jazzed january 2009

T h e J a z z e d u c a T o r ' s M a g a z i n e

JAZZ EDUCATION NETWORKJAZZ EDUCATION NETWORK

The Official Publication of

The Official Publication of JAZZ EDUCATION NETWORK

JAZZ EDUCATION NETWORK


The Official Publication of JAZZ EDUCATION NETWORK










DaveSamuelS

Achieving One Unified VoiceFOCUS

SESSIONClave

STUDY HALLHome Studio

JANU

ARY

2009

• $

5.00

We’ve added new titles to the Jazz at Lincoln Center print music catalog for 2009, including our latest sets from the Jazz for Young People™ Series and the Essentially Ellington Library.

Visit www.jalc.org/printmusicto download the Jazz at Lincoln Center print music catalog, more than 125 titles ranging from Grades II to VI, and see what’s new for your jazz ensemble! For more information, [email protected] or 212.258.9812.

Frederick P. Rose Hall, Home of Jazz at Lincoln Center, Broadway at 60th StreetAlfred Publications is the official print music publisher for Jazz at Lincoln Center

New Year, New Charts!

NEWTITLES!

more than 125 titles

ranging from

Grades II to VI

JAZ_COV2 COV2 12/31/08 11:51:34 AM

www.jalc.org/printmusic

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www.jupitermusic.com

2 JAZZed January 2009

GUEST EDITORIAL: DR. SAM LUSSIER 26The coordinator of Jazz Studies at Florida International University discusses the ben-efi ts of playing in a large jazz ensemble and offers his picks for the best big band record-ings of all time – 25 albums that’d be an appropriate starting point for any young jazzer interested in the genre.

BASIC TRAINING: MIXOLYDIAN 36Performer, educator, and frequent JAZZed contributor Miles Donahue outlines the up-sides to having students work within the aurally familiar Mixolydian Scale.

DAVE SAMUELS 40A Grammy award winner, the preeminent mallet player of his generation, and a dedicated educator, Dave Samuels is one of the most signifi cant fi gures in contemporary jazz. JAZZed recently spoke with Dave about his own journey as a musician and asked what lessons he tries to impart to his own students to better help them understand and speak the language of jazz.

FOCUS SESSION: CLAVE 48Recording artist and teacher David Bixler shares thoughts on becoming familiar with the clave, an essential element of Latin music.

STUDY HALL: HOME STUDIO 52A basic primer in some of the gear essential to get up and running with an effective home and/or classroom recording rig.

JAZZED IN THE CLASSROOM 54Brad Howey asks a collection of prominent jazz musicians to share what some of their favorite recordings are – and encourages instructors to begin similar dialogue with their students.™

Dave Samuels “The challenge of teaching is seeing the same concept from different angles.”

contentsJ A N U A R Y 2 0 0 9

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PUBLISHER’S LETTER 4NOTEWORTHY 6KEN HATFIELD:WHAT’S ON YOUR PLAYLIST 12JAZZ EDUCATOR'S NETWORK SECTION 15

departments26

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 of ces. 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. © 2009 by Symphony Publishing, LLC. Printed in the U.S.A.

™

JANUARY 2009Volume 4, Number 1

GROUP PUBLISHER Sidney L. [email protected]

PUBLISHER Richard E. [email protected]

Editorial StaffEDITOR Christian Wissmuller

[email protected]

ASSOCIATE EDITOR Eliahu [email protected]

STAFF WRITER Denyce [email protected]

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CLASSIFIED SALES Maureen [email protected]

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Corporate Headquarters

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JAZZed January 2009 3

Cover photograph: Scott Mullin

• PRESIDENT'S LETTER• EVENTS PAGE• NETWORTHY NEWS• YOUR LINK OT THE WORLD

• CALL FOR NOMINATIONS TO SERVE...• MUSIC FOR ALL & JEN ANNOUNCE PARTNERSHIP• MEMBERSHIP REPORT

CROSSWORD PUZZLE 57GEARCHECK 58HOT WAX 60BACKBEAT: FREDDIE HUBBARD 61CLASSIFIEDS 62AD INDEX 64


RPMDA

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Versatility is a prerequisite for any great musician and Dave Samuels, JAZZed’s cover subject this issue, typifi es a gifted musician whose career has crossed many musical boundaries. Samuels’ infl uences have been varied and disparate, including such ma-jor fi gures as Terry Gibbs, Lionel Hampton, Gary Burton, Cal Tjader, and Bobby Hutcheson, among many others. He has performed across a variety of musical genres with legendary recording artists such as Bruce Hornsby, Oscar Peterson, and Frank Zappa, as well as his own Caribbean Jazz Project. Even if you’re not di-rectly familiar with Dave’s work, al-most everyone would recognize his melodic mallet playing on the open-ing measures of the tune “Morn-ing Dance,” Spyro Gyra’s Grammy nominated recording.

Many of the artists who helped shape Samuels’ career encouraged his interest in unusual instrumenta-tion, a quality which has permeated his work. His time spent on the road with Gerry Mulligan had a particular infl uence on his thoughts about instrumentation. According to an interview with Samuels regarding Mulligan in jazzweekly.com, “…he had an unusual instrument and set a new standard for playing baritone sax-ophone and a new standard for a group without piano.” Dave’s most recent recording with his sex-tet in the Caribbean Jazz Project also has a unique blend of instruments based around the marimba and vibes: they have also added guitar and fl ute,

as well as other solo instruments. He also received a Grammy nomination for the Best Latin Jazz Re-cording for two of his recordings with the Project, and there will certainly be been many more acco-lades forthcoming.

Beyond performing and recording, teaching is an endeavor that Samuels has been very dedicated and involved with, especially through his current teaching position with Berklee College of Music. This has given him an opportunity to “pass it for-

ward” to the next generation of players. Additionally, he indicates that through teaching, it provides him with an ability to look inward at his own playing to fi nd out why he plays the way he does. Most im-portantly, Samuels provides us with a wonderful analogy between the language of speech and improvisa-tion in this issue, in that everyone learns to speak and have a conver-sation, as well as write in our given language. However, unfortunately,

many musicians never learn the “speaking” por-tion of the musical language. You’ll fi nd many other intriguing ideas in this exclusive interview, so read on…

Lastly, if you haven’t joined the JEN organi-zation, the Jazz Education Network, now is a great time to get involved in this exciting new venture that is sure to help perpetuate jazz edu-cation for many years to come. Check it out at: www.JazzEdNet.org.

publisher’s letter R I C K K E S S E L

Learning the Jazz Language

“Many musi-cians never learn

the ‘speaking’ portion of

the musical language.”


[email protected]

JAZ_4 4 12/31/08 9:46:18 AM

Your source for educational jazz productsSee our bestsellers below and our complete jazz catalog at alfred.com.

Ready to buy? Visit alfred.com today!

GUITARComplete Jazz Guitar Method(00-14129)

Howard Morgan: Through Chord Melody and Beyond (00-29037)

RESOURCES Essentials of Jazz Theory (00-20812)

Just Jazz Real Book(00-FBM0003)

STRINGSJazz Philharmonic*Jazz Philharmonic: Second Set*

IMPROVISATIONApproaching the Standards, Volumes 1–3*

Bob Mintzer’s 12 Contemporary Jazz Etudes*

PEDAGOGYJazz Pedagogy (00-0582B)Jazz for Young People™ Curriculum (53 -LCM0201KIT)

BIG BAND PLAY-ALONGSSittin’ In with the Big Band*Sittin’ In with the Big Band, Vol. II*Gordon Goodwin’s Big Phat Band Play-Along*

TRANSCRIPTIONSThe Music of Bill Watrous (00-27035)Bob Mintzer (00-0479B)Eddie Daniels (00-0742B)Eric Marienthal (00-0508B)

PIANOPlaying Jazz Piano (00-29827) Jazz Piano Handbook (00-26926)

*View the series listing for this book at alfred.com.

RHYTHM SECTION Rhythm Section Workshop*Essential Styles for Drummersand Bassists (00-4300)

Time Awareness for All Musicians (00-24438)

JAZ_5 5 12/31/08 11:51:57 AM

www.alfred.com


noteworthy

Aguilar Hosts Master Class with John Patitucci

The event is free to the public and will be held in Agu-ilar’s New York City showroom on January 10, 2009. At-tendees will tour the Aguilar factory and be able try out Aguilar products such as the recently released, Tone Ham-mer preamp/D.I.

John Patitucci is a musician who is equally adept on both electric and upright basses. During his 25-year ca-reer, the multiple Grammy winner has recorded and/or performed with Chick Corea, Wayne Shorter, Herbie Han-cock, B.B. King, Natalie Cole and Joao Gilberto, among others.

For more information visit www.aguilaramp.com.

Bricktop at the Apollo

he best of the best of jazz musicians performed on December 11th, at the Apollo Theater to salute the upcom-ing Broadway musical, “Bricktop, Queen of the Night.” Bricktop was an

American born jazz cabaret owner in Paris in the ‘20s and ‘30s who nurtured some of the great-est jazz players ever. Celebrities, royalty, politi-cians, writers, and world travelers all stopped in at Bricktop’s to be seen, photographed, dance, and trade secrets. Her story will be told on Broadway with some of today’s greatest jazz players performing on stage.

For more information, visit the Apollo’s Web site, www.apollotheater.com.

T

by Rupert Hörst (www.hoerbst.net)Rupert's collections of music-themed cartoons – Brassival, Woodstocks, and Stringled – are available in the U.S. through Hal Leonard Publishing.

On Tour

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Shannon LeClaire

Performs and records with the best: David Baker,

Smithsonian Jazz Masterworks Orchestra, and more…

Associate Professor of Woodwinds

Dave Samuels

Leader of the Grammy-winning Caribbean Jazz Project. Has

performed and recorded with the best: Pat Metheny, Paquito D’Rivera, Oscar Peterson, Spyro

Gyra, Yellowjackets, Frank Zappa and more…

Associate Professor Vibes/Ensemble Department

Music on a different scale.

Dave “Fuze” Fiuczynski

PHOTOS: LUCY COBOS

Leads Screaming Headless Torsos. Performs and records

with the best: Stewart Copeland, Hiromi, Dennis

Chambers, Kenny Garrett, John Medeski, Meshell Ndegeocello,

and more…

www.berklee.edu

Associate Professor of Guitar

FULL ADS_jan.indd 7 1/2/09 10:37:35 AM

www.berklee.edu

noteworthy


noteworthyCOTA CampJazz Contributes to Governor’s Awards for the Arts

On November 12, 2008 Phil Woods and the Delaware Water Gap Celebration of the Arts received the 2008 Cre-ative Community Award in a ceremony in Williamsport, Penn. Selected to perform at the event were bassist and COTA CampJazz ensemble coordinator Evan Gregor (Summa Com Laude, Berklee School of Music, 2003), Jay Rattman, alto saxophonist and COTA CampJazz mentor (Manhattan School of Music, 2010) and pianist David Lantz IV, a 17 year old senior at Strouds-burg High School and student at COTA CampJazz for the past two years. Speaking of the event David commented, “It was an honor to play for Phil at the Governor’s Awards, especially after all of the inspiration and opportunity he’s created through the COTA Cats and COTA CampJazz for young musi-cians such as myself.”

Miguel Zenón to Receive Fellowship Grant

Workshops and the Jazzschool

The Jazzschool in Berkley, Calif. is offering the following workshops in January:

On January 18th pianist/com-poser Jack Reilly, author of The Har-mony of Bill Evans, vol. 1 and the soon-to-be-released Volume 2 (Hal Leonard), offers analysis of the har-monically advanced compositions of jazz master Bill Evans. The cost is $30 general admission.

Vocalist Frankye Kelly will guide students through a series of blues songs and techniques that can be ap-plied to a jazz repertoire. Limit: 20 students, $50. Designed for both stu-dents and teachers, this workshop is an overview and demonstration of the book/CD series, Play Jazz, Blues, Rock Piano By Ear, presented by the author, Andy Ostwald. Piano by Ear guides you step-by-step from simple two-chord jams to rich and diverse jazz, blues, and rock style improvisations. Each chapter is built around a new improvisation and includes a blend of listening, transcribing, some com-posing, and your own improvisatory exploration and discovery. Theory is introduced as it becomes relevant. Each chapter is supplemented with recorded piano improvisations. $30 Jazzschool students, $45 others

On January 25th, Clairdee and Ken French host a workshop for vo-calists to explore and discover how to present themselves confi dently and naturally, as well as how to pre-pare for a performance. All levels welcome. Individual Workshops: $65; Auditors: $40 Series: $150.

For more information, please visit www.jazzschool.com.

lto saxophonist, composer and Rico Reed artist, Miguel Zenón was named one of 25 recipients of the 2008 John D. and Catherine T. Ma-cArthur Foundation fellowship, an

award that pays $500,000 over fi ve years. The win-ners of the “genius award” are chosen by a secret committee, and do not receive prior notifi cation of their consideration until they have actually won. Although jazz musicians have won the award be-fore, Zenón stands out as his music is considerably more straight ahead than that of past winners, including pianist Cecil Taylor, saxophonist Ken Vandermark, and saxophonist John Zorn.

As a solo artist, Zenón has released four recordings and in 2004, was one of the fi rst artists signed to Marsalis Music. In 2005, he was honored by Billboard magazine as one of the “Faces to Watch--30 Under 30.” That year, Zenón also released Jibaro, commissioned by a grant from the New York State Council of the Arts. The following year, he was voted “Best New Artist” by the readers of Jazz Times Magazine, and in April of this year, Zenón released Awake, and received a Guggenheim Foundation fellowship for his forthcoming project.

For more information on Miguel Zenón, visit www.miguelzenon.com and for more information on Rico Reeds, visit www.ricoreeds.com.

A

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www.prowinds.com


Juilliard Jazz Ensembles The musicians of Juilliard Jazz break out their new compositions and refresh-

ing approach to jazz standards when they perform in smaller ensembles and an intimate performance hall on March 24, 2009 at 12:30 p.m. Free tickets will available March 9th at the Juilliard Box Offi ce.

For more information visit www.juilliard.edu.

Richard Ehrman: 1958-2008Richard Ehrman, concert offi ce manager at Berklee College of Music passed

away on November 20th. Rich served as concert offi ce manager for the past 25 years and was an integral a member of the Concert Operations/Special Programs Department at the college. Rich was an alumnus of the college and also studied and taught Feldenkrais classes through the Performance Division. His devotion to the Feldenkrais Method and his passion for teaching touched many of his students and made a deep impact on their lives.Donations can be made to the Richard Ehrman Scholarship Fund.

To donate online visit https://secure.entango.com/donate/wAJvTSFJnYV

Pekar and Plonsey's Jazz Opera Debuts

The underground comic book author Harvey Pekar will make his operatic debut at the Oberlin Conservatory of Music in “Leave Me Alone!”, an autobio-graphical jazz opera. A collaboration by two Cleveland natives, the opera combines a libretto by Pekar with mu-sic by saxophonist and composer Dan Plonsey. “Leave Me Alone!” depicts the lives of its creators in quotidian detail while asking big questions about the place of cutting-edge art in our society. Amidst the demands and interruptions of day-to-day life, Pekar and Plonsey wonder, how can artists carve out time for their creative work? The op-era, which is presented by Oberlin in cooperation with Real Time Opera, will receive its world premiere in a free performance on Saturday, January 31, 2009, at 8 p.m. in Finney Chapel, located at 90 N. Professor Street in Ober-lin, Ohio.

The performance will also be streamed live to an international audience on-line at www.leavemealoneopera.com.

Armstrong Flutes’ New Web Site

The new Web site will be the clearing house for all information regarding the complete line of Armstrong fl utes. The site also includes links to other valuable resources such as an Armstrong artist/endorser list, accessories available through Conn-Selmer, up to the minute press releases, a dealer locator, and very impor-tantly, additional resources for educators, parents, and students.

The Web address is www.armstrongfl utes.net.

noteworthy

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www.pacificcoastjazz.com

www.divajazz.com


Honens Intl. Piano Competition

More than 35 pianists from around the world will perform individual 40-minute solo recitals as part of the preliminary round called Stage One of the sixth Ho-nens International Piano Competi-tion. These performances will take place Friday, March 27, through Monday, March 30, 2009, at New York City’s Peter Norton Sym-phony Space (2357 Broadway at 95th Street) in the Leonard Nimoy Thalia Theater. Similar Stage One sessions will take place in Cal-gary, Munich, and Shanghai in the spring of 2009.

Honens International Piano Competition is one of the highest ranking musical competitions in the world. Its uniqueness lies in its mission to fi nd the complete artist one who possesses technical mas-tery as well as expressiveness in a wide range of musical forms and styles.

Tickets are specially priced to allow a wide range of music lovers to attend the performances: $25 for a four-day pass, $10 for a one-day pass, and $5 for a single session.

Passes may be online at www.symphonyspace.org.

"I never practice my guitar... from time to time I just open the case and throw in a piece of raw meat."

~ Wes Montgomery

Say What?

noteworthy

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www.cannonballmusic.com


1. The Bridge – Sonny Rollins (Quartet)Sonny’s playing on this record knocks me out. I recently acquired a Japanese import CD of this 1962 recording, which I’ve owned on vinyl for years. I’ve always liked piano-less quartets, and here Jim Hall masterfully demonstrates how to use the guitar in such a context, both as accompanist and soloist. Plus any rhythm section with Bob Cranshaw is going to swing to perfection.

2. Adios Nonino – Astor Piazzolla y su QuintetoI’ve been a fan of Piazzolla since Charlie Byrd gave me a lead sheet of “Chigulin da Bachin” one afternoon we spent playing together in Boston. In Italy, I bought a cache of Piazzolla scores that convinced me even more of his genius. Yet none of the recordings I subsequently purchased brought those scores to life until I found this reissue (on Circular Moves). I can’t stop listening to it. It’s a masterpiece.

3. Quarteto NovoThis legendary 1967 recording on Odeon showcases the (then) very young Hermeto Pascoal and Airto Moreira, along with guitarists Théo de Barros and Geraldo Vandré exploring many of the rich veins of Brazilian music that are still being mined today. I looked for this recording for years based on one listening that I

never forgot. Often the fulfi llment of such a search doesn’t live up to one’s memories, but Quarteto Novo certainly does.

4. Conference of the Birds – Dave HollandThis landmark 1973 recording contains a remarkable balance of forward-looking compositions that are accessible to anyone who pays attention, combined with master musicians having a great time playing with each other. It foreshadows the preemi-nent place that Dave now deservedly occupies in our music.

5. Time Line – Ralph TownerThere is only one Ralph Towner. This recent example reminds us why Ralph is such a great musician, who happens to play the guitar. His musical ideas transcend the instrument and, consequently, in his hands the guitar is transformed into something beyond what most guitarists (and others) believe it is, or can be. What better demonstration of artistry is there?

6. Smokin’ at the Half Note – Wynton Kelly Trio with Wes Montgomery

There is nothing to say about this record that hasn’t already been said. It actually changed the course of my life when I fi rst heard it. The 2005 Verve reissue contains the remaining live tracks (sans strings) that Creed Taylor decided not to release

Guitarist, composer, and educator Ken

Hatfield is a truly unique voice in the world

of contemporary jazz. His distinctive fi nger-

style playing and songwriting is colored by

eclectic tastes, which are informed by both

traditional jazz as well as classical music, as

evidenced by his recent book/CD, Etudes for

Solo Guitar in 24 Keys (Arthur Circle Music).

In addition to Hatfi eld’s seven critically

acclaimed albums as a leader, he’s also made

a name for himself though performances or

recordings with the likes of Charlie Byrd, Ben

E. King, Chico Hamilton, and Kenny Werner,

among many others.

What’s on Your Playlist?

Ken Hatfi eld’s book/CD, Etudes for Solo Guitar in 24 Keys (Arthur Circle Music), was released on September 2, 2008. www.kenhatfi eld.com

JAZ_12 12 12/31/08 9:49:14 AM


initially. Every bit of why Wes changed it for all those of us who came after him is in evidence here. For me this is the bible of jazz guitar.

7. Sound Grammar – Ornette ColemanThis recording garnered Ornette the Pulitzer for music in 2007. I’m generally not an afi cionado of so-called “out play-ing,” but this record is so compelling in a way that words are inadequate to express, that if this is “out,” then count me in as one who digs it.

8. The Complete Argo/Mercury/Art Farmer/Benny Golson/Jazztet Sessions

I put this on whenever I need a pick-me-up, or a reminder of why jazz is so vitally important. The writing, the arranging, the playing—everything is marvelous. And any addition to my col-lection that demonstrates the brilliance of Harold Mabern is a must-have!

9. Brasilianos – Hamilton de Holanda Quintet

This is a great recording of a band thinking and playing as a band. It just happens to be led by perhaps the best young mandolin player in the world. I hope this is an example of where music will go… I know it exemplifi es where it could go. It is joyous, serious music that is incred-ibly appealing.

10. The Late Beethoven String Quartets – Amadeus Quartet

These string quartets have been called, “the most profound utter-ances in human history.” They easily live up to that billing. But they are not for passive listening. Like reading Proust (who loved them so much that he hired the Poulet Quartet to perform them in his Paris apartment), they require one’s full

attention. Once given, the attention of the listener is rewarded with one of the most power-fully life-affi rming experiences music may be capable of. I have many versions by various quartets, but I always come back to the Amadeus Quartet’s recordings. Their interpretation resonates with me, perhaps because it is not perfect (whatever that would be). Their ver-sion is a bit like a painting where the artist cares more about expression than concealing their brushstrokes. I suppose their performance is the musical equivalent of “painterly.” I fi nd that compelling in this time of samples and quantizing. I want to know there is fl esh and blood behind the music.

Office of Admission320 South Broad Street Philadelphia, PA 19102800-616-ARTS (2787)Visit www.uarts.edu

createdon’t copy

Music can sound like thunder or just a whisper.

Hot or cool, intense or relaxed, loud or soft. A unique musical voice can change the

way we think and feel.

At UArts, you can perform in one of our three Big Bands, thirty-five small jazz,

or ten traditional ensembles.

The UArts School of Music provides an innovative environment that develops, refines,

and shapes your individual musical voice and purpose. Create, discover, improvise—and

become a unique voice at UArts.

Justin Binek Jimmy BrunoMarc DiccianiChris FarrJohn FedchockMatt GallagherTom Giacabetti

Don GlandenErik JohnsonMicah JonesRandy KapralickRon KerberJeff KernRick Lawn

Jimmy PaxsonTrudy PittsGeorge RabbaiTom RudolphBen SchachterJohn SwanaGerald VeasleyDennis Wasko

Faculty:

Graduate Teaching Assistantships Available.

Open House 4.4.09JED0109

JAZ_13 13 12/31/08 9:49:19 AM

www.uarts.edu

For more information, please contact:215-204-6810 or [email protected]

www.temple.edu/boyer

JAZZ AT TEMPLE UNIVERSITY

PROGRAMS OF STUDY

Bachelor of Music

> Jazz Performance (Instrumental and Voice)

> Jazz Arranging/Composition

> Music Education with Jazz

> Music Therapy with Jazz

PianoBruce BarthMike Frank Tom Lawton

BassMike BooneMadison Rast

GuitarCraig EbnerEd FlanaganGreg Kettinger

DrumsSteve Fidyk Dan Monaghan

VoiceCarla CookJoanna PascaleJulie Bishop

SaxophoneDick OattsBen Schachter

TrumpetMike NataleTerell StaffordJohn Swana

TromboneLuis Bonilla

Business of MusicKim Tucker

Terell Stafford, Jazz Studies Program Director

Temple University’s Boyer College of Music and Dance offers a diverse curriculum, wide array of degree programs and exemplary faculty, preparing students for careers as educators, performers, composers and arrangers.

> Student exchange program with the Amsterdam Conservatory

> Performance at the Hague Jazz Festival and Detroit International Jazz Festival

> Annual jazz band performances at Dizzy’s Club Coca-Cola and Kimmel Center for the Performing Arts

> 2007-09 Artists-in-residence/Guest Artists: Village Vanguard Orchestra, Benny Golson, Slide Hampton, Frank Wess, Clark Terry, Jimmy Heath and Joe Wilder

FALL 2009 AUDITION DATES

Saturday, January 31

Sunday, February 8

Saturday, February 21

Sunday, March 1

FACULTY

For more information, please contact:215-204-6810 or [email protected]


JAZZ AT TEMPLE UNIVERSITY

PROGRAMS OF STUDY

Bachelor of Music

> Jazz Performance (Instrumental and Voice)

> Jazz Arranging/Composition

> Music Education with Jazz

> Music Therapy with Jazz

PianoBruce BarthMike Frank Tom Lawton

BassMike BooneMadison Rast

GuitarCraig EbnerEd FlanaganGreg Kettinger

DrumsSteve Fidyk Dan Monaghan

VoiceCarla CookJoanna PascaleJulie Bishop

SaxophoneDick OattsBen Schachter

TrumpetMike NataleTerell StaffordJohn Swana

TromboneLuis Bonilla

Business of MusicKim Tucker

Terell Stafford, Jazz Studies Program Director

Temple University’s Boyer College of Music and Dance offers a diverse curriculum, wide array of degree programs and exemplary faculty, preparing students for careers as educators, performers, composers and arrangers.

> Student exchange program with the Amsterdam Conservatory

> Performance at the Hague Jazz Festival and Detroit International Jazz Festival

> Annual jazz band performances at Dizzy’s Club Coca-Cola and Kimmel Center for the Performing Arts

> 2007-09 Artists-in-residence/Guest Artists: Village Vanguard Orchestra, Benny Golson, Slide Hampton, Frank Wess, Clark Terry, Jimmy Heath and Joe Wilder

FALL 2009 AUDITION DATES

Saturday, January 31

Sunday, February 8

Saturday, February 21

Sunday, March 1

FACULTY

JAZ_14 14 12/31/08 11:52:32 AM



Introducing the newly launched

NOW’S THE TIME! ~ Charlie “Bird” ParkerHAPPY 2009! Now is the TIME for renewed energy, optimism and hope…for the Jazz Education Network as we set the stage for what is to

come, as we work together to transform the culture of jazz education. The December 2008 Open Forum gathering and the Board of Directors meeting at the Midwest Clinic in Chicago has taken us to yet an-

other level in the development of JEN. We enter the New Year with new hope as we connect, inspire, network and navigate toward a dynamic future.

Since the inception of JEN last June, this volunteer Board of Directors has served faithfully in a temporary capacity, working long, hard hours to get our group up and running. In accordance with the network Bylaws it is time to give some permanence to the acting Board of Directors. An offi cial election is in order for this Spring. Our growing membership is a virtual “Who’s Who” of individuals passionate about jazz and jazz education. It is our hope, as the current board, to “draw in” and “draw from” this richly diverse and multi-talented group to expand and direct JEN’s future growth...encompassing all...excluding none.

We welcome new leaders –men and women with vision, creativity and a strong work ethic – who can make the commitment to serve JEN on a volunteer basis. We have no paid staff at this point in our development, and we all travel at our own expense. If you or someone you know has the passion and total com-mitment to lead the jazz arts community as a member of our Board, I encourage you to read the Call for Nominations article in this issue of JAZZed for details, then complete the Nomination Questionnaire online. This is your opportunity to do something good for the development of jazz education and jazz audiences.

JEN is very excited about upcoming events and the new partnerships and sponsors that are developing to advance jazz education. We are especially honored by NAMM’s support. January will feature another Open Forum Discussion during the NAMM Show in Anaheim, and in July we look forward to a JEN mini-conference at the NAMM Summer Show in Nashville.

Music For All (formerly Bands of America) and JEN have recently formed a strategic partnership that will assist in building student and teacher jazz skills for beginners through advanced. In a historic step forward, MFA will soon be including Vocal Jazz in their honors groups because of this unique alliance! More details will be released soon, so be sure to bookmark our JEN website (www.JazzEdNet.org) and visit us often as we become your most valuable portal for jazz education information and news.

We are also very proud to announce our fi rst downloadable jazz chart available exclusively to JEN members. JEN Expert Doug Beach of Doug Beach/Kendor Music wrote this chart as a pro bono service to his fellow JEN members and we thank him heartily. Doug’s chart is the fi rst in what we plan to be a long series of high quality quarterly instrumental and/or vocal charts spanning a variety of styles and performance

levels. Doug has an outstanding reputation in jazz education as a teacher, composer, author and just presented an inspiring clinic at Midwest with the talented Jeff Jarvis. Hal Leonard and Heritage Jazz have also offered to step up and support JEN with chart offerings for JEN members later this year.

We are continuing to look for corporate and individual donor sponsors to support our new Student Com-position Program headed by David Fodor. If you’d like to get involved with setting up this innovative program, please send an e-mail to [email protected] . This program will be designed to encourage and recognize student creativity.

As visionary Kahil El’Zabar (who spoke so eloquently at our fi rst Open Forum during Midwest in December) said, “We must continue to honor and learn from the legends, but it is time to move it forward. We are now the pioneers. It is time to start anew, to connect, to inspire, to give new hope.”

Our goal is to be a vital resource for a constantly evolving global art form today and for JENerations to come. Yes, we CAN do this as we network around the globe. Jazz is the music that’s always evolving, and JEN is ready to grow with it.

In the spirit of collaboration, good will, and the advancement of jazz education always in mind…I look for-ward to working with you and for you.

Mary Jo PapichPresident, Jazz Education Network

Highland Park High School433 Vine Avenue

Highland Park, IL [email protected]

JAZZ EDUCATION NETWORK!A MESSAGE FROM JEN PRESIDENT MARY JO PAPICHJanuary, 2009

Our goal is to be a vital resource for a constantly evolving global art form today and for JENerations to come.

JAZ_15 15 12/31/08 9:50:31 AM



JEN Partnerships in Jazz Education:January 16-18, 2009: NAMM Trade Show •JEN OPEN FORUM/IDEA EXCHANGE Show/Concerts Eligibility to attend NAMM Music Educator Day Anaheim Convention Center Anaheim, California www.NAMM.com

February 20, 2009: MFA/JEN National Honors Jazz Band of America Music For All National Festival Indianapolis, IN www.musicforall.org

June 22-27, 2009 MFA/JEN Jazz Division Camp Music For All Summer Symposium •JEN OPEN FORUM/IDEA EXCHANGE Normal, IL www.musicforall.org

July 17-19, 2009: JEN One-Day Mini-Conference/NAMM Summer Trade Show •JEN OPEN FORUM/IDEA EXCHANGE •Attend the NAMM Trade Show/Concerts •Attend NAMM Music Educator Day Nashville, Tennessee Info coming soon at www.JazzEdNet.org

JEN Endorsed Events:February 13-17, 2009: Vallarta JAZZ SHOWCASE High School/Collegiate level performance Come Play on the Beach! Puerto Vallarta, Jalisco, Mexico www.Amclass.com

March 6-8, 2009: New Orleans JAMFEST •JEN OPEN FORUM/IDEA EXCHANGE Middle School/High School/College level performance Loyola University New Orleans, Louisiana For registration packet contact: [email protected]

July 19-24, 2009: National Jazz Workshop •JEN OPEN FORUM/IDEA EXCHANGE Beginner to Professional Musicians Shenandoah University in cooperation with U.S. Army Blues & Smithsonian JazzMasters Winchester, Virginia Info at www.nationaljazzworkshop.org or Contact [email protected]

Upcoming Events Mark your calendars and make your travel plans for these exciting JEN events:

JEN proudly introduces two newly appointed team members

DAVE FODOR (Evanston, IL) as Student Composition Chair andCATHY BENFORD (Round Rock, TX)

as the online FORUM Manager.

Visit www.JazzEdNet.org regularly for details, click on Upcoming Events

Web site Update www.JazzEdNet.orgOur web master Steve Crissinger and his team of Bill Christie and Lou Fischer are working late hours to add features to JEN’s online service to our members.What’s Up?...and upcoming?• A place to get answers to your questions as you Network with an Expert (just wait till you see our terrifi c lineup of jazz greats!)• A place to connect with JEN membership of all ages• A place to network via the online FORUM areas: job openings, calendar

of events, discussion platforms, private messaging between members, FAQ section

• A place to link to pod casts of clinics and concerts• A place to download free materials• A place to shop for cool JEN Jazz merchandise via the JENeral Store• A place to access our online version of JAZZed magazine, both the

current issue and back issues• A place to fi nd clinicians for your festival• And much more!!! Stay tuned as we develop new and exciting ideas

based on your input!

JAZ_16 16 12/31/08 9:50:37 AM


networthynewsThis column in JEN’s JAZZed magazine will highlight what’s happening in the jazz world of JEN members. In this issue, the column features news about individual members, as well as many members of our JEN “Network with an Expert” team. Need a personal answer to a jazz question? If you’re already a JEN member, access the Members Only area at www.JazzEdNet.org and follow the tabs to ask your question and receive a personal reply. Want your event and news published here? Send your info (100 words or less) to [email protected].

Kudos to the following JEN members who gave amazingly memo-rable performances at the December 2008 Midwest Clinic:CALEB CHAPMAN (UT-Expert, Non-traditional schools) and his Crescent Super Band from Salt Lake City with soloists ORBERT DAVIS (IL-Expert, Trumpet) and BOB MINTZER (CA-Expert, Sax). Also bringing down the house was PARIS RUTHERFORD (TX-JEN Board) and his University of North Texas Jazz Singers and BRIAN LOGAN (IL) and his Wheeling High School Jazz Band 1 with tenor soloist MARK COLBY (IL). Clinicians JAMEY AEBERSOLD (IN), DOUG BEACH (IL), DENNIS WILSON (MI-Expert, trombone), and JEFF JARVIS (CA) presented clinics to full houses. Special thanks to J. RICHARD DUNSCOMB (IL-International Advisor) and ANTONIO GARCIA (VA-Expert, Improv) of the Midwest Clinic Board of Directors for assisting JEN in our planning

of meetings…we look forward to a continued benefi cial partnership as Midwest makes a new home at McCormick Place! The JEN Open Fo-rum/Idea Exchange was well attended at over 100 people, both members and non-members. President MARY JO PAPICH (IL) gave an outstand-ing presentation related to the data mining available after the completion of the inagural JEN Survey over the past few months via Survey Monkey. Upwards of 1500 people participated and JEN extends a heartfelt thank you for your time and efforts! Your ideas, brainstorming, and input are much needed during these, the formative years of JEN! Member KAHIL EL’ZABAR (IL-Expert Health & Wellness) delivered to all in attendance a rousing motivational awakening of our collective consciousness.


RANDY SABIEN (WI-Expert, Strings) has been playing jazz on the violin since he fi rst heard Stephane Grap-pelli in 1974. His fi rst record, In a Fog, was released 25 years ago and fea-tured Johnny Frigo. Randy founded the string department at the Berk-lee College of Music in 1978 and is now celebrating the 30th anniversary of that event which helped to lay the groundwork for a revolution in string education. His new album, Rhythm and Bows, features a new band front-ed by three violins. He describes it as “Bob Wills meets Art Blakey meets the Allman Brothers.”…JIM WIDNER(MO-Expert, summer jazz studies) an-nounces his Guest Artists for the 2009 UMSL Greater St. Louis Jazz Festival which will be held April 16-18, 2009. This year’s lineup will feature jazz guitarist/vocalist JOHN PIZZARELLI, trumpeter JON FADDIS (NY), drummer PETER ERSKINE (CA-Expert, Drum set) and saxophonist LOU MARINI. The festival is open to high school, middle school and college big bands and com-bos. This is a non-competitive festival focusing on the educational aspect of jazz and jazz education. For more in-formation, visit the festival website at www.gsljazzfest.com, or contact Jim directly at [email protected]. ...JEN’s VP DR. LOU FISCHER (OH-Expert, Big Band) announces the faculty lineup for the now co-branded Music For All MFA/JEN Summer Symposium Jazz Division. Held in Bloomington, IL June 22-27, the faculty will include: NDUGU CHANCLER (CA-Expert, percussion) drums; STAN SMITH (OH) guitar; REX RICHARDSON (VA) trumpet; DEAN SORENSON trombone; JEFF RUPERTsaxophone; JARRARD HARRIS (IL-JEN Board) saxophone/history; LUKE GIL-LESPIE piano; and RODNEY WHITA-KER bass. For additional information visit www.musicforall.org. ...

Ben Huntoon and Orbert Davis

Wheeling HS Jazz Band

JAZ_17 17 12/31/08 9:50:42 AM


networthynewsJAZZ EDUCATION NETWORK

JAZZed magazine cover artist/educator and Sel-mer Clinician BART MARANTZ (TX) serves on the Brubeck Institute’s summer jazz faculty and just fi nished his tenure in California at this year’s Sum-mer Jazz Colony for 2008. He is also producing his 17th recording at the Booker T. Washington HSP-VA in Dallas. The CD, titled “Tribute,” honors Bart’s former senior drummer, JAMES KINGS (who died during the 2007/2008 school year) features drummers JEFF “TAIN” WATTS, CARL ALLENand SPUD SEARIGHT. Bart and his students are also hard at work preparing audition materials for the National Foundation for Advancement in the Arts, Honors Jazz Band of America, Grammy Big Band, The Grammy Signature Schools, the Betty Carter Jazz at the Kennedy Center, and the 2009 DownBeat Student Music Awards… Pianist and composer SHELLY BERG (FL-Expert, Improv), with 30 years’ teaching experience is now Dean of the Frost School of Music at the University of Miami. ...SCOTT WILSON’s (UT-Expert, Theory) Jazz Education Store has partnered with Summer-hays Music, adding more than 400 products to the inventory at www.jazzeducationstore.com. Scott’s Ultimate Jazz Tool Kit and Ultimate Music Work-book is now available in its fi fth edition. Scott de-signed a new timesaving website this summer for international clients –check the marketing tools (everything from electronic press kits to videos) at www.scottwilsonjazz.com...

Member Dr. RON MCCURDY(CA-Expert, Honor Jazz Ensembles) has been ap-pointed as the director of the upcoming MFA/JEN Na-tional Honors Jazz Band of America. The concert will be held Friday, February 20 as part of the Music For All National Festival, presented by Yamaha, in Indianapolis, IN. ...Jazz vocalist and North Central College jazz in-structor JANICE BORLA (IL-Expert, Vocal) was recently interviewed by well-known jazz journalist John Ephland for his feature story “Guided by Voices,” in the October 2008 issue of DownBeat Maga-zine. The article is the centerpiece of a special section on “Where to Study Jazz 2009” and focuses on the current state of collegiate vocal jazz education. Janice’s 2006 re-lease From Every Angle received a coveted “4-Star” review from DownBeat, which named it among its “Best CDs of 2007.” Borla’s previous CD Agents of Change was named “#1 Jazz CD of 2003” by WBEZ-FM Chicago Public Ra-dio. Recognized as a pioneer in vocal jazz education, she founded the Janice Borla Vocal Jazz Camp, an annual sum-mer program hosted by North Central College (IL)…DAVE FODOR (IL-Student Composition Chair) will be hosting the 6th Annual Evanston Jazz Festival on February 7th north of Chicago and there is still room available to bring your high school big band or combo. The fest will feature JOEY DEFRANCESCO, HARRY JOHNSON, and the Chicago Jazz Orchestra. GREG WARD (IL-Steering committee member) is gaining recognition as one of the emerging virtuoso

saxophone players and compos-ers of his generation. A former HS student of MJ Papich, Greg works out of Chicago and is hot on the composer scene, with a versatile stylistic mix that includes Modern Jazz, Funk, Latin, Indian, klezmer and African styles. Greg just pre-sented a concert of original music for ICE (International Composer Ensemble) –read more at www.gregward.org!

Janice Borla

NICK PHILLIPS (CA-Expert, Recordings), an in-house producer and Vice President of Jazz and Catalog A&R at Concord Mu-sic Group—where he has worked for more than 21 years—has produced hundreds of internationally-distributed releases. Sev-eral of his projects have received GRAM-MY® nominations, including Nenna Free-lon Blueprint of a Lady: Sketches of Billie Holiday (2005, Producer), Karrin Allyson Footprints (2006, Producer/trumpet), and John Patitucci Line by Line (2007, Execu-tive Producer). Nick recently co-produced the Open World Project—an educational recording workshop sponsored by the Open World Leadership Center that brought jazz students from Russia and the Brubeck In-stitute at the University of the Pacifi c to-gether in the recording studio… Greg Ward

JAZ_18 18 12/31/08 9:50:54 AM


Talk about growing fast! At the time of this writing (December 22, 2008) JEN now boasts close to four hundred members! The count includes nineteen Corporate Partners; fourteen Institution Partners; three network affi liate groups; and the remainder being quite a roster of creative and dedicated individuals in-cluding: teachers, performers, industry representatives, and enthusiasts alike, all sharing the same passion for jazz and jazz education. Collectively the member-ship now represents a diverse gathering from six countries including: Australia, South Africa, France, the United King-dom, Canada, and forty-four of the fi fty United States....and...This is still only the beginning!

You should know that JEN is working towards developing our youth programs as swiftly as time will allow. We are not ignoring the youth of today, the future jazz educators, performers, and audi-ence of this great music! On the contrary, we are hoping to launch our 12-17 ($10) and Under 12 ($0) categories in the very near future. Given the fact that we are a working board without a staff, things simply take a bit more time and we need to develop a bit more content on the net-work geared specifi cally to those age lev-els prior to launching the membership categories. If you have any ideas...please share them. The sharing of information IS what the network is about!

In the meantime, just in time for the festival season, we want to make it pos-sible for every school-produced festival to benefi t from the network by joining JEN! Our new Festival Event Category at a cost of $100 is open to any academic institution hosting a festival, at any level, i.e. middle school, high school, interna-tional secondary schools, and/or univer-sity/collegiate level events.

Please note: professional jazz festivals should check details on line related to JEN’s Corporate or Institutional Partner categories to see where your organization fi ts into the network. As a Festival Event Partner your school would be eligible to: link to our website to market your event; promote your festival further via the JEN Event Forum; and download JEN Outstanding Musicianship, Soloist, and Ensemble Award Certifi cates on line. As a festival event member partner you can peruse through the membership lists as you search for your next guest artist(s), and even better, connect to them with-out leaving the JEN website via the Con-tact and/or Private Messaging members only feature available on the network. Look no further...Order your next festi-val shirt or any merchandise or apparel directly on the site as well in the JEN-eral store, knowing that all sales within the store, and any future sales made by members on any order, directly benefi t JEN as 7.5% of every order placed by

members is donated directly back to the Jazz Education Network, utilizing your dollars in support of future conferences, programs, and clinics presented by the organization.

In short, we believe you will fi nd a menu of membership categories that are sure to fi t your needs, your budget, and your intended participation level in the network. On the HOME PAGE of JEN’s website, click the ORGANIZATIONAL INFO button. Scroll down to access the Membership Levels button, which will provide you with an overview of all membership categories in one place. When you have decided which category is right for you, your school, your organi-zation, your jazz society, or you person-ally, simply click on the area marked for that category and you will be redirected to the JOIN page so you can instantly join the network! It is that simple. Once you have decided to purchase your member-ship and completed the online member-ship data form, you will be prompted to select between paying with a credit card or sending in a check by mail. After you select your option in that regard, click SUBMIT and you are on your way. If you selected credit card, you will receive an automated receipt to your email address, which includes a temporary password good for twenty-four hours. It is recom-mended you immediately return to the website to log in using that temporary

Happy New Year to all! January 2009 signals the close of the first six months of busi-ness for JEN. The Founding and Charter membership drives are presently behind us as of December 31, 2008, and we would be remiss if we did not extend a heartfelt thank you to all of you out there that believe enough in the strength of collective col-laboration and togetherness to have joined us...helping to shape JEN into the organi-zation we all need it to be.

Your...ONE OF THE MANY REASONS TO JOIN JEN!

Link to the world!

JAZ_19 19 12/31/08 9:51:01 AM



password, and change your password to what you wish it to be by following the prompts. If you chose the check option, you will receive a confi rmation of your order along with an address to which you should mail your check. Once the check is received at the designated loca-tion, your account will be activated on line. Either way, you are then an offi cial member and have access to the Network With an Expert along with the many oth-er members only features of the website.

Should you encounter problems, rest assured a real person will respond to your message. Send a message to [email protected] and someone will re-spond to aid you with resolution to your situation. If paying for your membership by credit card, please note the billing ad-dress you enter for the card must match exactly to the billing address on fi le with your bank, or your credit card will be de-clined due to an AVS mismatch. We have found this is the number one problem our members have encountered when

entering the website to join. Sometimes there are computers issues, such as a need to clear cookies on your machine. If you have not done that in a while, or perhaps have never executed the clear cookies command, it is highly recom-mended. Rest assured our website is very secure and your credit card information is never stored by our system.

In closing I remind you that:JEN is about Jazz!...innovation, im-

provisation, swing, tradition, culture, history, and the future. If I can paraphrase Jazz Master Quincy Jones... “the music is like osmosis; it gobbles up everything in its path...Bach, Beethoven, Mozart, rag-time, stride, dixieland, bebop, Stravinsky, Debussy, blues, brass bands, big bands, bebop, hard bop, cool jazz, avant garde, free jazz, rhythm & blues, rock ‘n roll, British-rock, acid rock, grunge, rap, soul, country, afro-cuban, brazilian, Ives!” The music is the greatest gumbo you’ll ever taste!

JEN is about Education!...realizing the

collective potential of working together; sharing, learning, growing, developing life-long skills, being rich with knowl-edge, and posturing jazz as a global language. It’s about serving the needs of friends, neighbors, students, colleagues, artists, and family.

JEN is about the Network!...opening the door to that one important opportu-nity with the right person. Connecting with people who share your passion, dedication, perseverance, drive, deter-mination. It’s a social connection, being inclusive, humble, respectful, without prejudice, having a face of all color, speaking all languages, and communi-cating through a common usage of jazz.

Working Together...WE are the Jazz Education Network! Working Together...WE are strong! Onward and Forward!

Dr. Lou FischerVice President/Membership Chair,

Jazz Education NetworkVisit: www.JazzEdNet.org for addi-

tional information.

The Nominating Committee includes Bob Breithaupt, Jar-rard Harris, Michael Kenyon, Steve Crissinger, and Ruben Al-varez. In accordance with JEN’s Bylaws, the committee will review nominations and prepare a slate of nominees to be vot-ed on by the JEN membership in April with the subsequent announcement of the outcome in May. The new board will as-sume offi ce July 1st, the start of the new fi scal year. Further, in accordance with the Bylaws, the board terms will be staggered with one-third of the board being elected each year to ensure continuity and balance in the decision making process.

Please note: expenses involved with attending meetings/

events are to be borne by the individual board member. The board will meet twice annually in locations to be announced. The next JEN Board of Directors meeting will take place July 16-18 in Nashville at the summer NAMM show. If you can bring specifi c talents (i.e. fundraising, programming, vision-ing, etc.) and have a strong resume in music and/or music in-dustry, (i.e. business, fi nance, marketing, legal), and a strong work ethic please consider being a vital part of the leader-ship team that will transform the future of jazz education.

The Board of Directors Nomination questionnaire is post-ed online at www.JazzEdNet.org

The current JEN Board of Directors has served since the network’s inception, June 1st, 2008. This board is made up of dedicated and tireless volunteers, acting in a temporary capacity to get JEN up and running. Now Is The Time to make an offi cial Call For Nominations to our members to serve on the JEN Board of Directors. Our current and ever growing member-ship is a vast and varied pool of richly diverse and multi-talented individuals. Here is your chance to share your passion, yourknowledge, your expertise, and experience to enrich the next JEN Board of Directors. A JEN member may nominate you or you may self-nominate from now through March 1.

Call For Nominations to Serve......ONE OF THE MANY REASONS TO JOIN JEN!

JAZ_20 20 12/31/08 9:51:05 AM



Music For All and Jazz Education Network Announce Strategic Partnership

Music for All (MFA) and the Jazz Education Network (JEN) have announced a strategic part-nership that will support and ex-pand jazz education for teachers and students.

Music for all is one of the na-tion’s largest and most infl uential organizations in support of mu-sic-making, with more than three decades of experience presenting educational programming and conducting ground-breaking re-search and advocacy efforts in support of arts education.

The Jazz Education Network is dedicated to building the jazz arts community by advancing educa-tion, promoting performance and developing new audiences.

“By partnering, both MFA and JEN believe that we can serve even more music educators and have a greater positive impact on jazz education and performance,” says MFA president and CEO Scott McCormick.

“As Jazz is America’s truly in-digenous art form, the combin-

ing of resources to help nurture the culture by developing and marketing positive programs in jazz education, will surely help to ensure jazz becomes ingrained in our societies collective conscious-ness,” says JEN vice president Dr. Lou Fischer.

New collaborative program-ming will be part of the MFA and JEN partnership. Music for All’s jazz education programs for high school students and teach-ers at its Summer Symposium will be presented in partnership with JEN. Dr. Lou Fischer, pro-fessor of Music and Jazz Division Chair at Capital University, is the coordinator of the MFA Summer Symposium Jazz Division.

The National Honors Jazz Band of America, part of the Music for All National Festival, presented by Yamaha, will also be presented in partnership with JEN. The Jazz Band of America will per-form in concert Friday, March 20th at Clowes Memorial Hall in Indianapolis, conducted by Dr.

Ron McCurdy, Yamaha Perform-ing Artist and Professor of Music in the Thornton School of Mu-sic at the University of Southern California. JEN will also engage in marketing and promotional ef-forts for the Jazz Band of America and coordinate future audition and applicant evaluations for the ensemble.

JEN and Music for All expect to expand their educational and performance jazz programming in the future including launching a national honors jazz vocal en-semble for high school aged sing-ers at the Music for All National Festival and expanded jazz edu-cational offering for teachers at the Music for All Summer Sym-posium.

For more information on Music for All, visit www.musicforall.org. For more information about the Jazz Education Network visit http://www.JazzEdNet.org.

Two of the nation’s leading music and arts organizations team up to support, promote and expand jazz education.

JAZ_21 21 12/31/08 9:51:10 AM



JEN Members

Corporate Partners:12 Points Graphics (F)Alfred Music Publishing (F)American Classic Music Festivals (F)Buffet Crampon (F)Cultural Tour Consultants (C)ejazzlines/Jazz Lines Publications (C)Ella Fitzgerald Charitable Foundation (F)Great Midwestern Music, Inc. (C)Hal Leonard Music Publishing, Inc. (F)Jamey Aebersold Jazz (C)Jazz at Lincoln Center (F)Jupiter Band Instruments (C)Kendor Music (F)MTD Marketing, Inc. (C)Orbark Productions (F)Pender’s Music Company (C)Stanton’s Sheet Music (C)Symphony Publishing (F)Worldwide Concepts Vacations (F)

Institutional Partners:Capital University (F)Chicago Jazz Philharmonic (C)Columbia College (F)Cornish College of the Arts (C)Detroit International Jazz Festival (C)Jazz Arts Group of Columbus (F)Jazz at Lincoln Center (F)Marshall University (C)MCG Jazz (C)Music for All (F)University of Cincinnati (C)University of Kentucky (C)University of Miami (F)USC Thornton School of Music (C)

Network Affi liates:Arizona Association of Jazz Education (C)Jazz Education Connection of Ohio (C)Jazz MN (F)

Individual Members:David Aaberg (C)Clarence Acox (C)Dave Adams (C)Frank Alkyer (C)Mr. Rubén Alvarez (F)Ken Anderson (C)Michael Arenson (C)Carol Argiro (C)Lynne Arriale (C)Yvonne Au (C)Bob Babko (C)John Baboian (C)Noah Baerman (C)David Baker (F)Lida Baker (F)Melody Balicki (F)Pete BarenBregge (C)William Bargetzi (C)Doug Beach (F)David Bean (C)Cathy Benford (C)Chuck Berg (C)Shelly Berg (C)Bob Bernotas (C)Alan Black (C)Brad Bleam (C)

Tom Bledsaw (C)Walter Boenig (C)Mark Boling (C)Janice Borla (C)Damian Boyd (C)Jeremy Bradstreet (C)Zachary Bruch (C)Timothy Buchholz (C)Cordell Bugbee (C)John Burns (C)Rex Cadwallader (C)H. David Caffey (F)Alan Caldwell (C)Joseph Camillo (C)Brent Campbell (C)Andrea Canter (C)Steve Carter (C)Katchie Cartwright Ph.D. (C)Mr. Manuel Castaneda Jr. (C)Rachel Caswell (C)Ndugu Chancler (C)Caleb Chapman (C)Colin Charman (C)Mr Paul Chiaravalle (F)David Christie (C)John Clayton (C)Stephen Clickard (C)Robert Clowes (C)Rick Condit (C)Dr. Gloria Cooper (C)Jose Cordero (C)Steve Crissinger (F)Dr. Thomas Croghan M.D. (C)Bob Curnow (F)Brad Curran (C)Joseph Daigle (C)Orbert Davis (F)Riccardo Del Fra (C)Jose Diaz (F)Greg Diethrich (C)Mark Dorn (C)Laurelyn Douglas (F)Diane Downs (C)Ben Drouet (C)Mr Ken Druker (F)Glyn Dryhurst (C)J. Richard Dunscomb (F)J.B. Dyas (F)James Ebert (C)Jay Ecker (C)Rosana Eckert (C)Kahil El’zabar (C)Peter Erskine (C)Ray Eubanks (F)Valerie Evensen (C)Paul Evoskevich (C)Jon Faddis (F)Craig Fattey (C)John Fedchock (C)John Felts (C)Mary Ann Fischer (F)Dr. Lou Fischer (F)Dr. Mark Flaherty (C)Dr. David Fodor (C)Joel Foreman (C)Hal Galper (C)Antonio Garcia (F)Bruce Gates (C)Luvenia George (C)Nicoletta Geraca (C)Rocco Giglio (C)John Ginocchio (C)

Greg Gozzard (C)Nancy Grant (C)Larry Green (F)Dan Gregerman (F)Clifford Gribble (C)Richard Groeling (C)Chris Gunn (C)Christine Guter (C)Jimmy Haag (C)David Haile (C)Scott Hall (C)Dr. Rosemary Hallum (C)Brian Hamada (C)Robert Hamilton (C)Neil Hansen (C)Jarrard Harris (F)Dr. John Hasse (F)Chip Henderson (C)Mr. William Henry (C)Jim Hile (C)Karah Hiscott (C)Wayne Hoey (C)David Hoffman (C)E. Ron Horton (C) Steve Houghton (F)Lloyd Hughes (C)Mark Ingram (F)Michael Irish (C)Chuck Iwanusa (F)Jennifer Jablonski (C)Cary Jacobs (C)Tomas Janzon (C)Robin Jenkins (C)Clay Jenkins (C)Dr. David Joyner (C)Dan Kalnes (C)Egan Kawamoto (C)David Kay (C)Ron Kearns (C)Lisa Kelly (C)Michael Kenyon (F)Steve King (C)Len King (C)Alan Kinsey (C)Randy Klein (C)Mike Knauf (C)John Knecht (C)Robert Knop (C)Sparky Koerner (F)Darren Kramer (C)Michael Krechevsky (C)Leann Kritz (C)John Kuzmich, Jr. (C)John LaBarbera (C)Lori Lacey (C)Mr. Paul Lancaster (C)Linda Landis (C)Gary Langford (C)Arthur Lapierre (C)Larry Lapin (C)James Lase (C)Eric Late (C)Richard Lawn (C)Joel Leach (F)Dana Legg (C)Joel Leipzig (C)Audrey Levin (C)Mark Levine (C)Howard Levy (C)Jack Lightfoot (C)Bert Ligon (C)Joe Lill (C)

Michelle Loeffl er (C)Mr. Brian Logan (C)Salvatore LoPresti (C)Walt Lovell (C)Sherry Luchette (C)John Mahoney (C)Tom “Bones” Malone (C)Marc Mannino (C)Mike Manser (C)Bart Marantz (C)Randy Marble (C)Alexander Marianyi (C)Dr. Sherrie Maricle (C)Eric Martin (F)Harry Marvin Jr. (C)Thom Mason (C)Kathleen Matthews (C)Phil Mattson (C)Lissa May (C)Mr. William B. McClellan Mr. (C)Kimberly McCord (C)Gary McCourry (C)Ron McCurdy (C)Patrick McDermott (C)Jennifer McDonel (C)Curtis McKendrick (C)Jim McNeely (C)Christopher Miller (C)Bob Mintzer (C)Bob Montgomery (C)Linda Moody (F)James Moody (F)Erik Morales (C)Matt Moresi (C)Mr Dan Moretti (C)Robert Morgan (C)Steven Morphy (C)Jack Mouse (C)Mr. Paul Mundo (C)Darrell Omanson (C)Charles Owen (F)Jo Anne Papich (C)Mary Jo Papich (F)Connie Papich-Sinnot (C)Alex Parker (F)Marianne Pastelak (C)Ann Patterson (C)Erika Paul-Carlson (C)Dwayne Pedigo (C)Rick Petrone (C)Nick Phillips (C)Terri Pontremoli (C)Lisa Pogoff (C)James Popejoy (C)Debbie Poryes (C)Donovan Putnam (C)Bob Radock (C)Karthik Ramalingam (C)William Ravel (C)Bob Rebagliati (C)Bill Reinecke (C)Jim Repa (C)Napoleon Revels-Bey (C)Virginia Rezac (C)Charles Richard (C)HAL RICHARDSREX RICHARDSONSAUL RICHARDSONDEREK RICHEYKim Richmond (C)Dr. Larry Ridley (C)Paul Rinzler (C)

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Jazz Education Network • Membership Report • January, 2009

JAZ_22 22 12/31/08 9:51:14 AM

Performing Opportunitiesat North Central College

Concert ChoirWomen’s ChoraleWomen’s Chamber EnsembleNaperville ChorusOpera WorkshopMusic Theatre ProductionVocal Jazz EnsembleNorth Central Choir Express Show ChoirConcert WindsChamber WindsPercussion EnsembleBrass QuintetBig BandJazz CombosChamber JazzPep Band

At North Central College, being well-rounded doesn’t mean

losing your musical edge.

North Central CollegeMusic Scholarship Auditions

Saturday, February 7, 2009

Saturday, February 21, 2009

Saturday, March 7, 2009

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When we say music is central at North Central College, it means that we expect you to build a full and complete life around your musical study. Students choose from majors in Music, Music Education or Jazz Studies – but also dance, act, explore, study abroad, volunteer, mentor, pole vault and pursue countless other passions.

Our location, in downtown Naperville, is only 40 minutes by train from Chicago and makes it easy to enjoy, perform and do great works.

Call 800-411-1861 to discover more about our programs in music. Or visit us online at www.northcentralcollege.edu.

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Essential skills ranging from sight-reading (in a va-riety of styles), section playing, woodwind doubles for saxophonists, endurance for brass players, playing ac-curately and in tune, successfully performing a broad range of repertoire, and performing with world-class artists are all developed at least to some extent via the program’s large ensemble (depend-ing on, among other factors, the overall quality of the program and its players). In many cases, cam-pus big bands provide the most honest “real-world” preparation of any higher education ensemble. This is not in anyway intended to deride the benefi ts of performing in a traditional ensemble (what-ever that might mean in the 21st Century – essentially I’m referring

to wind/concert/symphonic bands, marching bands, new-music ensembles, and other non-jazz groups), but merely that it’s the preparation provided by the large jazz ensemble that is closest to the ‘nature of the beast’ in today’s world of the commercial perform-ing artist - be it in the studio, in a pit band, with a

club-date/corporate band, on tour, or on a ship.

Addressing a Lack of Awareness

One of the many shortcomings I’ve seen in young jazz performance majors over the past 16 years is a complete lack of awareness re-garding classic (modern) big band repertoire (primarily post-WWII). Modern big band repertoire is an

guest editorial E S S E N T I A L A L B U M S

B25 of the Best Big Band Recordings of All Time!BY DR. SAM L. LUSSIER

ig bands are, for many college and university jazz programs in the U.S. & Canada, the cornerstone of the curriculum. They are also one of the primary recruiting tools for most jazz programs and for many Schools of Music. Jazz programs in schools like the Univer-sity of North Texas, the University of Miami, McGill University, Florida International University, the University of Southern Cali-fornia, the Manhattan School of Music, the Eastman School of Mu-sic, the University of Illinois at Champagne-Urbana, the University of North Florida, the University of South Florida, and many others depend highly upon the quality of their top large jazz ensembles.

“THESE RECORDINGS ARE EXCELLENT

LEARNING TOOLS FOR EVERY SECTION

IN YOUR BAND.”

JAZ_24 24 12/31/08 9:57:02 AM

guest editorial


essential area of the jazz canon – one that can successfully encourage, de-velop, and enhance a plethora of skills integral to successful performance in today’s jazz and commercial music idi-oms.

Young players today have a serious hole in their knowledge of these great ensembles, and one of the best ways to fi ll it is to provide a concise recom-mended (or better yet required) list of recordings. This big band discography is a good solid foundation from which to build – and with only 25 recordings on the list – and 39 CDs (or LPs) in to-tal – any jazz student can easily cover it in a couple months or so.

All of these recordings stand up to repeated listening, so don’t be surprised if you find your students (and you!) listening to many of them again and again. These recordings are excellent learning tools for ev-ery section in your band. There are dozens of great solos for all instru-ments to be transcribed here, and for aspiring arrangers there is an en-tire arsenal of great ideas for solos, shout choruses, intros, endings, and background figures – not to men-tion everything from straight-ahead orchestration techniques to what’s on the cutting edge today. These recordings could (and should) be considered must-haves before, dur-ing, and after each and every jazz composition/arranging course your current program offers.

Let’s look at this logically for a moment. Many of the teachers in the fi eld of jazz studies today who range in age from 40-65 are fortunate to have seen most if not all of these great bands in person – sometimes even four or fi ve times or more. Young players entering college or univer-sity today were born in or around 1990 and therefore have not been brought up on these bands – and certainly were not fortunate enough to see most of them perform live. In fact, only fi ve of the bands on this

list (out of seventeen) actually toured signifi cantly after 1960. The majority of them have been – and many are still – based in either Los Angeles or New York.

It is only through the study of these recordings that the whole concept/idea of “big band music” – and all that en-compasses – can be safely and securely implanted deep into the conscience of today’s young jazz students, where it will do the most good.

These bands are listed in alphabeti-cal order. The author recognizes the fact that some readers may disagree (even vehemently) with some or even many of the choices here, and that’s perfectly okay. The author’s criteria are simple: professional orchestras only – no colleges or universities (even though many of them have put out some really great recordings), no “pick-up bands,” no “ghost bands,” and no “nostalgia bands.” That’s it – and away we go!

Toshiko Akiyoshi/Lew Tabackin Big Band - Road-time: For anyone who has ever

tried to play the charts of Toshiko Akiyo-shi can attest, a certain level of reverence and respect for the L.A. musi-cians she wisely

engaged is an afterthought. The best of the best are featured here on this double album with Bobby Shew, Dick Spencer, Bill Reichenbach, and all the rest at the top of their game. The band plays through this material with tremendous accuracy and excitement – and the soloists are consistently ex-cellent. Bobby Shew’s lead trumpet playing (and fl ugelhorn soloing) is a master-class unto itself. Tuning Up, Warning, & Roadtime Shuffl e are ter-rifi c overall. Recorded in 1976, this album represents some of the best big band playing of its day.

Count Basie - Atomic Basie:The collaborations of the Count Basie Orchestra and composer/arranger Neal

Hefti pro-duced some m e m o r a b l e music over the years. Classics like “Splanky,” “Li’L Dar-lin’,” “Cute,” “Whirly Bird,”

and “The Kid From Red Bank” – among many others – have remained in the Basie book for over 50 years – and counting! Hefti’s writing for Sinatra (Sinatra-Basie, Sinatra & Swingin’ Brass)as well as his own studio big band al-bums, has stood up very well over the years – as has his theme for The Odd Couple (although we will have to even-tually forgive him for his original Bat-man theme). Hefti’s classic version of “I Get a Kick Out of You” was in Sinatra’s repertoire up to the very end. AtomicBasie (from 1957) featured outstanding soloing (Thad Jones, Joe Newman, Ed-die “Lockjaw” Davis) and impeccably swinging ensemble work – the trade-mark of this great band – and helped in continuing the momentum origi-nally started by Ernie Wilkins’ famous chart “Every Day I Have the Blues” (w/ Joe Williams) which lead to a re-birth of the Basie “New Testament” band in the early 1950s.

Louie Bellson - Note Smok-ing: Bellson’s only direct-to-disc out-ing (from 1978) features an incredible L.A. big band starring Conte Candoli, Pete Christlieb, Don Menza, Snooky Young, Ross Tompkins, and Chuck Findley! The band doesn’t hold any-thing back (direct-to-disc or not) and the result is a burning set. Christlieb rips one of the best tenor solos ever on Gordon Goodwin’s burning original “Picture IV,” and Menza and Findlay soar on “Sambandrea Swing.” Sammy Nestico’s terrifi c setting of Ian McDou-gal’s “Bustling” (featuring Ron King on

guest editorial

JAZ_25 25 12/31/08 9:57:05 AM

guest editorial


fl ugelhorn), and Candoli’s trumpet fea-ture on a funky “I Can’t Get Started” are a few more highlights. A great chart by Tommy Newsom on “Don’t Get Around Much Anymore” (with Louie playing the head on tuned tom-toms) is another delight with a terrifi c shout chorus.

Kenny Clarke-Francy Boland Big Band - All Smiles: Started in 1961, the

Clarke-Boland Big Band gave us 12 years and 15 great albums. This was the original “United Nations” big band since it featured great players through the years from nearly a dozen countries including (but not limited to): Ameri-cans Johnny Griffi n, Billy Mitchell, Ed-die “Lockjaw” Davis, Art Farmer, Benny

Bailey, and (of course) Kenny Clarke; along with co-leader/pianist/arranger

(and Belgian) Boland; England’s own Ronnie Scott; Dusko Goykovich (from the former Yugoslavia), and so on. AllSmiles was their 1968 offering and it is a classic. Ten tunes are handled with style, fl air, and (of course) signifi cant driving swing feel – and the soloists are outstanding too. Particularly tasty are “Get Out of Town” (the best ver-sion of this Cole Porter standard I’ve heard to date) and a fl ag-waver ver-sion of (believe it or not) John Phillip Sousa’s “High School Cadets” (from 1890!) The two-drummer-thing ac-tually works quite well here too with both Kennys (Clarke and Clare). They compliment – not complicate – each other (but don’t try this at home).

Bob Curnow’s L.A. Big Band– The Music of Pat Metheny & Lyle Mays: This 1994 recording fea-

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tures Bob’s orchestrations of some of the most beautiful and original music of the past 20 years – the compositions of Pat Metheny and Lyle Mays. The band is made up of the heaviest jazz and session players in L.A. (which is saying something) who play this music

exceptional ly well. Imagine a trumpet sec-tion with Bob-by Shew (who plays great lead & jazz), Wayne Bergeron (who does the same),

Buddy Childers (ditto), and both Don Rader and Ron Stout blowing jazz so-los! The trombone section is just plain scary with Rick Culver, Andy Martin, Alex Iles, and Chuck & Dana Hughes. Of course the Pat Metheny group is known as much for its exceptional ability to sound like more than just fi ve or six players in addition to its ability to handle complex time signa-tures and rhythms. The rhythm section here does this concept justice. Check out Bill Cunliffe, Paul Viapiano, Tom Warrington, Steve Houghton, and Brian Kilgore who handle 12/8, 10/8, 8/8 (“First Circle”) and 7/4 (Have You Heard) like a veteran Greek wedding band. Finally, Bob Sheppard’s soprano solo on “First Circle,” Bobby Shew’s fl ugelhorn on “Always and Forever,” Danny House’s warm alto on “If I Could,” and Chuck Hughes’ trombone work on “Dream of the Return” are all exceptional. Here’s to the MAMA foun-dation for yet another winner – and to Bob Curnow who had the excellent taste and foresight to select musicians of this caliber to bring his tasty orches-trations to life!

Duke Ellington - “…and his mother called him Bill”: The 1967 Duke Ellington Orchestra’s tribute to the music of Billy Strayhorn is class per-sonifi ed. Recorded only a few months after Billy’s untimely death at the age of 51, the band both roars through and

caresses his original ma-terial. “Blood Count,” “Lo-tus Blossom,” “Day Dream,” “Rain Check,”

“UMMG,” and “Intimacy of the Blues” are all treated with great care. Clark Ter-ry and Johnny Hodges are quite simply amazing here – as if this should come as a surprise to anyone? This is a trib-ute album with remarkable honesty and passion.

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

JAZ_27 27 12/31/08 9:57:16 AM

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guest editorial


John Fedchock - New York Big Band: John’s debut album (1992) knocks one clean out of the park. His seven-year tenure with the Woody Her-man Orchestra from 1981 – 87 (fi ve of those as arranger, musical director, and lead/jazz trombonist) obviously

served him well. His arrangements are uniformly excellent and with virtually everyone in the band an outstanding soloist, there are plenty of great mo-ments here. With three of the best jazz trumpet players in the world (Barry Ries, Tim Hagans, and Greg Gisbert)

not to mention the stellar lead trum-pet work of Tony Kadleck, this band’s back row absolutely kills. The saxo-phone section is also awesome – with fi ve great soloists – and the rhythm section (comprised of former Herman herdsmen Lynn Seaton, Dave Ratajcak, & Joel Weiskopf) sizzles. Some of the writing highlights include John’s set-tings of “Limehouse Blues,” “Ruby,” “My Dear,” “Caravan,” and “Nefertiti” in addition to his originals “Blues Du Jour” (a nice follow up to his Blues for Red for Woody) and “Nightshades.” Fedchock’s jazz trombone playing is world-class as well.

The Maynard Ferguson Or-chestra – The Complete Rou-lette recordings:

This 10-CD limited-editionset was put out by Mosaic back in 1994 and the qual-ity is fantastic. There are 14 albums repre-

sented here with outstanding arrange-ments (many available from Sierra Music) by Don Sebesky, Slide Hamp-ton, Don Menza, Willie Maiden, Mike Abene, Bill Holman, and others. The band swings hard and plays with great precision. The soloists are all excel-lent with saxophonists Lanny Morgan, Don Menza, and Joe Farrell along with trumpeters Don Rader & Don Ellis and (of course) Maynard blowing great jazz (MF on both trumpet and valve trom-bone) in addition to the high stuff. Check out the band “Live” at Birdland with Pee Wee Marquette doing the an-nouncing honors (“Maynard the Fox”). This is one of the great Hard Bop-in-spired big bands of all time. Many of the arrangements are considered clas-sics (Frame for the Blues,” “Message from Newport,” “And We Listened,” “Slide’s Derangement”) and are still be-ing played today. Maynard is not to be believed on many of the cuts here!

JAZ_28 28 12/31/08 9:57:22 AM

www.jodyjazz.com


Maynard Ferguson - MF Horn 4 & 5 (Live at Jimmy’s):This one captures Maynard Ferguson and his international band (with play-ers from Britain, New Zealand, Hol-land, and the U.S.) in an early after-noon session in 1974 with a crew of CBS executives in the audience. Fea-tured soloists include Ferdinand Povel on tenor, Bruce Johnstone on baritone, Andy Macintosh on alto, and a power-house rhythm section with Pete Jack-son, Randy Jones, and Rick Petrone. Leading the trumpet section is the one and only Lyn Biviano (hot off the Bud-dy Rich band!) Maynard pulled some material out of the old book for this al-bum (“Two for Otis,” “The Fox Hunt,” “I’m Getting Sentimental Over You,” “Got the Spirit”) and debuts some new material like “Teonova” and “Left Bank Express” (both by Pete Jackson). Maynard also re-recorded both “Nice & Juicy” (originally on MF Horn 3), and MacArthur Park (from MF Horn). Bruce Johnstone’s solos on “MacArthur Park” and “Stay Loose With Bruce” inspired many young saxophonists to pick up the baritone sax! For sheer en-joyment & excitement, this is a must-have for Maynard fans!

Bob Florence Big Band - Live at Concerts by the Sea: BobFlorence’s 1980 Grammy-nominated outing presents fi ve original charts

played masterful-ly by an L.A. big band comprised of some of the best players the West Coast has to offer includ-ing trumpeter Warren Luen-

ing, tenor saxophonist Pete Christlieb, and drummer Nick Ceroli. Of course Bob is a supremely tasty pianist whose original solo and accompaniment style is unique and highly inventive (check him out backing up Sue Raney on “Quietly There).” His original com-positions are consistently excellent

and his arrangements are actually so unique that they fall into a category closer to “re-composition.” Highlights from this terrifi c album include Christ-lieb on “I’ll Remember” and Luening on “Lonely Carousel,” along with the whole band on “Be Bop Charlie” and “Party Hearty.”

Bob Florence Limited Edi-tion Big Band - Earth: This 1996 recording (again on the MAMA la-bel) is probably the only CD I’ve ever come close to actually wearing out – if that is indeed possible. In my humble opinion, one of the greatest musi-cal performances by a big band ever recorded would have to be Emily on this CD. Florence’s chart, along with Steve Huffsteter’s fl ugelhorn and Carl Saunders’ trumpet combine to create something very special here. In fact it was this recording that originally intro-duced me to the jazz trumpet playing of Carl Saunders – which in turn sent me on a hunt for virtually everything he’s been on for the past 25 years. Only a few personnel changes since the pre-vious recording (Trey Henry on bass and Gregg Field on drums) ensures that the core of ‘monsters’ remain. Five Florence originals and three standards (“Emily,” “Black and Tan Fantasy,” and “Straight, No Chaser”) are handled with the highest level of musicality hu-manly possible.

Neal Hefti - Neal Hefti and his Pops Orchestra: A jewel from 1962, this album represents the abso-lute timelessness of great writing and playing. “Coral Reef” should be in a time capsule if it isn’t already. “Cute,” “Moanin’,” “Exodus,” “Petit Fleur,” “One & Two O’Clock Jump” and more are done to perfection! Dig the four fl utes! The best studio/jazz players (Pete & Conte Candoli, Joe Maini, Med Flory, Earl Palmer, Shelly Manne) and the incomparable writing of Neal Hefti = another desert island disc! I fi rmly believe if you love big bands, you will love this album.

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guest editorial

JAZ_29 29 12/31/08 9:57:28 AM

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guest editorial


Woody Herman - My Kind of Broadway: This is by far one of the greatest swinging big band albums of all time. For over 50 years Woody’s bands were proving

grounds for young, talent-ed players/ar-rangers, with each one con-tributing to his bands’ suc-cess through the years. This

band is the Nat Pierce/Bill Chase/Phil Wilson band of 1964 and it swings hard from the get-go. Very tasty ver-sions of Broadway show tunes (“I Got a Lot of Livin’ to do”) fill the al-bum from start to finish. Check out the great feel that drummer Ronnie

Zito and bassist Chuck Andrus get (along with Nat Pierce on piano). The band plays with powerhouse road-chops and driving swing!

Woody Herman - 40th Anniversary Concert: In 1976 Woody was celebrating 40 years as a bandleader (“Woodchoppers Ball” was a hit in 1936!) Many of the old guard dropped in to Carnegie Hall and came to play! A number of Woody’s classic hits including “Bi-jou,” “Four Brothers,” “Cousins,” and “Apple Honey,” were featured on the first half with Woody’s current band – and their new music (“Blues in the Night,” “Fanfare for the Com-mon Man,” “Freddy Hubbard’s Cri-sis”) were featured on the second half. It was an evening of tenor mad-

ness with veterans Zoot Sims, Stan Getz, Jimmy Giuffre, Al Cohn, and Flip Phillips along with Joe Lovano and Frank Tiberi (in the newest ver-sion of the herd). The jazz trumpet solos were tastefully provided by the legendary Candoli brothers (Pete and Conte) on Tony Klatka’s Oscar Peterson Trio plus one (with Clark Terry) -inspired Brotherhood of Man,along with current band member Dennis Dotson. From start to finish this album is a gas! The sheer joy emanating from the live audience lets you know that this was one very special evening of big band jazz mu-sic. Drummer Dan D’Imperio (along with the whole band) smokes on Broadbent’s tour-de-force chart on “Blues in the Night,” and on “Crisis” and “Penny Arcade,” too!

JAZ_30 30 12/31/08 9:57:33 AM

www.music.wayne.edu

www.usma.edu/band

guest editorial


Woody Herman - 50th An-niversary Tour: This album was recorded live at the Great American Music Hall in 1986. This is by far one of the fi nest examples of big band jazz music period! The sound of the band is incredible. This is truly the way this music is supposed to sound! John Fed-chock’s charts are all excellent and the soloing over-all is top-shelf. If I had to pick some high points (and I do) out of many, I’d have to mention Roger Ingram’s lead trumpet playing, Frank Tiberi’s phenomenal tenor work, the driving rhythm section of Jim Rupp, Lynn Seaton, and Chip Stephens, the jazz trumpet work of Ron Stout and Mark Lewis, and the outstanding jazz trombone playing of both John Fed-chock and Paul McKee. This is a des-ert-island disc for sure.

Bill Holman - The Bill Hol-man Band: Recorded live to two-track (gutsy) in 1987, Holman’s JVC outing presents his great L.A. band

slicing through some of the most deceptively diffi -cult big band mu-sic you’re likely to hear. The band makes it sound fairly easy – but that’s because this

is one ridiculously great band! If you don’t want to take my word for it, give Bill’s chart on Just Friends a try some-time. This is a testament to the incred-ible musicality of the band members – many of whom have had 20 years of tenure with this band. The lead trum-pet playing of Carl Saunders is on par with his great jazz soloing, and Frank Szabo is no slouch either. Throw in Don Rader and Bob Summers and you have yourself a helluva trumpet sec-tion. There are four drummers in the world who play a shuffl e-groove to my liking: Buddy Rich, Mel Lewis, Duffy Jackson, and Jeff Hamilton. Hamil-ton drives this band with no less than what we have come to expect from this

consummate professional. Bill’s charts? Everyone knows they are always the epitome of originality and taste. His three originals and six arrangements are all keepers here of course. Any jazz program – anywhere – would benefi t a great deal – anytime – by including some Bill Holman!

The Complete Solid State Recordings of the Thad Jones/Mel Lewis Jazz Orchestra: Aterrifi c set of fi ve limited edition CD’s (from seven classic albums) put out by Mosaic in 1994, this is timeless Thad and Mel from 1966 to 1970. There are somewhere around 20 to 25 Thad Jones arrangements that are in most if not all college & university jazz li-braries around the world. This band featured the cream of the crop of New York studio/jazz players with most of

them earning superstar status before, during, and after their tenure with this great ensemble. There are 42 charts to choose from in this collection and they are all played at the highest possible level of musicianship. A few notables would have to include: The saxophone sections on “Groove Merchant,” “Tip-toe,” and “Little Pixie;” the driving swing of the killer rhythm section of Mel Lewis, Richard Davis, and Sir Ro-land Hanna; and Thad’s timeless origi-nal compositions and arrangements which are second to none!

Thad Jones/Mel Lewis Jazz Orchestra - Suite for Pops:This classic album from 1972 features Thad’s incomparable original compo-sitions and arrangements played by (once again) New York’s fi nest. This is the fi rst Thad & Mel album that

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highlighted the amazing lead playing of Jon Faddis. A few of the primary soloists include Thad, Faddis, Janice Robinson, Jerry Dodgian,

and Roland Hanna. This band sounds so good it should be illegal! This is a tribute to Pops that shines. “The Fare-well” and “A Good Time Was Had By All” are exceptional performances.

Stan Kenton - Live at Red-lands: Recorded live in 1970 in front of a room full of musicians and music educators on the University of Cali-

fornia Redlands campus, this double-album presents some of Stan’s classic book (PeanutVendor, Art-istry in Rhythm – Stan’s theme)

along with some new music from Bill Holman (a killer “Tico Tico!”), a 5/4 original from Hank Levy (“Chiapas”), and two of Willie Maiden’s fi nest (“A Little Minor Booze” and “Didn’t We”). Outstanding soloing by Warren Gale, Quinn Davis, and Dick Shearer along with the amazing drumming of John (The Baron) Von Ohlen are highlights, but also pay attention to the super-clean brass releases (cut-offs) and phenomenal dynamic range – Kenton trademarks.

Rob McConnell & The Boss Brass - Big Band Jazz: Record-ed direct to disc in 1977 - for those of you raised on digital this was cut-ting-edge technology for the time. The band recorded live in the studio and had to lay down each complete side of the LP from start to fi nish onto the master – this means there were maybe 10-15 seconds between tunes – and no opportunity to over-

dub even if an error occurred in the last measure of the last tune of the side. They would have had to re-re-cord the whole side. Talk about pres-sure! Those Toronto studio cats were so good it’s scary. This double album also features some of the tastiest big band writing, section playing, and soloing you are ever going to hear. How good is it? Good enough to compel Mel Torme to call up Rob and ask him to write an album’s worth of material (eventually two albums) for Mel and the band. A few highlights (of many) include: Flawless execu-tion of all parts, incredible soloing by everyone featured w/ extra applause reserved for Guido Basso’s fl ugel-horn on “Good Morning Irene,” and “Street of Dreams,” the sax solos on “A Tribute to Art Fern” and “Street of Dreams,” the full band soli (minus the rhythm section – a McConnell trademark) on “Just Friends,” and the remarkable concert piece “Porgy and Bess Suite” which is 15 minutes of right on! By the way, Rob’s chart on “Street of Dreams” is one of the tastiest big band arrangements ever! Check out the subtle key changes throughout the chart. Finally, Arnie Chycoski gives a master-class on lead trumpet playing throughout the al-bum. If you’ve never heard this al-bum, you will quite simply be blown away.

Rob McConnell & The Boss Brass - Present Perfect: Re-corded in 1979 (and also released as Brass My Soul), this album features four standards (although I had never heard Tropea & Spinoza’s “Twist of the Wrist” before or after this version) and two Rob McConnell originals. The ensem-ble playing on “You Took Advantage of Me” and “Start With Mrs. Beanhart” is remarkable. One of Rob’s best originals (and he has many) is “The Waltz I Blew For You.” Fellow Canadian Oscar Peter-son recorded this (with Clark Terry) on his album The Personal Touch. Gene Amaro’s fl ute and Sam Noto’s trumpet

are outstanding and the band’s rhythm section-less soli (and 4/4 time shout chorus) are fl awless on Waltz as well. This entire album feels great too! Big kudos once again to Arnie Chycoski for the great lead trumpet work, and to drummer Terry Clarke who always handles things nicely.

Bob Mintzer Big Band - In-c r e d i b l e J o u r n e y :In 1985 Bob Mintzer’s fi rst big band out-ing as a lead-e r / a r r ange r /player was not only very well

received by everyone who heard it, it also featured all original compositions and arrangements that would (within a matter of months) be played by vir-tually every college and high school band in the U.S. An incredible tune-smith, Mintzer also has exceptional taste in orchestration, and starting with his fi rst big band arrangements (as a member of the Buddy Rich band back in the late ’70s), his unique writ-ing approach is instantly recognizable. There is plenty to like on this album. There are terrifi c solos from Michael and Randy Brecker, Don Grolnick, and Bob himself. The “horn section around a single stereo microphone” recording technique used here (and on a num-ber of Bob’s successful big band re-cordings on the DMP label) certainly shows the bands professionalism off to good measure. Peter Erskine and Lin-coln Goines are solid on drums and bass, and Mintzer’s original composi-tions (particularly “Latin Dance” and “Incredible Journey”) are consistently excellent.

Buddy Rich - Swingin’ New Band: To say that Buddy’s 1966 Big Band was warmly received is the under-statement of the century. With featured soloists like Bobby Shew, Jim Trimble, Gene Quill, Jay Corre, John Bunch, and

JAZ_32 32 12/31/08 9:57:44 AM

guest editorial

Pete Yellin, and arrangements by Bill Holman, Phil Wilson, Bill Reddie, Oli-ver Nelson, and Don Piestrup, Buddy’s return to “leader” status (after a success-ful and lengthy sojourn as a highly-paid star sideman with Harry James) was set. Three of Buddy’s best albums were re-corded live (two at the Chez and one at Caesar’s Palace). This album introduces the writing of Bill Reddie to the rest of the world (outside of Las Vegas) via his remarkable “West Side Story Medley.” He would follow this up with “Chan-nel One Suite” a year later (and throw in “Machine” for good measure). Great charts, great playing, and the one and only Buddy Rich – any questions?

Buddy Rich - Big Swing Face: Buddy’s follow-up album in 1967 saw the addition of 19-year-old

Chuck Findley blowing great jazz trumpet, and the addition of Quinn Davis and Ernie Watts to the saxophone section. Jim Trimble is back on lead and jazz trombone, and the writing of Bill Holman, Bill Potts, Bob Florence, and Don Piestrup take cen-ter stage. There’s a reason why Buddy continued to perform “Love for Sale,” “Mexicali Nose,” “Willowcrest,” and “Machine” for the next 20 years – they are burning big band charts!

Buddy Rich Plays & Plays:In 1977 Buddy recorded his new band at RCA studios in New York. For my money this was Buddy’s best band. With Dave Stahl on lead trumpet (fresh off the

Woody Herman and Count Basie orchestras), jazz trumpeters Dean Pratt and John Marshall, tenor saxophonists Steve Marcus and Bob Mintzer, Rick Stepton on lead trombone, and Barry Keiner on piano, this was no longer merely a ‘Killer Force’ – it was a bona fi de Tour de Force!

Throw in Sammy Nestico’s “Ya Gotta Try,” Don Menza’s “Time Out,” and three nice originals from Mintzer, and you’ve got a defi nite ‘desert island disc’.

Composer, arranger, trumpet and piano player, Dr. Sam Lussier is coordinator of Jazz Studies at Florida International Univer-sity where he directs the FIU Big Band and teaches Jazz Arranging, Jazz History, and Jazz Rehearsal Techniques.


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jazzforum www.aajc.us

Jazz Forum

By now most of you are aware that the International As-

sociation for Jazz Education (IAJE) ceased to exist as of

April of 2008. To many this may represent an end to

having a place where educators, students, performers and jazz

fans alike could meet at the annual IAJE Conference to exchange

ideas, learn about the latest in music technology and above all

honor our Jazz Masters. However, for the African American

Jazz Caucus, Inc., it represented more than that. It was a place

where African American educators and students could gather to

address issues and concerns that are unique to Historically Black

Colleges and Universities (HBCUs) and communities at large. It

was also a place to showcase the outstanding talent that is being

developed at these institutions and communities. For these rea-

sons, the African American Jazz Caucus, Inc. is more than ever

committed to moving forward with its mission of preserving and

promulgating jazz. One of the ways that the AAJC aims to com-

municate its commitment and latest news within our organiza-

tion will be through this bi-monthly forum. Our thanks go out

to JAZZed Magazine for granting us this opportunity.

For those who are not yet familiar with us, the Black Jazz Music Caucus (BJMC) was organized in 1977 as an independent affi liate of the National Asso-ciation of Jazz Educators (NAJE). The two founders were the late Anderson White and Dr. Larry Ridley. The mission and relationship with NAJE were to ensure that the African American jazz community was represented in conference activities. A few years later, NAJE changed the name of the organization to the International Association for Jazz Education (IAJE). In 2000, Dr. Larry Ridley was appointed the BJMC Executive Director by its President, Badi Murphy. The membership voted to change the name to the African American Jazz Caucus (AAJC) and Dr. Ridley secured not-for-profi t 501c3 status for the AAJC from the IRS, in 2001.

That same year, the AAJC organized the AAJC/HBCU Student All-star Big Band™ to showcase, in an international forum, the outstanding talent that exists and is being cultivated by jazz educators at HBCUs. Band members are selected via an annual blind audition conducted by an independent panel of jazz profes-

sionals/educators. The process is man-aged by the AAJC HBCU Jazz Direc-tors Committee- Dr. Russell Thomas, Chairman, Jackson State University; Dr. Ira Wiggins, Vice Chairman, North Carolina Central University; Dr. How-ard Harris, Texas Southern Univer-sity; Professor James Patterson, Clark Atlanta University; Dr. John Lamkin, University of Maryland Eastern Shore and Professor James Holden, Vir-ginia State University. If selected, the students are given the opportunity to perform at high visibility venues, during the academic year. The band’s fi rst performance was at the 2002 IAJE conference in Long Beach, CA. Jazz Legend, Gerald Wilson was the conductor. He is now our Conductor Emeritus and a recipient of the NEA Jazz Master Award.

The participation in the blind auditions for the HBCU Big Band has grown to include students from as many as fi fteen HBCUs. In the Fall of 2007, 52 students auditioned for the 2008 Band. They represented the fol-lowing institutions:

Hampton University (VA), Eliza-beth City State University (NC), Lincoln University (PA), Morehouse College (GA), Fayetteville State Uni-versity (NC), Jackson State University (MS), Texas Southern University (TX), North Carolina Central University (NC), University of Maryland Eastern Shore (MD), Clark Atlanta University (GA), South Carolina State University (SC), and North Carolina A & T State University (NC).

Featured guest soloists with the band have included stellar jazz artists, Ed Thigpen; Jimmy Owens; Marcia Miget; Joe Chambers, Oliver Lake and NEA Jazz Masters Jimmy Heath and Jimmy Cobb. AAJC Board member, Professor Larry Dwyer, Director of

JAZ_34 34 12/31/08 9:59:45 AM


jazzforumJazz Studies and Assistant Director of Bands, University of Notre Dame, facilitated the band’s performances in 2006 and 2008 at the 48th and 50th anniversaries of the Notre Dame Collegiate Jazz Festival. Since 2006, noted bassist, arranger, composer, Artistic Director, John Clayton has granted scholarships, to selected out-standing student members of the band to attend the Summer Centrum Jazz Workshop, in Port Townsend, WA. The AAJC Jazz Dance Band began under the direction of the legendary saxophonist and arranger Jimmy Coe. The current director is David Hardi-man, Professor of Music, Emeritus, City College of San Francisco. For many years, the AAJC Jazz Dance was always a standing room only highlight of the IAJE Conferences. In addi-tion, the AAJC ProJam Session, at the IAJE Conferences, always served as memorial tributes. The purpose was to acknowledge noted jazz legends that passed during the previous year.

AAJC also produced an annual jazz presentation with a religious theme as the fi nal event of the IAJE Confer-ences. The purpose was to emphasize the role of the church in the spiritual roots and heritage of the African Dias-pora. The service has featured major works by Dr. Willis Kirk, President Emeritus, City College of San Francis-co; Dr. Howard Harris, Texas South-ern University; singer, Ruth Naomi Floyd and Dr. William Smith, North Carolina Central University.

Noted AAJC member jazz photog-rapher Jim Alexander’s creative work has become a staple at AAJC events. His work can be seen at www.jimalex-anderphotography.com

The AAJC presented outstanding panels and workshops at the IAJE Conferences featuring, NEA Jazz Mas-ter, Barry Harris; Dr. James Ammons, former Chancellor of North Carolina Central University, now President of Florida A&M; Dr. Karen Chandler, College of Charleston, SC, and noted journalist, Jack McCray, Charleston

Post & Courier. Performance appear-ances throughout the conferences were given by NEA Jazz Masters Billy Higgins, Frank Foster, Ron Carter, Dr. David Baker, Jimmy Cobb and jazz artists Cedar Walton, Stanley Turren-tine, Hank Marr, the Harlem Renais-

sance Band, Everett Green, and Jamey Aebersold.

In 2006, Dr. Larry Ridley and Dr. James Ammons, then Chancellor of North Carolina Central University, Durham, NC, conceived the idea of creating the fi rst Jazz Research Insti-tute and Jazz Hall of Fame at a His-torically Black College and University (HBCU). The project was approved by the NCCU Board of Governors, in the spring of 2007.

The First Annual North Carolina Central University/African American Jazz Caucus Jazz Research Institute (NAJRI), HBCU Jazz Conference/Fes-tival, was held June 20 – 23, 2007, in Durham. Among the outstanding par-ticipants were writer, A.B. Spellman, pianist Kenny Barron and trumpeter Jimmy Owens.

The Second Annual Conference was held April 16 – 19, 2008. Noted participants included NEA Jazz Mas-ters, Dr. Billy Taylor and Dan Mor-genstern. The AAJC also produced the First Annual NAJRI Jazz Hall of Fame Induction Ceremony at the Confer-ence on April 17, 2008. The inductees were: John Coltrane; the Honorable Congressman John Conyers, Jr.,

(D-MI); Lou Donaldson; Tal Farlow; Albert Heath; Jimmy Heath; Percy Heath; Thelonious Sphere Monk; Max Roach; Nina Simone and Dr. Billy Taylor. Outstanding music for this celebration was provided by the Cedar Walton Trio. The legendary pianist was accompanied by David Williams, contrabass and George Fludas, drums.

The AAJC is actively involved in supporting the initiatives espoused in House Concurrent Resolution 57, “…it is the sense of the Congress that Jazz is hereby designated as a rare and valuable national American treasure to which we should devote our atten-tion, support and resources to make certain it is preserved, understood and promulgated.” This Resolution was introduced by the Honorable Con-gressman John Conyers (D-MI) and Senator Allen Cranston (D-CA). It was passed unanimously by both Houses of Congress in 1987. As a part of this effort, AAJC Executive Director, Dr. Larry Ridley served as the moderator of the 2007 Jazz Issues Panel and as a panelist in 2008 at the Congressional Black Caucus Conferences, in Wash-ington, DC.

This year, the AAJC, in partnership with the Schomburg Center of the New York Public Library, will mark the beginning of Black History month by presenting the 2009 AAJC/HBCU Student All-star Big Band in concert. The performance will take place at 3:00 p.m., Sunday, February 1st in the Schomburg Langston Hughes Audi-torium, 135th Street and Malcolm X Boulevard. Please join us in celebrat-ing Black History Month, in Harlem!

Tickets: Members, $16; Non Mem-bers, $20. For ticket charge call the Schomburg Shop at (212) 491-2206.

Working together works!E-mail: [email protected] For further information: (212)

979-0304

The preceding copy was provided by The African American Jazz Caucus, Inc.

The African American Jazz Caucus, Inc. is

more than ever committed to moving

forward with its mission of preserving

and promulgating jazz.

JAZ_35 35 12/31/08 9:59:49 AM


Understanding the Blues ScaleIt’s also often not explained that when you em-

ploy the blues scale of the key you are in, it is not usually used over the I chord, but more often over the IV or V chord. This means in the key of C, you would play the C blues scale against the F7 or the G7. Charlie Parker uses the G blues scale over the C7 chord in the second chorus of the song, “Park-er’s Mood.” When Wynton Kelly takes his solo on the blues “Freddie the Freeloader” from the album Kind of Blue (Miles Davis), he specifi cally plays the blues scale on only three of the 48 measures during which he solos. Although the melody, “Prancing,” from the Miles Davis album Someday My Prince Will Come is based on the blues scale, Hank Mob-ley never uses the blues scale during his 48-measure solo. If you were to look thru the Omni Book of Charlie Parker solos, you would fi nd that in more than 500 measures of

blues chord progression soloing, Charlie Parker uses the blues scale a mere six times.

I believe songs that have static harmony make for better vehicles for learning the blues scale. The fi rst half of “Worksong” by Nat Adderly is based on the minor pentatonic and the second half of the song uses the blues scale for the melody. These two scales are close relatives, as the blues scale has all the same notes as the pentatonic, plus the fl at fi ve. “Worksong”’s chord progression is ba-

sically a vamp which makes improvising using only one scale practical. “Moanin” (Bobby Timmons) is a song that is based entirely on the blues scale and the soloing is done over a minor key vamp. The fi rst phrase of the song “Take Five” is a blues scale melody as well and the im-provising on this song again uses a minor vamp (the same two chords over and over), makes for a good vehicle for implementing the blues scale

Over the past 30 years or so, many high school students have been led to believe

that the blues scale is really all one needs to know in order to play over a blues

chord progression. Although this is certainly a viable jazz tool when playing the

blues, it is misleading to tell students it is the “main scale” used for improvising

in this genre.

basic training MIXOLYD IAN

Aural Awareness:OUT WITH THE BLUES SCALE; IN WITH THE MIXOLYDIAN

BY MILES DONAHUE

“MOST EVERYONE IS FAMILIAR WITH THE MIXOLYDIAN SCALE

BECAUSE IT IS USED IN SO MANY POPULAR

SONGS”

JAZ_36 36 12/31/08 10:01:20 AM


basic training

as a tool of improvising. Because “Take Five” is in E mi-nor, you can improvise just using the black notes on the piano.

I enjoy having a beginner sit at the piano and have him or her experience improvising by hitting any black key while I vamp on the two chords of the song. These fi ve notes are the minor pentatonic scale and when you add the A natural it changes to the blues scale. When teaching the tools of improvising I think it is important to set up a parameter. By this I mean the student is only allowed to use specifi c notes, so that his or her mind, ear, and fi ngers can start to relate to a specifi c sound created by using only these note choices. You will notice that none of the aforementioned songs use the blues chord progression. All of these pieces are jazz songs that most high school students are not famil-iar with – other than “Take Five,” which is popular because of its use in television ads and the like. Consequently they cannot intuitively relate to this particular scale aurally, but young students do have an intuitive aural awareness of the Mixolydian scale because they hear it in popular music.

Familiarity Breeds SuccessMost everyone is familiar with the Mixolydian scale be-

cause it is used in so many popular songs that we hear every day whether we seek it out or not. When I ask students what the Mixolydian scale is, they usually tell me it is the scale where you fl at the 7th. This is not the answer I’m looking for, though, because they are only telling me the difference between a major scale and a Mixolydian scale. I ask my students to think of the Mixolydian scale as the scale within a major scale that starts on the fi fth degree of that scale. If I ask for the key signature for G Mixolydian, the answer is: no sharps and no fl ats (key of C). This means the student is not sharping or fl ating anything, but relying on simply knowing the notes in each major scale. The key signature for A Mixolydian would be two sharps (C# and F#), et cetera. When I say students can not relate intuitively, I mean that most will not be able to sing “Moanin’,” but they can sing the song “Tequila,” for example, which is also based on the Mixolydian scale. Here are some other commonly known pop and rock songs that use this scale:

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JAZ_37 37 12/31/08 10:01:25 AM

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basic training • Stevie Wonder’s “Signed, Sealed, and Delivered” starts with the descending line 1,7,6,5,4,3,1.

• “Pretty Woman” starts with an arpeggio of the Mixolydian chord (dominant 7th) – 1,1,3,5,7 –and then the line ascends to the 9th – 1,1,3,5,7,9,8,7.

• The Beatles’ “Birthday” uses the passing tone of the 6 in its opening line – 1,1,3,5,7,6,5,1.

• “Norwegian Wood” is a more diffi cult melody because it is longer and has bigger intervallic skips.

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basic training

• Another Beatles song, “Day Tripper,” has a half step approach to the third (non diatonic note), as well as the 9th as part of its introductory melody. Diatonic means “from the key” and generally diatonic melodies are much simpler than melodies that use chromaticism (non diatonic notes).

• George Benson’s version of “Broadway” (5,3,1,2,5,3,1,7,2,1,5) is played in six different mix keys. The song starts in A mix and modulates to D , A, D, B , and E . At the end of the song, the band vamps on B mix and that is when the improvising takes place.

Most younger students have heard some of these songs many times and are therefore able to sing them confi dently. This does not mean they can necessarily play them in any key because, even though they can hear them, one needs theoretical knowledge and mechanical dexterity to play the songs on an instrument. These se-lections are examples of melodies using a specifi c scale. By singing and playing them this can germinate new melodies.

We all need examples of the many jazz tools in the jazz vocabulary before we can assimilate them into our own style of improvising. This is why people listen to the master jazz musicians over and over again. Bill Evans once noted that he could not learn jazz thru osmosis. In art, we usually start off imitating and then progress to creating. If a student were to sing and play three or four of the lines you provide and then are told to improvise, they would through trial and error make up new melodies using the same notes.

Mixolydian Jazz MelodiesHow do Mixolydian jazz melodies

differ from the pop lines discussed above? McCoy Tyner’s song “Passion Dance” uses the 9th just like “Day Tripper” and “Pretty Woman,” but in McCoy’s melo-dy the 9th is not a passing tone, it is a tar-get note used to add harmonic tension.

“Birthday” uses the 6th as a passing tone but Hank Mobley uses the 6th and the sharp 11 to create a Lydian dominant 7th sound during his solo on “Phrancing.” “Day Tripper” uses a half-step approach note once in its melody, but Monk uses half-step approach notes throughout the 12 bars of the song “Straight, No Chas-er.” These examples represent a more sophisticated use of these notes, which is why you do not often hear these sounds in pop music.

Young students do have an intuitive aural awareness of the Mixolydian scale and by having them visualize, sing, and play these lines they can learn one of the most important scales used in jazz.

Tenor sax and trumpet player Miles Donahue remains a fixture in the Boston

jazz scene, known for his hard-bop and post-bop music. He’s recorded a dozen albums, performed with his own group as well as with John Patitucci, Curtis Fuller, Billy Pierce, Fred Hersch, Jerry Bergonzi, and Kenny Werner. Mel Bay will publish the second volume of his Jazz Workbookseries this year. Donahue teaches both adult and teenaged students at his studio in Lowell, Mass.

Miles Donahue Selected Discography

Good Listener, Simple Pleasures(Ram); Double Dribble (Time-less); Standards Vols. 1-4, Bounce, In the Pocket (Amerigo)

JAZ_39 39 12/31/08 10:01:37 AM

www.bigbandjazz.com

By Christian Wissmuller

A skilled marimba player and vibraphonist, Dave Samuels has col-

laborated with some of the biggest names in modern jazz: Gary Burton,

Pat Metheney, Frank Zappa, John Scofield, and Gerry Mulligan, among

others. Through his work in Spyro Gyra, with Don Friedman in Double

Image, with The Caribbean Jazz Project and on his own solo projects,

Samuels has established himself as one of the preeminent voices of our

time and the foremost mallet player of his generation. Additionally, Dave

has been active as an music educator. After attending Berklee College

of Music he joined the school’s staff in the early ‘70s for a few years and

returned as a teacher in the mid-1990s.

Dave Samuels

OneAchieving

Unified Voice

JAZ_40 40 12/31/08 10:11:26 AM

JAZ_41 41 12/31/08 10:11:38 AM


JAZZed recently caught up with Dave Samuels and learned something of his own approaches to learning and teaching jazz and the language of improvisation.

JAZZed: Let’s start by talking about some of your early teachers and band directors. Who were some infl uential mentors?

Dave Samuels: I had three particu-larly infl uential teachers. First was Jake Jerger, a drummer/percussionist who I studied with from the age of 6 to 17. He gave me the gift of learning the funda-mentals of playing and teaching – every student progresses by learning to teach themselves. He was my mentor. Second was Alan Swain, a great piano player and teacher in the Chicago area. He opened my ears to the world of harmony. Each week I would take a standard tune and try to re-harmonize it.

JAZZed: And third?

DS: Third is Renick Ross who gave me the opportunity to play vibes in

his ensemble – piano, vibes, bass, and voice. Renick wrote most of the music and we would rehearse three times a week. I learned how to play vibes in

Renick’s band and I credit him with giving me the opportunity to learn how to play vibes in a band, not out of a book and playing in a practice room.

JAZZed: At what point did you fi rst become interested in teaching others? Did you have a specifi c instructor who inspired you to teach?

DS: I think you learn to teach your-self as you learn to play your instru-ment. It’s true in any fi eld that you may be interested in. Teaching means that you understand the concept and you can generalize from it. Being a great teacher means that you can demon-strate and explain a concept in many different ways – no two people learn the same way. So the challenge of teach-ing is seeing the same concept from different angles. So, again, the three most important teachers for me in this respect are Jake Jerger, Alan Swain and Renick Ross.

JAZZed: What was your fi rst teaching gig?

DS: I taught at Berklee College of Music from 1972-74. It was an amaz-ing time for me. The school was small and full of great players – both teach-ers and students. It was a very creative environment for everyone who studied

“The challenge of teaching is seeing the same concept from different angles.”

JAZ_42 42 12/31/08 10:11:45 AM

www.chijazzphil.org


and worked there. The focus of the school was on performance.

JAZZed: Can you talk some about your early years teaching? What were some challenges you came across and solu-tions you devised?

DS: Giving privates lessons was a challenge for me. I learned over time how to explain and demonstrate con-cepts from different angles. The way I explained something to one student didn’t always work with another stu-dent. I had to put aside my own agenda and fi gure out how the student learned. I also learned to be more open and em-brace the music the student wanted to play. I found this approach to be much more successful.

JAZZed: Tell me about your work with Gerry Mulligan. That must’ve been something.

DS: Playing with Gerry Mulligan was my fi rst opportunity to play with someone I had grown up listening to. I was moving to New York from Boston when I got a call from Gerry to play with him at the Jazz Workshop in Bos-ton. I was recommended to Gerry by Alan Dawson, a legendary teacher at Berklee, a very good vibes player, and a fantastic drummer who had worked with Mulligan when he was playing with Dave Brubeck.

JAZZed: How long were you playing with Gerry?

DS: I worked with Gerry from 1974-79. It was a fantastic opportunity to play with someone of that caliber – a totally unique voice as a player and writer.

JAZZed: Right around that time you also worked with Zappa, correct?

DS: Yes. In 1976 I was asked to be part of a group of New York mu-sicians – myself, the Brecker brothers, Lou Marini, Tom Malone, and Ronnie Cuber) to augment Frank Zappa and the Mothers of Invention for fi ve nights at the Palldium in NYC. Frank was re-cording a live record. In Frank’s band were Terry Bozio, Ruth Underwood,

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Eddie Jobson, Patrick O’Hearn, and Ray White. I knew Ruth Underwood.

JAZZed: What were you playing in that ensemble?

DS: I was playing mallets and percussion. Frank loved percussion and was heavily influenced by Edgar Varesce. He was also the first per-son to amplify both vibes and ma-rimba. It was an amazing experience – a cross between a 20th-century avante grade ensemble, Circue du Sole, and Soupy Sales – it was com-pletely from another planet. These were Ruth Underwood’s last gigs with Frank. I was asked if I wanted to join the “Mothers.” At the time I was working with Double Image – a vibes and marimba group with Da-vid Friedman – and I couldn’t hon-estly commit all my time to playing with just Frank. I also felt that he was not looking for another soloist, but someone to be able to play the challenging parts he wrote.

JAZZed: Makes sense. We should, of course, talk some about Double Image, too.

DS: It was 1974 that Friedman and I started Double Image. We had met while I was teaching up at Berk-lee where we played together with two vibes. That didn’t work. We tried it with vibes and marimba and found that to be our voice. Over 35 years later, we are still performing and recording. We have developed a very unique musical language. We start every performance with a spontaneous piece, something totally improvised.

JAZZed: You’ve worked and collaborated with so many – we could go on like this all day. But I’d be remiss if I didn’t ask you to share something of your experi-ences in Spyro Gyra and the Caribbean Jazz Project.

DS: I fi rst met Jay Beckenstein – one of the founders of Spyro Gyra – in The Tralfamadore Café in Buf-falo, New York in 1975. I was play-ing with a local rhythm section and Jay asked me if I’d be interested in

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recording on their album. This was their fi rst recording and nobody knew who they were. I played on that record and then I heard from them about a year later and recorded on their fi rst record for MCA Records, Morning Dance. I played steel drums, marimba and vibes. That record was a huge success. I continued playing on their albums – usually one a year until 1982, when Jay asked me if I wanted to go on the road with them. I was on tour with Spyro Gyra from 1982-1994. We were a very close-knit family.

In 1993, I was asked by a promot-er in New York – Julie Lokin – to put together a band for a concert in the Central Park Zoo. I called Andy Na-rell (steel drums), Paquito D’Rivera (sax and clarinet), and a rhythm sec-tion. That was the beginning of the Caribbean Jazz Project. It’s been 15 years since that first concert. The personnel have changed over the years, but the concept of the band has remained the same – exploring the mixture of West African, Euro-pean, and Caribbean musical influ-ences with jazz.

JAZZed: You returned to Berklee in the ‘90s. How did that come about and what do you currently do at the school?

DS: I was playing the Umbria Jazz Festival in 1994 with the Caribbean Jazz Project and Larry Monroe – head of the Berklee International Program – asked me if I’d be interested in teach-ing at Berklee. I got in touch with Lar-ry later that year and started teaching the fall of 1995. These days, my teach-ing schedule is divided between con-ducting small ensembles and teaching vibes and marimba privately.

JAZZed: What do you fi nd to be the most rewarding elements of teaching?

DS: For me, there are two elements that are most rewarding in teaching. The fi rst is having to always re-exam-ine how and why I play the way I do. Secondly is the exposure to new mu-sic – new vocabulary and new ways of improvising.

JAZZed: What, if anything, do you dis-like about your role as an educator?

DS: The bureaucracy.

JAZZed: A common complaint. Let me ask you this: how would you advise a ju-nior- or high school music director who’s looking to introduce jazz education into his or her overall curriculum?

DS: I think the real issue here is fi nding music teachers who are not afraid of improvisation. Traditional/conservatory trained musicians have been instilled with a total misconcep-tion about the “how, what, and where” of improvisation. In general, music students – our future music educa-tors – are never taught about the his-tory and evolution of improvisation in “classical” music.

JAZZed: I’m pretty sure I know where you’re going here, but to clarify...?

DS: Improvisation was part of the basic fabric of Baroque music. It is a learned musical skill that musicians need to know in order to work effec-tively. In fact it is a skill that every-one learns unconsciously – without effort and without fear. An example

would be the verbal language we learn growing up. We improvise with that language every time we

Dave Samuels: Précis

Selected Discography: Double Im-age (Enja); One Step Ahead (Dire Sil-verline); Living Colors, Ten Degrees North (MCA); Natural Selection, Del Sol (GRP); Tjader-ized: A Cal Tjader Tribute (Polygram); Gerry Mulligan – Idol Gossip (Chiaroscuro); Spyro Gyro – Morning Dance (MCA); Rich-ard Stoltzman – Dreams (RCA).

Web site: www.dsamuels.com

Awards & Accolades: 2008 Latin Grammy Winner (Best Latin Jazz Al-bum: Caribbean Jazz Project – Afro Bop Alliance) and 2003 Latin Grammy Winner (Best Latin Jazz Recording: Caribbean Jazz Project – The Gath-ering); “#1 Contemporary Jazz Art-ist” and “Contemporary Jazz Group of the ‘80s” (Spyro Gyra) – BillboardMagazine; Best Vibes Player – JazzizMagazine; Best Vibes Player – Modern Drummer

February 13–15, 2009Special guest: Stefon Harris

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have a conversation with someone. Not only do we learn to speak that language, but we also learn to write that language – which means that we need to know the grammar for that language.

We learn music differently. Most musicians never learn to speak the musical language. They can read,

but they can’t speak without having notes written on the page. They also never learn the grammar of the musi-cal language. Learning how to speak the musical language is not difficult – anyone can do it. The challenge is to have something worth saying when you speak that language. The difference between an OK improvis-er and a great improviser is not the skill – technique or memorization – it’s the concept and content. We all learn how write in school, how-ever that does not make us all great authors.

JAZZed: Very good points. Specifi -cally as it pertains to vibraphone and ma-rimba, can you describe some of the com-mon snags in learning the instruments and offer some tips for teacher to help their students overcome these hurdles?

DS: I think some of the common problems that mallet players face is the

over emphasis on technique and an under-emphasis on sound production, developing a musical personality, and composition.

I would suggest to teachers that they have their students record them-selves regularly. I would recommend that students analyze the harmony of the pieces they are playing and I also suggest that students learn to take a piece they are interested in and ar-range it for either vibes or marimba or both, as well as encouraging stu-dents to try and compose their own pieces to play.

JAZZed: Makes good sense. One last question: You’ve accomplished quite a bit as a performer, recording artist, and educator. What do consider to have been the highlights of your career thus far?

DS: The highlights of my career are when the music I’m playing be-comes a transformational event where all the players become one unifi ed voice. The same process can take place when teaching, when the group you’re working with becomes one unifi ed voice.

“Traditionally trained musicians have been instilled with a total misconception about the ‘how, what and where’ of improvisation.”

SurveyIf you are interested in participating in upcoming JAZZed music education surveys, please contact Editor Christian Wissmuller at [email protected]

JAZ_46 46 12/31/08 10:12:09 AM

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IA little over 12 years ago when I played my first

gig with the Chico O’Farrill Afro Cuban Jazz Or-chestra, I quickly realized that I was in a rhythmic world I did not know. I actually was in awe as the rhythms washed over me from every section in the band, not just the percussion. The rhythm is the lifeblood of this music, and cries out to be in “straight-ahead” jazz as well. Since in Afro-Cuban music the saxophone can be used as a rhythm instrument, over the years as I have played with this band and others, I have begun

to understand a small part of what is happening rhythmically. By osmosis, I feel that these rhythmic

concepts have begun to add a dimension to my jazz playing that was not previously pres-ent.

The most organic way for a musician to incorporate these rhythms into one’s play-ing is to play Latin jazz with players who know the music. However, for a student I think that are some things you can practice to start to assimilate this rhythmic vitality into your playing.

t is my experience in jazz education that the aspect of rhythm is surprisingly often mar-

ginalized or neglected. As I think back to the time when I was a student, it seems that

the emphasis of learning jazz was on mastering the melodic and harmonic concepts of the

bebop era. One was required to learn solos to figure out what the masters were playing

over the changes; it was important to know all the scales, and chords. As a saxophonist

it was obligatory to learn all the licks that Bird, Stitt, and others were playing in order to

navigate the chord changes and master standard jazz harmony. While I obviously believe

in the necessity of learning harmony, I have observed that at times rhythm pedagogy does

not seem to get much passed the mentor encouraging the student to play eight notes with

good time. If we can agree that jazz was born from the violent marriage of European me-

lodic and harmonic concepts with the rhythmic concepts of the Afro-Caribbean tradition,

then I feel that more attention must be paid to the rhythmic component in order to treat it

as the equal partner that is its due.

focus session CLAVE

Clave for Jazz PlayersBY DAVID BIXLER


THE MOST ORGANIC WAY FOR A MUSICIAN TO INCOR-PORATE THESE RHYTHMS INTO ONE’S PLAYING IS

TO PLAY LATIN JAZZ WITH PLAYERS WHO KNOW THE

MUSIC.

JAZ_48 48 12/31/08 10:13:03 AM

focus session


The ClaveThe first thing a jazz player needs to do when approaching Latin music is to become familiar with the clave,

which is central to Latin music. The clave (pronounced clah-vay) is a two-measure pattern in 4/4 time consist-ing of five notes that are the rhythmic basis for most of Afro-Cuban music. One measure contains three “hits” or “pulses,” two of them being offbeats. In the second measure, the second and third beats of that measure are sounded. In other words, one measure is rhythmic instability and the other is constancy. In this way the clave is a reflection of life itself; conflict followed by resolution. Sometimes stability followed by turmoil. It is my belief that incorporating this concept in to a jazz context can add rhythmic freshness to one’s playing, as well as, and perhaps more importantly, a deeper rhythmic comprehension previously unknown to the player.

Below are both the Son and Rhumba claves. One needs to be aware that that they are generally spoken about as 3/2 or 2/3. This distinction is noticeable from the number of “hits.” 3/2 has three pulses in the first bar and two and the second. In 2/3 the converse is true. Additionally notice that the difference between son and rhumba is in the delaying of the last hit on the “three side.”

So what is the next step? How does a player come to an understanding of these concepts that are based in a culture of which the player is unfamiliar? First, listen to recordings of the people that play this music. In the same way you discovered jazz, you need to explore this music through listening to recordings and live perfor-mances.

I would suggest that you start practicing the clave by clapping it. Start by marking quarter notes on the metro-nome and practice the above four rhythms. In doing this you can concentrate on grabbing the feel of the rhythm. As you become more comfortable, increase the speed of the metronome, eventually switching to cut time. As a jazz player the goal needs to be to free yourself from thinking “1,2,3,4” and to hear the clave as its own entity.

After you can clap the clave reasonably well it is time to get out your instrument and start by practicing the rhythms on one note. Again, as you get more comfortable, increase the speed of your metronome and move to cut time. I want to emphasize that in order to get a entirely different rhythmic shape you need to be free from anchoring this to “1,2,3,4” and let the clave be the forward motion on which you are relying.

JAZ_49 49 12/31/08 10:13:08 AM

focus session


After you begin to understand this concept, move on to hanging a scale on these rhythms. A two octave B flat scale is in the illustration, but I would encourage you on whatever instrument you play to practice all scales full range with these rhythms.

Now in order to start to use the rhythms in your playing I would start to practice the clave over a II-V-I pro-gression starting on a variety of notes. You are using something that is familiar, a II-V-I progression, but now, by using the clave there are parts of the progression that are emphasized that may never have been before.

JAZ_50 50 12/31/08 10:13:12 AM

focus session


After you are comfortable with this the next step would be to then incorporate the rhythms over entire tunes.Please be aware that with this you are only scratching the surface. It will take time to organically incorporate

these concepts into your playing. As with any new idea you try to work into your playing, you have to find a way to make it your own. Have fun. This music is infectious!

David Bixler is active in the jazz and Latin jazz fields performing regularly with the bands of Arturo O’Farrill and Bobby Sanabria as well as fronting his own projects. His latest CD, Call It A Good Deal (ZOHO Music) received 3 and 1/2 stars in DownBeat. He is on the faculty at Bowling Green State University in Bowling Green, Ohio and a visiting specialist in Saxophone at Mont-clair State University in Montclair, N.J. www.davidbixler.com

SurveyIf you are interested

in participating in upcoming

JAZZedmusic education surveys, please

contact Editor Christian Wissmuller at

[email protected]

Submissions

If you'd be interested in submitting an instructional article for publica-tion in JAZZed, or if you have an idea for a feature story, please contact editor Christian Wissmuller: [email protected].

JAZ_51 51 12/31/08 10:13:16 AM

www.claudelakey.com


Happily, the list of essential gear needed to get a via-ble home (or classroom) studio up and running isn’t all that daunting in terms of sheer volume or cost (not to suggest that assembling all this equipment is a “cheap” venture...). To help readers get a basic idea of what they’d likely need and how to begin budgeting for a future in self-recording, JAZZed offers this primer of es-sential music production and engineering products.

COMPUTER:You and/or your school likely already have one or

more computers, so that’s a nice starting point. How-ever, if you expect or hope your studio endeavors to be anything beyond cursory, you’ll probably want a desktop or laptop console dedicated solely to record-ing – the software and the fi les created take up a good amount of memory/speed/space on your hard drive.

Without getting into the Windows/Mac debate (I’m a Mac guy, but I’ve heard there are plenty of decent and cre-ative Microsoft afi cionados out there. Allegedly.), suf-fi ce to say there are plenty of powerful and versatile mu-sic-making applications out there for either platform.

MICROPHONE: At the very least, anyone wishing to enter

the world of home recording will likely need at least a couple good dynamic microphones. Mics vary greatly in price and application and you may ultimately fi nd that it’s in your best interest to carry a wide variety of mod-els. However, if nothing else, you should try to make the minimal commitment necessary to be able to offer yourself and your students a few decent, low-cost dynamic mics.

CABLE:Cables are essential to the process and a good one

can mean the difference between a fi nal project that sounds as intended, and one that is bubbling over with pops, crackles, and poor con-nections. Depending on your specifi c setup, you may need fi rewire, MIDI, USB, and Ethernet cables, but at the very least, you’ll want to stock the standard 1/4”, speaker, and XLR cables, which of course have other MI applications beyond home recording.

study hall H O M E S T U D I O

TMock Studio:

he benefits to being able to record one-

self or one’s students are pretty obvi-

ous. With music-making software and

other related gear becoming more and

more affordable and easy to use, even

the most bottom-rung beginner stands

a very reasonable chance of going from

“how the heck does this stuff work?” to

producing useful recordings of rehears-

als and recitals within a matter of weeks.

HOME RECORDING BASICS

JAZ_52 52 12/31/08 10:15:33 AM


study hall

RECORDING SOFTWARE:Multitrack recording software has developed to the point

that it is relatively simple to use, with interfaces mirroring, in many ways, the functionality of “old-fashioned” analog re-cording techniques. Many programs are geared toward the hobbyist/non-professional and are even simpler in their lay-out and design. Most manufacturers offer extremely compre-hensive Web and phone support that can be of assistance to both teachers and students.

AUDIO EDITING & PROCESSING SOFTWARE:There are a number of options available to users that can

add signal processing (effects) or improve mixing/editing ca-pabilities.

MIDI SEQUENCING & NOTATION SOFTWARE:A number of packages exist which bundle notation and

sequencing – these products are particularly useful for com-posers.

SOFTWARE SYNTHESIZERS:Samplers, synthesizers, and loop creation software are es-

sential to virtually all contemporary pop music.

USB/MIDI KEYBOARD CONTROLLER:MIDI is a communications protocol (language), which

determines transmission format between electronic musical instruments and computers. The MIDI protocol essentially

allows electronic devices to interact and work in synchro-nization. A whole lot could be (and has been) written about MIDI and if you’re interested, by all means seek out books, articles, or Web sites with more information. If you’re not particularly interested and fi nd this sort of thing to be ex-actly why you haven’t yet gotten involved with music tech-nology products, don’t be scared off! You don’t need to know any more than this: MIDI keyboard controllers help home recording enthusiasts do what it is that they like to do more effi ciently. Therefore you want to acquire some MIDI key-

boards, which are available in sizes ranging from just a few octaves to a full, 88-key console.

USB/MIDI INTERFACE:When an individual is using hardware MIDI devices, a

MIDI interface is needed. The more gear you have the more ports you need. There are many interfaces available (1x1,

2x2, 4x4, 8x8, and so on) and they range in price from very inexpensive to… well, to very expensive.

HEADPHONES:A set of professional headphones

will not “color” the sound, as head-phones made for consumer listening would.

MONITORS:Close-fi eld studio monitors are es-

sential to home recording and mu-sic-making – relying solely on head-phones (or, far worse, built-in computer speakers) is both limiting and uncomfortable. Studio monitors provide addi-tional shielding so that the magnetic fi elds of the speakers do not interfere with the performance of a computer monitor or other equipment. There are both active (powered) and pas-sive (non-powered) studio monitors available in a range of sizes and prices.

JAZ_53 53 12/31/08 10:15:44 AM


I started buying records. One of my favorites was a Quintessence Jazz Series recording of the great tenor saxophonist, Sonny Rollins, called Now’s The Time. When I fi rst put it on, as a 12 year-old who was new to jazz, it sounded like a bunch of noise. Jeff would en-courage me, though, so didn’t give up. I listened to that re-cord over and over again, until I could sing every line right along with Mr. Rollins as he played his horn. And as I did, the music be-gan to make sense to me. Now, I don’t mean it made sense the way a professional would hear it.

I just mean that as I tried hard to listen to what was happening on that record I began to really enjoy it. Sonny Rollins has this huge, fat sound, and has a way of sounding like an entire orchestra. I have

been a jazz fan ever since.I have asked some prominent

jazz musicians to share with you what their favorite jazz album was when they were growing up, and why it meant so much to them. As you read through their favorites, I hope you will think about your favorite jazz records, and why they mean so much to you.

JJAZZed In the ClassroomBY BRAD HOWEY

eff Munro was my piano teacher’s son, and to me, he was the coolest guy in the world. I was 11, and Jeff was in high school and played in the jazz band. He was way into jazz and began inviting me over to listen to records. I didn’t know much about jazz at the time, but wanted to hang with Jeff, so I thought I would check it out. He would play big bands and small bands; famous players I had heard of, and others that I hadn’t. And we would listen. Jeff started telling me everything he knew about each recording, like who was playing what, and when. He was so enthusiastic you couldn’t help but get into it all. He taught me to read the lineup for each band so I would get to know the players, and I began to recognize them from one recording to the next. He taught me about form: to count measures to figure out a blues from a song-form tune, and he would start the record over as many times as it took for me to get it right. He taught me to listen to style: from swing, to Latin, to fusion, to rock. He would dig the way some players would lay way back – almost falling off the back of the beat – while others would snug up tight to it and even push things. He helped me hear the differences between players: the way Phil Woods would play with so much passion; the way Paul Desmond would play with so much grace. He helped me hear how Sonny Stitt sounded a little like Bird, and how no one sounded exactly like Miles, but Miles. Jeff was teaching me not just to hear, but also to listen, and it opened up a whole new world.

“I HOPE YOU WILL THINK ABOUT YOUR FAVORITE

JAZZ RECORDS, AND WHY THEY MEAN SO MUCH

TO YOU.”

in the classroom R E C O R D I N G R E V I E W S

JAZ_54 54 12/31/08 10:16:34 AM

in the classroom


In the Classroom…Activity

The JAZZed In the ClassroomRecording Review

Listening to jazz is such an important part of learning to play, sing, and understand jazz music! That’s why we’ve put together this super-cool Recording Review form. It is our hope that your teacher will ask you to fi ll out & turn in one of these forms regularly. You’ll need a favorite recording that is worthy of your incredible reviewing skills, a pencil, and a separate sheet of paper labeled with your name. So dig in, and enjoy!

The Basics1) List the name of the recording you are reviewing followed by the name of the group.2) List each musician on the recording followed by his or her instrument.3) Describe why you chose this particular recording.

A Trivial Pursuit4) List one other recording by this group.5) Choose one performer from this recording, and list at least one other recording on which he or she has performed.6) Choose one song from this recording that is recorded somewhere else-and list the “somewhere else!”

Digging Deeper9) Choose one player from the recording and list fi ve sepa-rate words that you feel best describe his or her playing.10) Elaborate on one of the fi ve words you just listed. What did you mean, exactly?11) Choose one track from the Recording and describe it as if to someone who has never heard it (the type of tune it is in terms of style and form, who plays when, highs/lows, et cetera).

So, what do you think?12) After listening to the entire album:* Describe what you liked best about this recording, and why.* Describe what you didn’t like about this recording, and propose a reason for why you didn’t like what you didn’t like!

In the Classroom...Follow-up Activities for Directors

I feel very fortunate to have had Jeff Munro as a teacher. How fortunate your students are to have you as a teacher. Sometimes jazz can sound a little like noise when you are just getting started. It is helpful to have someone to encour-age you, and to “start the record over” again when neces-sary.

In a world where listeners have literally thousands of pos-sibilities to choose from, the music we listen to has become a very personal refl ection of ourselves-which is why listening is sometimes best taught outside of school. This is where your students will do most of their listening, and where you can show your students with a little less formality that listen-ing to jazz can be a heck of-a-lot of fun. Here is an activity to help you do just that.

After a couple of months of recording-reviews (one a month would probably be plenty), consider getting your group together for a listening party. Have everyone bring a favorite jazz Recording and some junk food, and get things started by sharing a recording that means a lot to you, and why. The rest will be easy. Except, or course, for the clean up.

JAZ_55 55 12/31/08 10:16:39 AM

in the classroom


Jamey Aebersold Internationally-known saxophonist and authority on jazz education; perhaps best known for his “anyone can improvise” approach to jazz education “I guess if forced to choose one album it would have to be Char-lie Parker’s Now’s the Time. I thought Bird’s facility and his execution of his ideas was so fantastic. I was just learn-ing to play alto saxophone at the time, and he was the master!”

John Clayton Grammy-winning bassist/composer-arranger/bandleader; student of bassist Ray Brown; co-leader of The Clayton-Hamilton Jazz Orchestra“When I was 16 I heard The Trio by the Oscar Peterson Trio (with Ray Brown and Ed Thigpen). The tune “Billy Boy” just turned my head around! Soon after that I found out that Ray Brown was teaching a bass class at UCLA. So I quit my classical lessons, saved the class fee, and enrolled! I really loved Ray’s sound, and the way the three of them worked/played together. I loved their excitement, Ray’s bass lines, and the overall totally sizzling vibe.”

Jeff Hamilton Professional drummer; driving and technically accomplished; fea-tured on over 200 recordings; currently touring with Jeff Hamilton Trio, The Clay-ton-Hamilton Jazz Orchestra, and Diana Krall “It would have to be Oscar Peter-son’s The Trio Plays (on the Verve label). I liked the way the trio sounded as big as a big band. There was relentless swing-ing from everyone-and they could show

restraint in terms of dynamics, while keeping up the intensity. Each player had such a full sound and incredible dexterity. Every time I put on that record my feet would start tapping...it would instantly put me in a good mood!”

Tamir Hendelman Professional pia-nist; hard-swinging, virtuosic and sensitive; member of The Jeff Hamilton Trio and The Clayton-Hamilton Jazz Orchestra “My choice would have to be Kind of Blue,with Miles, Bill Evans, Wynton Kelly, Cannonball Adderly, John Coltrane, Paul Chambers and Jimmy Cobb. The unity and individuality of all the players was just incredible on that album. Bill Evans brings his own fl avor to the group-he is so minimalistic on his solo on ‘So What’ - he doesn’t even try to compete with the others! Wynton brings such a sparkle to “Freddie,” and the differences between Cannonball and ‘Trane are so evident (with both of them expressing them-selves so freely); yet their dispositions are so clearly different, you can really hear their personalities. I am so impressed with the way Miles put this session to-gether. He chose his musicians so per-fectly, allowing them to really make the magic happen.”

Ira Nepus Professional trombonist; known for vast studio work as well as re-cordings/performances with Benny Carter, Woody Herman, Quincy Jones, and many others “When I was fi rst starting to listen to jazz my father brought home Ambas-sador Satch with Louis Armstrong and

his All-Stars. It was one of my very fa-vorite albums. The incredible energy of the music and the soloists really got to me, and the strong sense of swing was so compelling-I wore that album out!

Claudio Roditi Professional Brazilian trumpeter/fl ugelhornist; integrates post-bop elements with Brazilian rhythmic concepts “One of my favorite albums when I was growing up was Miles Da-vis’ ‘Round Midnight. One of the things that I enjoyed the most was his muted trumpet sound. It was so hip! And his use of space! When he left space for it, Red Garland on piano would comple-ment Miles’ phrases. Coltrane also im-pressed me a lot.”

John Stowell Professional guitarist; has toured with a wide variety of ensembles, in-cluding with bassist David Friesen; known for his beautiful/virtuosic approach to the guitar “One recording that I heard as a young jazz musician that had a real im-pact on my development was the Jim Hall/Bill Evans duo recording, Under-current. Both men played so beauti-fully on that album-really improvising together in the moment. Their interac-tion, interplay and ability to respond to one another are the essence of jazz to me. Their music feels complex and simple at the same time, like refi ned conversation that fl ows beautifully and organically.”

So now it’s back to you! What is your favorite jazz album, and why has it meant so much to you? Post your answers on the JAZZed ‘In the Classroom’ bulletin board at www.jazzedmagazine.com. Your an-swer may just be printed in a future issue of JAZZed “In the Classroom”!

Brad Howey is an award-winning author and an active performer and a PhD candidate at the University of Idaho. While teaching high school music in Alaska, Brad founded and directed the Sitka Jazz Festival – bring-ing artists such as John Clayton, Steve Turre’, Paquito D’Rivera, The Air Force Band of the Pacific, and others to Sitka to teach, inspire, and perform.

JAZ_56 56 12/31/08 10:16:43 AM

www.saxquest.com


crossword

Across1. Lester or David3. Fire House Five Plus this many?5. “___ Street Blues,” Dixieland standard8. “Girl from Ipanema” town9. Yard, for short11. Bird___, New York jazz club named after Charlie Parker13. ___-chorus, chorus before the chorus?15. Hat type?16. Fixes text18. Healing plant19. Letters for many new tv sets20. ___ Ory, famous jazz trombonist and bandleader22. Compass direction23. High speed internet connection24. ___ Davis, saxophone player whose nickname is “Lockjaw”26. Ballet steps27. Singing style29. ___ Ra, jazz musician known for his “cosmic philosophy”30. Wayman ___dale32. Days past34. ___ Out, 1959 album by The Dave Brubeck Quartet

35. Main singer, description37. “Lets Make a ___”39. Radio, abbr.40. Pops ___, jazz musician best known for his vigorous playing of the string bass42. Hit the wrong note, perhaps43. Jimmy Blanton’s instrument44. Even, for short46. Laughter sound47. A fainting fi t50. Ford model51. Miles Davis’ psychic album?53. “Walking on Thin Ice” singer55. Did nothing56. “Midnight at the ____” song lyric57. “Well, You ___,” jazz standard com-posed by Thelonious Monk58. ___ Lowe, American Dixieland jazz guitarist

Down1. Arthur ___, post-bop saxophone player and composer whose voice has a distinct vibrato2. Not well3. ___ Dameron, the “romanticist” of the bop movement

4. Speaks in a formal matter5. Hard or Be follower?6. “___ By Starlight,” jazz standard writ-ten by Victor Young and featured in TheUninvited7. ___ No Lament: The Blanton-Webster Band, three-disc compilation combining the master takes of all the recordings by Duke Ellington’s Orchestra from 1939-194210. Johnny ___, New Orleans based jazz clarinetist and alto saxophonist12. Simpson’s neighbor14. Enfant terrible17. ___ ___ ___ Way, 1969 album by Miles Davis20. ___ Oliver, Louis Armstrong mentor21. Dear, suffi x23. Doctor of Science, for short25. Pairs26. Gyro sandwich bread28. ___ for Dolphy, Ted Curson album31. Yogi or Booboo33. Musical literary piece36. First tone syllables38. Before, to Byron40. Jazz style developed by Wayne Shorter41. ___ Macero, American jazz saxophon-ist, composer, and record producer43. Arts Degree45. Me, myself and I?46. ___ Humes, American jazz and blues singer48. Yusef Lateef instrument49. Tonight at ___, Charles Mingus record51. Verge52. ___ Horn, American jazz fl utist and pioneer of the New age musical genre54. A King Cole55. Ideology

Crossword by Myles Mellor

www.jazzedmagazine.com

For the solution to this issue's crossword, visit:

JAZ_57 57 12/31/08 10:17:36 AM

Gearcheck


Six New Titles from Berklee Press Funk/R&B Guitar provides exercises and licks in notes and tab covering the

styles of Kool and the Gang, Prince, James Brown, Sly and the Family Stone, Jimi Hendrix, Curtis Mayfi eld, and others. Guitarists will learn to play leads and build solos; use scales over funk/R&B harmonies; create rhythm parts that support funk/R&B grooves; and more. The included CD features demo and practice tracks played by the Thaddeus Hogarth Band.

In Eight Essentials of Drumming, Ron Savage helps musicians master vital fun-damentals: Ergonomics; Pop/Rock/R&B Grooves; Shuffl es; Slow Grooves; Afri-can-Based Grooves; Jazz/Swing Grooves; Musicianship Skills; and Rudiments. His exercises and explanations will help drummers fulfi ll their essential roles of timekeeper, backbone and heartbeat, with rock-solid beats and sound technique.

In Berklee Jazz Piano, Ray Santisi re-veals the pedagogy that has become core to the schools jazz piano curriculum. His unique blend of theory and application gives pianists a deep, practical under-standing of how to play jazz, applying its concepts to standards and Rays own compositions. The accompanying practice CD illustrates these concepts, supporting beginning through advanced levels.

In Producing and Mixing Contemporary Jazz, producer/engineer/educator Dan Moretti leads readers step by step through the producing and mixing processes. They will learn how different techniques from mic placement to EQ help create authentic-sounding and inspiring jazz mixes. The accompanying DVD-ROM provides practice tracks and reference recordings to practice matching fi nished mixes in a wide variety of jazz styles.

Peter Spellmans second edition of The Self-Promoting Musician, educates readers about how to take charge of their musical careers with do-it-yourself strategies. He teaches in detail how to: write a business plan; create press kits; sharpen your business chops; use the Internet to promote your music; customize demos for maximum exposure; get music played on the radio; and more.

Mia Olsons Musicians Yoga, helps players become more focused for per-formance using yoga. She covers proper posture and movement. Meditation approaches, breathing techniques, and yoga postures are explored in detail with many photos throughout.

www.halleonard.com

Jody Jazz Mouthpieces Jody Jazz’ DV NY is said to be suitable for all styles of playing. The DV BASS, for bass saxophone, delivers ease of play and a deep dark warm tone. The DV BASS features a medium chamber with PHI propor-tions. Both new mouth-pieces are manufactured with machines from Virgin Brass, are hand fi nished and plated in 24 karat gold.

www.jodyjazz.com

Gretsch’s G-5000 Solid SeriesFor the fi rst time in recent memory Gretsch will offer single-ply wood snare drums. Gretsch’s G-5000 Solid Series feature a single-ply, solid snare drum and are available in either solid maple or solid walnut. Each shell includes solid maple reinforcement hoops to ensure shell roundness, and shells are fi nished in clear Nitro Cellulose gloss lacquer. These snares include 30-degree bearing edges, die-cast hoops, 20-strand snare wires, and coated Permatone batter head with underside dot. All models are avail-able in either Lightning or Dunnett throw-off and butt plate. Prices range from $1,740 to $1,875.

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JAZ_58 58 12/31/08 10:18:27 AM

Gearcheck


Kawai’s new ES6 Portable Digital Piano offers an improved graded-hammer action and a powerful six speaker sound system. The ES6 uses Kawai’s Harmonic Imaging sound technology – now with 88-note piano sampling - creating a realistic and ex-pressive concert grand piano sound. The improved AHAIV-F keyboard action is said to offer better feel and control. The piano also features bass-refl ex speaker enclosures, a design in which six stereo speakers (three per side) face upward from the panel. The ES6 also features the new rhythm section, a collection of 100 accom-paniment styles for practice or solo performance. The ES6 weights 44 pounds. Included with the ES6 is the F10H half-damper pedal and detach-able music rack. An optional soft gig bag with roller wheels and a matching designer stand are available.

www.kawaius.com

Pro-Mark’s New System Blue SticksThe TXDC51W is made of American hickory. It is 16 ¾” long and .680” (17.3mm) in diameter with a modifi ed barrel-shaped wood tip. The unique tip produces exceptional articulation throughout a wide volume range. The DC51 is slightly smaller overall than its ‘big brother’, the TXDC50W, and incorporates a “Comfort Flare” into the shaft design. The “Comfort Flare” pro-vides maximum control but with a smaller stick.

The TXDC52W is also made of American hickory. It is 16 ½” long and .630” (16mm) in diameter with a ball-shaped wood tip. The DC52 was designed specifi cally for smaller hands, yet strikes the perfect balance between manageabil-ity, maximum volume and articulation. Suggested retail price for each model is $15.95 per pair.

www.promark.com

Planet Waves Hand Exerciser

The Varigrip Adjustable Hand Exerciser is designed to develop and maintain hand and fi nger strength, condition, and dexterity. The Varigrip’s ergonomic design and variable tension provide customized conditioning for individual fi ngers, the entire hand, wrist, and forearm. The reversible molded grip uncov-ers simulated strings to help develop and maintain fi nger calluses when you are away from your instrument. The retail price is $17.99.

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HotWax New & Notable Music ReleasesAll dates are subject to change

December 15Romi Akiyama – Tapestry of Memo-ries (3d Japan)

Dave Brubeck – Jazz Impressions of the U.S.A. (Gambit)

Charles Langford – That’s Wassup (Blue Canoe)

Oscar Peterson – Canadiana Suite (Universal Japan)

Tri-O – La Historia: Los Exitos (Uni-versal Latino)

December 22Pierre Dorge – Whispering Ele-ments [Steeplechase]

Bill Gerhardt – All That I Have (Steeplechase)

Fumio Karashima – Moon Rivert [Video Arts Music]

Soren Kristiansen – Upon a Star (Stunt)

Django Reinhardt – The Very Best of 1934-1939 (Cleopatra)

Jens Winther – Directions/New Directions (Stunt)

December 29Dave Brubeck – Only the Best of Dave Brubeck (Collectables)

January 5Mike Clark – Live at the Fox Theatre (P-Vine Japan)

Victor Harris – Midnight at Malibu: The Essential Victor Harris (Omega)

Martial Solal – Live at Village Van-guard [Cam Jazz]

Sabertooth – Old Days & the Island (Arena Rock)

January 12Dave Bennett – Celebrates 100 Years of Benny [Arbors]

The Blue Note 7 – Mosaic: A Cel-ebration [Blue Note]

Soesja Citroen – Collected Songs [Challenge]

Ravi Coltrane – Blending Times (Savoy Jazz)

Elia Elias – Bossa Nova Stories (Blue Note)

Dusko Goykovich – Samba Cigano (Enja)

Ron Hockett – Finally Ron (Arbors)

Charlie Mariano – Silver Blue (Enja)

Brian McCree – Changes in the Wind (Accurate)

Mt. Hood Jazz Band – Doin Best Deeds [Sea Breeze Vista]

Celine Rudolph – Brazaventure (Enja)

Martial Solal – Live at the Village Vanguard (Cam Jazz)

Laetitia Van Krieken – Windfall (Challenge)

Joshua Redman – Compass [None-such]

January 19Greg Abate – Dr. Jeckyll & Mr. Hyde [Candid]

Walter Beasley – Free Your Mind (Heads Up)

Ricky Ford – Ebony Rhapsody (Candid)

Benny Golson – New Time, New’Tet (Concord)

Gutbucket – A Modest Proposal (Cuneiform)

Coleman Hawkins – In Europe [Disconform]

Todd Hymas – I’ll Just Close My Eyes (Pony Boy)

Incognito – More Tales Remixed (Heads Up)

Ray Levier – Ray’s Way (Origin)

Alex Machacek – Offi cial Triangle Sessions (Abstract Logix)

Victor Noriega – Fenceless [Pony Boy]

Denise Perrier – Second Time Around (Chez Perrier)

Sun Ra – Horizon (Art Yard)

Wally Schnalle – Louder Than Your TV [Retlaw]

Liam Sillery – Outskirts [Oa2]If you have information on an upcoming album or music DVD release which you’d like to have included in the next issue of JAZZed, please e-mail editor Christian Wissmuller at: [email protected]

JAZ_60 60 12/31/08 10:19:31 AM


Legendary jazz trumpeter Freddie Hubbard began his career in the late 1950s, but it wasn’t until the 1960s that

he began to attract signifi cant attention for his work as a member of drummer Art Blakey’s Jazz Messengers.

Hubbard also performed and recorded with the likes of Ornette Coleman, John Coltrane, and Herbie Hancock,

among many others.

In 1964, Freddie departed the Jazz Messengers and worked for a while with Max Roach before forming his

own ensemble in 1966. In 1970 he began recording for CTI, a label known for its hard-line efforts to market jazz

musicians beyond the margins of the traditional jazz audience. During the 1970s Hubbard expanded his musical

genre and his audience, working with artists such as Paul McCartney and experimenting with pop and R&B. His

album First Light received a Grammy nod in 1972 for best jazz performance by a group. Following such increased

commercial success, Freddie ultimately returned to his more traditional jazz roots.

In 1992 Hubbard’s mouth became seriously infected (after he split his lip, but ignored the injury and continued

to play on a European tour). Although he resumed performing and recording after a long break, he never fully

recovered.

Freddie Hubbard passed away on December 29th at the age of 70 due to complications from a heart attack he

suffered in late November.

Backbeat

Freddie Hubbard1938-2008

JAZ_61 61 12/31/08 10:20:21 AM


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JAZ_62 62 12/31/08 10:22:34 AM


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JAZ_63 63 12/31/08 10:22:40 AM


AdIndex Company Email/Web Page #

Alfred Publishing Co. www.alfred.com 5

Bari www.bariwoodwinds.com 26

J.J. Babbitt Co. Inc. www.jjbabbitt.com 27

Berklee College of Music www.berklee.edu 7

Big Bandman Jazz www.BigBandmanJazz.com 39

Cannonball Music Instruments www.cannonballmusic.com 11

Chicago Jazz Philharmonic www.chijazzphil.org 42

Claude Lakey Mouthpieces www.claudelakey.com 51

Columbia College www.colum.edu/music 43

Cultural Tour Consultants www.culturaltourconsultants.com 44

DIVA Jazz Orchestra www.divajazz.com 10

Five Towns College www.ftc.edu 59

Jazz at Lincoln Center www.jalc.org cov 2

JodyJazz www.JodyJazz.com 28

John Fedchock www.johnfedchock.com 46

Jupiter Band Instruments www.jupitermusic.com 1

North Central College www.northcentralcollege.edu 23

Pacifi c Coast www.pacifi ccoastjazz.com 10

Pearl Corp. www.pearldrum.com cov 4

Pro Winds www.prowinds.com 9

SaxQuest, Inc. www.saxquest.com 56

Sher Music Co. www.shermusic.com 37

Sierra Music Publications www.sierramusic.com 29

Skidmore College www.skidmore.edu 37

Temple University www.temple.edu 14

The New School for Jazz www.jazz.newschool.edu 31

Trillenium Music Co. www.trillmusic.com 46

United States Military Academy Band www.usma/edu.band 30

University of Nebraska Lincoln www.unl.edu/music 45

University of the Arts www.uarts.edu 13

Wayne State University www.music.wayne.edu 30

AdIndex.indd 64 1/2/09 10:41:45 AM


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