jazzed march 2010

MAR

CH 2

010

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5.00

The Official Publication of

JAZZ EDUCATION NETWORK

21 Highland Cir. Ste. 1Needham, MA 02494Change Service Requested

Basic TrainingLearn to Play a Jazz Tune in Three Steps

Jazz in the Classroom:John Clayton

T H E J A Z Z E D U C A T O R ' S M A G A Z I N E

Conversations BILLY COBHAMwith

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1 2 7 V O L U M E S P E R S O N A L LY C R E A T E D B Y J A M E Y F O R Y O U T O P L A Y J A Z ZAEBERSOLD

JAZZ PLAY-A-LONGS

VOLUME 6CHARLIE PARKER - “ALL BIRD”

The best of “Bird” in one amazing collec on.

Now’s The Time • Donna Lee • Billie’s Bounce • Dewey Square • Yardbird Suite • Ornithology • Confirma on • Scrapple From The Apple • Thriving From A Riff • My Li le Suede Shoes

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VOLUME 98ANTONIO CARLOS JOBIM

Once I Loved • Corcovado • Wave • So Danco Samba • Trista • O Grande Amor • Medita on • One Note Samba • Desafinado • How Insensi ve • Girl From Ipanema • No More Blues

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VOLUME 50MILES DAVISOne-dozen must-know standards.

All Blues • Nardis • So What • Eighty-One • Joshua • Blue In Green • Freddie Freeloader • Milestones (New) • Seven Steps To Heaven

VOLUME 34JAM SESSIONDon’t Blame Me • Blue Moon • Laura • On The Trail • Just Friends • Without A Song • Spring Is Here • Star Eyes • Invita on • Once In A While • Over The Rainbow • My Secret Love • No Greater Love • Stompin’ At The Savoy • On Green Dolphin Street • You Stepped Out Of A Dream • I Le My Heart In San Francisco • The Shadow Of Your Smile

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VOLUME 25ALL-TIME STANDARDSSpeak Low • I Love You • September Song • Old Devil Moon • I Can’t Get Started • The Party’s Over • A Foggy Day • Foolish Heart • Summer me • My Funny Valen ne • My Favorite Things • Come Rain Or Come Shine • Our Love Is Here To Stay • I Could Write A Book • It Might As Well Be Spring • I’ve Grown Accustomed To Your Face • Have You Met Miss Jones?

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VOLUME 42BLUES IN ALL KEYSExpand your blues in every key! See how fast your ears will take over and find yourself gaining confidence and improving your soloing. Charlie Parker learned the blues in all 12 keys before he learned anything else! Blues melodies and compa ble chord/scale progressions included.

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1000s of Hand-Picked Items!

GET YOUR FREEJAZZ CATALOG!

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www.jazzbooks.com

berklee.edu/jazzed

Leads Grammy-nominated group. Has performed and

recorded with the best: Stan Getz, Art Blakey, Joe

Henderson, Dexter Gordon, Pharoah Sanders, and more…

Leads all-star groups. Has performed and recorded with the best: Art Blakey,

Kevin Eubanks, Freddie Hubbard, Tony Williams, Hank Jones, Art Farmer,

and more…

Leads all-star groups. Performs and records with

the best: Pat Metheny, Gary Burton, Mike Stern, Dave

Liebman, Tony Bennett, Dave Grusin, and more…

Leads all-star groups. Performs and records with the

best: Terri Lyne Carrington, Kevin Eubanks, Chaka Khan, Christian McBride, Mulgrew Miller, Roberta Flack, Lonnie

Liston Smith, and more…

Professor of Piano Chair of Woodwind Department

Professor of Brass Associate Professor of Voice

Bill PierceBerklee Alumnus ’73

JoAnne Brackeen Tiger OkoshiBerklee Alumnus ’75

Gabrielle Goodman

JAZ_1 1JAZ_1 1 3/10/10 10:52:12 AM3/10/10 10:52:12 AM

www.berklee.edu/jazzed

2 JAZZed March 2010

LESSONS LEARNED: THE MILT HINTON JAZZ PERSPECTIVES CONCERT SERIES 12Eugene Marlow, Ph.D., co-chair of the Hinton Committee, discusses the evolution of the jazz concert series name din honor of Milt “the Judge” Hinton.

BASIC TRAINING: LEARN A JAZZ TUNE IN THREE STEPS 18A how-to guide from composer and saxophonist Ed Harlow to set beginning players on the right path.

CONVERSATIONS WITH BILLY COBHAM 28JAZZed talks with Billy Cobham, one of the most enduring and infl uential drummers in contemporary jazz.

MELODIC EMBELLISHMENT AND ORNAMENTATION IN JAZZ 36

JAZZ IN THE CLASSROOM: JOHN CLAYTON 44In this installment, Brad Howey gets together with Grammy-winning bassist, composer, and educator, John Clayton.

™

contentsM A R C H 2 0 1 0

BILLY COBHAM “People only want to

play bebop or they

only want to play one

specific type of jazz and

they are aggressively

against any other envi-

ronment that reflects

that particular name.”

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PUBLISHER’S LETTER 4NOTEWORTHY 6ALI JACKSON:WHAT’S ON YOUR PLAYLIST 10

departments64

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 offi 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. © 2010 by Symphony Publishing, LLC. Printed in the U.S.A.

™

MARCH 2010Volume 5, Number 2

GROUP PUBLISHER Sidney L. [email protected]

PUBLISHER Richard E. [email protected]

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18

JAZZed March 2010 3

Cover photograph: www.BillyCobham.com c/o Universal Attractions

JAZZ EDUCATION NETWORK SECTION 20• PRESIDENT’S LETTER• NETWORTHY NEWS• JEN CONFERENCE

JAZZ FORUM 42CROSSWORD PUZZLE 52GEARCHECK 54HOT WAX 58

CLASSIFIEDS 62AD INDEX 63BACKBEAT: JANE JARVIS 64


RPMDA

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In the early 1980s, a company called Simmons Drums came onto the scene with quite a spectacu-lar launch of their new electronic drums. At the NAMM show in Anaheim California, the music in-dustry gathering where products are introduced to the market each year, the president of the company, Glynn Thomas, garnered a mixed reaction when he declared that the electronic drum would replace the acoustic drum in the near future. Luckily that has not happened. However, the evolution of elec-tronic drums, drum controllers, and computerized drums have had a sig-nifi cant impact on the way music is played and have given drummers a palette of new and unique sounds. One of the early adopters of the elec-tronic drum is our featured artist this month, Billy Cobham. Way before Simmons Drums came along, back in 1968, according to Cobham’s site, he connected with a small drum maker called Meazzi Drum Company in Milan, Italy and began to use these instruments in conjunction with his acoustic sets to help develop a singu-lar, distinctive sound. This was just the beginning of a career that has brought drum-ming to a new level of technique, musicality, and artistry.

Throughout his career, Cobham has extended his pursuit of the cutting edge by fi rst honing his skills in a variety of ensembles as diverse and dis-parate as: the St. Catherine’s Queensman drum and bugle corps; The United States Army Band; fusion group Dreams, featuring the Brecker broth-

ers; the Mahavishnu Orchestra as well as an in-credible group of legendary musicians like Miles Davis, George Benson, George Duke, Tony Wil-liams, and on and on… His diverse background and big heart also brought him to the charity work in Santos, Brazil to help children with autism, as well as homeless children. He says, “It was inevi-table that I would fi nd myself working with them – some of the brightest minds harboring raw talent that I have ever witnessed to date. The shame of it

all was that many would never have the opportunity to use their gift.”

The consistent theme that we’ve seen among many of the artists fea-tured on our cover is the continued thirst for knowledge and education which Cobham typifi es. He has tak-en this desire, along with a certain fl air for taking risks in his music, to his brilliant drum style as well as his excellent compositional skills. Billy has no doubt infl uenced legions of drummers who bought their fi rst kits after hearing his thunderous riffs, but also helped to move them from rock to jazz as he helped to

bridge this musical chasm. As a fi nal note, if you haven’t signed up for

the fi rst annual JEN conference at the University of Missouri in St. Louis, don’t miss out! There is a wonderful line up of jazz greats, including The Clayton Brothers Quintet, Bob Mitzer, Bob-by Shew, Marvin Stamm, Ndugu Chancler, and so many others. Check out the JEN Web site at: www.JazzEdNet.org.

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

Pursuit of the Cutting Edge

The consistent theme that we’ve

seen among many of the artists fea-

tured on our cover is the continued thirst for knowledge and education which Cobham typifi es.

4 JAZZed March 2010

[email protected]

JAZ_4 4JAZ_4 4 3/10/10 10:28:41 AM3/10/10 10:28:41 AM

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6 JAZZed March 2010

n February 4th jazz bassist Stanley Clarke joined Disney Youth Programs and the Grammy Founda-tion at the Grammy Museum in Los Angeles for the unveiling of one-of-a-kind hand-painted string basses, designed to celebrate the 25th anniversary

of Disney Magic Music Days. The instruments were designed and painted by Walt Disney Animation Studio artists.

The instruments are now on display separately at music and art museums across the U.S. Following the tour, the bass-es will be auctioned by Julien’s Auctions with proceeds ben-efi ting the music education programs of the Grammy Founda-tion, which works to bring national attention to the value and impact of music and arts education. The Foundation will as-sist in the auction and will distribute funds to various school music programs around the U.S.

For more information, visit www.disneyartformusic.com.

noteworthyDisney Art for Music

O

Eau Claire Jazz Festival Lineuphe guest artist lineup for the 43rd Annual Eau Claire Jazz Festival includes Grammy-

winning trumpeter Nicholas Payton; saxophonist Kenni Holmen; violinist Randy Sabien; cellist Matt Turner; alto saxophonist Richie Cole; and jazz vo-calists Connie Evingson; and Fred Steele. Events are slated for a variety of area venues April 15-18 and are sponsored in part by the University of Wis-consin-Eau Claire.

The April 15th opening reception will turn Eau Claire’s Haymarket Grill into a jazz club when vocalist Fred Steele, backed by a UW-Eau Claire

Jazz I combo, performs. The Connie Evingson Vocal Jazz Concert will be held at 7:30 p.m. on April 15th at the State Theatre in Eau Claire. Payton and Holmen will perform in the Jazz Takes Center Stage Concert on April 16th and the Spotlight on Jazz Concert on April 17, both at Eau Claire Memorial High School. The April 18th Jazz Fi-nale, featuring violinist Randy Sabien and cellist Matt Turner, is slated for 2 p.m. at the Heyde Center for the Arts in Chippewa Falls.

For ticket information and an events schedule, visit www.eauclairejazz.com.

T

Disney animator Claire Keane & Stanley Clarke.

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noteworthy

JAZZed March 2010 7

noteworthyMarsalis Pays Tribute to SaintsWynton Marsalis created a special tribute with music and words to The New Or-leans Saints and his beloved city of New Orleans. The video streamed live on February 12th on his Facebook page and the Ustream Channel. The tribute was also featured on the CBS network’s pre-game studio show for Super Bowl XLIV. Marsalis’ recitation was recorded in Frederick P. Rose Hall, home of Jazz at Lincoln Center. The segment was designed to capture the spirit of New Orleans and the meaning of the Saints to the city. Marsalis, whose father took him to the very fi rst Saints game when he was six years old, has been a life-long Saints fan.

To fi nd out more, visit www.wyntonmarsalis.org.

“From Ella to Mandela”The Chicago Jazz Philharmonic (CJP), in partnership with the Auditorium Theatre of Roosevelt University, continues its 2009-2010 concert season on March 11 with “From Ella to Mandela: The Legacy of the African and American Spirit.” This sec-ond concert of its season will present a musical exploration of the contributions of American jazz female vocalists, juxtaposed to the South African experience in a reprise of the Nelson Mandela inspired suite, “Hope in Action.”

The program will include the Chicago Jazz Philharmonic’s full orchestra and will feature three of Chicago’s vocalists, Dee Alexander, Terisa Griffi n, and Mag-

gie Brown, giving trib-ute to the legacies of Ella Fitzgerald, Sarah Vaughn, and Billie Holiday. CJP will present its “Hope in Action” reprise during the second half of the pro-gram. In honor of Nelson Mandela’s 90th birthday celebration, ”Hope in Ac-tion” originally premiered July 21, 2008 on the Pritz-ker Pavilion Stage at Mil-lennium Park Chicago, to

an audience of approximately 10,000. The work weaves jazz, classical, and South African inspired melodies, interspersed with moments of inspirational oration taken from Mandela’s speeches. It will feature celebrated Chicago saxophonists Ari Brown and Ernest Dawkins, special guest orator, actress and Chicago native, T’Keyah Crystal Keymah, and will culminate with a grand chorus featuring Soul Children of Chicago.

For more information, visit www.chijazzphil.org.

Charles Mingus Competition Winners

Sue Mingus and Justin DiCioccio, producers of the Charles Mingus Fes-tival, recently announced the winners of the second annual Charles Mingus High School Competition. Participat-ing in the competition were some of the country’s most talented young jazz musicians. Twelve big bands and com-bos competed in the day-long compe-tition representing schools from Cali-fornia to Massachusetts.

Awards were given in two catego-ries for each of the combo and big band performances - one for regular

high schools and one for specialized performing arts schools. In addition, a number of outstanding soloist awards were given. The judges for the compe-tition included Gunther Schuller, Vin-cent Herring, and Andrew Homzy for the combo category, and Justin DiCioc-cio, Conrad Herwig, and Boris Kozlov for the big band category. ,

For more information, visit www.mingusmingusmingus.com.

Festival Organizers Justin DiCioccio &

Sue Mingus.

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Stanford Jazz Workshop Videos

Stanford Jazz Workshop (SJW), the jazz education non-profi t at Stanford University, has produced six educational video clips for their Web site. The videos, which were fi lmed at the Workshop’s fl agship Jazz Camp & Jazz Residency sum-mer programs, represent the organi-zation’s fi rst foray into video content for the Web, and were facilitated in part by an Arts Enhance grant awarded by Arts Council Silicon Valley.

Working with existing foot-age shot at the 2008 Stanford Jazz Workshop for archival purposes, communications director Laura G Thorne solicited recommendations from SJW’s artistic and executive director Jim Nadel and education program coordinator Ivor Holloway to create clips with the most signifi cant po-tential to inform viewers who may or may not be already familiar with jazz or the Workshop. After a comprehensive review process, recordings featuring four of SJW’s faculty, Andrew Speight, Ndugu Chancler, Yosvany Terry, and Victor Lin, were chosen for the project, representing a range of subject matter covering vari-ous topics including an impromptu arrangement of the jazz classic “Night Train” and the use of diatonic scales in jazz.

To view the videos, visit www.stanfordjazz.org.

8 JAZZed March 2010

noteworthy

NAMM Program to Support Music Careers

The NAMM Foundation is now accepting applications for consideration for a William R. Gard Memorial Scholarship. The deadline for submitting an application is March 31, 2010. Employees of NAMM Member companies who are pursuing education or careers in the music products industry are encouraged to review grant guidelines and submit an online application. The William R. Gard Memorial Scholarship was established by the National As-sociation of Music Merchants (NAMM) in an effort to encourage individuals to pursue education and careers in the music products industry. Named for a former NAMM executive vice president, the Gard Scholarship is available to employees of NAMM Member fi rms. Applicants must be employed by a NAMM Member company and have worked a minimum of 400 hours with the company over the past 12 months.

To apply, visit www.nammfoundation.org.

SUMMER AT

EASTMAN2010

Jazz on the Classical GuitarJuly 22-24GENE BERTONCINIWITH BOB SNEIDER AND STUDENT GUESTS

“A master at the height of his powers” – Fred Hersch

Study and share Gene’s deep insights into improvisation, reading, and arranging for solo performance and accompanying.

Summer Jazz StudiesJune 27 – July 9 HAROLD DANKO, JEFF CAMPBELL, DIRECTORS

For high school students in grades 9-12

This intensive, performance-based program is ideal for students considering jazz studies at the collegiate level. Work directly with Eastman’s renowned jazz faculty, and enhance your improvisational and ensemble skills.

Middle School Instrumental JazzJuly 26-August 6HOWARD POTTER, PAUL HOFMANN, BILL TIBERIO

For students entering grades 7-10

www.esm.rochester.edu/summer

For further course details and a full listing of all courses visit the Summer at Eastman 2010 website

JAZ_8 8JAZ_8 8 3/10/10 10:29:48 AM3/10/10 10:29:48 AM

www.esm.rochester.edu

“Without a doubt, this is the best trumpet I’ve ever played.”

More professionals are playing XO by Jupiter.It’s time to find out why…

Educator, Author, Recording Artist, and Lead Trumpet with the Orchestras of Harry Connick, Jr., Maynard Ferguson, Woody Herman, Jazz at Lincoln Center and Ray Charles. http://RogerIngram.com

Once you try an XO professional trumpet, you will discover what more professionals already know. XO instruments not only perform to the highest standards, they outperform them as well.

Ask your dealer to show the complete line of B �, C and piccolo trumpets.

XO by Jupiter. Professional. By Design.

• Key of Bb, Medium-Large .459” Bore, Medium-.453” Bore, Large-.462” Bore, standard or reverse leadpipe

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• Flugelhorn, Key of B �, .413” Bore, French-style tuning slide

Roger performs exclusively on the new XO 1600I Trumpet.

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www.jupitermusic.com

10 JAZZed March 2010

1. “Peanut Brittle Brigade (March)” (Off of Three Suites) – Duke Ellington“The swingiest holiday music ever!”

2. “A Quiet Place” (Off of Take 6) – Take 6“Arguably the greatest acapella group ever. One of my favorite songs.”

3. “Crisis” (Off of Mosiac) – Art Blakey“Art Blakey is one of my favorite drummers. His feel is unfor-gettable.”

4. “Allegro” (Off of Bartók: Concerto for Orchestra; Music for Strings, Percussion and Celesta) – Bela Bartok“This is a patina of sound and texture. This is a masterpiece of orchestration.”

5. “Temperance” (Off of Taking Charge) – Wynton Kelly“Wynton Kelly, Paul Chambers, and Philly Jo Jones. One of the greatest trios ever to play jazz.”

6. “The Death Of Jazz” (Off of The Majesty of the Blues) – Wyn-ton Marsalis“This album connected the past and present of Jazz music. The solos are soulful, modern and intricate.”

7. “No Way, No Way (You Won’t Lose)” (Off of Pages of Life: Chapters 1 & 2) – Fred Hammond “Soulful, soulful, soulful. There is a higher power!”

8. “Now’s The Time” (Off of The Essential Charlie Parker) – Charlie Parker

“This is pure improvisational genius!”

9. “Passion Dance” (Off of The Real McCoy) – McCoy Tyner“One of my all time favorites! The performance and solos are life changing!”

10. “One Finger Snap” (Off of Empyrean Isles) – Herbie Hancock“I really love the sound of this album. The late Freddie Hubbard’s (trumpet) playing on this album is amazing. Truly an all-star ensemble!”

A prodigious talent since childhood, Ali

Jackson is one of jazz’s premier drummers,

as well as a leading advocate of jazz/music

education.

A long list of credits includes performances

and recordings with the likes of Aretha Frank-

lin, George Benson, Wynton Marsalis, Joshua

Redmond, and many others. Currently the

drummer for the Lincoln Center Jazz Orches-

tra, Ali also is featured in the Wynton Marsa-

lis Quintet, Horns in the Hood, and the Ali

Jackson Quartet.

Ali Jackson’s most recent disc was 2008’s

well-received Wheelz Keep Rollin’ (Bigwenzee

Music).

What’s on Your Playlist?

www.alidrums.com

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JAZ_11 11JAZ_11 11 3/10/10 10:52:41 AM3/10/10 10:52:41 AM

www.JodyJazz.com


lessons learned CONCERT SERIES

An Evolution of Partnerships:THE MILT HINTON JAZZ PERSPECTIVES CONCERT SERIES

To produce and sustain a successful jazz concert series over a period of 18 years, especially in a big city, commuter college educational setting, requires not only great musicians, it also requires effective partnerships within and outside the insti-tution. At Baruch College (the City University of New York), a combination of collaborations helped launch and has sus-tained the Milt Hinton Jazz Perspectives concert series since 1992.

BY EUGENE MARLOW, PH.D.

The Hinton Jazz Series’ InceptionIn 1992, Baruch alum Aaron Silberman,

founder and CEO of the American Thermo-plastics Company (Pittsburgh, Pennsylvania) and a long-standing Baruch College board

member, made a generous contribution of $20,000 to support a jazz concert series at Baruch College. A clarinetist by avocation and a jazz aficionado, Silberman wished to bring to Baruch accomplished jazz artists who, through workshop/lectures and performance, would inform and provide an educational and musical aesthetic for Baruch students and fac-ulty in particular, and the Baruch community in general.

It was a natural that the series was named in honor of bassist Milt “the Judge” Hinton who, for many years, led a Monday afternoon jazz workshop at Baruch.

An Evolution of PartnersA committee was formed in 1992 to ad-

ministrate and curate an annual jazz concert in Hinton’s name. I was fortunate to be asked to join the Committee as one of its original members. Today the Hinton committee con-sists of professors from various departments, administrators, and, from time-to-time, a stu-

JAZ_12 12JAZ_12 12 3/10/10 10:32:01 AM3/10/10 10:32:01 AM

lessons learned

JAZZed March 2010 13

dent from within the College’s Weiss-man School of Arts and Sciences. All have a high interest in jazz as America’s indigenous music.

Over time, the committee has part-nered with several Baruch alums, main-tained a close working relationship with the Dean of the Weissman School of Arts Sciences (one of Baruch’s three schools), the Baruch College Fund, the College’s Sidney Mishkin Art Gallery, the Baruch Performing Arts Center, the College’s press office and mailroom staff, the Buildings & Grounds Depart-ment, and the Security office, among other college functions. The Committee has also partnered with outside orga-nizations, such as the Jazz Journalists Association, Chamber Music America, the Manhattan School of Music, and numerous New York City jazz clubs for speaker and musician contacts.

Nurturing and maintaining these partnerships is an on-going effort all in the service of ensuring the concert se-ries named in Milt Hinton’s honor con-tinues to have a life.

The ConcertsThe November 1992 inaugural con-

cert starred Hinton, himself, together with his picks for an “All-Star” en-semble: Seldon Powell (saxophone), Bob Rosengarden (drums), Mike Wal-ters (saxophone and woodwinds), Derek Smith (piano), Jay D’Amico (pi-ano), Mike Grey (trombone), and John “Bucky” Pizzarelli (guitar).

This magical first concert in Mason Hall auditorium, the college’s ground floor 600+seat auditorium in its land-mark 23rd Street/Lexington Avenue building, saw famed trumpeter Wyn-ton Marsalis join the group during the concert’s second half. Mason Hall was packed. We could not have asked for a more successful first concert.

Since 1992 the series has hosted a range of jazz musicians and groups, from well known to up and coming, from duos and trios to big band, straight ahead jazz to R&B, bluegrass to Afro-

Cuban. We have even mounted concerts featuring zydeco and “crossover” styles. Identifying and contracting with jazz musicians in New York City – called by some the jazz capital of the world – is the easy part. The difficult part is everything else.

A Passing, A New Build-ing, New Challenges

On December 19, 2000, be-loved Milt Hinton, who attend-ed virtually all of the annual concerts since 1992 as a very special guest, passed away. We

had always reserved front row center seats for him and his wife, Mona. She continued to come to the concerts until illness prevented her from at-tending. She passed in 2008.

In early September 2001, Baruch College opened its Vertical Campus two blocks from the College’s landmark 23rd Street Building. The opening of the Vertical Cam-pus marked a significant change for the College and the Hinton series. The flow of students and faculty gradually changed.

Turtle Island String Quartet

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Prior to the 2002-2003 academic year all annual Hinton concerts were held in Mason Hall, usually in Novem-ber at 1 p.m. on a Thursday – so-called “club hours” when no classes are of-fered. Even if students and faculty had not planned to attend the concert, hearing the sounds of the performers

through the doors of the ground fl oor auditorium drew them in. The move of student classes and faculty offi ces to a new building only two blocks away, however, presented new challenges. Even though we ramped up promotion activities, we began to see an eventual change in audience size.

In response, the Hinton Committee – now headed by myself (since 2000) and co-chair Gary Hentzi, Associate Dean of the Weissman School of Arts and Sciences – saw the need to change the series’ “perceived value.” It was increasingly apparent future funding would be a “challenge.” While seem-ingly counter-intuitive, part of the answer was to expand the series from an annual event to four per year while maintaining the same level of funding. This meant smaller groups, concomi-tant smaller performance fees, and ul-timately cozier venues, but the overall

impact and impression was a more fre-quent, more benefi cial contribution to the College’s mission.

The Committee re-shaped concert scheduling. Starting with the 2002-2003 season, we strategically part-nered with annual themes. For ex-ample, while the fi rst fall concert now usually took place in October, a second event was scheduled in early Decem-ber to coincide with the holidays. A third concert took place in February to coincide with Black History Month, and a fourth was scheduled for April during Jazz Appreciation Month. We also planned early evening concerts, in addition to club-hours presentations.

We experimented with several cam-pus venues to attract students, ultimately deciding on the 175-seat Engelman Re-cital Hall, located in the lower level of the Vertical Campus. The hall offered numerous advantages, including a mint-condition Steinway Concert Grand, a plentitude of dressing rooms close to the stage, a Green Room, and outstanding acoustics. A New York Times music critic called Engelman “…one of the best recital halls in the city.” We have hosted smalls groups there quite successfully, includ-ing Grammy-nominee R&B singer Carla Cook who presented us with our fi rst “sold-out” SRO performance in the Verti-cal Campus, and the Turtle Island String Quartet that won the 2006 Grammy for best “crossover album” just one week before their scheduled performance. Again, a sold-out performance. In Engel-man we have also hosted sextets, octets, even the 19-piece Manhattan School of Music Afro-Cuban Jazz Orchestra under the direction of multi-Grammy nominee Bobby Sanabria.

Around this time Paul Ash, a Baruch College alum, and Chairman of Sam Ash Music, became another partner. He generously donated a brand new drum kit and a bass amp for specifi c use by Hinton concert musicians.

A Shift In EmphasisThe 15th season ended with a lec-

ture/demonstration on legendary pia-

lessons learned

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www.summerjazz.utoledo.edu

lessons learned


nist Art Tatum given by yet another Baruch alum, Arnold Laubich. This lecture was also part experiment. We perceived a need to create an even stronger link between the Hinton se-ries and the Weissman School of Arts and Sciences’ pedagogical mission. We began to plan in the direction of lecture/demonstrations as opposed to purely performance-oriented events.

We also began to program broader variety. For example, the 2008-2009 season (#17) focused on performers who refl ected the “globalness” of jazz: Indian-born jazz guitarist Rez Abassi and his trio; Italian-born vocalist Ro-berta Gambarini and her trio; multi-Grammy nominee Nuyorican drummer Bobby Sanabria who delivered his mas-terful “clavé celebration” lecture/dem-onstration; and Columbian-born jazz harpist Edmar Castaneda (with trio).

BPAC: A Marketing and Media Partner

A signifi cant change in our market-ing modus operandi evolved simul-taneous to the opening of Baruch’s Vertical Campus in September 2001: the creation of the Baruch Perform-ing Arts Center (BPAC). The Hinton Committee readily accepted the con-cept that the concert series should partner with and be placed under BPAC’s “event” umbrella because of its strength in marketing, promo-tion, and stagecraft. Prior, Com-mittee members handled all these functions. The Committee, together with BPAC’s Managing Director, John Malatesta, and his staff, has forged a mutually advantageous collaborative relationship. The Hinton Committee selects, contacts, and negotiates with

jazz performers. We also host each concert. In turn, BPAC provides the facility and stage and house crew for a performance, contract and check payment preparation, and much needed marketing.

10TH ANNUAL

summer jazz workshop at Crossroads School for Arts & Sciencesin Santa Monica, California

A six-week program for students entering 6th–12th grade designed to enhance a young musician’s knowledge and skills in jazz music.

Ensembles will perform at venues in Los Angeles and at Disneyland.

Guest artists have included Peter Erskine, Marcus Miller, Danny Gottlieb, and James Newton Howard.

Jazz is alive and well at Crossroads, so come and be a part of it!

for dates and program information visit us at www.xrds.org

STANFORD JAZZWORKSHOP

S U M M E R 2 0 1 0

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www.stanfordjazz.org

www.xrds.org


Our partnership with BPAC has also extended our audience base. In addi-tion to Baruch students, faculty, and administration, the Hinton series now attracts larger community audiences.

Ensuring an audience for each event has been a matter of effec-tive promotion partners. Concerts/events receive advanced publicity in The Ticker, Baruch College’s student newspaper. BPAC organizes the de-sign and reproduction of postcards distributed to all 500+ faculty and administration at the College, as well as throughout the City Univer-sity of New York system. Four-color posters are displayed at key junc-tures on the Baruch College cam-pus. Smaller versions of the concert poster are distributed on each floor of the Vertical Campus.

An electronic news release pre-pared by myself is distributed via email to various internal and ex-ternal promotion outlets, including a College web site dedicated to the Hinton series. The news release is also sent to Baruch College’s manag-er of press relations who places the concert information with various newspaper and magazine calendar editors. The news release headline is also posted on the college’s internal electronic bulletin boards, a system of flat-screen monitors throughout the Vertical Campus building, man-aged by the College’s Office of Stu-dent Development.

The Committee also partners with professors. By cross-referenc-ing course schedules with scheduled Hinton events, we encourage profes-sors to assign each concert/event to their respective classes as an extra credit writing assignment or as an assignment for the entire class. This strategy directly ties into Baruch’s overall mission of exposing students to broader cultural opportunities.

The 18th Season: More Ad-justments

As of this writing, America is still in the throes of the worst recession in its economic history since the Great De-pression of the 1930s. When the Hin-ton Committee met in the fall of 2008

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JAZ_16 16JAZ_16 16 3/10/10 10:32:35 AM3/10/10 10:32:35 AM

www.arborsrecords.com


to begin considering the 18th season it was apparent then it was going to be fi nancially challenging; we would have to be prepared to make adjust-ments. Sure enough, in early 2009 we met with the Weissman School’s Dean, Jeffrey Peck, to talk about prob-able budget cuts for the forthcoming 2009-2010 academic year.

We were prepared. Prior to this meeting the Committee had a Plan B: a four-event season, this one, equally divided between performances (Trio Da Paz and the Andy LaVerne/John Abercrombie Duo) and two lecture/demonstrations (the four-hour PBS documentary “Latin Music USA” with Bobby Sanabria and “The Blues As It Lives Today” with Jazz Journal-ists Association President Howard Mandel). The Dean appreciated our cooperative response.

People Partnerships Make It Happen

In truth, the Committee could not have mounted an 18th season or start-ed planning for a 19th were it not for the support of the College’s adminis-tration. Fact is, even though our bud-get has been curtailed and this may be a budgetary fact of life for the next couple of years, there is strong sup-port for the series at the top. It is no accident. Committee members, both emeritus and current, have worked hard in the last 18 years to create and nurture partnerships within and outside the College. Without these numerous on-going partnerships and collaborations, the Series would have faltered. The Hinton Committee looks forward to many more seasons to come.

Eugene Marlow, Ph.D., is a professor in the Department of Journalism and the Writing Professions, Baruch College, the City University of New York. He was among the original members of the Hinton Committee formed in 1992 to organize jazz concerts in Milt Hinton’s name. He became co-chair in 2000. Dr. Marlow, himself a jazz pianist and composer of over 200 jazz and classical compositions with five CDs on his resume, has taught a range of courses in media and culture at Baruch since 1988.

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www.music.unt.edu/jazz


1. MelodyFrom an accurate lead sheet, play

through the melody from three to 10 times with a metronome set to a medium tempo.

After you fi nd yourself playing the song while not really reading the notes anymore, turn the sheet over and play it again from memory. If you make a mistake, just continue playing to the end of the melody.

If you weren’t able to play all of the melody correctly, try to play through the part where you made the mistake, still without looking at the lead sheet. If you can’t play it correctly without looking at the music, turn the lead sheet over, take a look at the area in question, play through that part two to four times, and then cover up the sheet music and play that section of the song again from memory.

If successful, play through the en-tire melody from memory again. If not, play the part where you made the mistake, from the sheet again fi ve to 10 times and again without looking at the music, and then try to play the whole song from memory once again.

Repeat this sequence until you’re completely comfortable playing the song from memory.

basic training L E A R N I N G A J A Z Z T U N E

Learn a Jazz Tune in Three StepsBY ED HARLOW

2. Chord rootsNow turn the lead sheet over so you can see the melody and chords

again.With a metronome, play through the roots of the chords in time.You could simply play quarter notes, or make up a syncopated

rhythm as illustrated in this example:While playing chord roots may not be as overtly compelling as the

typical melody, you will fi nd that they very often carry a sublime in-terest and charm in themselves. This is especially true of songs with

unusual progressions such as “Stella by Starlight,” “I Remember You,” and “Invitation.”

Memorize the roots of the chords in the same manner as you memo-rized the melody. Again, if you make a mistake go back as many times as is necessary to be able to play it from memory.

3. Chord qualities Take a look at the lead sheet again and play 1, 3, 5 of each chord.

For example:Play this pattern through the chord changes three to 10 times at

a moderate metronome setting. Chordal and rhythmic accuracy along

JAZ_18 18JAZ_18 18 3/10/10 10:33:24 AM3/10/10 10:33:24 AM


basic training

with feel is the goal here, not speed. Once you’ve memorized this pattern, try a new one, such as 1, 7, 3.

There are an abundance of permutations that are possible.* You might spend hours, days, or even weeks on one song when you apply a multitude of permuta-tions to a song’s chord progression. This is a good exercise for your fi ngers, ears, and mind. The more variety of ways you play the chords, the better you will know the song and the chords themselves.

As you use this method, each successive song that you learn will come more quickly than the one before as your mind becomes more familiar with the process and the different types of chords.

Apply this method to any song, and you will be able to play the melody and improvise over it from a position of melodic and chordal knowledge. Couple this with broader musical experience, and you’ll be able to offer a relaxed and natural musical performance.

1, 3, 5, 73, 5, 7, 97, 3, 57, 3, 91, 2, 3, 4, 55, 4, 3, 2, 11, 10, 71, 10, 5et cetera

Composer and saxophonist Ed Harlow has played with Tony Bennett, Paquito D’Rivera, and the orchestras of Glenn Miller, Artie Shaw, and Tommy Dorsey. An alumnus of New England Conservatory, Harlow publishes his original compositions through Advance Music.

MADE IN THE USA

*

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www.bariwoodwind.com

Our network is growing

Dear Friends, Everywhere I go people tell me how impressed they are that JEN is growing so quickly! I attribute that

totally to this African proverb that stresses working TOGETHER for the benefi t of all. In existence less than two years, the JEN Board of Directors is PROUD to produce a quality conference this spring. You will not want to miss this…come for the weekend or only a day! We have an impressive list of headliners, clinicians and

school ensembles lined up for you. If you haven’t already, register online now at www.JazzEdNet.org to attend

this exciting and historic conference. The fi rst 500 members to register at the early bird rate receive priority seating at evening concerts. Order your ticket online for the fun Meet Me in St. Louis Celebration prior to the Friday night concert that will feature the favorite, tasty foods of the area complete with local wines and brews… the Jazz St. Louis All Stars will perform for your listening pleasure! I can’t wait to see you at the fi rst annual Jazz Education Network Conference to be held May 20-22, 2010 at the University of Missouri St. Louis

Sun, fun and jazz! I just returned from the Puerto Vallarta Jazz Festival, a JEN endorsed event held over Presi-dent’s Day weekend annually. The jazz bands/choirs in attendance were of outstanding quality and were received by the locals and tourists with great applause and appreciation. I met with the presidente de municipale (mayor) and el director de turismo and they are supporting the jazz festival in hopes that it will evolve into a major cultural event. This is an event that I started as a result of my work with the Highland Park/Puerto Vallarta Sister Cities committees and traveling to perform there successfully with student groups from my high school. It made sense to me to offer this wonderful experience to other quality school/university groups and at the same time, bring more jazz and com-merce to PV. The young musicians also performed for local students and brought along a variety of school supplies to leave for the needy schools. I have never seen more smiles on faces throughout the weekend! One student com-mented, “Ms. Papich, this was the best weekend of my life!” For more info, see the Networthy News section. It’s hard to beat sunshine, palm trees and a huge happy crowd for which to perform in February!

Thanks to all of you who applied for nominations to the JEN Board of Directors. There have been many capable applicants. Now the Nomination Committee will review them and propose a slate to the membership so the new board members can take offi ce by July 1st. Thanks for the continued support of new JEN leadership.

By the time you read this I may be on my way to South Africa to spread the JEN word at the South African Jazz Education Conference. Also presenting will be Dr. Lou Fischer (President-elect) and Judy Shafer (Columbus Jazz Arts Group). JEN is growing globally with members now in 15 countries! Special thanks to Mike and Diane Rossi at University of Capetown for their continued support!

In the spirit of excellence and with the advancement of jazz education always in mind…I look forward to work-ing with you and for you. See you in St. Louis, if not before!

Mary Jo Papich President, Jazz Education Network

Interim Fine Arts Director Niles School District 219

5701 W. Oakton St. Skokie, IL 60077

847-626-2050/2560 [email protected]

or1601 Oakwood #101

Highland Park, IL 60035

JAZZ EDUCATION NETWORKA MESSAGE FROM JEN PRESIDENT MARY JO PAPICHMarch, 2010“If you want to go quickly, go alone. If you want to go far, go together.” – African Proverb

www.JazzEdNet.org

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

President’s LogMarch 5-6 BOA National Hon-ors bandMarch 28-30 SAJE Conference – University of Cape Town, SAApril 2-4 Cape Town Jazz Fes-tival – South AfricaApril 6-8 Brubeck Festival at Brubeck Institute – Stockton, CAMay 20-22 1st Annual JEN Conference – St. Louis, MO

JEN Board of Directors: Ruben Alvarez, Paul Chiaravalle, John Clayton –Vice President, Steve Crissinger – Webmaster, Jose Diaz, Lou Fischer – President Elect, Rick Kessel, Jackie Harris – Secretary, Mary Jo Papich – President, Paris Rutherford, Bruce Silva, Bob Sinicrope, Ter-rell Stafford, Andrew Surmani – Treasurer, Jim Widner, John Wittmann.

JAZ_20 20JAZ_20 20 3/10/10 1:11:54 PM3/10/10 1:11:54 PM


networthynewsBe sure and stop by to say HELLO and catch up on the latest plans about the up-

coming fi rst annual conference to be held at the beautiful University of Missouri- St. Louis May 20-22nd, 2010. Have you registered yet? Visit www.JazzEdNet.org today!


The 2nd Annual Puerto Vallarta Jazz Festival partici-pants performed for thousands of locals and tourists at the Los Arcos Ampitheatre on the Malechon in perfect weath-er Feb.12–15 in sunny Mexico! The outstanding groups and their directors were: Crescent Jazz Institute’s “La Onda Caribena” – CALEB CHAPMAN (UT), Herbert Hoover High School Jazz Or-chestra and String Ensemble – CRAIG KUPKA, Niles North High School “Take One” – DAN GREGERMAN (IL), Niles West High school “Guys and Dolls” – AMY BRANAHL (IL), DAN KALNES, DAVID LELLO, Southern Nazarene University Jazz Ensem-ble – DR. PHIL MOORE. The JEN endorsed event clini-cians/performers included RUBEN ALVAREZ (IL–Board), DR. SUE CRUSE (TX) , DR. ROBERT MILLER (AZ) and founder/artistic director of the PV Jazz Fest MARY JO PAPICH (IL).

Indiana has become the 34th state to recognize June-teenth as a state holiday or state holiday observance thanks to legislation introduced by State Representative William Crawford and passed by the Indiana legislature.… Con-gratulations to Rep. William Crawford and all those in-volved with this latest accomplishment –

“Indiana joins Texas, Florida, Oklahoma, Delaware, Alaska, Idaho, Iowa, California, Wyoming, Illinois, Missouri, Connecti-cut, Louisiana, New Jersey, New York, Colorado, Arkansas, Or-egon, Kentucky, Michigan, New Mexico, Virginia, Washington State, Tennessee, Massachusetts, North Carolina, West Vir-ginia, South Carolina, Vermont, Nebraska, Kansas, Wisconsin,

Minnesota and the District of Columbia in recognizing the end of enslavement in America,” states Rev. Ronald V. Myers, Sr., M.D., Founder & Chairman of the National Juneteeenth Holiday Campaign and the National Juneteenth Obser-vance Foundation (NJOF). Juneteenth commemorates the day when slaves in the last geographic area in America where slavery existed learned of their freedom. This took place on June 19, 1865, in Galveston, Texas, when Union General Gordon Granger read General Order #3, announc-ing that “all slaves are free” by Proclamation of President Abraham Lincoln. Indianapolis native and JEN member, DR. LARRY RIDLEY, master jazz bassist and Executive Director of the African American Jazz Caucus (AAJC), will be honored for his support for Juneteenth legislation at the annual Indianapolis Juneteenth Jazz & Heritage Festival on June 24th. The festival is part of “June Is Black Music Month!” – CELEBRATE JUNETEENTH JAZZ – “Preserving Our African American Jazz Legacy!” and is in partnership with the National Association of Juneteenth Jazz Presenters (NAJJP).

April 5–10th the grammy nominated CLAYTON BROTHERS QUINTET will be in residence with Jazz St. Louis, according to PHIL DUNLAP (MO), Director of Edu-cation. Throughout the week the quintet will be involved with various schools in the St. Louis area participating in clinics and masterclasses. Phil is heading up JEN Outreach programs/Artists in the Schools during the upcoming con-ference in May.

FREDERICK NOREN (Sweden) is on a mission to de-liver the best of Swedish Jazz to the rest of the world… check out his hot band at http://www.mirrors.nu/… It is worth the listen!!!! Fred will be bringing a talented trio of jazzers to perform at the JEN conference… they are amaz-ing and inspiring!

Introducing Jazz Solos For Bass, Vol. 2 by Lou FischerKendor welcomes well–known jazz educator/bassist

and JEN Co–Founder/President Elect DR. LOU FISCHER (OH–Board) to the Kendor family of writers with his sequel to the bestselling LYNN SEATON (TX) book, Jazz Solos For Bass, Volume 1. This new collection of jazz solos for bass is designed for either acoustic or electric bass playing pizzicato or arco. Ranging in diffi culty from grade 1+ to grade 6, each of these 12 solos is based on standard chord changes in a variety of key signatures, tempi, and styles to

Award winning Jazz Composer CHUCK IWANU-SA’S (MI) latest composition, entitled “What Do You Want?”, was premiered by the Dave McMurdo Jazz

Orchestra on Feb. 15th in Toronto at the REX Jazz

and Blues Bar. The fourteen minute piece features

tenor saxophonists Quinson Nachoff and Kelly Jef-

ferson. Chuck’s compositions have been profes-

sionally performed by bands in Western Australia,

Kazakhstan, and Switzerland, as well as by numer-

ous college and university ensembles. Heralded as

Canada’s “Jazz Big Band of the Year” by The Jazz

Report, the Toronto based Dave McMurdo Jazz Or-

chestra has toured throughout the world with per-

formances from Moscow to New York City.

JAZ_21 21JAZ_21 21 3/10/10 10:35:42 AM3/10/10 10:35:42 AM

networthynewsJAZZ EDUCATION NETWORK

interest and challenge players. Articulation, dynamics, and slur markings are provided. The solos work equally well with or without a rhythm section, and chord symbols are provided. Kendor Bass Solo Item # 14076 online. The Collec-tion contains: BLUES FOR GAYLORD; WAVING; HAWK TALKIN’; L–O–V–E; TAKING THE TRAIN; THERE’S 3 IN THAT 1; KEEP ON SMILING...WHEN; Bb BLUES; ALL THOSE THINGS; RHYTHMING THEM CHANGES; SHUCKIN’ AND JIVIN’; OCEAN


Check it out… a new book… Instrumental Jazz Arranging consists of a sys-tematic presentation of the essential techniques and materials of jazz arranging. Authors MIKE TOMARO (PA) and JOHN WILSON draw upon 50+ years of combined teaching experience to bring you a book that addresses all of the basic needs for beginning arrangers. Topics include counterpoint/linear writing, jazz harmony, compositional techniques, and orchestration. All topics serve to address issues concerned with true arranging in great detail. The book may be used in both individual and classroom instructional situations. The accompany-ing CDs – 170 tracks in all! – include many of the examples in the book, plus templates for assignments formatted for Finale®.

Juilliard Jazz presented the New York premiere of guest faculty member and Juilliard alumnus CHRISTIAN MCBRIDE’S The Movement Revisited, a musical tribute dedicated to civil rights icons Rosa Parks, Muhammad Ali, Malcolm X and Dr. Martin Luther King, Jr. on Tuesday, February 2, 2010 at 8 PM in Juilliard’s Peter Jay Sharp Theater. The Movement Revisited is presented as part of Juilliard’s and Lincoln Center ’s Black History Month Celebration. Its four sec-tions are each dedicated to one of these infl uential fi gures in American history. Mr. McBride was moved by these heroes and felt compelled to write the work. He composed all of the musical selections for the piece, including the narrative and lyrical works. The Movement Revisited is for a 17–piece big band, narra-tors, and a gospel choir.

The University of Kansas School of Music is pleased to present the

33rd annual Jazz Festival March 5–6, 2010, featuring saxophonist KEN-NY GARRETT and trumpeter CARL SAUNDERS. For three decades, the

KU Jazz Festival has been one of the focal points for jazz performance

and education in the central United States. The festival has annually

provided the region with a wonderful opportunity to hear and learn from

world–class jazz musicians and educators. Evening concerts feature a

first–rate lineup of some of the most important and exciting musicians in

the world of contemporary jazz, while daytime clinics and master class-

es with these and other artists allow students and community members

to interact with them outside of the concert hall. For additional informa-

tion about the Jazz Festival visit http://kujazzfestival.com.

The International Women In Jazz association announces their 3rd An-nual Women In Jazz Festival to be held April 18th, 23rd, 24th of 2010 in NYC. For more information visit [email protected]

SHERRIE MARICLE (NY) and DIVA and 5 Play just returned from a big successful tour to Germany. To read about more their latest happen-ings… visit www.Divajazz.com .

NEA Jazz Master CLARK TERRY received the Lifetime Achievement Award from The Recording Acad-emy®. The ceremony was held on Saturday, January 30. The next night, a formal acknowledgement aired on the live Grammy Award broadcast. The Lifetime Achievement Award is just the beginning of a year full of celebrations for Clark Terry’s 90th birthday on De-cember 14, 2010.

Don’t miss these exciting, interest-ing and educational events happen-ing at the Rock and Roll Hall of Fame and Museum in honor of Black His-tory Month, celebrating the Sound of Philadelphia! Please pass this along to your students as well, as they can have a chance to hear living musical legends tell their stories fi rst hand! Find the complete schedule of events at http://www.rockhall.com/public/black–his-tory/. RSVP today to reserve your seat by emailing [email protected] or call 216–515–8426!!

We are looking forward to the great performance by the ARMY BLUES(DC) at the upcoming conference in St. Louis. To get more information on how to become a part of this talented group visit www.goarmy.com/band

Send your NETWORTHY NEWS items to: [email protected]

JAZ_22 22JAZ_22 22 3/10/10 10:35:46 AM3/10/10 10:35:46 AM


Thursday, May 20Brubeck Institute Quintet - Steve Anderson, director

The members of the Br-ubeck Institute Jazz Quintet (BIJQ) are in the Institute’s Fellowship Program. Win-ners of numerous Down-Beat awards, including the 2007 and 2009 awards for best collegiate jazz group in the country, this group has performed in the Monterey Jazz Festival, Playboy Jazz Festival, Brubeck Festival, Detroit Jazz Festival, and others, and have done concerts in Cali-fornia, New York, Washington, Florida, Texas, Chicago, Toronto, Minneapolis, Washington DC, and on a State Department tour in Spain. The members of the 2009-2010 BIJQ are: Nick Frenay, trumpet; Chad Lefkowitz-Brown, alto sax; Noah Kellman, piano; Zach Brown, bass; and Corey Fonville, drums.

Caswell SistersThe riveting performances of the

Caswell Sisters, vocalist Rachel and violinist Sara, are the culmination of years of working together. Their seamless sound combined with their unique interpretation of repertoire ranging from the “Great American Songbook” to contemporary jazz in-cluding their own compositions is propelled by arresting improvisation. The Sisters have given concerts nationwide and continue to pro-vide audiences with electrifying performances through their unique combination of sound and artistry.

The JEN All-Stars Hosted by bassist John Clayton, this promises to be a happening

event featuring a multitude of favorite artists attending the confer-ence. Be certain not to miss the excitement and spontaneous com-bustion created by this group!

The Army Blues “Per-shing’s Own” - CW5 Charles H. Vollherbst, director

The U.S. Army Blues cele-brated its 35th Anniversary in 2007. The Army Blues became an offi cial part of the United States Army Band “Pershing’s Own” in 1972. Over the years

it has evolved into the premier jazz ensemble of the U.S. Army. As a component of The United States Army Band “Pershing’s Own,” the Army Blues is one of the few remaining professional big bands working today. The “Blues” were awarded their fi rst ever “Wammy” (Washington Area Music Awards) in February 2008 for “Blues at Thirty Five.”

Friday, May 21Sixth Wave is an award-winning Los Angeles-based a cappella vocal sextet, whose vibrant sounds span a wide spectrum of styles presented in original arrangements includ-ing jazz, contemporary rock/pop and traditional choral music. Sixth Wave was the 2001 National Har-mony Sweepstakes Champions and currently is highly in demand as festival performers and clinician/educa-tors throughout the U.S. and Canada. Featuring the talents of: Elin Carl-son, Cindy Bourquin, Jennifer Barnes, Greg Whipple, Greg Jasperse, and Eric Bardley, their third and most recent CD recording, Happy Madness, has received critical acclaim for its originality, eclecticism and overall musi-cal integrity.

Rufus Reid OUT FRONT Trio featuring Steve Allee, piano and Duduka Da Fonseca, drums. Rufus Reid’s professional career began in Chicago and continued since 1976 in New York City. His extensive jazz background and discography reads literally like the Who’s Who in jazz. He has traveled, performed and recorded with many of the great Jazz Mas-ters, including: Gene Ammons, Kenny Dorham, Eddie Harris, Sonny Stitt, Don Byas, Philly Joe Jones, Thad Jones, Mel Lewis, Dexter Gordon, Bill Ev-ans, Stan Getz, Dizzy Gillespie, and Art Farmer. The OUT FRONT trio is yet another chapter being written by the world’s truly Evolving Bassist!

University of Missouri - St. Louis Big Band - Jim Wid-ner, director

The UMSL Jazz Ensemble is now in it’s seventh year under the direction of Jim Widner. A highlight each year for this group is serving as the host band for the Greater St. Louis Jazz Festival. Historically, the band has appeared with and shared concerts with such artists as: Clark Terry, Buddy DeFranco, John Pizzarelli Quartet, Bobby Watson, Wayne Bergeron, Lou Marini, Mulgrew Miller, Marilyn Maye, Jon Faddis, Tom Scott, Chris Vadala, Conrad Herwig, Bill Watrous, Shelly Berg and Gordon among many others. Tonight’s concert will feature percussionist Ruben Alvarez, vibro-phonist Stefon Harris and trumpeter Wayne Bergeron, and prom-ises to be a smoking fi nish for the evening!

Evening Concerts at JEN ConferenceEvening Concerts at JEN Conference

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Saturday, May 22Hannes Sigfridsson Trio - Fredrik Noren, director

Contemporary trio jazz with Johan Lindvall, piano; Tom-Eddye Nordén, bass; and Hannes Sigfridsson, drums. As winners of the Swedish Jazz federation youth jazz competition 2009, they are a good example of the standard of young jazz groups in Sweden up to 19 years of age.

Marvin Stamm/Bill Mays Duo combines the talents of two classically-trained masters of Jazz and improvisation who have spent their professional careers at the pinnacle of Jazz performance, with groups like the Stan Ken-ton and Woody Herman big bands, numerous small ensembles, and in the studios of Hol-lywood and New York. In a duo setting, trum-peter Marvin Stamm and pianist Bill Mays ex-plore the beauty, the excitement, the subtlety, and the grace of the world of music - the Great American Songbook, magnifi cent Jazz standards, even music from the classical world - all through the spontaneous interaction of Jazz and documented by their critically acclaimed CD, By Ourselves.

Rosana Eckert & FriendsWith smooth sounds, dynamic spontaneity, exciting rhythms,

and a selfl ess musical sincerity, Rosana Eckert embraces and capti-vates her listeners, taking them on a musical journey that is often described as joyous, breathtaking, and inspiring. Her acclaimed de-

but CD, At the End of the Day, was praised as “an occasion for celebration” by AllAboutJazz.com and “a superior debut.” by Cadence Magazine, and it was a fi nalist for Best New Jazz Album in the 2006 Independent Music Awards. Her new-est CD, Small Hotel, once again showcases her knack for storytelling and her ability to breathe new life into beloved standards with her contem-porary style. Friends include: Shelly Berg, piano; Lou Fischer, bass; Ndugu Chancler, drums; and Gary Eckert, per-cussion.

The Clayton Brothers QuintetThis world-renowned quintet, is

the brain-child of saxophonist Jeff Clayton. According to Jeff, some 30 years ago he and Grammy Award winning brother bassist/composer/ar-ranger John, agreed to support each other’s preferred formats. Jeff’s love of small groups led to the formation of the Quintet. The band’s latest album Brother to Brother was released in November 2008 and is currently nominated for a Grammy award. John Clayton, bass; Jeff Clayton, alto saxophone; Gerald Clayton, piano; Terell Stafford, trumpet; Obed Calvaire, drums. John and Jeff Clayton prove conclusively, that while blood may be thicker than water, it can also carry an unimpeded fl ow of pure creativity.

Tipitina’s Foundation is a New Orleans non-profi t organization that ac-

cepts used instruments to distribute to the schools. (tipitinasfoundation.

org) In their Instruments A Comin’ program, Tipitina’s Foundation has

distributed 2000 instruments to over 55 local schools and in the hands of

deserving students each year... until now. Since the needs of New Orleans’s

schools are no longer in the news, this past year they only obtained 100

instruments to donate to the schools.

Jazz Education Network is sponsoring an instrument donation pro-

gram called “A JENerosity Project” at the upcoming conference in St.

Louis. We are asking conference attendees to bring used instruments

that you are willing to donate to the conference, which will be deliv-

ered to New Orleans where Tipitina’s Foundation can distribute them

to the school music programs. Items such as mouthpieces, jazz and con-

cert band music, music stands, band uniforms and other things related to a

functioning instrumental music program would also be accepted.

New Orleans is the birthplace of jazz and the need is still great for jazz

to thrive there within its own musical community. Tipitina’s Foundation is

already in place with a well-defi ned program of evaluating the requests from

school’s needing instruments. Donating to some other city without a similar

time-tested foundation or mechanism for distribution runs the risk of no

accountability or process to make sure the instruments get to the schools

that need them. The foundation owns all instruments so that if a school

closes or loses its music program, the foundation can re-distribute the in-

struments to other deserving schools. Schools requesting instruments must

have a music program in place with a qualifi ed band director in order to

participate. A letter of receipt for tax purposes will be provided by Tipitina’s

Foundation to donors who request one. Only instruments in playing con-

dition can be accepted since Tipitina’s Foundation has neither funds nor a

process to repair instruments, String instruments are also needed.

Please send an email to [email protected] if you plan to

bring an instrument to the conference or have questions or suggestions.

As many of you know, Hurricane Katrina brought most of the already troubled music education programs in New Orleans to a halt… a permanent halt in many schools. Almost every school mu-sic program ceased when their buildings and all of their school-owned instruments were destroyed by the storm. Few kids in New Orleans owned instruments even before the storm. If the school didn’t provide one, they didn’t play an instrument.

erosityerosity

ProjectProject

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The Jazz Education Network 1st Annual ConferenceThe Jazz Education Network 1st Annual ConferenceUniversity of Missouri – St. Louis

ScheduleMay 20-22, 2010

Thursday, May 20, 2010:

8:00 am – 6:00 pm Registration Open 10:00 am – 12:00 pm Open Board Meeting 12:00 pm – 12:50 pm Dave Robinson & Capital Focus Jazz Band 1:00 pm – 1:50 pm Sperreng Middle School Jazz Band Brian Wyss, director

Bob Mintzer, The Saxophonist in the Rhythm Section

Victor Goines/John Clayton/ Terell Stafford College Entrance Guidance from the Experts

The Future of Online Media Technology in Jazz Cheryl Hughey, clinician 2:00 pm – 2:50 pm Missouri All State Jazz Band

Drop 2 for Pianists & Arrangers Mark Levine, clinician

The Classical String Player: Making the Leap to Jazz Improv Christian Howes, clinician

Management for the Self-Managed and Emerging Artist Gail Boyd, Karen Kennedy, Orbert Davis (Panel Discussion) 3:00 pm – 3:50 pm Who’s Minding the Store! Rufus Reid, clinician

Social Networking for New Artists Rachel Kelly, Marina Terteryan, Andrea Pelloquin Andrew Surmani, moderator 5:00 pm – 7:00 pm JEN Junior Advisory Council JAM

7:30 pm – 10:30 pm EVENING CONCERT- Doors open 7pm 11:00 pm – 1:00 am LATE NIGHT JAM! featuring Gene Perla GO Trio, Christian Howes, Tony Garcia, Mike Tomaro

Friday, May 21, 2010:

8:00 am – 6:00 pm Registration Open 9:00 am – 5:00 pm EXHIBITS OPEN! 9:00 am – 9:50 am Ft. Zumwalt North High School Rob Babel, director

Instrumental Big Band Reading Session Mike Tomaro, presiding featuring the U.S. Army Blues

JAZZ CHOIR: Effective Rehearsal to Stellar Performance Michele Weir, clinician

Jazz for kids/easy and fun! Infusing jazz into elementary music. Sharon Burch & Sherry Luchette, clinicians New Knowledge for Engaging Jazz Audiences Carol Argiro & Christy Farnbauch, clinicians 10:00 am – 10:50 am St. Charles North High School John Wojciechowski, director

Niles North High School TAKE ONE Vocal Jazz Group Dan Gregerman, director

Transcribing Jazz Solos Without Pitches Antonio Garcia, clinician

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10:30 am – 11:20 am Gene Perla - GO Trio

Latin Rhythms: Mystery Unraveled A Practical Approach to Introducing Latin Rhythms to the Jazz Ensemble. Victor Lopez, clinician 11:00 am – 11:50 am Johnston High School Patrick Kearney, director

Arranging for the Jazz Vocal Ensemble Larry Lapin, assisted by Sixth Wave

Traditional Jazz - It’s Not Just for Breakfast Anymore! Dave Robinson, clinician

11:30 am – 12:20 pm Roundtable-Open Discussion on K-8 Judy Shafer, clinician 12:00 pm – 12:50 pm U. of West Georgia Jazz Percussion Ensemble Doug Overmier, director

U. of Northern Iowa Big Band Chris Merz, director

The Care and Feeding of the Trumpet Section Mike Vax, clinician

Listening 101 Get your students to listen to jazz Robert Klevan, clinician 1:00 pm – 2:00 pm VISIT THE EXHIBITS! 1:00 pm – 1:50 pm Jazz St. Louis All Stars Phil Dunlap, director 2:00 pm – 2:50 pm GENERAL SESSION!

3:00 pm – 3:50 pm College of the Mainland Big Band Sparky Koerner, director

John Wojciechowski Jazz Quartet

Singing Jazz: How do you Begin to Learn Your Craft? Lisa Kelly & J.B. Scott, clinicians Breaking the mold: Taking big band writing to the next level. Tim Davies, clinician

4:00 pm – 4:50 pm Marshall University Big Band Ed Bingham, director

Capitol Bones w/Tom Bones Malone

Composition: The Art of Melodic Progression & Reharmonization - Stefon Harris, clinician Marketing Jazz: Programming in the 21st Century Willard Jenkins, moderator 5:00 pm – 7:00 pm JEN Junior Council Jam 5:30 pm – 7:30 pm Meet Me in St. Louis! Celebration! Ticket Required featuring the Jazz St. Louis All-Stars 7:30 pm – 10:30 pm EVENING CONCERT - Doors Open 7pm! 11:00 pm – 1:00 am LATE NIGHT JAM! featuring: Shelly Berg, Ndugu Chancler, Bobby Shew, Bones Malone, Bob Mintzer, and Lou Fischer.

Saturday, May 22, 2010:

8:00 am – 3:00 pm Registration Open 9:00 am – 4:00 pm EXHIBITS OPEN! 9:00 am – 9:50 am Austin Academy Margaret Wis, director

The Adam Larson Quintet

Anyone Can Improvise Jamey Aebersold, clinician

Think Jazz Ensemble 24:7 Pete Barenbregge, clinician

“Digital Magic” Seamlessly From ‘Live’ Recording (to MP3) to Web Posting in Minutes John Kuzmich, clinician 10:00 am – 10:50 am Hannibal High School T. J. Panula, director

The Evolution of Jazz Music in the 21st Century Panel Discussion: Gerald Clayton, Stefon Harris

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Deal-Hannes Sigfridsson Trio Fredrik Noren, director

The ALIVE Project: Jazz Education via Distance Learning Alan Molnar & Stewart Smith, clinicians 10:30 am – 11:20am Where are the Girls? Ariel Alexander, clinician

11:00 am – 11:50 am Tinley Park High School Vincent Aiello, director

Jerry Tolson Quintet

JEN Student Composition Forum Dave Fodor, clinician 12:00 pm – 12:50 pm Webster Groves High School Kevin Cole, director

Finding the Time: From Swing to Salsa Ndugu Chancler, clinician Phil Brown and the New Arts Jazztet

Advocacy In Action: Tips for Effective advocacy! Richard Victor, clinician

Teaching Jazz History and Appreciation Mark Gridley, clinician 1:00 pm – 2:00 pm VISIT THE EXHIBITS! 1:00 pm – 1:50 pm Milton Academy Jazz Combo Bob Sinicrope, director featuring: Terell Stafford & Ruben Alvarez 2:00 pm – 2:50 pm Metropolitan Area Youth Jazz Orchestra Peter Madsen, director

UCLA Big Band Charley Harrison, director

Chris Merz’ Equilateral Hands On Activities In Jazz for K-8 Students Sherry Luchette, clinician 2:30 pm – 3:20 pm An Afternoon with Ella Fitzgerald Fran Morris Rosman, clinician 3:00 pm – 3:50 pm Columbia College Chicago Combo Scott Hall, director

OslanDailey Jazztet

Jazz improvisation One Step At A Time Dean Sorenson, clinician 4:00 pm – 4:50 pm Abraham Baldwin Agriculture College Donald Coates, director

Get Your Groove On: Latin Rhythm Section Intensive Michael Philip Mossman, clinician

Inventions Trio Marvin Stamm, Bill Mays, Alisa Horn

Tune Learning - A Systematic Method for Memorizing and Retaining the Essential Jazz Repertoire. J.B. Dyas, clinician 4:30 pm – 5:20 pm Downbeat Blindfold Test: Frank Alkyer, clinician 5:00 pm – 5:50 pm University of Alabama Big Band Chris Kozak, director 6:00 pm – 7:00 pm JEN Junior Council Jam 7:30 pm – 10:30 pm EVENING CONCERT - Doors open 7pm 11:00 pm – 1:00 am LATE NIGHT JAM! featuring: Brubeck Quintet, Dean Sorenson, Mike Vax

JAZ_27 27JAZ_27 27 3/10/10 1:12:24 PM3/10/10 1:12:24 PM

28 JAZZed January 2010

Conversations with Billy Cobham

The Musician

JAZ_28 28JAZ_28 28 3/10/10 10:38:59 AM3/10/10 10:38:59 AM

JAZZed January 2010 29

as a Studentby Chaim Burstein

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T hroughout his storied career, Billy Cobham has con-

stantly been one of the most innovative and infl uential

drummers in the world of jazz. Scratch that – Billy Cob-

ham is one of the most innovative and infl uential drummers in

the world, period. In 1968, while on tour with Horace Silver, Cobham played one of the fi rst ever

Electronic Drum Controllers produced by the Meazzi Drum Company. He was also one of the fi rst drummers to play ‘open handed’ (leading with his left hand) – a technique which has infl uenced drummers from Steve Smith to Carter Beauford. Perhaps most importantly, Billy is one of the preeminent drummers to successfully lead his own groups, composing, arranging and directing several ensembles from 1978 to the present.

His playing has infl uenced drummers from all genres who envy his powerful yet precise technique and the undeniable grooves he lays down. With a career that spans over 50 years, not only is Cobham one of the most recognizable names, but also one of the hardest working musicians in the business. He’s played with everyone from Miles Davis and Chick Corea to Peter Gabriel and Santana. As a composer, performer, and bandleader, Cobham is one of the most prolifi c drum-mers to date. Currently, Billy is credited on over 400 albums, over 40 of which are his own. In fact, when JAZZed caught up with Cobham, he was in the middle of rehearsing for his latest project: Palindrome.

“Working with Miles was an opportunity to learn how to become independent in my thinking.”

Despite his busy schedule and in-tense work ethic, Cobham is a laid back, patient, and very thoughtful per-son. Oftentimes, our focus at JAZZed is, understandably, on the “musician as a teacher.” Cobham turned that angle on its head as his focus, in his own musical quest, is on the musician as a student. While Cobham does run clinics, workshops, and master classes all over the world, his ability to push his own comfortable limits, learn new things, and constantly hone his art is admirable. After all, jazz is an ever-evolving art form, and if you aren’t hit-ting the woodshed to learn new things for yourself, what good are you to your own students?

JAZZed: As a young musician, did you have any mentors that helped shape the way you play today?

BC: Not really. There were some people who helped to shape my per-sonality in some ways. One would be Ed Bigton, one would be Grady Tate, one would be Billy Taylor, and another one was a guy named Chris White. They were people who I really respect-ed and are also very special musicians – some of whom are no longer with us.

JAZZed: Who were some of your earliest infl uences?

BC: Oh, Man – Early? Sonny Rol-lins, Miles Davis, John Coltrane, Dizzy Gillespie, Louis Nelson… People like that.

JAZZed: What was it like to work with Miles?

BC: Working with Miles was an opportunity to learn how to become independent in my thinking. By that I mean that he wanted you to think and make decisions that you were respon-sible for. If he said nothing, then they were good decisions. If he had some-thing to say relatively negative, then you knew you made a mistake and it should be something that you don’t do again. I was very fortunate that I had that opportunity to experience, at that level, that kind of freedom.

JAZ_30 30JAZ_30 30 3/10/10 10:39:16 AM3/10/10 10:39:16 AM


JAZZed: Did that opportunity and expe-rience change your playing?

BC: Absolutely! It’s at the founda-tion of what I do to this day. The ob-jective is, at least as a writer, to seek out and to fi nd individuals who can interpret what I have written in the way that I would like. This is due to the fact that I feel in my presentations it might be diffi cult for me to actually play in real time the ideas that I think. So, with that as a base, I try to give them a very strong fundamental pre-sentation. From there, I expect them to not just play that presentation, but to still be independent within the way I present it to them and to expand it to a dimension that they feel much more comfortable with and maybe one that I will feel more comfortable with. That gives us two options. The one that I gave them and the one that they have inside them and this is something that I feel I kind of morphed into after working with Miles.

JAZZed: As a bandleader and musician, how has your approach to playing and lead-ing musicians changed over the years?

BC: I feel that I have matured in terms of making decisions, both quick, for the short term and far, seeing in the long term. I have learned to differen-

tiate between tolerance and authorita-tiveness, when necessary. These traits have helped me through some very in-teresting times over the past 35 years.

JAZZed: How do you approach the writ-ing process? Is it organic or do you force yourself to write new music?

Billy Cobham & Asere

Bringing world-class jazz

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JAZ_31 31JAZ_31 31 3/10/10 10:39:25 AM3/10/10 10:39:25 AM

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BC: I write in an organic way, as I am impressed by the life on and off stage and seek to refl ect these experi-ences through my compositions.

JAZZed: What’s the hardest thing about teaching?

BC: The hardest thing is getting people to accept your dogma.

JAZZed: How do you get over that hurdle?

BC: You don’t get over it. You try to be as instructional as you can so that you can adjust to the personalities which you have to work with. The last thing the world needs is a teacher that is rigid in presenta-tion. What teachers, coaches, or someone who is a consultant must do, and what makes them strong and effective, is have the ability to make their presentation to an individual and get their point across based upon the relationship between the

two. The thing is: everybody’s different. So, you have to fi nd the key, that opens up the lock in the students mind in such a way so that they can understand what you’re presenting to them.

JAZZed: What’s the most fulfi lling thing about teaching?

BC: When you see your ideas put into motion by the student.

JAZZed: Do you have any advice for young musicians?

BC: Have patience. This will take a while.

JAZZed: What up and coming drummers are you currently listening to?

BC: None

JAZZed: Wow. Does that say something about the state of drumming or the state of music today?

BC: No, It says that I am absolutely oblivious to young drummers. I don’t have time to listen to young drummers because I’m just trying to fi nd a gig for myself. I’m not about to go to a club or listen to a record and say, “Wow that guy sounds good. Who is that?” No, more than likely, I’m just trying to fi g-ure out how to do better than I have been doing because I’m a student, too, and I’m constantly trying to hone my craft. If I hear somebody that I like, probably I won’t even go up to them and ask them who they are. If I do fi nd out, it’ll be in passing, for sure. Most of the time, I’m trying to be creative

Billy Cobham and Terri Bozzio, Japan,

2008

I n f o : 970 .920 .4996 o r www . j a z z a s p e n . o r g

viiBand Edition

Admission Deadline April 2, 2010

CHECK: WWW.JAZZASPEN.ORG FOR DETAILS

Alumni, where are you now?

JUNE 23-JULY 3, 2010PRESENTED BY JAZZ ASPEN SNOWMASS

BANDS ONLY NEED APPLY

CHRISTIAN McBRIDE Artistic DirectorLOREN SCHOENBERG Program DirectorCATEGORIES: MAINSTREAM W/ VOCALIST SOUL JAZZ, LATIN JAZZ, GROOVE, WORLD FUSION, NEW ORLEANS

JAZ_32 32JAZ_32 32 3/10/10 10:39:31 AM3/10/10 10:39:31 AM

www.jazzaspen.org


“You have to fi nd the key that opens up the lock in the students’ mind in such a way so that they can understand what you’re presenting to them.”

on my own and come up with things – music or compositions – that con-tinue to represent who I am now based upon my past, so I’m not listening to a whole lot of people.

JAZZed: You mentioned that you think of yourself as a student. As a student, how do you approach learning new tech-niques, skills and music?

BC: I keep my mind open to new ave-nues and approaches to my craft. I believe that understanding what not to do is as important as learning and understanding what to do in any given situation. Analy-sis is key to everything. So, I try to absorb what is said or done and then take my time to understand what is before me be-fore I choose a path in working with it.

JAZZed: What are some of the things that you’re currently working on and how are you approaching them?

BC: I am trying to better grasp the concept of working with south Asian and Caribbean percussion as a base, with vo-cal choral presentation. I intend to pres-ent an example of this concept within the next two years. Also, I’ve been working to further develop my understanding of

music and it’s usage within the realm of Autistic and Down Syndrome Therapy.

JAZZed: You’ve been living across the pond in Switzerland for over 20 years...

BC: Actually, almost about 30 now.

JAZZed: What prompted the move?

BC: Slower pace. I’m not really some-body that’s fast of foot or fast of mind, but I love to think deeply about things before I make a move. In the United States, that’s kind of tough. I fi nd my-self in Europe very much backing away, and going to Europe to view the United States from across the water helped me understand the treasures that are there because the U.S. is extremely rich. I mean, I was brought up in an environ-ment where I could have gone to school and got a Doctorate in music and in the process never left New York. I could have walked to every school all my life and never been farther away than fi ve miles from my home in any direction.

That tends to give you an idea of what’s available in society in the United States. I mean everything – high school, middle school, baseball – everything was there. And that said to me, “You

gotta get out of this secure environ-ment that dictates what the world is all about. Go visit and see for yourself if in fact what the words in the books say about the world is actually true.” So, eventually I made that move.

Remember, when I was a kid, I had books in geography that dictated how and what was China. At the time I was going to school, China was a geograph-ical outline in red with a yellow ham-mer and sickle in the middle. Africa was black and it said, “The Dark Con-tinent,” and it didn’t give the names of any countries! Russia was another yel-low hammer and sickle on a red back-ground with only one city: Moscow. If you believe that, then that sets you off in a specifi c direction. But, if you go and you look for yourself, you’ll fi nd that there are many, many countries that made up what was USSR, and as I have traveled I’ve found that they are all extremely different. They’re as dif-ferent as New Jersey is from Oklahoma! So, the more you know as a musician, the better. You play what you know. So, you have to build and make adjust-ments for the things you haven’t been told and learn to read between the lines as much as possible – that’s what creates unique personalities.

JAZ_33 33JAZ_33 33 3/10/10 10:39:37 AM3/10/10 10:39:37 AM


JAZZed: Speaking of personalities, what qualities do you look for in a musician?

BC: I think there are certain things that are very important about a musician. A good musician has to be very patient – as patient as he possibly can be. He also has to be extremely observant, and he has to be healthy, both mentally and physically. You have to understand that the machine that you’re controlling with your mind is your body and it is impera-tive that both work together very well for the life of the artist. If you can fi nd mu-sicians who do that, you normally fi nd musicians who excel. Most musicians are thinkers who express themselves in specifi c ways because they’ve had time to sit back, think and observe the rest of society and say, “Well, I think I can do this in this particular area.” All of those things are very important qualities.

JAZZed: You were one of the fi rst people to embrace electronic instruments. How has technology affected your craft?

BC: The electronic environment is a platform that allows infi nite creative di-

rections for me. I try to commit to a path within it and expand on this route as best I can without knowing where I am headed but understanding that the concept will be greater than what I had before.

JAZZed: What do you think about the state of Jazz today?

BC: I think that the lines are very clearly cut as to what happens in the jazz environment. It’s gotten to the point where even philosophically – I mean you have band names like, “The Jazz Police” -- people only want to play bebop or they only want to play one specifi c type of jazz and they are aggressively against any other environment that refl ects that par-ticular name. I think that World Music encompasses, or is now the umbrella un-der which, all music is enveloped. Jazz is just but a small, yet extremely rich and intense, concept that lives and leans, in a very real way to the right. Most of the geniuses in music, or at least in modern music today – they kind of slip into that area. The problem with that is, because they’re geniuses, they’re very, very selfi sh people. They only want to hear and talk

about themselves. Then, they require an audience which would be more than one person – which would be themselves – that can justify what they’re talking about! The end result doesn’t change. These guys are the ones who create the fundamental base for everything that we call popular or “pop,” so they’re quite necessary.

JAZZed: What are your future goals as an artist?

BC: To continue to create the mu-sic of my mind and the music of my experiences. The music is a refl ection of where I’ve been, what I’m doing now, and also what my future holds for me. In a certain way, it’s a glimpse into where I’d like to go. Especially when I make blatant mistakes. You know, things I’d like to try to do but for some reason I can’t because I don’t have my head wrapped around it yet. I’m always experimenting and I think that that’s very important and a major requirement in performing this kind of music. Actually, any kind of music, but this kind of music, especially.

JAZ_34 34JAZ_34 34 3/10/10 10:39:44 AM3/10/10 10:39:44 AM

www.batesmeyer.com

JAZ_35 35JAZ_35 35 3/10/10 12:50:22 PM3/10/10 12:50:22 PM

www.dansr.com


In the last issue of JAZZed, I discussed techniques of melodic development in jazz improvisa-

tion for the benefit of the aspiring jazz musician. These included repetition and sequence,

plus repetition and sequence in altered forms such as rhythmic diminution, intervallic dim-

inution, rhythmic augmentation, intervallic augmentation, fragmentation, complete me-

lodic alteration, rhythmic shift, retrograde, melodic inversion, retrograde inversion, chro-

matic alteration, and octave displacement (octave shift). I then demonstrated various ways

in which these compositional techniques might be used in combination in order to achieve

unity in improvisation.

Melodic Embellishment and Ornamentation in JazzBY LEE EVANS

Related to the above is melodic embellishment and ornamentation in jazz, the focus of the current JAZZed article, the material of which will be divided into four categories:

A. Weak beat ornaments.B. Strong or weak beat ornament.C. Other ornamental devices.D. Combinations of devices from the above three categories, by way of the enrichment and development

of a single melodic motive.

A. WEAK BEAT ORNAMENTSPassing tone – a chromatic tone between two adjacent scale tones (Abbreviation: P.T.) (Note that in

traditional usage, half or whole-step scale notes which, in a melody, pass between the tones of a triad or chord are sometimes referred to as passing tones. For the purpose of this article, however, these will be called scale tones. Only half-step tones occurring between adjacent scale notes will be called passing tones in this article.)

EXAMPLE:

JAZ_36 36JAZ_36 36 3/10/10 10:41:12 AM3/10/10 10:41:12 AM


Anticipation tone – an anticipation tone between two adjacent scale tones. (Abbrev: A.T.)

EXAMPLE:

Échappée – a tone occurring between two adjacent scale tones, the motion to the ornamenting tone be-ing contrary to the motion between the scale tones. (Abbrev: E.)

EXAMPLE:

Cambiata – a tone occurring between two adjacent scale tones, the motion to the ornamenting tone be-ing the same as the motion between the scale tones. (Abbrev: C.)

EXAMPLE:

Neighbor tone (upper or lower) – a half or whole-step tone occurring between two of the same tones. (Abbrev: N.T.)

EXAMPLE:

JAZ_37 37JAZ_37 37 3/10/10 10:41:17 AM3/10/10 10:41:17 AM


B. Strong or Weak Beat OrnamentJazz appoggiatura – a leaping tone (an interval larger than a 3rd) which then moves a major or minor

2nd in the opposite direction. (Note that a jazz appoggiatura is a melodic embellishment that does not take into consideration the harmonic or rhythmic implications of the traditional appoggiatura. (Abbrev: J.A.)

EXAMPLE:

C. Other Ornamental DevicesGrace note – an ornamental tone whose time value is not counted in the rhythm (Abbrev: G.N.)

Repeated tone – (Abbrev: R.T.)

Tremolo – the rapid alternation of two tones. (Abbrev: trem.)

EXAMPLE:

Scale tones – tones found in any scale other than the chromatic scale. (Chromatic scale tones would be heard as passing tones.) (Abbrev. S.T.)

EXAMPLE:

EXAMPLE:

EXAMPLE:

JAZ_38 38JAZ_38 38 3/10/10 10:41:22 AM3/10/10 10:41:22 AM


Chord tones – tones outlining any chord, including altered chords. (Abbrev: C.T.)

EXAMPLE:

Free tone – an ornamental tone having no relationship to any chord being sounded. (Abbrev: F.T.)

EXAMPLE:

BAND DIRECTOR ACADEMY

‘TEACHING IMPROVISATION’

Jazz at Lincoln Center’s 11th Annual

JUNE 25–28, 2010— IN NYC

JAZ_39 39JAZ_39 39 3/10/10 10:41:28 AM3/10/10 10:41:28 AM

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D. Combinations of the Above Ornamental DevicesThe following are examples of several different ways in which a given motive may be embellished, em-

ploying in combination the ornamental devices described in this article.

Lee Evans is Professor of Music at NYC’s Pace University. He is the author/composer/arranger of 95 books and numerous articles. The material of this article is derived from Dr. Evans’s book Improvise By Learning How To Compose (Hal Leon-ard). His most recent solo-piano publications (for The FJH Music Company) are the late-beginner level Color Me Jazz, Book One, and the intermediate/upper intermediate level Olé! Original Latin American Dance Music.

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Thelonious Monk - The Life and Times of an American OriginalAuthored by Robin D.G. Kelley, Free Press, A Division of Simon &

Schuster, Inc., Copyright © 2009. With permission of the author,

excerpts are edited and compiled by Dr. Larry Ridley, Jazz Art-

ist, Professor of Music Emeritus, Rutgers University, and, AAJC

Executive director.

“The piano ain’t got no wrong notes!” So ranted Thelonious Sphere Monk, who proved his point every time he sat down

at the keyboard. His angular melodies and dissonant harmonies shook the jazz world to its foundations, ushering in the birth of “bebop” and establishing Monk as one of America’s greatest composers. Yet throughout much of his life, his musical contribu-tion took a backseat to tales of his reputed behavior. Writers tended to obsess over Monk’s hats or his proclivity to dance on stage. To his fans, he was the ultimate hipster; to his detractors, he was temperamental, eccentric, taciturn, or childlike. But these labels tell us little about the man or his music.

In the fi rst book on Thelonious Monk based on exclusive access to the Monk family papers and private recordings, as well as on a decade of prodigious research, prize-winning historian Robin D.G. Kelley brings to light a startlingly different The-lonious Monk – witty, intelligent, generous, politically engaged , brutally honest, and a devoted father and husband. Indeed, Thelonious Monk is essentially a love story. It is a story of familial love, beginning with Monk’s enslaved ancestors from whom Thelonious inherited an appreciation for community, freedom, and black traditions of sacred and secular song. It is about a doting mother who scrubbed fl oors to pay for piano lessons and encouraged her son to follow his dream. It is the story of romance,

from Monk’s initial heartbreaks to his lifelong commitment to his muse, the extraordinary Nellie Monk. And it is about his unique friendship with the Baroness Nica de Koenigswarter, a scion of the famous Rothschild family whose relationship with Monk and other jazz musicians has long been the subject of speculation and rumor. Nellie, Nica, and various friends and family sustained Monk during the long periods of job-

lessness, bipolar episodes, incarcera-tion, health crises, and other tragic and diffi cult moments.

Above all, Thelonious Monk is the gripping saga of an artist’s struggle to “make it” without compromising his musical vision. It is a story that, like its subject, refl ects the tidal ebbs and fl ows of American history in the Twentieth Century. Elegantly written and rich with humor and pathos, Thelonious Monk is the defi nitive work on modern jazz’s most original composer.

Robin D.G. Kelley is professor of History and American Studies at the University of Southern California. His books include Race Rebels: Cul-

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ture, Politics, and the Black Working Class and Freedom Dreams: The Black Radical Imagination. He has written on music for The New York Times, The Village Voice, Jazz Times, Lenox Avenue, The Nation, and other publications. He lives with his family and his Baldwin baby grand piano in Los Angeles. Kelley is currently a 2010 lecturer at Oxford University in England.

The professional performance career of Larry Ridley contains many major highlights and I thank God for enabling me with the talent to access and be a factor in these achievements (www.larryridley.com). Performing, travel-ing, “hanging out” and my friendship with Thelonious, his siblings Thomas and Marion, Nellie, Nica, “Toot,” “Boo Boo,” “Teeny,” and other members of the Monk family has been extraordinary. Playing in several confi gurations of Thelonious Monk ensembles and sub-bing for one of my mentors, Al McKib-bon with the “Giants of Jazz” (Dizzy Gillespie, Sonny Stitt, Curtis Fuller, Art Blakey, and Thelonious Monk) was extremely memorable. The depth of the intellectual and spiritual aesthetic I learned and felt is diffi cult to totally articulate in words.

My highest regards to my friend and colleague Robin D.G. Kelley for dedicat-ing 14 years of his life researching and writing this book. He has composed a book that truly describes the innova-tive genius life and times of one of the great masters of African American music - Jazz.

This book, Thelonious Monk – The Life and Times of an American Original, is available from www.Amazon.com. I highly recommend everyone read it. It should also be incorporated into K through PhD and alternative educa-tional curricula.

jazzforum

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Sheila Jordan

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GClayton has recorded with, performed with, and

written music for many of the fi nest that jazz has to offer, including Diana Krall, Nancy Wilson, Natalie, Cole, Milt Jackson, Quincy Jones, George Benson, and many others – as well as for some of the world’s fi nest ensembles. He has served as the artistic direc-tor of Jazz for the Los Angeles Philharmonic, and is currently the artistic director for the Lionel Hamp-ton International Jazz Festival and the Centrum Jazz Workshop in Port Townsend, Washington.

We are so very fortunate that he is willing to spend this time with us ‘In the Classroom.’

–Brad Howey: John, it is such a pleasure.

John Clayton: I’m thrilled to be here.

BH: You grew up around music: at home, at church, and then later on, at school. I wonder if you wouldn’t mind sharing a favorite musical memory with us – something that made an early impression on you regarding the importance of music.”

JC: Well, It’s only in hindsight that I realize how important some of those early experiences really were. For instance – people often talk about how music builds our sense of community. I fi rst wit-nessed that when my mom would invite church choir members over to our house to practice. It was people just getting together and making mu-sic, and it made an impression on me that still sticks with me to this day.

BH: I would imagine that your Mom’s musicianship set an important early example for you as well?

JC: Yes – her musicianship has always been so amazing to me because she’s pretty much self-taught. With only a few lessons she learned the chord changes to songs and how to accompany the church choir in the gospel style. But I’ll never forget when she went from infl uencing us to the other way around – when my own musicianship had grown in high school and later on in college to the point where she would call out: “Johnny, come

John Clayton: “On Another Level”BY BRAD HOWEY

rammy winning bassist, bandleader, composer/arranger, and educator John Clayton is without question one of the most gifted and hardest working men in jazz today. His consistent and sensitive bass playing, multi-award-winning composition and arranging, and outstanding co-leadership of one of the world’s finest jazz orchestras has gained him a reputation for immense talent and versatility. And his deep and far-reaching commit-ment to young people and to jazz education has secured his place within in the hearts and minds of students and jazz educators everywhere.

in the classroom JOHN CLAYTON

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in the classroom


over here and fi gure out this chord for me.” It was wonderful to watch that transition. And it has been wonderful to watch the same thing happen to me as my own son’s musicianship has grown to the point where I fi nd myself asking him: “Ger-ald, can you show me that again?”

BH: That is wonderful, John. Now, I know you have often told the story of how you came to play the bass. But would you mind sharing that story with us – and what it is about the bass that you enjoy most to this day?

JC: Well, in junior high school we were allowed to choose from several different electives, like art, choir, or instrumen-tal music. I chose the instrumental music class, and when I walked into the band room the band director asked me what I would like to sign up for. I said “Ooo – can I play that thing over there?” And he said “sure.” He wrote down my name and next to it wrote down “tuba”. But as I was walking out of the room I saw these four gorgeous brown things standing in a corner, and I asked: “Can I play one of those, instead?” So he crossed off tuba and wrote down what has turned out to be my destiny. The great Billy Higgins used to say that you don’t choose the instrument – the instrument chooses you. That was clearly the case in my situation.

Though I didn’t know much about the bass when I fi rst started out, I began to fall in love with the instrument: with the sound of the bass; and with the vibrations it creates in the low frequencies. The sound and feel of the bass really connected with me then and still does to this day. Sometimes I’ll have a student stand behind me and I’ll let them touch the instrument with their leg or thigh while I bow some low notes. I look at them and smile, and I say, “That’s why I play the bass.

BH: As a young man you had the opportunity to study with the great bassist, Ray Brown. Please share something with us that you learned from him, and a little something of what he was like as a teacher.

JC: Sure. I took a course that Ray taught at UCLA – it was an extension course, so I could take it while I was in high school. It met every other week, in the evening. The fi rst lessons that he taught all of us had to do with the im-portance of learning your major and minor scales and all the various chord types in as many octaves as you could. He really stressed that more than anything, because when you’re armed with all of that, the instrument itself and the music you play won’t throw you. It’s not just about getting it under your fi ngers; it’s about getting those chords and their “fl a-vors,” if you will, in your ear so that you can sing what a mi-nor triad with a minor sixth sounds like; or so that you can sing a diminished seventh, as well as play it. The other thing

he really stressed was repertoire: learning as many tunes as you possibly could.

As a teacher, his attitude was: “I’m serious about this, and you should be, too.” And that doesn’t mean he wasn’t a fun guy. Every time I talked to him, he laughed; and most times I talked to him he had a joke to tell. He was really all about fun in life, and wanting to have fun. I remember us leaving the bedside of Milt Hinton. Milt had all the tubes going, and the mask on, and all of that; it was really a sad occasion. And as Ray and I drove back to our hotel, he was really sad, and he said: “When I go, I want people to have a party, because I’ve had a great time here on earth.” For me it was a glimpse into what Ray Brown was really about; that even though he was very serious as a teacher when it came to what we had to do on the bass, he really had fun in life, as well. It was a great balance.

BH: Thank you for that, John. Could you take just a moment and refl ect on how those experiences have shaped your own life?

JC: Well, in many respects, I am a Ray Brown clone. I am very serious about the bass. I love it to death; but I have to say: the older I get, the less patience I have for people who

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In the Classroom…Activity

1) Mr. Clayton said: “Though I didn’t know much about the bass when I fi rst started out, I began to fall in love with the instrument…. The sound and feel of the bass really connected with me then and still does to this day.”

Like Mr. Clayton, you probably didn’t know much about your instrument when you fi rst started out, either. What has been the most important thing that you have learned about (or on) your instrument that has made it more enjoyable to play; and what do you enjoy most about playing your instrument today?

2) Mr. Clayton said that as his teacher, Ray Brown stressed the importance of learning major and minor scales and the various chord types so that: “…the instrument itself and the music you play won’t throw you.”

What are the things that your music teacher emphasizes most, and why do you think she/he believes those things are so important?

3) Like Mr. Clayton, you have no doubt spent quite a bit of time playing both classical music and jazz. So now the question goes to you:

What have your experiences playing classical music done to inform and improve your jazz playing, and how has your jazz playing helped you to better understand and appreciate classical music?

4) “When we jazz players wake up in the morning, we turn on a jazz station. When we get in the car, we pop in a jazz CD. When we go and hear somebody play, it’s very likely a jazz group. …ultimately the only way to get the sound that you’re looking for is to…immerse yourself in that sound or style….”

What sounds and styles are you immersing yourself in, and how is your immersion in those sounds affecting your ability to get the sound you’re really looking for?

5) Chances are that every jazz ensemble has at least one of your instrument in the band. How about providing us with a private lesson? What three important things should every player of your instrument do to improve the quality of the section they’re playing in?

In the ClassroomFollow-up Activities For Directors

• John emphasized the importance of relying on a “sound source.” If you haven’t made listening to jazz a central part of your rehearsal process, consider choosing one of the many Count Basie charts for which recordings are available and allow the band to “cut to the chase” by listening to the recording as a part of the chart’s preparation.

• John mentioned the importance of understanding what our role is for any given piece that we’re playing. Whether they’re playing the melody (as in a solo, soli, or shout section), or serving as melodic and/or rhyth-mic accompanist to others, increasing students’ understanding of the role they’re playing at any given time is a great way to get them to pay greater attention to what’s happening (or should be happening) in the ensemble as a whole. Consider helping your students to become more aware of the various roles they play; and rein-force the concept by occasionally quizzing them on the role they’re playing at any given time. BH

JAZ_46 46JAZ_46 46 3/10/10 10:43:42 AM3/10/10 10:43:42 AM

in the classroom


are less fanatic about the instrument than I am. Now, of course, everyone doesn’t have to play at a professional level. But if they’re going to come to me for help, then they have to under-stand how important the music is to me; how much I love it. So, I’ll help anybody – but I have little patience for those people that aren’t really serious about this thing that I’ve devoted my life to.

BH: Unlike many musicians, you’ve made a name for yourself playing both classical music and jazz. What have your experiences playing classical music done to inform and improve your jazz playing, and how has your jazz playing helped you to better understand and appreciate classical music?

JC: You know, too few people ask that question. Usually what I get is a comment, like: “I can really tell that you studied classically. I’m working on classical right now to improve my technique.” Well, if that’s the way they want to handle it, fi ne; but that’s defi -nitely not the way it happened to me and it is defi nitely not the way that I teach. I fell in love with the sound and styles of classical music, and that was my motivation for studying classi-cal music. I also I fell in love with the sound and styles of jazz music. I didn’t study them because it was the “cool” thing to do, or because studying one or the other was a good idea.”

Now, when you decide to make that commitment to one or the other it’s not something you need to buy a book about, or talk about, or what have you. It’s really about immersing yourself in those sounds. When we jazz players wake up in the morning, we turn on a jazz station. When we get in the car, we pop in a jazz CD. When we go and hear somebody play, it’s very likely a jazz group. And for the classical player, the circumstances are very much the same because ultimately the only way to get the sound that you’re looking

for is to internally understand what it is that you want. So, if you immerse yourself in that sound or style, then your body will start to understand what it is that you want it to do and it will begin to happen.

BH: You spent two years with Count Basie and his orchestra. What did it feel like to play in his band; and what is something you would like young people to keep in mind as they play music writ-ten for that great orchestra?

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JC: You know, the Basie band for me was a learn-by-example experience. The band would show me, by their playing, how long to make a quarter note, or how big to make a crescendo; or how soft to play a particular dynamic. I think that all too often we have a tendency to spend

all of our time talking about how a piece of music should go when we would be better off to just cut to the chase and teach by example. When I was with the Basie band we seldom talked about how the music should go. Instead, the band would play it; and by hearing how some-

thing was supposed to sound, I would then understand what I needed to do. So it behooves every band director play-ing Count Basie to get that particular recording and to let the band hear what the chart they’re playing is supposed to sound like, so that everyone has a sonic reference-point that they can always go back to. And if they happen to forget: play the CD again. Once you have that approach as a starting point, then of course you can change it; maybe you’ll take the chart a little bit slower, or take it a little bit faster. Maybe you’ll change some of the articulations. But at least you’re learning the music from a good example.

I do feel strongly that we shouldn’t lose sight of the fact that music is sound, and when you want to learn how to make those sounds, go to a sound source. The best sound source is, of course, playing with live musi-cians. But the other extremely impor-tant sound sources would be record-ings. So when you want to learn how to make a sound in a certain way or style, go to a sound source before you go to a book. And in a great many cas-es, you’ll probably fi nd that you didn’t really need the book, after all.

BH: As a world-renown bassist, band-leader, composer, arranger, and more – you are without question one of the most talented and successful men in jazz. And yet you are profoundly commit-ted to jazz education. What do you feel jazz has to offer young people today? I mean, what can young people gain from the study of jazz music?

JC: I think that jazz is an amazing vehicle for expression. Jazz lets you reach inside yourself and tell every-body what you feel about the music that you’re playing. You don’t get that working in a bank, or as a computer tech. Now of course those things are important – but they don’t really give you the same kind of platform for ex-pression. And I think that jazz has a way of infl uencing all of the other as-pects of your life, like how to deal with

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www.uarts.edu

in the classroom


people in social settings, how to bring joy to certain situations, and how to improvise in life, so that you really land on your feet and think for yourself. In jazz, we are always trying to improvise accompaniments that make people comfortable and help them to really sound good. Well, we’re often trying to do that in life, too. We are often trying to improvise ways of helping others to feel good – to put a smile on their face, and to live a better quality of life.”

Now, I really want to applaud jazz educators. They devote a good part of their lives to helping young people play this music that I love, and they are continually fi nding ways to pass all of the things that we have talked about on to young people. Like the kid on the soccer team that scores and gets all of that applause, but depends on par-ents to get them to the game, to root them on, and to support them; it is up to jazz educators to create that path for their students. We focus so much on passing information on to students, but we can’t forget the importance of the incredible people who are making all of that possible.

BH: Like many of our young readers, I would imagine that you didn’t start out thinking you would be the incredibly suc-cessful musician that you are. What’s a quality that you see in yourself that you feel has contributed to your success?

JC: Hmm. I would have to say for me it’s really about paying attention. I’ve noticed that I learn the most when I shut up, listen, and observe. As soon as I am talking and telling people what I think needs to happen, I’m really not learning. So I think that was a really big one for me. The other thing is us-ing my intelligence in terms of really trying to analyze music, and situations, and personalities – what the bass note is in relationship to the melody, or what have you. Analyze, analyze, ana-lyze. Now you don’t want to do what we call: “analysis to paralysis” – ana-lyzing to the point of taking the soul out of the music, or anything like that.

But you really want to analyze to the point where you get it – to where you understand.

BH: Finally, John: I wonder if you wouldn’t mind giving us a quick private lesson. Many of our readers are in ensembles of

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one type or other, and every jazz ensemble has some type of rhythm section. How should readers think about the role of the rhythm section in the jazz ensemble; and what is something every rhythm section can do to improve the job they’re doing?

JC: Well, fi rst of all, you have to approach supporting others in the rhythm section in a completely self-less way. In other words: when I’m playing in a rhythm section, I’m only listening to the drummer, and to the

piano player, and to the guitar player. As soon as I focus on myself, I’m not happy. I start over-analyzing what I’m doing: “Oh, I’m playing that same old dumb stuff again,” or, “Oh, I can’t be-lieve I did that,” or, “You’re rushing again,” “You’re dragging again,” and on and on. As soon as I focus on myself, that’s where I go. But if I focus on ev-erybody around me, I’m in heaven. I’m inspired, they keep me on track, and what I’m doing takes care of itself.

The other thing I would say is that as a rhythm section player, we have to under-stand what our role is for any given piece that we’re playing. Maybe it’s to really energize the band. Well, if that’s the case, then I’ve got to make sure that I get the job done. Or maybe we’re playing a bal-lad, and it requires that I turn my ampli-fi er off and play a little more gently to help the mood of the piece. So to me, it’s about the rhythm section player understanding the role that is required by a given piece of music in a given situation. And in looking for that, I always look for others to help me. Sometimes those that I look to aren’t on the bandstand. Sometimes I have to get a recording of someone else doing that song in order to get it. So, that’s a biggie: really focusing on others when you play. And that includes focusing visu-ally. I mean, if you’re blessed with sight, go ahead and use it. Take the time to look at the drummer’s ride cymbal as they play it. Or, if you’re in a position to, look at the hands of the piano player. Really connect. When you do that, you begin to commu-nicate in a way that really puts the music on another level.

Brad Howey is a doctoral student at the University of Idaho, an award-win-ning author, and an active performer. His most recent publications can be found in Downbeat and JAZZed magazine. While teaching high school music in Alaska, Brad founded and directed the Sitka Jazz Festi-val – bringing 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.

Featuring 33 outstanding faculty, including:The Heath Brothers, Benny Green, TerellStafford, Wycliffe Gordon, René Marie and many more. Daily coaching and 30 performances in beautiful Fort WordenState Park, on the shores of Washington’sPuget Sound.

www.centrum.org

Centrum’s Jazz Port TownsendJohn Clayton, Artistic Director

Workshop and Festival July 25 – August 1, 2010

34

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For the

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Across1. Manny ___, jazz baritone sax player that was infl uenced by Bix Beiderbecke4. The title of a series of jazz concerts, tours and recordings produced by Nor-man Granz, abbr.6. ___ Pleasure, jazz vocalist and early master of vocalese8. Wedding words9. Spoon bender11. Ted or Vic12. Boyd ___, he was one of the greatest and least known of jazz bandleaders of the 1940’s15. Bluesy, perhaps17. Survive, barely18. Appear21. Chuck ___, jazz guitarist who is known for being the fi rst guitarist in the George Shearing Quintet23. Fred ___ Hove, Belgian jazz musician and a pioneer of European free jazz25. Breakfast juice26. Sushi bar order27. Louis ___, trombonist most associated with Dixieland music29. Brisk, lively musical tempos31. Silver-gray color33. Friendly alien34. Guitar band?

36. Angel accessory37. For that reason39. Part of the neck41. Neither’s partner42. Available for business44. Nab46. Graeme ___, Australian Dixieland and classical jazz pianist, composer and band leader47. Light brown color49. ___ ___ Alley, the collection of New York City-centered music publishers who dominated popular U.S. music in the 19th and 20th centuries (2 words)51. Computer letter53. Operating system, abbr.54. Extreme55. “At ___,” popular Etta James standard57. ___ Scott, English jazz saxophonist and jazz club owner58. Herbie ___, “Lady Sings the Blues” composer

Down1. Mose ___, American jazz pianist and singer who has been called “the William Faulkner of Jazz”2. Lester ___, jazz trumpet player and composer who cofounded the Art En-semble of Chicago

3. “Have You Met ___ Jones?” 1937 jazz standard4. Duke ___, American jazz pianist and regular member of Charlie Parker’s “classic quintet”5. Taproom6. Roland ___, blind American jazz-in-strumentalist who was renowned for his onstage vitality7. Grant ___, jazz guitarist and composer who recorded almost exclusively for Blue Note Records10. Regret bitterly13. Long period of time14. “There Will ___ Be Another You,” Chet Baker standard16. ___, shucks19. Throw out of the club20. Jay ___, Grammy-award nominated pianist, singer and bandleader whose kind of music became known as “the Kansas City sound”22. Don ___, Calypso Jazz artist24. Soothing plant26. Id partners28. Not applicable, for short29. Expression of surprise30. Hoagy Carmichael standard32. Ship, affectionately34. Wayne ___, saxophonist and compos-er commonly regarded as one of the most important American jazz musicians of his generations35. Sound system, briefl y38. Happening40. Tito ___, Latin Jazz and Mambo musi-cian best known for his dance-oriented mambo43. Hallow ending?44. Spic-and-span45. Dolly beginning, in song46. Indonesian island48. Supreme Supreme50. Word play52. Large media network56. Mr. Jarreau

1 2 3 4 5 6 7

8 9 10

11 413121

15 16 17

18 19 20 2212 23 24

25 26

8272 0392

31 32 33

5343 36 37 38

39 40 41

42 43 5444

46 47 48

49 50 51 52 53

54 55 56

57 58

JAZ_52 52JAZ_52 52 3/10/10 10:44:50 AM3/10/10 10:44:50 AM

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 music studies. Students choose from majors in Music, Music Education, Musical Theatre or Jazz Studies—but they also dance, act, explore, study abroad, volunteer, mentor, pole vault and pursue countless other passions.

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 630-637-5800 to discover more about our programs in music.

Or visit us online at www.northcentralcollege.edu.

www.northcentralcollege.edu 30 N. Brainard Street Naperville, IL 630-637-5800

Performing Opportunities at North

Central CollegeConcert Choir

Women’s ChoraleWomen’s Chamber Ensemble

Opera WorkshopMusic Theatre Productions

Vocal Jazz EnsembleGospel Choir

North Central College Express Show Choir

Concert WindsChamber Winds

Percussion EnsembleBrass Quintet

Big BandJazz Combos

Chamber JazzPep Band

Naperville Chorus

Freshman Visit Days:Saturday, April 10, 2010

Transfer Visit Days:Saturday, April 24, 2010

Fine Art Auditions:Saturday, March 6, 2010

Music, Theater, Art

At North Central College, being well-rounded doesn’t mean losing your musical edge.

JAZ_53 53JAZ_53 53 3/10/10 10:53:06 AM3/10/10 10:53:06 AM

www.northcentralcollege.edu

Gearcheck


Bari Woodwind Synthetic ReedsBari Woodwind Supplies adds two new strengths,

medium hard (3.5-4.0) and medium soft (2.5 -3.0), to its synthetic composite reed line. Bari synthetic reeds come in two varieties: Bari Original, which projects a clear, vibrant sound and Bari Star, which translates a warm and dark sound. Both Star and Original are available for Bb clarinet, bass clarinet, soprano saxophone, alto saxophone, tenor saxophone, and baritone saxophone. With the addition of the new strengths, Bari synthetic reeds are available in soft (2.0-2.5), medium soft (2.5 -3.0), medium (3.0-3.5), medium hard (3.5-4.0), and hard (4.0-4.5).

www.bariwoodwind.com

New Trumpets from PJLA PhaetonPJLA’s PHT-2021 “C” Series of Phaeton Trumpets are

available in three custom fi nishes: gold brass lacquer, bright silver plate, and brush brass. All models come standard

with a 3C mouthpiece delivered in Phaeton’s custom vintage tweed case with burgundy velvet closure blanket for added protection. Phaeton cases are trimmed in textured bur-gundy leather-like trim and are equipped with plated brass hardware with a large storage area for mutes and accessories. Retail prices start at $1,885.00

The PHT-4077 Bb/A piccolo trumpet is a four piston model and will be available in bright silver plate with optional 18 karat gold plated fi nger buttons, top, or bottom caps and bell. A custom all leather case comes standard with this outfi t. Retail prices start at $2,975.00 with the optional Gold plate bell available for $450.00.

www.pjlamusic.com

Grover’s New G3 Concert Snare Grover Pro’s G3 Concert Snare Drum

features 10-ply maple shells, the choice of six hand-rubbed lacquer fi nishes, chrome plated tube lugs, steel or die cast rims, the new Grover G3 triple strainer, and four types of snares, black coated cable, uncoated steel cable, high carbon spiral snares and an extra set of gold coated cables. The G3 snares are currently manufactured in both 5.5” x 14” and 6.5” x 14” sizes. Price ranges are $ 850 - $ 975.

www.groverpro.com

Super-Sensitive’s Clarity Spectrum Rosin

Super-Sensitive Musical String Co. introduces Clarity Spectrum, a colorful collection of its hypo-allergenic rosin, now available in red, pink, green, blue, and purple. Made from a synthetic hydrocarbon resin compound, Clarity is said to improve the performance of rosin-producing better grab and clearer string response. Clarity Spectrum is non-corro-sive to instrument varnish and can be safely used on all valed instruments. Also, unlike sap rosin, hydrophobic Clarity resists the absorption of moisture making it unaffected by humidity allowing it to keep its full tack and effectiveness. Clarity includes a fi ve-inch microfi ber cloth for a cleaner ap-plication and is packaged inside a hard top container.

www.supersensitive.com

PianoDisc SilentDrive-HDPianoDisc’s SilentDrive-HD features a faster processor

and streamlined architecture that boost both velocity and timing accuracy. Increased internal memory capacity re-tains all settings and improves reliability and compatibility regardless of which PianoDisc player system is used. The new design is earth-friendly and eliminates the use of lead solder and other harmful substances.

www.pianodisc.com

JAZ_54 54JAZ_54 54 3/10/10 10:45:12 AM3/10/10 10:45:12 AM

Gearcheck


Korg is adding the SP-170 to its SP line of digital pianos. The SP-170 offers a streamlined design, revealing no visible controls and features a duo of concert grand piano sounds. Numer-ous velocity layers are used to capture nuances of playing dynamics, allowing the instrument to respond expres-sively to every touch. Eight addi-tional sounds complete the palette of keyboard tones: Electric Piano (x2); Harpsichord; Clav; Vibraphone; Pipe Organ; Electric (Drawbar) Organ; and Strings. While the SP-170 never requires tuning, it offers adjustable tuning that can be matched to other instruments, and it can also be trans-posed into any musical key.

As with every Korg SP digital piano model, the SP-170 features a full 88-note piano-style keyboard - three touch curves match the key response to any playing style. The newly-developed, Natural Weighted Hammer Action (NH) reproduces the touch and graduated weight of acoustic piano keys, while keeping the unit’s weight down to 26 pounds. Completely self-contained, the SP-170 includes a built-in sound system with a pair of full-range oval speakers housed in an internal bass-refl ex cabinet.

Dual headphone outputs allow for private practice plus parent/child or student/teacher use. These outputs also enable connection to recording equipment or an external amplifi er. A matching music rest and sustain ped-al are both included, and an optional color-matched stand is available. The SP-170 can be used as the master keyboard (input device) for com-puter music software via the MIDI

Korg SP-170 Digital Pianooutput. The power switch and volume knob are located on the back panel;

all other opera-tions are quickly performed using the keyboard itself. The SP-170 is available in two colors, black and soft white. It will be available April 2010 with a retail price of $600. An optional matching stand will also be available with a

retail price of $125.00.www.korg.com

Anvil and Calzone Cases

The fl agship of Calzone Cases’ iSeries is the Universal Electric Guitar case that fi ts a wide variety of instruments, including the Fender Stratocaster and Telecaster, Gibson SG, and Paul Reed Smith models. Calzone also introduced a new domestic dealer package designed to offer greater GPM on dozens of iSeries cases.

Designed in conjunction with mu-sic veteran Jim Messina, Anvil’s new Light Flight cases are designed to beat airline overage costs by weighing less than 50 pounds with instrument

www.calzonecase.com

JAZ_55 55JAZ_55 55 3/10/10 10:45:19 AM3/10/10 10:45:19 AM

www.music.capital.edu

Gearcheck


VocoPro’s V-BANKThe V-BANK from VocoPro is a dual

deck multi-format DVD/hard drive system with DVD/AVI/MP3 ripper. The V-BANK features two 500GB hard

drives, dual USB drive and SD card in-puts, digital key control, pitch control,

and media ripping capability. This unit builds on VocoPro’s Media Jukebox technology to create a massive media vault to store and play a digital library of music and video. With disc ripping capability, you can copy any non-copy protected CD, DVD, or DivX discs that you own to the on-board hard drives.

www.vocopro.com

AcoustiCoil InsertsEach model of the AcoustiCoil

instrumental insert adjusts to fi t vary-ing bore sizes. A spring fi t assures that

it will stay securely in place and it is easily installed and removed from the instrument. AcoustiCoil instrumental bore inserts are said to help improve student’s instrumental articulation, intonation, dynamics, endurance, and range. Models are now available for brass, woodwinds, and saxophones.

www.dmamusic.org/acousticoils

Superscope 400 Series of Digital Recording Systems

Superscope’s PSD410 and PSD450 400 Series of professional music practice and digital recording systems are portable SD Card and HDD audio recorders that can record MP3 fi les or WAV fi les using 16 or 24 bit. The USB interface allows for easy transfer of fi les to a computer or onto a USB storage device. The PSD410 is a SD Card re-corder and the PSD450 features a 40GB

hard drive and a CD burner for creating audio CDs and custom play lists. Both models are portable and can be battery operated.

www.superscopetechnologies.com

JAZ_56 56JAZ_56 56 3/10/10 10:45:25 AM3/10/10 10:45:25 AM

www.saxquest.com

www.swcc.cc.ia.us

The Offi cial Publication of

Advertise in theAdvertise in the1ST ANNUAL JEN CONFERENCE SHOW GUIDE


DISTRIBUTIONDISTRIBUTION throughout the show at the University of Missouri, St. Louis. May 20-22.

Provide your company with exposure to jazz educators, musicians, students, and music industry execs at the 1st Annual Jazz Educators Network conference (JEN) at the University of Missouri, St. Louis with an ad in the offi cial program guide. This conference will feature a wide variety of clinics, concerts, seminars and more, featuring such luminary artists and clinicians as: Marvin Stamm, John Clayton, Rufus Reid Trio, Bobby Shew, Jamey Aebersold, and dozens more!

A limited number of premium advertising positions are available,A limited number of premium advertising positions are available,so reserve your space today!so reserve your space today!

Advertising deadline, April 15, 2010. Sidney Davis (800) 964-5150 ext. 13 • [email protected]

Rick Kessel (800) 964-5150 ext. 14 • [email protected]

Maureen Johan (800) 964-5150 ext. 34 • classifi ed & display advertising • [email protected]

Iris Fox 954-973-3555 • [email protected]

1st Annual Jazz Education Network Conference

University of Missouri St. Louis May 20-22, 2010

Show Guide


JAZ_57 57JAZ_57 57 3/10/10 11:01:47 AM3/10/10 11:01:47 AM


HotWaxNew & Notable Music ReleasesAll dates are subject to change

February 2Sheryl Bailey – A New Promise

[MCG]

Acker Bilk – Legrand [Phantom]

Barry Finnerty – Blues For Trane

[Pony]

Jazz at Lincoln Center Orchestra with Wynton Marsalis – Portrait of

Seven Shades [Jazz at Lincoln Center]

Dave King – Indelicate [Sunny Side]

Ralph Lalama Quartet – The Audi-

ence [Mighty Quinn]

Zoe Schwarz & Rob Koral – Cel-

ebration [33 Jazz]

February 9Gerald Clayton – Two-Shade

[Decca]

Buddy Defranco – Autumn Leaves

[Universal]

Lorraine Feather – Ages [JMD]

Hakon Kornstad – Dwell Time

[Universal]

Lionel Loueke – Mwaliko [Blue

Note]

Love Jazz – Jazz Love [Phantom]

Olivier Manchon – Orchestre De

Chambre Miniature-Vol. 1 [Obliq-

Sound]

Antoinette Montague – Behind The

Smile [IGV]

Eric Vloeimans – Heavensabove!

[Challenge]

Christian Wallumrod – Fabula

Suite Lugano [ECM]

February 16Kenny Burrell – Weaver Of Dreams

[Wounded Bird]

George Cotsirilos – Past Present

[Oa2]

Steve Dobrogosz – Golden Slum-

bers [Phantom]

Maria Neckam – Deeper [Sunny

Side]

Scenes – Rinnova [Origin]

Bob Sneider & Bob Hofmann

– Serve and Volley [Origin]

Stage Cruisers – Nuclear Blast [Fat

Possum]

Trio3 – Be Bop [Venus]

Claude Williamson – Stella Under

Stars [Amj Jap/Zoom]

Yosuke Yamashita – Inner Space

[Pid]

February 23Froy Aagre – Cycle of Silence [Met-

ropolitan Groove Merchants]

Cliff Adams – Sing Something

Simple from the Shows [Pickwick]

Anton Delecca Quartet – Lost City

[Metropolitan Groove Merchants]

John Ellis & Doublewide – Puppet

Mischief [ObliqSound]

Lula Galvao – Bossa Da Minha Terra

[Kindred Rhythm]

Jack Jezzro – Rio Nights [Green Hill

Records/EMI]

Giuseppi Logan Quintet – Giuseppi

Logan Quintet [Tompkins Square]

Jones Jones – We All Feel the Same

Way [United One]

John Pizzarelli – Rockin’ In Rhythm:

A Tribute to Duke Ellington [Telarc]

Denis Solee – Blues In the Night

[Green Hill Records/EMI]

March 2Albert Ayler – New Glass [Phantom]

John Basile – No Apologies [String-

time Jazz]

John Blake, Jr. – Motherless Child (Arc)

Dee Dee Bridgewater – To Billie

with Love from Dee Dee [Emarcy]

Jamie Cullum – The Pursuit [Verve]

Gil Evans – Miles Ahead [Ais]

Polar Bear – Peepers [Leaf]

Chris Standring – Blue Bolero

[Ulimate Vibe]

March 9Pablo Aslan – Tango Grill [Zoho

Music]

Anthony Braxton – News From The

70s [Felmay]

Gerald Clayton – Two-Shade [Decca]

Rale Micic – 3 [CTA Records]

Nguyen Le – Saiyuki [Act Music]

Paul Motian – Lost in a Dream [Ecm]

Rufus Reid – Out Front [Motema]

JAZ_58 58JAZ_58 58 3/10/10 10:45:50 AM3/10/10 10:45:50 AM

believe in music5790 Armada Drive • Carlsbad, CA 92008 • 760.438.8001 • www.namm.org

Keep Music Education Strong

Keep music education strong—go to supportmusic.com.

Learning to play music is so much more than memorizing notes and scales.

It helps a child developcreativity and instills self-discipline,commitment and confidence.

Your leadership in the community assures that music is a part of quality education for every child.

JAZ_59 59JAZ_59 59 3/10/10 10:53:15 AM3/10/10 10:53:15 AM

www.supportmusic.com


HotWaxMike Treni – Turnaround [Bell Pro-

ductions]

March 16David Binney – Alisio [Criss Cross]

John Lewis – Improvised Medita-

tions & Excursions [Disconforme]

Lage Lund – Unlikely Stories [Criss

Cross]

Brad Mehldau – Highway Rider

[Nonesuch]

Ken Peplowski – Noir Blue [Capri]

Kenny Rankin– The Kenny Rankin

Album [Sly Dog Records]

Ralph Towner – Chiaroscuro [Ecm]

Kirk Whalum – Gospel According to

Jazz - Chapter 3 [Rendezvous]

Dan Weiss – Timshel [Sunnyside]

March 23Absolute Ensemble – Absolute

Zawinul [Sunnyside]

Mose Allison – The Way of the World

[Anti]

The Bird and The Bee – Interpret-

ing the Masters Vol. 1[Blue Note]

Dave Holland Octet – Pathways

[Dare2]

Allyssa Jones – 35 [Lellow Music]

Samuel Torres – Yaounde [One Soul]

The Wee Trio – Capitol Diner Vol. 2

Animal Style [Bionic Records]

March 30Anat Cohen – Clarinetwork [Anzic

Records]

Jaared – Manhattan Nights [Trippin ‘n

Rhythm]

El Movimiento – The Movement

[Nueva Nota Records]

Marc Mommaas – Landmarc [Sun-

nyside]

Steve Oliver – Global Kiss [SOM

Entertainment]

Christian Scott – Yesterday You Said

Tomorrow [Concord Jazz]

Brian Smith – Rendezvous [Fone]

Tomasz Stanko – Dark Eyes [Ecm]

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]

Request your FREE catalog and information packet:

1-800-311-9691or www.RadaCutlery.com

NOTE: Dept A10JAZ Your School, Church, Club, Team or Youth Group will work directly with the manufacturer to make 40% profit.

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“Rada knives sell themselves!”

JAZ_60 60JAZ_60 60 3/10/10 10:45:56 AM3/10/10 10:45:56 AM

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CDShowcase

Sidney Davis x13Richard E. Kessel x14Maureen Johan x34Iris Fox 954-973-3555

Feature Your CD on CD Showcase

For Maximum Exposure!

Call:

1800-964-5150

Classic jazz & blues....smooth vocals & spontaneous

improvisation between the guitarist who is also a fine jazz vocalist & harmonica

player captured live, along with the mastery of Chris Parker & John Arucci on drums

and Kevin Callaghan on bass.

ECONOMICS OF LOVE is available at CDbaby.com

www.BrianConigliaro.comEmail: [email protected]

A MUST FOR EVERYGUITAR PLAYER THAT SINGS

“A player and songwriter with a real smooth style.“

Jackie Paris

MIKE VAX AND THE STAN KENTON ALUMNI BAND

continue their series of superb recordings with

HAVE BAND WILL TRAVEL.On Summit Records.

This one captures the excitement and the incredible musicianship of this stellar group of musicians

and arrangers

www.bigbandjazz.net

"Carroll’s beautifully supple voice has never been heard with such front-and-center clarity before. Dunne anchors the music by simultaneously play-ing the changes and handling bass-line move-ments on his guitar. And Rubinstein consistently steals the show with accordion solos that are remarkably lyrical, endlessly replenishing founts of melodic inspiration." - Gilbert Garcia, The Current

The Accidental Trio

voice,accordionandguitar.

The Accidental Trio "has a repertoire that ranges from Charles Mingus to Todd Rundgren." - Jim Beal, San Antonio Express-News

Available through CDBaby and iTunes. Check us out on MySpace

JAZ_61 61JAZ_61 61 3/10/10 10:49:45 AM3/10/10 10:49:45 AM

www.brianconigliaro.com

www.danielsmithbassoon.com

www.bigbandjazz.net

www.billwaltz.com


Classifieds

Books

JAZZ SAXOPHONE ETUDES & DUETSBOOK & CD PLAY-ALONG SETS BY

GREG FISHMANEndorsed by Michael Brecker, Dave Liebman,Jerry Coker, James Moody, Mark Colby, Bob Sheppard, & Jamey Aebersold.

Visit: WWW.GREGFISHMANJAZZSTUDIOS.COM

for free sample etudes and duets.

Instruments

MerchandiseDVDs

MUSICAL INSTRUMENT-N-MOREGrand Opening!!! Quality new and Used

instruments for the student or professional.www.minmore.comHighland Park, NJ

732 227-0776

Available on the App Store, or go to http://ihearit.net for more info.

iHearitSlow Down, Loop, and Transcribe

Music on your iPhone for

$4.99.

Accessories Merchandise

www.JAZZedmagazine.com

SBO_62 62SBO_62 62 3/10/10 10:26:05 AM3/10/10 10:26:05 AM


ClassifiedsMerchandise

Print Media

New Jazz Band Charts!for 17 piece big bandsCheck out my website

www.OllieCreations.com

Repair

WE REPAIR, RESTORE, SELL & TRADE

Saxophones, Clarinets, Flutes, Oboes, Bassoons, etc.

Serving the Music Community for 37 years.

www.maestrowoodwinds.com

AdIndex Company Email/Web Page #

American Classic Festivals www.amclass.com 5Arbors Records www.arborsrecords.com 16J.J. Babbitt Co. Inc. www.jjbabbitt.com 47Bari www.bariwoodwind.com 19Bates Meyer, Inc. www.batesmeyer.com 34Berklee College of Music www.berklee.edu 1Brian Conigliaro www.brianconigliaro.com 61Capital University www.music.capital.edu 55Centrum www.centrum.org 50Cornish College of the Arts www.cornish.edu 43Crossroads School for the Arts & Sciences www.xrds.org 15Daniel Smith www.danielsmithbassoon.com 61Eastman School Of Music www.esm.rochester.edu 8Eau Claire Jazz, Inc www.eauclairejazz.com 31Jamey Aebersold Jazz Aids www.jazz.books.com cov 2Jazz Aspen Snowmass www.jazzaspen.org 32Jazz at Lincoln Center www.jalc.org 39Jody Jazz www.JodyJazz.com 11John Fedchock www.johnfedchock.com 49Julliard www.juilliard.edu 51Jupiter Band Instruments, Inc. www.jupitermusic.com 9Superscope Technologies www.superscopetechnologies.com 49Mike Vax www.mikevax.com 61National Jazz Workshop http://nationaljazzworkshop.org/ 16North Central College www.northcentralcollege.edu 53P. M. Records Gene Perla www.perla.org 61Pearl Corp. www.pearldrum.com cov 4Rada Mfg. Co. www.RadaCutlery.com 60SaxQuest, Inc. www.saxquest.com 56School For Music Vocations www.swcc.cc.ia.us 56Stanford Jazz Workshop www.stanfordjazz.org 15University of North Texas www.music.unt.edu/jazz 17University of the Arts www.uarts.edu 48University of Toledo www.summerjazz.utoledo.edu 14Vandoren www.dansr.com 35Vento www.musicfactorydirect.com 41Vermont Jazz Center www.vtjazz.org 43

www.JAZZedmagazine.com www.JAZZedmagazine.com

SBO_63 63SBO_63 63 3/10/10 10:26:09 AM3/10/10 10:26:09 AM


Jazz pianist and New York Mets organist, Jane Jarvis, passed away at on January 25.

From 1964 to 1979, she played the organ at Shea Stadium. Previously, she spent

eight years as organist for the Braves at County Stadium in Milwaukee. In addition to

entertaining baseball fans, she worked for Muzak Corporation where she began as a

receptionist in 1963 and eventually became vice president of programming, at a time

when a woman in a corporate managerial position was almost unheard of.

Bucking trends was not unusual for Jane - at the age of 64, she retired from Muzak

and began looking for work as a jazz pianist. In 1979 she left her position with the

Mets to follow her true passion and soon became a familiar fi xture in the New York jazz

scene. She also became a founding member of the Statesmen of Jazz, a group of jazz

musicians, age 65 and older, who formed to introduce young audiences to jazz – Jane

was the only woman in the Statesmen. In 1985, at the age of 70, she recorded her fi rst

record, and continued to perform and record with fellow jazz musicians into her 90s.

On March 15, 2008, Jane’s New York City apartment on East 50th Street was destroyed

when a construction crane collapsed on the building. She spent her fi nal years at the

Lillian Booth Actors’ Home in Englewood, N.J. She was 94.

Backbeat

Jane Jarvis1915 - 2010

Ph

oto

: B

row

nie

Ha

rris

JAZ_64 64JAZ_64 64 3/10/10 10:50:17 AM3/10/10 10:50:17 AM


www.jazzednet.org

The Best $1600 a Student Will Ever Spend.


www.pearldrum.com

jazzed march 2010

Documents

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moreleads allstar groups

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