, NJ; Max Zooi, sax, LA, CA; Jon

Hatamiya, trombone, Davis, CA; Tree Palmedo, trumpet, Portland,

OR; Cody Rowlands, trumpet, Glendale, AZ; Luke Celenza, piano,

Bedford, NY; Nicolas Hetko, piano, Cambridge, NY; Antonio

Madruga, piano, Miami, FL; Giulio Cetto, bass, Stockton, CA; Jared

Mulcahy, bass, Skaneateles, NY; Bill Vonderhaar, bass, Houston, TX;

Hayden Hamilton, drums, Houston, TX; Colin McDaniel, drums,

Davis, CA; Clint Mobley, drums, NY, NY; Gregory Uhlmann, guitar,

Chicago, IL


Saxophone

Andrew Speight

Anton Schwartz

Frank Morgan

Steve Wilson

Greg Tardy

Jerry Bergonzi

Chris Potter

Patrick Langham

Bass

Christian McBride

Jeff Chambers

Essiet Essiet

Ray Drummond

Voice

Madeline Eastman

Miles Griffith

Diane Mower

Drums

Jeff ‘Tain’ Watts

Dan Brubeck

Ed Soph

Willie Jones III

Rick Lotter

Brian Kendrick

Akira Tana

Trombone

Steve Davis

Paul McKee

Rick Simerly

Chris Brubeck

Hal Crook

Summer Jazz Colony Poster, 2009

S U M M E R J A Z Z C O L O N Y F A C U L T Y & G U E S T A R T I S T S 2 0 0 2 - 2 0 0 9


B R U B E C K F E L L O W S H I P P R O G R A M

F E L L O W S

2002–2003 | Tommy Morimoto, sax, Winston-Salem, NC;

Anthony Coleman II, trumpet, Sacramento, CA; Fabian Almazan,

piano, Miami, FL; Joe Sanders, bass, Milwaukee, WI; Justin Brown,

drums, Berkeley, CA

2003–2004 | Tobin Chodos, piano, LA, CA; Scott McGinty, sax,

Houston, TX; Mark Zaleski, sax, Boylston, MA; Anthony Coleman

II, trumpet, Sacramento, CA; Joe Sanders, bass, Milwaukee, WI;

Justin Brown, drums, Berkeley, CA

2004–2005 | Scott McGinty, sax, Houston, TX; Mark Zaleski, sax,

Boylston, MA; Dominic Thiroux, bass, LA, CA; Shawn McGinty,

trumpet, Houston, TX; Joshua Gallagher, piano, Eau Claire, WI;

Hayden Hawkins, drums, Houston, TX

2005–2006 | Brian Chahley, trumpet, Toronto, Canada; Lucas

Pino, sax, Phoenix, AZ; Colin Stranahan, drums, Denver, CO; Peter

Spear, bass, Littleton, CO; Glenn Zaleski, piano, Boylston, MA

2006–2007 | Brian Chahley, trumpet, Toronto, Canada; Lucas

Pino, sax, Phoenix, AZ; Glenn Zaleski, piano, Boylston, MA; Cory

Cox, drums, Houston, TX; Chris Smith, bass, Minneapolis, MN

2007–2008 | Ben Flocks, sax, Santa Cruz, CA; Javier Santiago,

piano, Minneapolis, MN; Chris Smith, bass, Minneapolis, MN;

Cory Cox, drums, Houston, TX; Brian Chahley, trumpet,

Toronto, Canada

2008–2009 | Ben Flocks, sax, Santa Cruz, CA; Javier Santiago,

piano, Minneapolis, MN; Adam Arruda, drums, Toronto, Canada;

Zach Brown, bass, Columbia, MD; Chad Lefkowitz-Brown, sax,

Horseheads, NY

2009–2010 | Chad Lefkowitz-Brown, sax, Horseheads, NY; Nick

Frenay, trumpet, Syracuse, NY; Noah Kellman, piano, Fayetteville,

NY; Zach Brown, bass, Columbia, MD; Corey Fonville, drums,

Virginia Beach, VA

B R U B E C K F E L L O W S H I P F A C U L T Y & V I S I T I N G A R T I S T S 2 0 0 2 – 2 0 10

Piano

Dave Brubeck

Joe Gilman

Robert Glasper

Kenny Werner

Fred Hersch

Darius Brubeck

John Salmon

Geoffrey Keezer

Taylor Eigsti

Peter Hovath

Rebeca Mauleon

Donald Brown

Mark Levine

Robert Rodriguez

Orrin Evans

Benny Green

Saxophone

Bobby Militello

Jimmy Heath

Joshua Redman

Bob Mintzer

Yosvany Terry

Bobby Watson

Bennie Maupin

Michael Zilber

Greg Tardy

Jim Snidero

Daniel Zinn

Charles McNeal

Anton Schwartz

Vincent Herring

Miguel Zenon

Eric Marienthal

John Dankworth

Josh Allen

Stacy Dillard

Donny McCaslin

Trumpet

Wynton Marsalis

Nicholas Payton

Ingrid Jensen

Freddie Hubbard

Ralph Alessi

Brian Lynch

Louis Fasman

Gabriel Alegria

Mic Gillette

Marvin Stamm

Mike Rodriguez

Bass

Christian McBride

Michael Moore

Robert Hurst

Jeff Chambers

Rufus Reid

Marcus Shelby

Glenn Richman

Matt Penman

Ray Drummond

Larry Grenadier

Drums

Jeff Ballard

Randy Jones

Ndugu Chancler

Jeff ‘Tain’ Watts

Vince Lateano

Joe Chambers

Lewis Nash

Dan Brubeck

Eric Harland

Peter Magadini

Trombone

Chris Brubeck

Conrad Herwig

John Fedchock

Guitar

Mark Boling

Steven Erquiaga

John Stowell

Steve Homan

Vocal

Cleo Laine

Deana DeRose

Violin

Lesa Terry

Clarinet

Bill Smith

A D E C A D E O F A C C O M P L I S H M E N T 25


BRUBECK FEST IVALS & ACADEMIC SYMPOSIA

2001 | Festival theme: The Music of Dave Brubeck

Performers: Dave Brubeck Quartet, University Symphony Orchestra,

Pacific Singers, Stockton Symphony Orchestra. Significant works

performed: Hold Fast to Dreams, Pange Lingua Variations, Upon

this Rock, and the premiere of Millennium Intervals. Symposium

topics and presenters: Music Management & Business – Richard

Etlinger, Thomas Brierton, Richard Jeweler; Sociology & Music –

George Lewis, Howard Becker, Iola Brubeck

2002 | There was no festival in 2002.

2003 | Festival theme: Celebrating the Music of Dave Brubeck

Performers: Stockton Symphony Orchestra, Stockton Chorale,

Turtle Island String Quartet, Christian McBride Trio, Capital

Jazz Project, and performers from the Conservatory of Music.

Significant works performed: Earth is Our Mother and many other

Brubeck works. Symposium: There was no symposium in 2003.

2004 | Festival theme: 40th Anniversary of the Civil Rights Act

Performers: Dave Brubeck Quartet, Conservatory ensembles and

soloists. Significant work performed: Gates of Justice. Symposium

topics and presenters: Lecture on racial justice – Archbishop

Desmond Tutu; Films: Amandla! A Revolution in Four-part

Harmony by Lee Hirsch; Rediscovering Dave Brubeck by Hedrick

Smith; Blacks & Jews by Snitow and Kaufman; Discussion: Q & A

on the Civil Rights Era with Dave and Iola Brubeck, moderated by

Robert Benedetti.

2005 | Festival theme: Creativity & Composition

Performers: Talujon Percussion Quartet, SF Jazz Collective,

Christian McBride, Chris Brubeck, Joshua Redman, Bobby

Hutcherson, Nicolas Payton, Renee Rosnes, Miguel Zenon, The

New Brubeck Octet, Bill Smith, Ballet NY, Joe Gilman Trio,

Dave Brubeck, Stockton Symphony Orchestra. Significant work

performed: premiere of Chris Brubeck’s Mark Twain’s World: A

Symphonic Journey with Genuine Thespians. Symposium topics

and presenters: ‘The Interdependence of Composition and

Improvisation in Dave Brubeck’s Creative Process’ by Stephen

Crist; ‘Music and Perception’ by David Chase; ‘Creativity and

Composition’ by Renee Rosnes and Matt Penman; ‘The Music of

Dave Brubeck: An Analysis’ by Joe Gilman.

2006 | Festival theme: The Times of Dave Brubeck

Performers: David Grisman Quintet, Bobby Watson with the

Pacific Jazz Ensemble, Clayton-Hamilton Jazz Orchestra, John

Salmon, Poncho Sanchez Latin Jazz Band. Symposium topics and

presenters: Film: The Piano Masters by Larry Rosen, featuring Dave

Brubeck and Billy Taylor with Ramsey Lewis; Panel discussion:

Influences and Social Implications of Jazz and the Music of Dave

Brubeck with panelists Larry Rosen, Howard Becker, David

Grisman, Russell Gloyd, Robert Benedetti, moderated by David

Chase; Piano lecture & performance: An Afternoon of Dave Brubeck

by John Salmon, featuring Brubeck’s classical piano music.

2007 | Festival theme: Words with Music

Performers: Kevin Deas, Julia Dollison, Geoff Keezer, Dave Brubeck

Quartet, Roberta Gambarini, Capital Jazz Project, Brubeck Institute

Jazz Quintet, Triple Play, Daniel Ebbers, Jessica Siena, Stockton

Symphony Orchestra, and students from the Conservatory of

Music. Significant works performed: Prayer of St. Francis by Dave

Brubeck (premiere), Fragile Horizon, a multi-media work by Robert

Coburn, Music Is the Power by Chris Brubeck, Cannery Row Suite

by Dave and Iola Brubeck, commissioned by the Monterey Jazz

Festival. Symposium topics and presenters: Panel discussion: Words

with Music with panelists Iola Brubeck, Russell Gloyd, Kevin Deas,

Robert Coburn, Julia Dollison, Roberta Gambarini, Chris Brubeck,

with moderator David Chase; Exhibition: A Script in Time: Iola

Brubeck as Lyricist; Lecture/demonstration: The Sacred Music of

Dave Brubeck by Russell Gloyd; Pre-concert lecture: John Steinbeck

by Susan Shillinglaw.


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Brubeck Festival Poster, 2009Brubeck Festival Poster, 2008

BRUBECK FEST IVALS & ACADEMIC SYMPOSIA

2008 | Festival theme: The Real Ambassadors

The festival focused on cultural diplomacy and celebrated the 50th

anniversary of the Dave Brubeck Quartet’s 1958 U.S. State Department

tour to Poland, Afghanistan, Pakistan, India, Sri Lanka, Iran, Iraq, and

Turkey. Performers: Open World Jazz Octet, Brubeck Institute Jazz

Quintet, Bob Mintzer, Deepak Ram Quartet, Hiromi’s Sonicbloom,

Pete Escovedo Orchestra, Andrzej Jagodzinski Trio, Dave Brubeck

Quartet, Ramsey Lewis Trio. Presenting partners: The George

Washington University, Elliot School of International Affairs, Library

of Congress, Meridian International Center, Open World Leadership

Center, Smithsonian Associates, Kennedy Center for the Performing

Arts, National Endowment for the Arts. Symposium topics and

presenters: Lecture: The Voice of Freedom: Assessing the Impact of

Dave Brubeck and Cultural Exchange During the Cold War by Keith

Hatschek; Lecture: Some Thoughts on Arts Diplomacy During the

Cold War by John H. Brown; Panel discussion: Cultural Diplomacy:

Its Past and Its Future with John H. Brown, Keith Hatschek, Vladimir

Tarasov, Russell Gloyd, and moderator Gene Bigler; Seminar: The

Dave Brubeck Quartet’s 1958 State Department Tour by David Alan

Grier, 1958: World Events That Shaped Diplomatic Activity by Hugh

Agnew, India and Cultural Exchange by Ambassador Karl Inderfurth,

Cultural Exchange and Security Policy by Marc Lynch; Photographic

exhibition: Jam Session: America’s Jazz Ambassadors Embrace the World

by Curtis Sandberg; Panel discussion: The Future of Jazz As a Tool of

Cultural Diplomacy with Ambassador Cynthia Schneider, Dr. John

Hasse, Ambassador John O’Keefe, Dr. Charles Webb; Panel discussion:

Take Two: Reflections on the 1958 Tour with Dave Brubeck, Dr. Penny

Von Eschen, Ambassador Kenton Keith, Dan Morgenstern, Dr. John

Brown; Panel discussion: The Real Ambassadors with Dave Brubeck,

Billy Taylor, Ramsey Lewis, moderated by Gary Giddens.

2009 | Festival theme: The Revolution Continues

The festival focused on the 50th anniversary of the historic

revolutionary album by the Dave Brubeck Quartet, Time Out.

Performers: Dave Brubeck Quartet with Darius Brubeck, Stockton

Symphony Orchestra, Sacramento Master Singers, Pacific Orchestra,

Paul Apodaca, Darius Brubeck with the Brubeck Institute Jazz

Quintet, Gerald Clayton Trio. Significant works performed: Ansel

Adams: America! by Dave and Chris Brubeck; Earth Is Our Mother

by Dave and Iola Brubeck; Time Out by the Dave Brubeck Quartet.

Symposium topics and presenters: Lecture & film: Russell Gloyd on

the making of Time Out; Panel discussion: 1959: The Revolution

Begins with Darius Brubeck, Chuck Berg, Joe Gilman, and

Paul Conley, moderator.

U N I V E R S I T Y O F T H E PA C I F I C

Established in 1851 as the first chartered institution of higher

education in the state of California, University of the Pacific is

an independent university with a tradition of putting students

first. With a core liberal arts college, eight accredited professional

schools, and a graduate school, Pacific enrolls over 6,000 students

on its three campuses in Northern California. The University offers

bachelors, masters, and doctoral degrees in more than 80 programs.

As a pioneer in education, University of the Pacific provides a

superior, highly personalized, student-centered learning experience

integrating liberal arts and professional education, preparing

students for lasting achievement and responsible leadership in their

careers and communities.

C O N S E R VAT O R Y O F M U S I C

Through its widely recognized programs in music, the Conservatory

of Music at University of the Pacific has offered educational

opportunities of the highest quality to students from the state,

region, and nation for over 130 years. The University of the Pacific

is a charter member of the National Association of Schools of

Music, and offers an array of curricula that are recognized for their

effectiveness in preparing students for their professional futures.

A tradition of service and a commitment to excellence have made

the Conservatory of Music a vital educational and artistic resource

for the University and larger community since 1878.

B R U B E C K I N S T I T U T E

The Brubeck Institute is located at University of the Pacific in

Stockton, California. It was established by the University in 2000 to

honor its distinguished alumni, Dave and Iola Brubeck. The mission

of the Institute is to build on Dave Brubeck’s legacy and his lifelong

dedication to music, creativity, education, and the advancement of

important social issues including civil rights, international relations,

environmental concerns, and social justice through its five core

programs including the Brubeck Collection, Brubeck Festival,

Brubeck Fellowship Program, the Summer Jazz Colony, and the

Outreach Program.

A Message from Dave Brubeck

“The Institute is the realization of a dream. From the earliest days in

my career I sought the acceptance and recognition of jazz as a serious

art form that reflected American ideals of freedom and individual

expression balanced with group responsibility and interdependence.

Like America itself, jazz has always drawn from many cultures and has

been enriched by that cross-fertilization.”

“The Brubeck Institute is not about jazz studies alone, however.

It is also about social and philosophical issues. Over the years I have

become more and more interested in applying these thoughts to

classical composition for chorus and orchestra, chamber ensembles,

and contemporary music in a variety of forms. I believe in the power of

music to transform lives as well as to enlighten and entertain.”

“Once when asked how I would like to be remembered, I answered, ‘As

someone who opened doors.’ This is what the Brubeck Institute will

do. It will provide the key that will open doors for all who participate,

whether as a research scholar in the Brubeck Collection, a Brubeck

Fellow or Colonist, a member of academic symposia, a classical

performer or teacher, contemporary composer, or an interested member

of the audience.”

“The door is open. Welcome!”

— Dave Brubeck

I N S T I T U T I O N S

I N S T I T U T I O N S 27

T H E B R U B E C K I N S T I T U T E P R O G R A M S

The Brubeck Collection, one of the world’s largest and most

comprehensive collections from a contemporary musician, consists

of Dave and Iola Brubeck’s correspondence, business documents,

musical manuscripts and recordings, photographs, printed

programs, and other important archival material. It is a resource

of immeasurable value for scholars interested in Brubeck’s music,

other musicians, and social issues such as civil rights, international

relations, and social justice. The Collection is housed in the Holt-

Atherton Special Collections at the University of Pacific Library.

The Brubeck Festival is an annual event that explores and

celebrates the musical, intellectual, and philosophical ideas of Dave

Brubeck, as well as his influence on the world of music and ideas.

The Festival features performances of jazz, contemporary concert

music, lectures, and academic symposia. Symposia and lecture

topics have included music management and business, sociology

and music, words with music, improvisation, creativity, civil rights,

and cultural diplomacy.

The Brubeck Fellowship Program is a one- or two-year full-

scholarship program in jazz performance for five musicians who

have just graduated from high school. These are the Brubeck Fellows,

they comprise the Brubeck Institute Jazz Quintet (BIJQ), and they

are pursuing careers in jazz performance. The BIJQ has performed

on the Monterey Jazz Festival, Playboy Jazz Festival, Brubeck Festival,

Detroit Jazz Festival, and others, and have done concerts throughout

the United States, in Canada, and on a State Department tour in

Spain. They regularly perform in clubs such as Yoshi’s in Oakland,

Blues Alley in Washington DC, the Montreal Bistro in Toronto,

Herb Alpert’s club Vibrato in Los Angeles, and they do clinics and

performances in colleges, universities, and schools throughout the

country. They have also performed at the annual conference of

the International Association for Jazz Education, at the Library of

Congress, the Kennedy Center, and many other notable venues.

Upon completion of the program the Brubeck Fellows receive the

Certificate of Jazz Performance and go on to collegiate programs

in jazz studies or pursue careers in jazz performance. They are

expected to serve as ambassadors for jazz and to promote the values

epitomized by the life and music of Dave Brubeck.

The Summer Jazz Colony is a one-week, full-scholarship,

intensive educational program in jazz performance for a very limited

number of exceptionally talented students who have just completed

their freshman, sophomore, or junior years in high school. They

come from throughout the United States and beyond to study

with Brubeck Institute faculty, guest artists and master teachers in

combo rehearsals, master classes and private instruction, classes in

jazz theory and improvisation, and seminars on the music of Dave

Brubeck and other topics. Colonists have extensive opportunities

to visit with the artists and clinicians, visit the Brubeck Collection,

participate in numerous jam sessions, and perform in concert.

The Brubeck Outreach Program is designed to encourage the

performance, study, and understanding of jazz in its many forms,

explore contemporary concert music, enlighten and broaden

the general knowledge and appreciation of music, and promote

the understanding of the work and influence of Dave Brubeck

throughout the United States and beyond. This is accomplished by

performances, educational presentations, and touring displays from

the Brubeck Collection, presented by the Institute and in partnership

with schools, museums, libraries, and other cultural institutions.

F O R M O R E I N F O R M AT I O N

For more information about all the Brubeck Institute programs,

including access to the Brubeck Collection, details about past and

upcoming Brubeck Festivals, the Outreach Program, and for complete

information about the Fellowship Program and the Summer Jazz

Colony, including all application procedures, timelines, and forms,

visit our website at www.brubeckinstitute.org or write us at:

The Brubeck InstituteUniversity of the Pacific3601 Pacific AvenueStockton, CA 95211

I N S T I T U T I O N S

28 I N S T I T U T I O N S

CLINT EASTWOODChair, Honorary Board

Director, Producer, Actor, Composer

HERB ALPERTArtist, Producer

DAVID N. BAKER, JR.Jazz Educator, Indiana University

JAMES R. BANCROFTPartner (retired) Bancroft & McAlister

DAVID BENOITPianist, Composer, Conductor

KEN BURNSFilmmaker

DAVID CERONEPresident – Cleveland Institute of Music

DONALD V. DEROSAPresident Emeritus – University of the Pacific

CLIVE GILL INSONExecutive and Artistic Director

– Carnegie Hall

RALPH GUILDChairman of the Board – Interep

TOM HALLConductor – Baltimore Choral

Arts Society, Radio Personality

TIM JACKSONGeneral Manager, Monterey Jazz Festival

Artistic Director, Kuumbwa Jazz Center

AL JARREAUProducer, Singer

QUINCY D. JONESProducer

DAME CLEO LAINEMusician, Actress

NORMAN M. LEARTelevision Writer and Producer,

Businessman

LARRY LEASURERegent – University of the Pacific,

Business and Real Estate

DENNIS A. LE VETTReal Estate and Investments

RAMSEY E. LEWIS, JR.Composer, Pianist

GEORGE LUCASFilmmaker

YO-YO MACellist

WYNTON MARSALISTrumpeter, Composer

CHRISTIAN MCBRIDEJazz Bassist

MARIAN MCPARTLANDPianist

DOUG RAMSEYAuthor, Critic

LARRY ROSENChairman – Larry Rosen Productions, Inc.

Entrepreneur, Musician, Producer

HEDRICK SMITHWriter, Film Producer

BILLY TAYLORPianist, Composer, Educator

A. EARLE WEATHERWAx Musician, Developer

GEORGE T. WEINFounder – Festival Productions

GORDON ZUCKERMANDeveloper, Writer

H O N O R A R Y B O A R D O F T H E F R I E N D S O F T H E B R U B E C K I N S T I T U T E

The purpose of the Honorary Board of the Friends of the Brubeck Institute is to heighten the awareness of the Brubeck Institute and advance its mission locally, nationally, and internationally. University of the Pacific is most grateful to the following distinguished individuals for their commitment to the Brubeck Institute.

H O N O R A R Y B O A R D 29

F R I E N D S O F T H E B R U B E C K I N S T I T U T E

$1,000,000 or moreBancroft-Clair Foundation

Mr. Kent Lathy

Dennis A. LeVett Family

Mr. and Mrs. Gordon Zuckerman

$500,000 to $749,999The Herb Alpert Foundation

$250,000 to $499,999Mr. & Mrs. Ralph Guild

Mr. & Mrs. Larry Leasure

$100,000 to $249,999President Emeritus and Mrs. Donald V. DeRosa

Library of Congress Open World Program

Mr. & Mrs. Angus L. McLean, Jr.

Liz and Dave Rea

$50,000 to $99,999Anonymous

Mr. & Mrs. David W. Brubeck

Mr. & Mrs. Clint Eastwood

Mrs. Elmyra “Tommie” Pardue

$25,000 to $49,999Mr. & Mrs. Thomas J. Ferrari, Sr.

Mr. & Mrs. Stanley S. Hubbard

Dr. Stuart Jacobs & Ms. Stephanie Stevenson

National Endowment for the Arts

Dr. & Mrs. David A. Stadtner

Union Bank of California

$10,000 to $24,999ACTION Council of Monterey County

Mr. W. Jamey Aebersold

Charles P. Berolzheimer Foundation

Mr. & Mrs. Philip C. Berolzheimer

Dr. & Mrs. Ross Bewley

City of Stockton

Ms. Shirley Dozier

Kadan Limited

National Foundation for

Advancement in the Arts

Newman’s Own Foundation

Mr. & Mrs. Paul M. Sachs

The San Francisco Foundation

$5,000 to $9,999Mr. Mark J. Bluth

Drs. Tony Chan & Virginia Chan

Dr. George T. Wein

$2,500 to $4,999Mr. & Mrs. Ronald A. Berberian

Dr. & Mrs. Philip Gilbertson

Mr. & Mrs. David Gill

Ramsey Lewis Foundation

Pacific Title and Art Studio, Inc.

Telarc International Corporation

$1,000 to $2,499Atlas Properties

Mr. Alden Bianchi

Mr. Elliott Broidy

Mr. & Mrs. Robert J. Corkern

Mrs. Joan Cortopassi

Mr. and Mrs. William W. Eccleston

Experience Music Project

Drs. Nava Fathi & Abbas Raissi

Mr. Fred Gertler

Joan Goble-Rivard

Dr. Elizabeth Griego

Dr. Tom Hall

Dr. & Mrs. Ronald A. Kass

Ms. Barbara B. Katz

Kawai America Corporation

Dr. and Mrs. Louis Messina

Monterey Jazz Festival, Inc.

Rishwain & Rishwain

Wachovia Foundation

Mr. & Mrs. Todd Waldman

Dr. Eric B. Wall

30 F R I E N D S O F T H E B R U B E C K I N S T I T U T E

S U P P O R T I N G T H E B R U B E C K I N S T I T U T E

Successful operation of the programs of the Brubeck Institute

would not be possible without the support of our loyal friends and

dedicated sponsors. Their belief in the mission of the Institute,

coupled with their personal and corporate generosity, make it

possible for us to hold a Brubeck Festival every year and to create

the Brubeck Fellowship Program and the Summer Jazz Colony that

provide educational opportunities for youth, as well as entertain and

inform the public.

The goals of the Institute now include a significant expansion of the

operation of the Brubeck Collection and the Outreach Program,

so other people, not just locally, but globally, can share the benefit

of the extraordinarily valuable resources, ideas, and activities of

the Institute.

Our mission, goals, and programmatic activities all require resources.

Our long-term objective is to endow the entire Brubeck enterprise

so that its future is never in doubt. The immediate goal is to sustain

the Festival and our educational programs, begin to develop much

greater activity in the Collection and with the Outreach Program,

and to continue to build the endowment toward our ultimate goal.

If you believe in the values of the Brubeck Institute, and if you share

the desire to make certain the Institute thrives well into the future,

you can play a significant role in making it happen. To discover how

you can be a vital part of the work of the Brubeck Institute and to

help assure its future, please contact Jean Purnell, Associate Vice

President for Development, at 209.946.2502, or [email protected].

F R I E N D S O F T H E B R U B E C K I N S T I T U T E 31

The Brubeck Institute thanks the National Endowment for the

Arts for its generous support of the Brubeck Festival. The NEA

is a public agency dedicated to supporting excellence in the arts,

both new and established; bringing the arts to all Americans; and

providing leadership in arts education. The NEA is an independent

agency of the federal government and is the nation’s largest annual

funder of the arts.

The Brubeck Institute thanks Chase Chevrolet for its continuing

support of the Fellowship and Outreach programs by providing

the Institute with vans that address its local and regional

transportation needs.

The Brubeck Institute thanks the following friends for their generous

gift of time in being Ambassadors for the Institute and their help

in advancing its mission: Larry Leasure, Gail Kautz, Shirley Dozier,

Stuart Jacobs, Louise Kass, Scott Liggett, Tommie Pardue, Marion

Sachs, Paul Sachs, Tasha Stadtner, Stephanie Stevenson, and

Denny Stilwell.

UNIVERS I TY OF THE PAC I F ICPamela Eibeck, President

Philip Gilbertson, Provost

Ted Leland, Vice President for External Relations

Patrick Cavanaugh, Vice President for Business & Finance

Elizabeth Griego, Vice President for Student Life

Mary Lou Lackey, Vice President & Secretary to the Board of Regents

BRUBECK INST I TUTEDave Brubeck, Chairman

Clint Eastwood, Chairman of Honorary Board

Steve Anderson, Executive Director

Andrew Schneiderman, Assistant to the Director

Joe Gilman, Musical Director-Fellowship Program

Patricia Eckert, Administrative Assistant

CONSERVATORY OF MUS ICGiulio Ongaro, Dean

David Chase, Assistant Dean

Robin Cheshire, Administrative Assistant

Katherine Harper, Coordinator of Student Services

Steve Perdicaris, Operations Manager

James Gonzales, Technical Director

HOLT-ATHERTON DEPARTMENTOF SPEC IAL COL LECT IONSShan Sutton, Head of Special Collections

Michael Wurtz, Archivist-Special Collections

Trish Richards, Special Collections Assistant

BRUBECK INST I TUTE ADV ISORY BOARDDarius Brubeck, Musician & Composer

Donald V. DeRosa, President Emeritus-University of the Pacific

Russell Gloyd, Brubeck Producer & Conductor

Richard S. Jeweler, Brubeck Family Attorney

Giulio Ongaro, Dean-Conservatory of Music

Brigid Welch, Dean-University Library

OFF ICE OF MAR KET ING AND UN IVERS I TY COMMUNICAT IONSRichard Rojo, Associate Vice President

Patrick Giblin, Media Relations Manager

Rhashad Pittman, Media Relations Coordinator

Karri Johnson, Graphic Designer

Tanya Lopez, Web Marketing Manager

Sheri Grimes, Marketing Writer

Steve Andreesen, Web Developer

Corin Imai, Graduate Assistant

Der Yang, Administrative Assistant

JAZZ ON THE M I L E !Miracle Mile Improvement District

Kevin Dougherty, Board President

Russell Takeda, Board Member

Kellie Jacobs, Board Member

Emily Ballus, Executive Director

Miracle Mile Improvement District Merchants Committee

THE 2010 BRUBECK FEST IVALProducer: Steve Anderson

Graphic Designer: April Kimmerly

Marketing & Advertising: Office of Marketing &

University Communications

Production & Technical Director: James Gonzales

Brubeck Exhibits: Michael Wurtz

Printing: Parks Printing

Special thanks to Gallien-Krueger for the use of their

magnificent bass amplifiers.

Special thanks to Brian Kendrick for his generous assistance

throughout the year with all Brubeck Institute programs.

C R E D I T S & A C K N O W L E D G M E N T S

The Brubeck Institute is able to accomplish its goals because of the contributions of time and talent of many individuals and organizations. The Institute would like to acknowledge the following for their tireless efforts in supporting our programs and especially the 2010 Brubeck Festival.

32 C R E D I T S & A C K N O W L E D G M E N T S

2010 brubeck festival program

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