jazzed november 2008

NOVE

MBE

R 20

08 •

$5.

00

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

The Official Publication of

JAZZ EDUCATION NETWORK

BartMarantz

FOCUSSESSION

Triplets

HEALTHCLINIC

Avoiding Vocal Ailments

Phil Woods Phil is a living legend that single-handedly defi nes an alto sound and represents the best of the masters that have come before him. Phil uses ZZ reeds.

Sherman Irby A true southern gentleman, Sherman’s sound is as big as his smile. If you’ve not heard him yet, you should. Sherman uses V16 reeds.

Talib “TK Blue” Kibwe TK is a student of Jazz, combining sounds from the U.S., France and Africa to create an approach that is uniquely his own. TK uses V16 mouthpieces, ZZ reeds and Leather ligatures.

Vandojazz artists serve up their sound using the world’s fi nest mouthpieces and reeds.

© 2007 Vandoren SAS. Imported to the U.S. by DANSR, 818 W. Evergreen, Chicago, IL 60642, 888.707.4455

Where jazz is more than a legend.

For a free artist poster, visit vandojazzusa.com and click on The Payoff.

JAZ_COV2 COV2 11/14/08 9:30:27 AM

www.vandojazzusa.com

JAZ_1 1 11/14/08 9:31:53 AM

www.jupitermusic.com

2 JAZZed November 2008

GUEST EDITORIAL: HARRY SCHNIPPER 26The executive director of the Blues Alley Jazz Society shares suggestions on how best to launch a jazz festival, drawing upon his experiences as a key fi gure behind Washington D.C.’s BIG BAND JAM!

FOCUS SESSION: TRIPLETS 32Performer and educator Keith Hall discusses how to help young drummers learn to swing, through a better understanding of triplets.

BART MARANTZ 38The director of Jazz Studies at Dallas’ Booker T. Washington High School for the Performing Arts sits down with JAZZed to chat about his nearly 30-year career as an innovative and acclaimed teacher of jazz.

HEALTH CLINIC: VOCAL FOLD AILMENTS 48Tips for comprehending, avoiding, and treating common affl ictions suffered by jazz singers.

JAZZED IN THE CLASSROOM 53Author, performer, and educator Brad Howey speaks with jazz luminary Ira Nepus and provides some classroom excercises that educators can share with their students.

™

Bart Marantz “When students can

be convinced that they can achieve any level

of excellence if they work hard, it’s much

easier to go there.”

contentsN O V E M B E R 2 0 0 8

JAZ_2 2 11/14/08 9:41:06 AM

PUBLISHER’S LETTER 4NOTEWORTHY 6STEVE SHAPIRO:WHAT’S ON YOUR PLAYLIST 14JAZZ EDUCATOR'S NETWORK SECTION 17

departments32

JAZZed™ is published six times annually by Symphony Publishing, LLC, 21 Highland Circle, Suite 1, Needham, MA 02494, (781) 453-9310.

Publisher of Choral Director, School Band and Orchestra, Music Parents America, and Musical Merchandise Review. Subscription rates $30

one year; $60 two years. Rates outside U.S. available upon request. Single issues $5. Resource Guide $15. Standard postage paid at Boston,

MA and additional mailing of ces. Postmaster: Please send address changes to JAZZed, 21 Highland Circle, Suite 1, Needham, MA 02494.

The publishers of this magazine do not accept responsibility for statements made by their advertisers in business competition. No portion of this

issue may be reproduced without the written permission of the publisher. © 2008 by Symphony Publishing, LLC. Printed in the U.S.A.

™

NOVEMBER 2008Volume 3, Number 6

GROUP PUBLISHER Sidney L. [email protected]

PUBLISHER Richard E. [email protected]

Editorial StaffEDITOR Christian Wissmuller

[email protected]

ASSOCIATE EDITOR Eliahu [email protected]

STAFF WRITER Denyce [email protected]

Art StaffPRODUCTION MANAGER Laurie Guptill

[email protected]

GRAPHIC DESIGNER Andrew P. [email protected]

GRAPHIC DESIGNER Laurie [email protected]

Advertising StaffADVERTISING SALES Iris [email protected]

CLASSIFIED SALES Maureen [email protected]

Business StaffCIRCULATION MANAGER Melanie A. Prescott

[email protected]

ADMINISTRATIVE ASSISTANT Popi [email protected]

WEBMASTER Sanford [email protected]

Symphony Publishing, LLCCHAIRMAN Xen Zapis

PRESIDENT Lee [email protected]

CHIEF FINANCIAL OFFICER Rich [email protected]

Corporate Headquarters

26202 Detroit Road, Suite 300Westlake, Ohio 44145

(440) 871-1300www.symphonypublishing.com

Publishing, Sales, & Editorial Offi ce

21 Highland Circle, Suite 1Needham, MA 02494

(781) 453-9310FAX (781) 453-9389

1-800-964-5150www.jazzedmagazine.com

Member 2008

62

14

JAZZed November 2008 3

Cover photograph: Brian Guilliaux, Dallas, Texas.

• PRESIDENT'S LETTER• EVENTS PAGE• NETWORTHY NEWS

• 101 REASONS TO JOIN• NETWORK WITH AN EXPERT• MEMBERSHIP REPORT

CROSSWORD PUZZLE 52GEARCHECK 57HOT WAX 60BACKBEAT: DAVE MCKENNA 62CLASSIFIEDS 63AD INDEX 64


RPMDA

JAZ_3 3 11/14/08 9:41:12 AM

During a recent Shanghai trip to attend the Music China trade show, it was nearly impossible not to notice that Western musical culture has gained a signifi cant presence throughout the city. You hear all types of music in a variety of venues, as well as on the radio – ranging from hip-hop to Bach to jazz and everything in-between. As you likely know, there are more and more musical instru-ments being produced in China, and their quality has improved signifi cantly. Now, with a growing middle and wealthy class, there is also an interest in, and a demand for, quality jazz performances.

Western music, especially classi-cal, has become enormously popu-lar in Chinese culture and they have done a remarkable job at producing world-class, virtuoso musicians, es-pecially pianists and string players. According to a New York Times arti-cle last year, “classical music arouses few of the political and nationalistic sensitivities that have made it harder for other kinds of Western culture to take root in China.” However, my personal experi-ence in this country has indicated that this seems to be changing rapidly.

Historically, jazz has had a presence in China as far back as the 1930s and according to the Web site, shjazz.com, “In 1935, Du Yu Sheng, the notorious overlord of Shanghai’s ominous ‘Green Gang’ or-dered into creation the fi rst all-Chinese jazz group, called ‘The Clear Wind Dance Band’ to perform at

the Yangtze River Hotel Dance Hall. Critics called this music ‘pornographic,’ but the band played on just the same.” Unfortunately however, the pres-ence of jazz was brought to an end during the early days of communism.

Now, a more “open” China is emerging to grasp onto one of America’s most beloved art forms in a more serious fashion. With the inevitable expo-sure to the Internet and recorded music, there is an undercurrent of interest in jazz and jazz educa-

tion at a variety of levels. Accord-ing to crienglish.com, a major jazz festival, the Beijing Nine Gates Jazz Week, has increased the visibility of this music. This has also provided exposure to native Chinese jazz musicians who are integrating the art form into their own culture by utilizing folk themes and tradition-al instruments as well as standard Western instrumentation. There are jazz clubs popping up in major centers such as Shanghai, Beijing, Hangzhou, and Shen Zhen City.

Additionaly, you can fi nd an active online pres-ence, shanghaijazzscene.com, which provides an interesting look into the happenings in the perfor-mance venues around the city.

Like France in the 20th century, there is tremen-dous potential for a major increase in jazz educa-tion and performance in China and it will be very exciting to see how this common interest brings our cultures closer together.

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

Jazz in the People's Republic

“There is tre-mendous poten-

tial for a major increase in jazz education and

performance in China.”


[email protected]

JAZ_4 4 11/14/08 9:39:16 AM

But Beautiful Here’s That Rainy Day Body and Soul

Misty My Foolish Heart My Funny Valentine My

One and Only Love My Romance The Nearness of You.

00841691 Book/CD Pack$15.95

All the Things You Are Easy Living Jeruvian Rude Old Man Samba Cantina Samba De Orfeu

Suicide Is Painless (Song from M*A*S*H) Take Five

Take Ten When Joanna Loved Me.

00843077 Book/CD Pack $14.95

Autumn Leaves (Les Feuilles Mortes) Cotton Tail Easy Living I Remember You If I Should Lose You Lullaby of Birdland Out of Nowhere

Stella by Starlight There Will Never Be Another You When Sunny Gets Blue.

00843000 Book/CD Pack$14.95

Caravan Don’t Get Around Much Anymore In a Mel-low Tone In a Sentimen-tal Mood It Don’t Mean a Thing (If It Ain’t Got That Swing) Perdido Prelude to a Kiss Satin Doll So-phisticated Lady Take the “A” Train.00841644 Book/CD Pack $16.95

Blue Train (Blue Trane) Comin’ Home Baby Foot-prints Impressions Killer Joe Moanin’ Sidewinder

St. Thomas Stolen Mo-ments Well You Needn’t (It’s over Now).

00841690 Book/CD Pack $15.95

Featuring Gerry Mulligan playingthe melodies on the record-ing, along with his own rhythm section. Apple Core

A Ballad Festive Minor Five Brothers Line for Lyons

Nights at the Turntable North Atlantic Run Song for Strayhorn Walkin’ Shoes.

00843006 Book/CD Pack $16.95

Angela Cast Your Fate to the Wind Feels So Good

Give Me the Night Just the Two of Us Minute by Minute Morning Dance

Songbird Street Life This Masquerade

00843066 Book/CD Pack$14.95

Billie’s Bounce (Bill’s Bounce) Birk’s Works Blues for

Alice Blues in the Closet C-Jam Blues Freddie Free-loader Mr. P.C. Now’s the Time Tenor Madness Things Ain’t What They Used to Be

00841646 Book/CD Pack$15.95

Agua De Beber (Water to Drink) Chega De Saudade (No More Blues) The Gift! (Recado Bossa Nova) Invi-tation Manha De Carnaval (A Day in the Life of a Fool) Mas Que Nada Ran Kan Kan

So Nice (Summer Samba) Sweet Happy Life (Samba de Orpheo) Watch What Happens.00843019 Book/CD Pack $16.95

Blues by Five Circle Eighty One Flamenco Sketches Fran Dance

Green Haze Mood Petits Machins Pfranc-ing (No Blues) Swing Spring.

00843081 Book/CD Pack $14.95

Au Privave Billie’s Bounce (Bill’s Bounce) Confirma-tion Donna Lee Moose the Mooche My Little Suede Shoes Now’s the Time Ornithology Scrapple from the Apple Yardbird Suite.

00843019 Book/CD Pack $16.95

Blue Train (Blue Trane) Countdown Cousin Mary

Equinox Giant Steps Impressions Lazy Bird Mr. P.C. Moment’s Notice

Naima (Neima).

00843006 Book/CD Pack $16.95

JAZ_5 5 11/14/08 9:32:03 AM

www.musicdispatch.com


noteworthy

Festival New Orleans Takes Over LondonThe inaugural Festival New Orleans proved a resounding success as more than 80,000 people made their way to London’s The O2 for this free cel-ebration of the music and culture of one of the world’s most exciting cities. The large crowd danced and sang along to sets from the likes of Dr John, Allen Toussaint, Buckwheat Zydeco and Kermit Ruffi ns.

In total, more than 100 New Orleans artists performed over the course of the weekend, playing to packed crowds in the IndigO2 and the newly opened Matter venue within The O2, as well as the Promenade, which was transformed into a recreation of famous Bourbon Street and saw proces-sions from the Apache Hunter Mardi Gras Indians, the Rebirth Brass Band, and the New Birth Brass Band.

Festival New Orleans was the largest celebration of Louisiana music and culture to be held outside of the US. With its overwhelming success and huge attendance fi gures exceeding the already high-expectations of both its organizers and its audience, plans are already in place to hold the Festival next year as well.

To learn more, check out www.theo2.co.uk.

Berklee Valencia

erklee College of Music president Roger Brown and Sociedad General de Autores y Editores (SGAE) CEO Eduardo Bautista have

announced a cultural partnership to build a new college for global, contem-porary music education in Valencia, Spain. Berklee Valencia will be the larg-est offshore U.S. music college in the world. Programs will offer music educa-tion that is new to Europe, focusing on contemporary music, international business, and the latest developments in leading-edge music technology.

Berklee and SGAE offi cials broke ground October 16, 2008. Berklee Valencia is housed in a cultural com-plex called ARTeria Valencia, part of a network of performance and education spaces being constructed by SGAE in several Spanish and Latin American cit-ies. ARTeria Valencia’s modern complex

will include a 27-story building. Berklee Valencia will open in 2011.

Berklee Valencia’s curriculum for undergraduate and graduate programs will offer fi ve main areas of study to prepare students to meet the challenges of the contemporary music industry: Music for Film and Integrated Media; Electronic Production and Design; Global Music and Entertainment Management; Symphonic Band Studies; Mediterranean Music. Berklee Valencia will enroll 1,000 students. Student re-cruitment will have emphasis on Spain,

Europe, Spanish-speaking countries, Africa, and the Middle East.

ARTeria Valencia, home of Berklee Valencia, is one part of ARTeria Multi-espacios, a network of multi-purpose spaces being developed by SGAE. The ARTeria includes eight centers in Spain, as well as centers in Mexico City, and Buenos Aires. The centers will have space for dance, music, audio/visual work, and theater, as well as recording studios, classrooms, and SGAE offi ces.

For more information visit www.berklee.edu/Valencia.

B

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

On Tour

JAZ_6 6 11/14/08 11:38:30 AM

Performing Opportunitiesat North Central College

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

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

losing your musical edge.

North Central CollegeMusic Scholarship Auditions

Saturday, February 7, 2009

Saturday, February 21, 2009

Saturday, March 7, 2009

M

S

Sa

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

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

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

www.northcentralcollege.edu 800-411-1861

JAZ_7 7 11/14/08 9:32:14 AM

www.northcentralcollege.edu

noteworthy


noteworthyJazz at Lincoln CenterDue to overwhelming demand for the sold out concert on February 9th, Jazz at Lincoln Center added a second concert on February 10th for Willie Nelson

and Wynton Marsalis. The two American icons will perform in Rose Theater at 8 p.m. on Febru-ary 9 and February 10.

This summer, Blue Note records released the CD Two Men with the Blues recorded at an earlier Jazz at Lincoln Center per-formance. On October 28, Eagle Eye Media released the DVD from that performance entitled Willie Nelson and Wynton Marsalis Live

from Jazz at Lincoln Center, New York City, which was recorded live in The Allen Room at Jazz at Lincoln Center in 2007.

All single tickets for the February 10th performance can be purchased through www.jalc.org or CenterCharge at 212-721-6500, daily from 9 a.m. to 9 p.m. Tickets can also be purchased at the Jazz at Lincoln Center Box Offi ce, located on Broadway at 60th Street, ground fl oor. Box offi ce hours: Monday-Saturday from 10 a.m. to 6 p.m. (or 30 minutes past curtain) and Sunday from noon to 6 p.m. (or 30 minutes past curtain).Ticket prices for Willie Nelson and Wynton Marsalis are $30, $50, $75, $100, $125, and $150.

Learn more at www.jalc.org.

Monterey Jazz Festival’s Next Generation Festival

New Labels for Nu Jazz Entertainment

Nu Jazz Entertainment has an-nounced the formation of two sepa-rate labels to release high defi nition video and audio content, exclusively for digital download in the genre of jazz.

Nu Jazz Records and Nu Jazz Video are the fi rst labels of their type in the industry dedicated to providing high quality audio and video releases of emerging, and soon to be, legends in jazz. Nu Jazz Entertainment will re-lease over 30 audio and video projects per year. The current slate of releases include projects from, tenor and soprano saxophonist, Jimmy Greene; percussionist, drummer, Geoff Clapp; longtime Wynton Marsalis sideman, alto saxophonist, Wess “Warmdaddy” Anderson; baritone saxophonist Jason Marshall; and current Jazz at Lincoln Center member, Walter Blanding, Jr., on tenor saxophone.

Check out Nu Jazz on the Web at www.nujazzentertainment.com.

he Monterey Jazz Festival announced the 5th Annual Next Generation Festival, featuring the nation’s most talented middle school, high

school, conglomerate, and college jazz musicians and vocalists. The Next Generation Festival, which includes MJF’s Next Generation Festival Jazz Competition, will take place in down-town Monterey from April 3 - 5, 2009.

The three-day event will include performances and competitions, with awards going to the best groups for Middle School, High School, Con-glomerate, and College Big Band Divi-sions; for High School Combos and Vocal Ensembles; and to College Vocal Ensembles. The event also includes the annual Composition Competition,

open to high school composers. The top three high school big bands, top high school combo, top conglomerate big band, top college-level big band and vocal ensemble and top two high school vocal ensembles will win cash awards and be invited to perform at the 52nd Annual Monterey Jazz Festival, September 18 - 20, 2009. In total, nine groups from the Next Generation Festival will perform at MJF/52, with the top high school big band kicking off the Arena/Ly-ons Stage on Sunday, September 20, 2009. Other winning groups will per-form in the Night Club, the Garden Stage, and the Coffee House Gallery on the Grounds.

Auditions will also be held for chair positions in the Monterey Jazz Festi-

vals Next Generation Jazz Orchestra, which embarks on a yearly tour and is a featured ensemble on the Festival’s Sunday, September 20, 2009 after-noon Arena/Lyons Stage program. For MJF/52, the multiple Grammy-win-ning trumpeter and Pulitzer Prize re-cipient Wynton Marsalis will perform as a guest soloist with the NGJO.

The Next Generation Festival is accepting applications from middle school, high school, conglomerate, and college big bands; high school combos and vocal jazz ensembles; and from college vocal jazz ensembles through January 23, 2009. Application forms may be downloaded at the Monterey Jazz Festivals Web site.

Visit www.montereyjazzfestival.org for more information.

T

JAZ_8 8 11/14/08 11:38:36 AM

MattMarantzHOMETOWN : Cedar Hill,Texas

GREATEST INFLUENCES : Charlie Parker,John Coltrane, Keith Jarrett, Jan Garbarek, PatMetheny, Paul Motian, Elvin Jones, Cannonball Adderly

BEST BAND: John Coltrane Quartet

FAV MOVIE: Empire Strikes Back

FAV SPORT: Huge baseball fan

My reed, My music, My soul.

The reed for the next generation of musicians

LATEST RECORDING : Just Friends

www.ricoreeds.com

D’Addario & Company, Inc. • Farmingdale, NY 11735 USA Rico and “The World’s Most Popular Reed” are trademarks of D’Addario & Company, Inc. or its affiliates in the United States and/or other countries.© 2008. All rights reserved.

REEDS USED : Rico Select Jazz Unfiled 3M

JAZ_9 9 11/14/08 9:32:20 AM

www.ricoreeds.com

noteworthy


Mapex Artist Liberty DeVitto Awarded by Marshall University

Liberty DeVitto was selected to be a Joan C. Edwards Distinguished Professor of the Arts by Donald Van Horn, Dean of the Marshall University College of Fine Arts.

During his residency DeVitto, who recorded multi-platinum albums and toured the world for 30 years as Billy Joel’s drum-mer, presented lectures to 10 different sections of music appreciation classes about the creative process of composing and recording rock/pop music,presented several lecture/discussions to jazz studies and commer-cial music students,hosted a seminar on performance preparation and career

development for music majors, worked with Marshall percussion students and presented a drum set clinic for the general public.

Visit www.mapexdrums.com for more information.

New Web Site for PearlPearl has launched a new Web site designed to bring drummers all the information they want about products, artists, events, and Pearl history in an easily navigated format with exclusive content.

Some of the new features include a color selector tool that allows the customer to see exactly how a certain fi nish looks on a drum, as opposed to just looking at a color swatch.The new artist section now features expanded photo and video galleries, as well as artist kit plots to view all of your favorite artists’ set ups.

Another new feature of the Web site is the timeline of Pearl history. This timeline, powered by Dipity, allows customers to browse the entire history of Pearl Musical Instruments, starting in Japan in 1946 up to present day. Loaded with archived photos, videos and catalogs, this resource gives drummers a unique and in depth look at signifi cant mo-ments in Pearl’s legendary history.

Check out Pearl's new Web site at www.pearldrum.com.

Making the simple com-plicated is commonplace; making the complicated simple – awesomely simple – that's creativity.

~ Charles Mingus

Say What?

631.656.2110305 N. Service Road Dix Hills, New York 11746 email: [email protected]

• Perform at Lincoln Center...• Make an awesome CD that goes platinum...• Score a film that is internationally acclaimed...• Represent an entertainer who is #1 on the charts...• Have a fantastic internship in a major recording studio...• Be part of a Broadway or theatre production...

If these are your goals, WE ARE YOUR FIRST CHOICE!

• A U D I O R E C O R D I N G T E C H N O L O G Y • C O M P O S I T I O N / S O N G W R I T I N G • M U S I C T E A C H E R E D U C AT I O N • MUSIC BUSINESS • MUSIC PERFORMANC • MUSICAL THEATRE • MUSIC TECHNOLOGY • MUSIC HISTORY

Liberty DeVitto receives the Jean C. Edwards Distinguished Professor of the Arts Certificate from Dr. Ben Miller.

JAZ_10 10 11/14/08 11:38:40 AM

www.ftc.edu

Juilliard Jazz

Jazz Performance Education at This Country’s Premiere Conservatory

Accepting applications for Bachelor of Music, Master of Music, and Artist Diploma Programs in Jazz Studies� Perform and Tour� Participate in Master Classes� Study with extraordinary faculty and top performing guest artists

A curriculum tailored to the practical performanceneeds of its young artists at all levels� Bachelor of Music high school diploma or equivalent required� Master of Music bachelor of music degree required� Artist Diploma college degree or extensive experience required

for this post-graduate, tuition-free program

All applicants must meet Juilliard’s jazz audition requirements.

Auditions take place in February/MarchSend Applications and Pre-Screen Recording to:Juilliard Admissions60 Lincoln Center PlazaNew York, NY 10023(212) 799-5000

www.juilliard.edu

Joseph W. Polisi, President

Building an extraordinary future

Photo: Peter Schaaf

JUILLIARD JAZZ

Carl AllenArtistic Director

Laurie A. CarterExecutive Director

Artists-in-ResidenceBenny GolsonChristian McBride

Visiting ArtistsBenny GreenWynton Marsalis

FacultyKenny BarronRon BlakeKendall Durelle BriggsRon CarterGeorge ColliganXavier DavisRichard DeRosaBilly DrummondRay DrummondMark GouldDavid GrossmanEddie HendersonChristian JaudesRodney JonesFrank KimbroughGregory KnowlesTed NashPhil SchaapBob StewartJoe TemperleySteve TurreKenny WashingtonJoseph WilderBen Wolfe

JAZ_11 11 11/14/08 9:32:24 AM

www.juilliard.edu

noteworthy


Jamfest has joined forces with Loyola University Jazz De-partment’s Jazz Ensemble Festival to create a culturally rich and educationally outstanding performance opportunity from Friday, March 6 to Sunday, March 8, 2009.

At JAMFEST’09 students will walk in the footsteps of the gi-ants of jazz while discovering New Orleans, the city of its birth. The goal is to provide the optimum experience for all perform-ers and directors through cultural immersion and the wonder of learning through cooperation with Loyola Jazz Ensemble Festival, which is in its 39th year. All performances, both competitive and non-competitive, will be held at Loyola University. The Festival is open to big bands or jazz combos from elementary through junior college level. Master classes will be held for all instruments on Friday, March, 6th and Saturday, March 7th, and will be taught by guest artist, bassist and composer Rufus Reid and the Loyola jazz faculty. A panel of expert musician/educators will adjudicate and provide clinics immediately following each performance.

Outstanding groups receiving top rating will be awarded trophies. Outstanding JEN musician awards will be given to ex-ceptional students. Seven tuition scholarships will be awarded to attend Loyola Summer Jazz Band Camp to be held May 31st to June 6.

Participants of New Orleans JAMFEST’09, Friday, March 6th to Sunday, March 8th will enjoy: One adjudicated performance

with clinic immediately following, master classes, admission to evening concerts on March 6th performance by Loyola Faculty Jazz Septet and Guest, and on March 7th Rufus Reid with the Loyola Jazz Band, participation in a Naturally N’awlins second line through the French Quarter lead by a professional second line brass band ending with a private welcome reception at a Cajun Restaurant, hotel accommodations, New Orleans JAMFEST’09 t-shirt for each participant and director, tickets to Audubon Insti-tute Aquarium of the Americas and Zoo, one group photo, Sun-day morning gospel brunch, 1-year membership to Jazz Educa-tors Network, lunch at Bubba Gump Seafood Restaurant, fi nal night awards ceremony, concert and New Orleans JAMFEST’09 fi nal night celebration N’awlins style.

Worldwide Concepts Inc.is the offi cial Travel Company and producer of New Orleans JAMFEST’09.

E-mail all requests for more information and to request a reg-istration packet to [email protected]

New Orleans JAMFEST’09 is endorsed by Jazz Education Net-workand supported by New Orleans Metropolitan Convention and Visitors Bureau. The New Orleans Metropolitan Convention and Visitors bureau is delighted to promote JamFest 09 and look forward to sharing culture, food and incredible music with Amer-ica's next generation of jazz musicians.

The Shenandoah Conservatory of Music located in scenic Win-chester, Virginia will host the 2008 National Jazz Workshop from July 19 through the 24th. Study with the nation’s fi nest at a new comprehensive and inexpensive workshop designed for students and educators. Studies include arranging, composition, jazz history, MAC software technology, big band and combo performance tech-niques, recording studio technology, new jazz literature reading ses-sion, and various subjects. Participants will be grouped with peers. Educators and adults can participate in a non-performing status. The National Jazz Workshop 2008 will be hosted by Dr. Robert Larson, Director of Jazz Studies at Shenadoah University and di-rected by Matthew Niess of the U.S. Army Blues.

The growing number of faculty, sponsors, and performers in-clude The Smithsonian Jazz Masterworks Ensemble, The Jazz Education Network, The US Army Blues, Shenandoah University, The US Navy Commodores, Buffet/Crampon, The US Army Jazz Ambassadors, Courtois, The Capitol Bones, arrangers Alan Bay-lock and Bryan Kidd, and Pete Barenbregge with Alfred Publishers. Members of the Washington, DC premier military bands and visit-ing artists will serve as faculty and conduct master classes.

Cost of the workshop will include admission to afternoon and evening concerts.

Workshop Fee: $175, Dorm Fee: $175 (5 nights), Campus Meal Plan Fee: $125 ($475 total for those staying on campus).

Alternate housing is available at the offi cial NJW hotel: The George Washington Hotel @ $94.00 per night 866-845-8930 code: “National Jazz Workshop”, parking fees apply @ $5 per day self park. Airports: Dulles International Airport - 52 miles. Reagan National - 72 miles.

College Students: Preliminary plans are for this workshop to be available (as an option) for one (1) to three (3) undergraduate and graduate credits. In addition to registering with NJW individuals seeking college credit will be required to register and pay any credit fees through Shenandoah University. NJW fees will still apply. Stu-dents should register with NJW before registering with Shenandoah University to guarantee participation in the workshop as space may be limited. Individuals should also check with their home college before assuming credits will transfer. More detailed information will be available at www.nationaljazzworkshop.org.

The Jazz Education Network will be hosting an open forum/idea exchange with free admission, visit www.JazzEdNet.org for details. For more information visit nationaljazzworkshop.org or contact Matt Niess at [email protected].

Jamfest

The National Jazz Workshop 2009

JAZ_12 12 11/14/08 11:38:46 AM

A NEW ONLINE COMMUNITY BRINGING TOGETHER JAZZ EDUCATORS, PERFORMERS,

STUDENTS, AND FANS!

Brought to you by the publishers of

JazzPlayer.com is now live – visit www.JazzPlayer.com

to sign up and create your individualized profile

and start connecting with fellow jazz

aficionados and scholars.

JAZ_13 13 11/14/08 9:32:28 AM

www.jazzplayer.com


1. Milt Jackson – Bags’ OpusIt doesn’t get much better than “April in Paris” on this session – certainly Milt at his very best. Benny Golson also sounds amazing on this record. It is probably my favorite Milt side, from 1958.

2. Charlie Haden – Rambling BoyHere is something new. I like to preview new releases on Internet radio like Last.fm, then purchase what really inter-

ests me. Charlie doing a country record is something I had to examine in detail – if anything, just to hear that gorgeous bass sound on some country tunes.

3. Steve Swallow – Swallow Swallow’s tunes are made for improvisation and always have a clever twist. One thing that makes this CD special is that many of Steve’s greatest collaborators all appear on it: Carla Bley, John Scofi eld, Steve Kuhn, and Gary Burton. I consider Steve and Carla to be two of our greatest American jazz composers in the tradition of Duke Ellington, but with a more post-modern sensibility. Steve was very generous to me when I was young, and I owe him a lot – he is an amaz-ing person. Very few people in jazz have his kind of artistic legacy. His latest project, So There, is a masterpiece and prob-ably the most successful marriage of jazz and poetry ever (along with his 1980 ECM release, Home).

4. Steely Dan – AjaTimeless. Perfect. Pop music with real jazz chords. To me, Aja and Gaucho represent the pinnacle of sophisticated modern record production. Not much has surpassed this in the last 30 years as far as the integrity of the compositions, the detail

A respected session musician, vibraphonist, and

music producer, Steve Shapiro has worked

with such diverse artists as Steely Dan, Ornette

Coleman, Whitney Houston, Spyro Gyra, and

They Might Be Giants. Shapiro is also an ac-

complished composer and arranger whose

work has appeared in hundreds of television

and fi lm projects.

In addition to having performed with the

likes of Curtis Fuller, Jimmy Heath, and Marc

Johnson, Shapiro has also notably collaborated

with Nashville guitarist Pat Bergeson (Bill

Evans, Chet Atkins, Bill Frisell), with whom

he has released three CDs, including 2008’s

Backward Compatible (Apria Records).

What’s on Your Playlist?

Steve Shapiro and Pat Bergeson’s newest album, Backwards Compatible (Apria Records), was released October 28, 2008. www.apria.com, www.vibraphonic.com.

JAZ_14 14 11/14/08 9:46:47 AM


of the performances, and a mastery of studio recording as an art form unto itself. And 1977 is remembered as the era of Barry Manilow and disco!

5. Hank Mobley – Dippin’ (Rudy van Gelder edition)

Hank took what Sonny and ‘Trane were doing, and put it into a groovy setting that made it very listenable. As far as this period – I’m always spinning some-thing from Clifford Brown/Art Blakey, Lee Morgan, Erroll Garner, Wynton Kelly or Wes Montgomery. Just stuff that has that feel.

6. Victor Feldman – The Arrival of Victor Feldman

How about this killer trio with Scott La-Faro and Stan Levey? It’s a little looser than later things, after Vic became a big L.A. session sideman. But the tasteful playing is always there. I think he is sometimes overlooked when people talk about the innovators of a pianistic approach to the vibes.

7. Weather Report – Heavy WeatherWhenever “Teen Town” pops up on my player, I can’t seem to fast forward past it. It is so compelling and Zawinul, Wayne, and Jaco are such strong musi-cal personalities. Joe was very inspiring – his music never got tired. He always infused it with young energy, which I guess is something he learned from Miles. I have become interested in the melodica and I always try to think of Joe when I play that instrument.

8. Paul Simon – There Goes Rhymin’ SimonThis is about songwriting and arrang-ing, especially on tracks like “An Ameri-can Tune.” What an amazing song. I’m almost always listening to some classic material from Paul, or James Taylor, Joni Mitchell, The Beatles, or maybe Jackson Browne or Elvis Costello – the masters

of the modern pop song. I’m also a big fan of Phil Ramone, who produced this record.

9. Al Green – Greatest HitsNot much to say – just some serious groove and fi nesse going on here. A lot can be learned from the economy of the playing, as well. The kind of phrasing that singers like Al and Ray Charles use has a lot in common with my favorite jazz.

10. Maria Schneider – Sky BlueThere is just some really beautiful writ-ing on this and some real individual-ism. It sounds fresh, but still follows in the footsteps of great arrangers like Gil Evans, Henry Mancini, or even Pat Metheny and Lyle Mays. And like Duke, Maria writes to the strengths of the cats in the band. It’s a real ensemble.

JAZ_15 15 11/14/08 9:46:51 AM

www.bigbandmanjazz.com

www.claudelakey.com

Keep Music EducationStrong:Let Your Voice Be Heard!

Looking for ways to support music programs in your community?

Order your new, FREE SupportMusic Community Action Kit and get started today!

The multimedia kit helps you organize community efforts with:

To affiliate with the SupportMusic Coalition,e-mail [email protected].

To find out more and order your FREE kit, visit the NAMM Idea Center in Booth #5501 or e-mail [email protected]. For more advocacy tools and information, log on to www.SupportMusic.com.

-presentation materials

-a petition to keep music in schools

-brochures

-public service announcements

-tips to form a local coalition

-many items in English and Spanish

SM MMR1.indd 1 12/20/06 2:37:29 PM

JAZ_16 16 11/14/08 9:32:35 AM

www.supportmusic.com


Introducing the newly launched

We all have to open our minds, stretch forth, take chances and venture out musically to try and arrive at something new and different. ~ Horace Silver

The Jazz Education Network is defi nitely a venture that is “new and different” – and musicians and fans around the world are stepping up to join us on our jazz journey.

Our Charter Members already stretch from California to Boston and across the sea. Our Affi liate groups hail from Ohio and Arizona and I was happy to hear from Professor Michael Rossi at the University of Cape Town that the South Africa Jazz Educators organization has voted to join JEN. So our international connections are halfway around the world!

We chose the word network because that is what we do: we make connections to enhance your jazz experience, whether it be teaching, performing, producing, managing, or listening. If you have a jazz success story to share, a discovery of a new teaching tool, or if you need help fi nding a chart, a bit of jazz history, or anything else, JEN is the way to get connected. JEN is about give and take, sharing resources, and broadening the audiences for this creative music.

For those of you who’ve been playing the “wait and see” game, JEN needs your support now! Be a part of the start! I’ve been getting calls and e-mails from dear friends, as well as many newcomers, who want to be in on the ground fl oor of this unique association, and I invite you to join today. Join by December 31st to become a Charter Member of the Jazz Education Network. Attend the Open Forums coming up in Chicago and L.A. and get connected.

Our affordable membership categories ($10-$50) make it easy for you to join at the level that suits you best. You can fi nd a full description of each membership category at our Web site www.JazzEdNet.org – and we can now accept credit card payments directly through the site.

If you are part of an existing jazz group, such as a local jazz society or a statewide jazz organization, your whole group can join at the Affi li-ate level. We purposely have made it extremely reasonable ($25 for unit and $10 per member) for groups to join JEN. See Dr. Fischer’s article on the details of membership.

The JEN Executive Board will be meeting in Chicago during the Midwest Clinic and we will be there to give you a short presentation about the new organization and hear your comments. I invite you to attend the Open Forum to be held Friday, December 19th at 1:00 p.m. in the Crystal Ballroom (4th fl oor) at the Blackstone Hotel (right across the street from the Hilton). We will not require attendees to the Open Forum to have a badge. Do make plans to stop in and chat with us any time at the Symphony Publishing (JAZZed magazine) booth in the exhibit

area and get your latest copy of JAZZed. It’s your chance to meet and talk with JEN’s offi cers, board members and some of our new committee chairs. Come on over and ask questions, share information, give us helpful ideas, chat and enjoy some face-to-face networking with people who share your interest in jazz.

In partnering with the prestigious NAMM Trade Show, JEN is able to offer a unique opportunity for educa-tors to attend the NAMM Trade Show January 16-18 and also attend another JEN Open Forum. Come and see what is new in the music industry world in sunny southern California! The leadership of NAMM and JEN will be sharing their ideas on the future in music education. Come spend the weekend with us…or if you live close by, just the day! See our Web site for more info and for details on how to register for this fabulous and fun weekend.

In the spirit of collaboration, good will, good cheer, and the advancement of jazz education, I look forward to working with you and for you.

The happiest of holidays to you, your families, and friends,Mary Jo Papich

President, Jazz Education NetworkHighland Park High School

433 Vine AvenueHighland Park, IL [email protected]

JAZZ EDUCATION NETWORK!A MESSAGE FROM JEN PRESIDENT MARY JO PAPICHNovember, 2008

JAZ_17 17 11/14/08 9:47:19 AM



December 19, 2008: Midwest Band & Orchestra Clinic Open Forum/Idea Exchange 1:00 pm Blackstone Hotel-Crystal Ballroom- 4th fl oor North Texas State Jazz Singers 5:30 pm TBA Chicago Hilton & Towers Chicago, Illinois www.midwestclinic.com

January 16-18, 2009: NAMM Trade Show Open Forum/Idea Exchange, Jazz Education Panels/Clinics Attend the NAMM Trade Show/Concerts Attend NAMM Music Educator Day Anaheim Convention Center Anaheim, California www.NAMM.com & www.JazzEdNet.org to register

February 13-17 Vallarta JAZZ SHOWCASE H.S./Collegiate level performance Come Play on the Beach! Puerto Vallarta, Jalisco, Mexico www.Amclass.org

March 6-8 New Orleans JAMFEST Middle School/High School/College level Performances and Events Loyola University New Orleans, Louisiana For registration packet contact: [email protected]

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

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

Web site Update www.JazzEdNet.orgOur webmaster Bill Christie and his team of Steve Crissinger and Lou Fischer are working late hours to add features to the JEN Web site.

Our JEN Web site will be:• A place to get answers to your questions as you “Network with an Ex-

pert” online (just wait till you see our terrifi c line-up of greats)!• A forum for discussions online, to post job openings and upcoming events• A place to host a calendar for workshops/ events/ conferences• A place to network with other jazzers of all ages• A place that will offer pod casts of clinics and concerts • A place to download free materials• A place to shop the JENeral Store• A place to access our online magazine version of JAZZed by Symphony Publishing

• And much more!!!

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

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

JEN proudly introduces the newly appointed Communications

Task Force/Editorial Advisory Committee:

Nancy Grant, Chair- Louisville, KYKahil El Zabar- Chicago, ILJohn Kuzmich- Southern CATony Garcia- Richmond, VA

JAZ_18 18 11/14/08 9:47:25 AM


networthynewsThis column of JEN’s JAZZed magazine will feature “what’s happening in the JEN jazz world” items that are worthy of interest. In this issue the column features hap-penings from some of the fi nest jazz experts in the world! These people make up the “Network with an Expert” team for the Jazz Education Network. JEN members can access the Members Only area at www.JAZZedNet.org to get their questions answered personally. Now that’s a member benefi t!

ORBERT DAVIS (Trumpet Expert), much hon-ored jazz trumpeter and artistic director/conduc-tor of the Chicago Jazz Philharmonic Orchestra, recently composed, conducted, and soloed in a spectacular “Tribute to Nelson Mandela and his 90th Birthday” at the Pritzker Pavilion in Chica-go’s Millennium Park. Orbert composed a piece that weaves jazz, classical and South African melodies and featured Zim Nggawana, a promi-nent SA jazz saxophonist, Ari Brown, Dee Alexander, and T’keyah Crystal Keymah. Over 10,000 people enjoyed the creative piece, complete with narration and learned about the historic struggle of South Africa’s beloved Mandiba…

SHERRIE MARICLE (Drums Expert) is the drummer and leader of The DIVA Jazz Orchestra and FIVE PLAY as well as the Director of Education and drummer for The New York Pops. DIVA’s new CD “LIVE” from Jazz at Lincoln Center was released in Sept. 2008. The next gig of note is a jazz cruise Nov 15 - 22 on the Norwegian Dawn … KEN DRUK-ER (Community Outreach Expert) is the Manager of Public Programming in the Education department at Jazz at Lin-coln Center. His new “Listening Party” series kicks off with guest Joe Lovano in November. He has previously worked at The Verve Music Group and in the Music Department at Concordia University… RICHARD DUNSCOMB (Interna-tional Advisor) is currently forging new paths with his Sym-phonicJazz International project as he conducts symphony orchestras worldwide. SymphonicJazz is an exciting and innovative combination of traditional Symphony Orchestra instrumentation with Jazz instrumental and vocal music. The summer of 2008 found him in Italy conducting the Bari Symphony Orchestra in a world premier of special arrange-ments of jazz standards by Thomas Gunther. Currently Pro-fessor Dunscomb is the chair of the music department at Columbia College Chicago and is also the Executive Direc-tor of the Chicago Jazz Ensemble... PEGGY VAX (Middle School Curriculum Band Expert) was named Jazz Educa-tor of the Year for the state of California and has been a specialist in Middle School Instrumental music for 28 years as well as a Clinician/Adjudicator for the past 15 years cur-rently teaching at Valley View Middle School, Pleasant Hill California…


ERIKA PAUL (Elementary Music Expert) is fulltime career musician, singer, teacher and music director in Nevada, California and in Europe, with a passion for jazz performance, teaching and creating learning concepts that inspire. Her three-time national award win-ning children’s interactive cd/songbook/col-oring book learning trilogy for K-8th grades, called “Scat’s My Bag”, is available through her Web site, www.erikapaul.com, through Jamey Aebersold’s www.jazzbooks.com; her beginning solo jazz piano pieces are available at www.kjos.com and her song tracks and CDs are available through her Web site and iTunes…CECILIA SMITH (Mallet Expert) of NYC recently received the JOYCE Award and is currently working on a commission through the JOYCE Foundation. This live jazz multi-media work will premier during the Tri-C Jazz Festival 30th Anniversary in Cleveland, Ohio - April 29, 2009…MICHELE WEIR (Vocal Jazz Expert) is currently on the faculty at UCLA, touring internationally as teacher, clinician and/or performer, and writ-ing vocal arrangements for numerous groups and publishers, including her own com-pany, MichMusic (www.michmusic.com). Michele’s recent projects include orchestral work for vocal group, M-Pact, her new book, Jazz Piano Handbook (Alfred Publishing), and the initiation of a new mentorship program, MichMusic Personal Study…WILLARD JEN-KINS (Jazz Festival Production Expert) is currently wrapping up the fi nishing touch-es on his new book collaboration with the great NEA Jazz Master Randy Weston - Af-rican Rhythms: the autobiography of Randy Weston, composed by Randy Weston, ar-ranged by Willard Jenkins. Duke University Press will publish the book in 2009 and ex-cerpts from the book will soon begin appear-ing regularly at www.openskyjazz.com in The Independent Ear blog section. He also has an article in the current jazz education supple-ment of JazzTimes magazine on the current

JAZ_19 19 11/14/08 9:47:29 AM


networthynewsJAZZ EDUCATION NETWORK

state of jazz education at histori-cally black colleges and universi-ties (HBCUs). His work as artistic director of Tri-C JazzFest Cleveland (celebrating its 30th anniversary April 24-May 4, 2009), BeanTown Jazz Festival (produced by Berklee College of Music), and Tribeca Per-forming Arts Center also continues. He is also eagerly anticipating the October 17, 2008 celebration of the 2009 class of National Endowment for the Arts Jazz Masters at Jazz at Lincoln Center and serves as a con-sultant to the program through his work for Arts Midwest’s steward-ship of the NEA Jazz Masters “Live” funding program…LYNNE AR-RIALE (Piano Expert) is a pianist, composer, leader of the Lynne Ar-riale Trio and newly formed Lynne Arriale Quartet featuring Randy Brecker, George Mraz and Anthony Pinciotti, has recently recorded her 11th CD, scheduled for March re-lease on Motema Music. She is also assistant professor of Jazz Studies and director of the Combo Program at the University of North Florida in Jacksonville…BOB CURNOW(Composer/Arranger Expert) was a trombonist with The Stan Kenton Orchestra, touring all of the United States, Great Britain, Scotland and Wales (1963). He produced over 30 LPs for Kenton, and his arrange-ments and compositions can be heard on six Stan Kenton albums. His company (Sierra Music) is the exclusive publisher of the Stan Ken-ton Orchestra Library, along with the music of many other great jazz artists/composers. Curnow had the great honor of being inducted into the Hall of Fame of the Internation-al Association of Jazz Education in January, 1999 and is a past-presi-dent of the IAJE…

J.B. SCOTT (Trumpet Expert) performs internationally as not only a featured artist but with his wife, vocalist LISA KELLY (Vocal Expert), as co-leaders of the Kelly/Scott Jazz 5tet (mainstream jazz), J.B. Scott’s Swinging Allstars (Chicago style Dix-ieland), and of the Florida Jazz Plus music organization. “Lisa’s “Ella” like scat is really impressive...His versatile style enables him to swing like crazy. This is a highly entertaining exciting band that – on the evidence of this CD – can please a wide variety of audiences. I can’t wait to see them in the UK - they’re really refresh-ing,” says Brian Harvey, The Hot Jazz Channel, October 2008. Lisa has become well known for her vocal jazz clinics and presentations, becoming the fi rst to present both a vocal jazz clinic for the Florida Vocal Association/FVA (2007, 2008), and a big band vocal performance clinic for Florida Bandmasters Association/FBA (2007) at the MENC State Convention in Tampa, Florida. Since 2000, she has been the vocalist with the FBA reading band session, she is a pro! JB is much in demand as a YAMAHA trumpet artist/clinician and adjudicator. Currently, J.B. Scott is Associ-ate Professor at The University of North Florida teaching the award winning Jazz Ensemble 1, trumpet and music related courses. He is also the Director of The Great American Jazz Series bringing in 4 major artists a year for weeklong resi-dencies and The Koger/Matteson Jazz Festival, a non-competitive big band festival for middle and high school jazz ensembles. RUBEN P. ALVAREZ is a drummer, Latin percussionist, composer, and educator based in Chicago. He currently re-cords and tours with Chicago’s premier Latin jazz ensemble Chévere, and Grammy nominated rumba fl amenco ensemble Guitarra Azul. He is on the faculty of North-western University, Roosevelt University and Columbia College Chicago, and is an educational endorser and clinician for Latin Percussion, Zildjian cymbals, Vic Firth sticks and mallets, and Remo drumheads and percussion…JIM WARRICK (Non-Competitive Jazz Festivals & Web Production) is in his twenty-seventh year as the Jazz Ensemble Director at New Trier High School in Winnetka, IL, where, under his supervision every school concert is broadcast live on TV, in stereo on public radio, and webcast worldwide on the jazz program’s website: NTJazz.com. He created and directs the popular non-competitive Frank Mantooth Jazz Festival and teaches in the summer at the Birch Creek Music Center jazz camp. He is taking early retire-ment at the end of this school year to explore other opportunities in education…BOB SINICROPE (Performance Tours/ Unique Travel) founded Milton Academy’s inter-nationally acclaimed jazz program in 1974 and remains its director. He was the inaugural recipient of the IAJE/ Berklee John LaPorta Jazz Educator of the Year in 2007 and has been on the staff of Jamey Aebersold’s Summer Jazz Workshop since 1982. An active bassist he performs regularly in the Boston area and has special connections with jazz programs throughout South Africa where he is plan-ning to tour for the seventh time next March with the Milton Academy Jazz Com-bos.… PETE BARENBREGGE (Publishing Expert) is the instrumental jazz editor for Alfred Publishing/Belwin Jazz, managing hundreds of jazz ensemble charts and supplemental jazz resources. He is also a busy saxophonist in the Washington, DC area, performing various gigs ranging from shows for artists such as Natalie Cole, recording sessions, jazz gigs, and all the usual commercial gigs. This past summer, Pete taught at the Gettysburg Jazz Camp, and as director of the Columbia Jazz Band, a community big band in Columbia, MD, he and the band performed at the Montreux Jazz Festival, then a nine day tour of Italy, Croatia, Slovenia and Vienna, Austria, an amazing trip… JOHN BABOIAN (Guitar Expert) Professor of Guitar at Berklee College of Music in Boston, recently returned from his ancestral Armenia where he performed concerts with Armenia’s Queen Of Jazz, “Datevik” and her trio. He is the leader of The “Be-Bop” Guitars (5 guitars & rhythm section) with their recently released CD “Freshly Painted Blues”. Last spring this amazing group was featured at the CapeTown Jazz Festival in South Africa. Check out their web site at www.bebopguitars.com...

JAZ_20 20 11/14/08 9:47:33 AM


networthynewsJAZZ EDUCATION NETWORK

BRENT CAMPBELL (H.S. Fes-tival Expert) is currently the di-rector of the Brandon Jazz Festival and teaches band at Vincent Massey High School in Brandon, Mani-toba, Canada. He has toured with

his high school groups to Europe, Cuba and across North America…JOVINO SANTOS NETO (Brazilian Percussion Expert) was awarded a grant from Petrobras, the Brazilian State Oil Company in 2006, to re-

search, compose and record a new work inspired by the musical uni-verse of Northeastern Brazil;. The resulting CD, “Alma do Nordeste” (Soul of the Northeast) is being released in 2008 in Brazil and in the US. It features some of the best musicians in Brazil and once again solidifies Jovino’s reputation as one of the most creative composers and musicians in activity today… JOHN KNECHT (Unique travel/tours ex-pert) has traveled to over 30 coun-tries, studying world percussion instruments and their connections to jazz music. This past summer 2008, he visited Indonesia, India, South Africa, Argentina, New Zea-land, Costa Rica and Ecuador. John specializes in West African Malinke music, having been to Guinea, Mali and Senegal four times. He docu-ments these journeys and uses them to lead workshops around the coun-try on behalf of the House of Blues, Chicago Symphony, Urban Gate-ways and his own company, Pulse Beat Music.

KAHIL EL’ZABAR (Health & Wellness/World Music) is doing ex-citing and creative stuff as he has become a national spokesman and for Motel 6 and working with the German and French governments on music therapy projects.

Congratulations to HERB WONG(Archival & Current Recordings Ex-pert) who was given the prestigious Jazz Journalists Award for 2008 by the Jazz Journalist Association at Stanford University. Herb has been a fine journalist over the decades and JEN salutes him proudly! Can we talk you into writing for JAZZed,Herb?

See this section in the next issue for more info on our Jazz Education Network EXPERTS!

ANTONIO GARCIA (Improvisation Expert) is Director of Jazz Stud-ies at Virginia Commonwealth University and a widely recognized composer, author, and performer (primarily trombone and scat-singing). He is International Trombone Association Journal Asso-ciate Jazz Editor, IAJE Jazz Education Journal Past Editor, and a Midwest Clinic board member. Tony led the VCU Jazz Orchestra I in performance at Midwest last December, performed and taught in the Middle East in November, has new articles coming out reg-ularly, and will direct the Kansas All-State Jazz Band in Febru-ary, where he will also present a workshop related to his improv book, Cutting the Changes: Jazz Improvisation via Key Centers (Kjos Music)…MIKE ROSSI (International Affliate) is Professor in Jazz and Woodwinds at the South African College of Music, University of Cape Town, South Africa. Mike presently serves as President of SAJE, (South African Association for Jazz Education). Mike regularly performs, conducts workshops and records with leading artists in Africa, Europe and the United States. Advance Music has published his books on jazz improvisation, and African inspired compositions and arrangements. He has a wealth of ex-perience with teaching jazz and jazz related events in formal and non-formal areas of developing countries. He plays and endorses Rampone & Cazzani Saxophones; makers of Hand Made Italian Saxophones. President Papich saw Mike’s expert organization and planning when she spoke at the South African/Middle East Jazz Conference….MIKE VAX (Big Band/Trumpet Expert) is one of the most active clinicians (Getzen) in the USA today, perform-ing on the road more than six months a year. He is Chairman of the Board of Friends of Big Band Jazz, a nonprofit that raises funds for scholarships to summer jazz camps and sponsors the Mike Vax Jazz Orchestra in California, the Stan Kenton Alumni Tours, and the Prescott Jazz Summit in Arizona, of which Mike is also festival director. Mike is a Summit Records recording artist and has six CD’s available from Summit. Mike will be directing the Small Schools All State Honor Jazz band at the Texas Mu-sic Educator’s Convention in February of 2009, and an All State Honor Jazz Band in Louisiana, as well as doing clinics in at least 12 states. The Kenton Alumni Band will be touring the East Coast in April and May of 2009…LARRY GREEN (New Teacher Mentor Expert) one of the founding members of JEN has been active as a jazz ed clinician and mentor for 35 years is currently with Gem-stone Musical Instruments…

JAZ_21 21 11/14/08 9:47:37 AM



JEN is about Jazz!... innovation, impro-visation, swing, tradition, culture, history, and the future. If I can paraphrase jazzmaster Quincy Jones... “the music is like osmosis; it gobbles up everything in its path...Bach, Beethoven, Mozart, ragtime, stride, Dixieland, bebop, Stravinsky, De-bussy, blues, brass bands, big bands, be-bop, hard bop, cool jazz, avant garde, free jazz, rhythm & blues, rock ‘n roll, British-rock, acid rock, grunge, rap, soul, country, afro-Cuban, Brazilian, Ives!” The music is the greatest gumbo you’ll ever taste!

JEN is about Education!... realizing the collective potential of working together; sharing, learning, growing, developing life-long skills, being rich with knowledge, and positioning jazz as a global language. It’s about serving the needs of friends, neigh-bors, students, colleagues, artists, and fam-ily.

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

Current Membership Levels for ages 18 and up are quite varied in an effort to be inclusive to all. A Charter FULL Individual membership at $50 (USD) includes voting rights and eligibility to: serve on boards or committees; receive JAZZed magazine via USPS (US residents only at this time); re-ceive monthly newsletters; free download-able gifts and music; access to the Members Only sections of the Web site and mem-

bership database; attend all JEN activities and events, and display merchandise and receive discounts to cool JEN apparel and other items available in the JENeral Store.

Charter eJEN Individual memberships are offered at two levels. A Level II member at $35 (USD) receives all the benefi ts of the FULL membership above except the maga-zine is delivered online rather than in print. This is the best option available to our In-ternational friends at this time. A Charter eJEN member at Level I at $25 (USD) is not eligible to serve on the board or commit-tees, nor is allowed to display merchandise in the JENeral store.

A Charter Institutional Partner at $300 (USD) is the category open to educationalinstitutions at any level, foundations, and arts groups with a non-voting membership base.Corporate Partners can become Charter members of JEN at a membership rate of $500 (USD). In each of these two catego-ries, one representative from the group re-ceives voting rights in JEN elections and meetings. Additionally the Partner group will receive: eligibility for three eJEN passes to the Members Only section of the Web site and to attend all JEN activities and events, discounts for placing multiple ads in JAZZed magazine, eligibility to display merchandise in the JENeral store, which includes full access to the Members da-tabase, and a link on the JEN Web site to your Web pages.

The Charter eJEN Network Affi liate cat-egory is open to existing societies, arts organi-zations, associations, groups, etc. with a voting membership base, at a base fee of $25 (USD) + $10 (USD) per person. Your association receives eligibility for one representative to have voting rights in member elections and meetings, one member can serve on com-mittees with voice and vote, display of as-sociation merchandise in the JENeral store,

organizational discounts when placing ads in JAZZed magazine, and a link on the JEN Web site to your Web space. Each indi-vidual member of the group will receive an eJEN pass which provides eligibility to surf the Members only section of the Web site, access the JAZZed magazine online and access the Members database. Further, all individual association members have the ability to upgrade his or her membership to the equivalents of an eJEN or FULL In-dividual membership once the association or organization becomes a member should they so choose to enjoy FULL benefi ts of membership in JEN.

More Detailed information related to each of the Membership Categories is avail-able on the JEN Web site under the JOIN button where we are now accepting secure online credit card application processing! Join now at any membership level before December 31, 2008 and earn the distinc-tion of becoming a Charter Member. Your name, company, organization, or institu-tion will carry the Charter designation long into the future, as long as you maintain a continuous membership.

Future plans for the site include music, video, newsletter capabilities, download-able sheet music, and dedicated areas for the younger jazzers around the world. All are cur-rently being developed.

Stay tuned as things happen quickly on the Network!

Working Together...WE are the Jazz Ed-ucation Network! Working Together...WEare strong! Onward and Forward!

Dr. Lou FischerVice President/Membership Chair, Jazz

Education NetworkVisit: www.JAZZedNet.org for addi-

tional information.

BY DR. LOU FISCHER

101 Reasons (more or less) to join JEN!

JAZ_22 22 11/14/08 9:47:41 AM



Curriculum & InstructionElementary . . . . . . . . . . . . . . . Sherry Luchette Middle School Instrumental . . . . . . Peggy Vax Middle School Vocal . . . . . . Erika Paul Carlson High School Instrumental . . . . . . . . . Jose DiazHigh School Vocal . . . . . . . . . Dan Gregerman Performing Arts Magnet . . . . . . . . .Bart MarantzNon-Traditional Schools . . . . . Caleb Chapman Special Needs . . . . . . . . . . . . . . . .Kim McCord Arts Integration . . . . . . . . . . . . . . . Judy ShaferHistory . . . . . . . . . . . . . . . . . . . . . . Rick Lawn Improvisation Materials . . . . . . . . . Shelly Berg. . . . . . . . . . . . . . . . . . . . . . . . . . . Tony Garcia Composition and Arranging . . . . . . .Ellen Rowe. . . . . . . . . . . . . . . . . . . . . . . . . Greg Ward, Jr. . . . . . . . . . . . . . . . . . . . . . . . . John LaBarbera Theory . . . . . . . . . . . . . . . . . . . . Scott Wilson International Secondary . . . . . . . Michael Rossi

Published MusicBig Band . . . . . . . . . . . . . . . . . . . . Bob Curnow. . . . . . . . . . . . . . . . . . . . . . . . . . . Lou Fischer . . . . . . . . . . . . . . . . . . . . . . . Pete BarenBregge Combo/Ensemble . . . . . . . . . . . . Ben Huntoon . . . . . . . . . . . . . . . . . . . . . . . . . . Mike TomaroVocal Jazz . . . . . . . . . . . . . . . . . . Michele Weir Strings . . . . . . . . . . . . . . . . . . . . . . Bert Ligon Special Manuscripts . . . . . . . . . . . Bob Washut

TechnologyPrograms & Software . . . . . . . . . Rocky Reuter

ResearchScholarly . . . . . . . . . . . . . . . . . . . . Lissa May . . . . . . . . . . . . . . . . . . . . . . . Tammy Kernodle

New Music . . . . . . . . . . . . . . . . John KuzmichInstrumental PerformanceWoodwinds . . . . . . . . . . . . . . . . . Victor Goines Trumpet . . . . . . . . . . . . . . . . . . . .Orbert Davis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JB Scott . . . . . . . . . . . . . . . . . . . . . . . . . . .Clay Jenkins . . . . . . . . . . . . . . . . . . . . . . . . . . Terell Stafford Trombone . . . . . . . . . . . . . . . . Jiggs Whigham . . . . . . . . . . . . . . . . . . . . . . . . . Dennis Wilson . . . . . . . . . . . . . . . . . . . . . . . . Wycliffe Gordon Piano . . . . . . . . . . . . . . . . . . . . . Lynne Arriale . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Geri Allen . . . . . . . . . . . . . . . . . . . . . . . . Reggie ThomasMallets . . . . . . . . . . . . . . . . . . . . Cecilia Smith Guitar . . . . . . . . . . . . . . . . . . . . . John Baboian . . . . . . . . . . . . . . . . . . . . . . . . . .Frank PotenzaStrings . . . . . . . . . . . . . . . . . . . .Randy Sabien Bass . . . . . . . . . . . . . . . . . . . . . . John Clayton . . . . . . . . . . . . . . . . . . . . . . . .Riccardo Del Fra Percussion /Afro-Cuban . . . . . . Bobby Sanabria . . . . . . . . . . . . . . . . . . . . . . . . Memo AcevedoPercussion /Brazilian . . . . . Jovino Santos Neto Percussion /Latin . . . . . . . . . . . . Ruben Alvarez . . . . . . . . . . . . . . . . . . . . . . . Ndugu Chancler Drums . . . . . . . . . . . . . . . . . . . . Peter Erskine . . . . . . . . . . . . . . . . . . . . . . . . Sherrie MaricleHarmonica . . . . . . . . . . . . . . . . . .Howard Levy

Voice PerformanceSolo Voice . . . . . . . . . . . . . . . . .Kitty Margolis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lisa Kelly Ensemble . . . . . . . . . . . . . . . . Paris Rutherford

Media /ProductionRecordings . . . . . . . . . . . . . . . . . .Nick Phillips

Jazz in Film/TV . . . . . . . . . . . . . . Michael Wolf Film & Video Resources . . . . . . . . Chuck Berg Radio Program Production . . . . . . Bob Bernotas Webcasts . . . . . . . . . . . . . . . . . . . Jim Warrick Archival and Current Campus & Professional Jazz Recordings . . . . . .Herb Wong Promo . . . . . . . . . . . . . . . . . . . . . . . . Jim Eigo

Jazz IndustryBusiness, Music Publishing . .Andrew Surmani Other ExpertsTeacher Mentoring . . . . . . . . . . . . Larry Ridley. . . . . . . . . . . . . . . . . . . . . . . . . . . Larry Green . . . . . . . . . . . . . . . . . . . . . . Katchie CartwrightArts Administration/Non Profi t Business . . . . . . . . . . Suzan Jenkins . . . . . . . . . . . . . . . . . . . . . . . . . Laura Johnson . . . . . . . . . . . . . . . . . . . . . . . . . Greg Diethrich . . . . . . . . . . . . . . . . . . . . . . . . Bob Breithaupht Big Band Tours . . . . . . . . . . . . . . . . . Mike Vax International Advisor . . . . . . . . Dick Dunscomb Health & Wellness . . . . . . . . . . . Kahil ElzabarMovement & Dance . . . . . . . Michelle Loeffl er . . . . . . . . . . . . . . . . . . . . . . . . Andrea Johnson Honor Jazz Ensembles . . . . . . . . Ron McCurdy Community Outreach. . . . . . . . . . . . Ken Druker Jazz Festivals Production . . . . . .Willard Jenkins . . . . . . . . . . . . . . . . . . . . . . . . Terri Pontremoli Jazz Festivals H.S. Production . Brent Campbell Performance Tours/Unique Travel . . . . . . . . . . . . . . Bob Sinicrope . . . . . . . . . . . . . . . . . . . . . . . . . . .John Knecht Summer Jazz Studies . . . . . . . . . . Jim Widner . . . . . . . . . . . . . . . . . . . . . . . Scott McCormick

Network with an Expert has been designed as a JEN member benefi t accessible on the Members Only Web site at www.JazzEdNet.org. The team is made up of respected authorities in their fi eld. Current JEN members are welcome to communicate directly with the Experts regarding questions or advice…simply ASK THE EXPERT!

NETWORK WITH AN EXPERT…ONLINE ONLY AT WWW.JAZZEDNET.ORG

Jazz Education Network proudly introduces you to their EXPERTS:

JAZ_23 23 11/14/08 9:47:45 AM


Remember Join by December 31sat for Charter Member Status

American Music Program Affi liate: CharterArizona Association of Jazz Education Affi liate: CharterJazz Education Connection of Ohio Affi liate: CharterJazz Minnesota (MN) Affi liate: CharterBilly Bargetzi Ind/eJEN/Level 1: CharterBrad Bleam Ind/eJEN/Level 1: CharterTom Bledsaw Ind/eJEN/Level 1: CharterKat Calvosa Ind/eJEN/Level 1: CharterBob Clowes Ind/eJEN/Level 1: CharterJose R. Cordero Ind/eJEN/Level 1: CharterIsabel Hernandez-Cata Ind/eJEN/Level 1: CharterSteve King Ind/eJEN/Level 1: CharterAlan Kinsey Ind/eJEN/Level 1: CharterAndrew Palmer Ind/eJEN/Level 1: CharterPaul Rinzler Ind/eJEN/Level 1: CharterCecelia Smith Ind/eJEN/Level 1: CharterKen Anderson Ind/eJEN/Level 2: CharterNicholas Anderson Ind/eJEN/Level 2: CharterOrrin Anderson Ind/eJEN/Level 2: CharterDavid Christie Ind/eJEN/Level 2: CharterBen Drouet Ind/eJEN/Level 2: CharterCarol Argiro Ind/Full: CharterH. Clay Arnett Ind/Full: CharterJohn Baboian Ind/Full: CharterNoah Baerman Ind/Full: CharterPete BarenBregge Ind/Full: CharterPhilippe Baugh Ind/Full: CharterDavid Bean Ind/Full: CharterCathy Benford Ind/Full: CharterRichard Birk Ind/Full: CharterMichele Bousquet Ind/Full: CharterDamian Boyd Ind/Full: CharterForest Brown Ind/Full: CharterJohn Burns Ind/Full: CharterRex Cadwallader Ind/Full: CharterSteve Carter Ind/Full: CharterKatchie Cartwright Ind/Full: CharterManuel Castaneda Ind/Full: CharterStephen Clickard Ind/Full: CharterRick Condit Ind/Full: CharterThomas Croghan Ind/Full: CharterBert Cross Ind/Full: CharterBrad Curran Ind/Full: CharterGreg Diethrich Ind/Full: CharterJames Doyle Ind/Full: CharterGlyn Dryhurst Ind/Full: CharterPeter Erskine Ind/Full: CharterCraig Fattey Ind/Full: CharterJoel Foreman Ind/Full: CharterBruce Gates Ind/Full: CharterJohn Gates Ind/Full: CharterRocco Giglio Ind/Full: CharterNancy Grant Ind/Full: CharterEric Grush Ind/Full: CharterJimmy Haag Ind/Full: CharterDavid Haile Ind/Full: CharterBill Halbrook Ind/Full: CharterScott Hall Ind/Full: CharterRobert Hamilton Ind/Full: CharterChristine Harrington Ind/Full: CharterDoug Henry Ind/Full: CharterWayne Hoey Ind/Full: CharterDavid Hoffman Ind/Full: CharterE. Ron Horton Ind/Full: CharterMichael Irish Ind/Full: CharterJennifer Jablonski Ind/Full: CharterEllen Johnson Ind/Full: CharterEgan Kawamoto Ind/Full: CharterLisa Kelly Ind/Full: CharterJohn Knecht Ind/Full: CharterJim Knutson Ind/Full: CharterJohn LaBarbera Ind/Full: Charter

Lori Lacey Ind/Full: Chartermarc laforce Ind/Full: CharterArthur Lapierre Ind/Full: CharterJames Lase Ind/Full: CharterDana Legg Ind/Full: CharterHoward Levy Ind/Full: CharterJack Lightfoot Ind/Full: CharterBert Ligon Ind/Full: CharterMichelle Loeffl er Ind/Full: CharterSherry Luchette Ind/Full: CharterRandy Marble Ind/Full: CharterDr. Sherrie Maricle Ind/Full: CharterKerry Marsh Ind/Full: CharterHarry Marvin Jr. Ind/Full: CharterThom Mason Ind/Full: CharterKathleen Matthews Ind/Full: CharterPhil Mattson Ind/Full: CharterKimberly McCord Ind/Full: CharterJennifer McDonel Ind/Full: Charternic meyer Ind/Full: CharterJames Miley Ind/Full: CharterBob Mintzer Ind/Full: CharterBob Montgomery Ind/Full: CharterMatt Moresi Ind/Full: CharterJo Anne Papich Ind/Full: CharterConnie Papich Sinnott Ind/Full: CharterMichael Parkinson Ind/Full: CharterErika Paul Ind/Full: CharterDwayne Pedigo Ind/Full: CharterNick Phillips Ind/Full: CharterLisa Pogoff Ind/Full: CharterTerri Pontremoli Ind/Full: CharterCoralie Prince Ind/Full: CharterDonovan Putnam Ind/Full: CharterBob Radock Ind/Full: CharterKarthik Ramalingam Ind/Full: CharterWilliam Ravel Ind/Full: CharterBill Reinecke Ind/Full: CharterJim Repa Ind/Full: CharterVirginia Rezac Ind/Full: CharterCharles Richard Ind/Full: CharterKim Richmond Ind/Full: CharterSteve Roach Ind/Full: CharterCoila Robinson Ind/Full: CharterMike Rossi Ind/Full: CharterRandy Sabien Ind/Full: CharterCraig Saxton Ind/Full: CharterLinda Scarborough Ind/Full: CharterJB Scott Ind/Full: CharterCathy Segal-Garcia Ind/Full: CharterBobby Shew Ind/Full: CharterBob Sinicrope Ind/Full: CharterWilliam Sinnott Ind/Full: CharterCindy Smith Ind/Full: CharterWarren Sneed Ind/Full: CharterBradley Sowash Ind/Full: CharterWilliam Stevens Ind/Full: CharterSteve Stevenson Ind/Full: CharterRon Stinson Ind/Full: CharterMark Taylor Ind/Full: CharterNancy Terry Ind/Full: Charterjerry tolson Ind/Full: CharterMike Tomaro Ind/Full: CharterGordon Towell Ind/Full: CharterKeith Umbach Ind/Full: CharterErika Uribe Ind/Full: CharterRichard Victor Ind/Full: CharterJeffrey Waggoner Ind/Full: Charterpwaidelich Ind/Full: CharterPaul Watson Ind/Full: CharterGeorge West Ind/Full: CharterTerry White Ind/Full: Charter

Dennis Wilson Ind/Full: CharterJohn Wojciechowski Ind/Full: CharterHarold Zinno Ind/Full: CharterIsaac Zuckerman Ind/Full: CharterSolon Community School District Ind/Full: CharterFrank Alkyer Ind/Full: FoundingRuben Alvarez Ind/Full: FoundingDavid Baker Ind/Full: FoundingLida Baker Ind/Full: FoundingH. David Caffey Ind/Full: FoundingPaul Chiaravelle Ind/Full: FoundingSteve Crissinger Ind/Full: FoundingBob Curnow Ind/Full: FoundingOrbert Davis Ind/Full: FoundingJose Diaz Ind/Full: FoundingKen Druker Ind/Full: FoundingJ. Richard Dunscomb Ind/Full: FoundingJ.B. Dyas Ind/Full: FoundingRay Eubanks Ind/Full: FoundingJon Faddis Ind/Full: FoundingDr. Lou Fischer Ind/Full: FoundingMary Ann Fischer Ind/Full: FoundingTony Garcia Ind/Full: FoundingLarry Green Ind/Full: FoundingDan Gregerman Ind/Full: FoundingJarrard Harris Ind/Full: FoundingJohn Hasse Ind/Full: FoundingMark Ingram Ind/Full: FoundingChuck Iwanusa Ind/Full: FoundingMichael Kenyon Ind/Full: Foundingsparky Koerner Ind/Full: FoundingJoel Leach Ind/Full: FoundingEric Martin Ind/Full: FoundingChuck Owen Ind/Full: FoundingMary Jo Papich Ind/Full: FoundingAlex Parker Ind/Full: FoundingEllen Rowe Ind/Full: FoundingLynne Rutherford Ind/Full: FoundingParis Rutherford Ind/Full: FoundingJudy Shafer Ind/Full: Foundingbruce silva Ind/Full: FoundingDoug Snapp Ind/Full: FoundingAndrew Surmani Ind/Full: FoundingDennis Tini Ind/Full: FoundingJulie Traenkenschuh Ind/Full: FoundingMike Vax Ind/Full: FoundingJim Widner Ind/Full: FoundingCornish College of the Arts Institution: CharterUniversity of Cincinnati Institution: CharterUSC Thornton School of Music Institution: CharterCapital University Institution:Founding Columbia College Institution:Founding Jazz Arts Group of Columbus Institution:Founding Jazz at Lincoln Center Institution:Founding University of Miami Institution:Founding Great Midwestern Music Inc. Partner: CharterAebersold Music Partner: CharterStanton’s Sheet Music Partner: CharterJupiter Band Instrument Co. Partner: Charter12 Points Graphics Partner: Founding Alfred Music Publishing Partner: Founding American Classic Music Festivals Partner: Founding Arts & Education Consultants Partner: FoundingBuffet Crampon Partner: Founding Hal Leonard Music Publishing, Inc. Partner: Founding Kendor Music Partner: FoundingOrbark Productions/ Chicago Philharmonic Partner: Founding Symphony Publishing/ JAZZed Magazine Partner: Founding Worldwide Concepts Vacations Partner: Founding

Jazz Education Network • Membership Report • October 31, 2008

JAZ_24 24 11/14/08 9:47:49 AM


www.JazzedNet.orgJoin now at any membership level before December 31, 2008 and earn

the distinction of becoming a CHARTER Member of the new Jazz Education Network for complete membership information/benefits please visit us at: www.jazzedNet.org

Who we are: students, teachers, directors, musicians, composers, authors, fans, media, industry...WE are YOU!

lead the transformation of the jazz education culture

TheJazz Education Networkis dedicated to building the jazz arts community by advancing education,

promoting performance, and developing new audiences.

The Jazz Education Network was founded in the spirit of collaboration and excellence.

Our goal is to be a vital resource for a constantly evolving art form that lives globally.

Full Charter Individual Membership(18 and up) - $50

eJEN CharterMembership Levels:

(18 and up) - ($35/25)

Charter Partner Membership Levels:

Institutional - $300 • Corporate - $500

Affiliate - $25 Annual Fee + $10 per person/member17 and under categories to be launched in the fall!

FULL ADS_nov.indd 25 11/14/08 11:47:41 AM

www.jazzednet.org


April in Washington, D.C. is about springtime, tourists, and Jazz Appreciation Month. As a native Washingtonian, the owner of an internationally ac-claimed jazz nightclub, and a lifelong jazz devotee, I wanted to give something back to my community and what better way than to celebrate on America’s “Main Street?” The fi rst annual BIG BAND JAM! was held from April 21-23, 2005 on Pennsylvania Avenue between the White House and the United States Capi-tol with the theme, “Making Music on America’s Main Street.” The fi rst year boasted eleven high school, col-lege, and military bands on two stages. The featured performers were the Smithsonian Jazz Masterworks Orchestra (SJMO) under the musical direction of the NEA Jazz Master, maestro David Baker. The fi rst year also featured a master class with the SJMO.

Getting StartedThe fi rst year was an experi-

ment to determine demand and examine variables ranging from venue to entertainment to ven-dors to timing. Obviously timing is critical to success and in Wash-ington, D.C., weather is always a factor. In order to provide a suc-

guest editorial L A U N C H I N G F E S T I VA L S

HBIG BAND JAM!BY HARRY SCHNIPPER

ere’s how we began a successful big band festival in the nation’s capitol, and how this idea could be replicated in your community.

cessful jazz festival, one must build it according to its audience and in our nation’s capitol, our audience is tourists and April is the height of the tourist season. In order to successfully achieve an audience, one must think outside the box while keeping a watchful eye on economics. The fi rst seasonal hurdle is to decide when and whether or not to hold the event indoors or out. Since the April weather coincides with the Mason-Dixon line, which divides north from south, the deci-sion to hold the event outdoors was inevitable. The weather, while often inclement in the evenings, boasts both warm and cool breezes outdoors. It was there-fore decided to promote a daytime program of public, private, and parochial high schools, and an evening venue of college and military bands. The central theme of the event would coincide with our own Blues Alley Jazz Society’s musical mission — to promote youth, jazz, and education here in our nation’s capitol.

The next decision was to select the participants and issue the invitations. The decision to pick pub-lic, private, and parochial schools was based upon the knowledge that educational diversity promotes educational exchange. Educational exchange can cross social, political, and improvisational boundaries and

bring better understanding to all. The biggest challenge was to drill down beneath the surface and uncover the identities of those that contribute to the jazz musi-cal culture of our community. The foundation of this identity is built upon jazz education and therefore exhuming our own identity as it exhumes others. It would require a careful and painstaking timeline based upon timing and outside

“IN ORDER TO PROVIDE A SUCCESSFUL JAZZ FESTIVAL, ONE MUST

BUILD IT ACCORDING TO ITS AUDIENCE.”

JAZ_26 26 11/14/08 11:45:34 AM

guest editorial


“action dates.” If the fi rst festival did not succeed it would not be attempted again. Therefore timing, understand-ing, and focus would play a signifi cant role in our overall success.

The fi rst step toward a successful event is the reservation of the venue and the issuance of invitations. Our nation’s capitol is controlled by bu-reaucracy, as are its parks. In order to hold a public performance, we would need permits, partners, and place-holder positions. Partners come in all shapes and sizes. They may be your advertising accounts, music direc-tors, security police, adjacent property owners, or corporate sponsors. The partners in your community might appear to be stakeholders, but by em-powering them as partners, you en-sure your own success. A festival is a complex and complicated undertaking and is by no means, to quote a popular movie, a “fi eld of dreams.” In Wash-ington, as elsewhere, the easiest way to ensure your own success is by empow-ering gatekeepers and decision-mak-ers alike. For those of you unfamiliar with the complex maze of bureaucracy, your gatekeepers assist you in process-ing your paperwork, organizing your event, and promoting your success.

No non-profi t event can be success-ful without corporate underwriters and no corporate underwriter will contrib-ute without a budget. The difference between success and failure depends upon and is determined by your abil-ity to accurately forecast your own ex-penses. As they say, “if you fail to plan, you plan to fail.” While we could not forecast all of our expenses, the Na-tional Park Service made it altogether easier for us by itemizing the necessi-ties. We would need security, bonding, lavatories, fi rst aid, maintenance, park supervision, and insurance underwrit-ing. These may be obvious to all but I

have come to call them the “invisibles.” When you assemble such a large con-sortium of individuals into one place it may seem that it is inevitable that their collective consequences may disap-pear, but the reality is they do not. The consequences include everything from trash detail to portable commodes. Do not be afraid to ask questions or even to hire an event planner. A committee may create consensus but not necessar-ily expertise in all areas. If you choose to create a committee, do so amongst a pool of equals but also of individuals with disparate disciplines. They may include individuals from both the pub-lic and private sectors. Organizing an event of this magnitude may include navigating complex political waters, so expertise and experience are also es-sential to your success. You may need to secure municipal street closings, re-tain audio-visual technical support, or identify overnight accommodations.

The fi rst order of business is to se-cure the actual entertainment. This is not an easy process and requires per-severance on your part. I recommend sending a written letter out to each of the prospective participants, extending to them a placeholder position. This is simultaneously easy and diffi cult. It requires diligence, tenacity, and per-

severance. It re-quires e-mails, faxes, and tele-phone calls. It requires dis-cussing the de-tails with each of the prospec-tive performers. It requires confi rming receipt of the ini-tial invitations via phone or fax and then segregating out the timeslots well in advance to avoid scheduling confl icts or confusion. Build the event appropriately around these placeholder positions.

Music directors of all ilks need to partition out their curriculums, develop playlists, rehearse their or-chestras and schedule transportation months in advance of the intended event. Sponsors and vendors require a budget and verifi cation of your abil-ity to produce the event. I therefore recommend that an initial itinerary be developed and distributed to all of the partners and participants. The itinerary will become the template for undertaking the validity of the event.

guest editorial

The Notre Dame School of the Arts big band of Ottawa, Canada perform-ing on the Sylvan Amphitheater Stage on the National Mall.

JAZ_27 27 11/14/08 11:45:39 AM

guest editorial


Categorically create a list of prospects that will both perform and promote the event. Developing a Web site with Web links will similarly serve to sym-pathetically expand your effective in-formation network. The Internet is a valuable source of this exchange and we linked ours with the IAJE, Nation-al Park Service, Washington Conven-tion and Tourism Corporation, radio stations, and local business improve-ments districts. We created fl yers for the annual IAJE conference and pub-lic service announcements (PSAs) for local radio stations.

Sponsorship was similarly critical to our success. We wanted to accept charitable donations from only those corporate contributors that shared our mission. Jazz and jazz music are a very strong market demographic and we wanted to partner with those corpora-tions whose goal it is to create respon-sible citizenship and reach out to the next generation of jazz listeners.

We found our corporate audience in communications companies, scholastic publications, law fi rms, and national and municipal arts agencies. We con-vinced this corporate audience that they would receive maximum visibility via vendor booths, on-air/print advertis-ing, banners, brochures and production programs all for a nominal expense.

Our operating budget became our outline for success. We tabulated our costs accordingly, divided the sum of the whole, and spread the cost equally among the underwriters. We assured the underwriters that one hundred percent of their donations would go directly toward producing the event and it did. One might logically assume that if you raise enough money, craft a successful program, and produce the event that it will somehow be successful, but that too is not necessarily so. Successfully advertising the event is also imperative to its annual existence and “branding” becomes the essential ingredient to for-malizing the narrative. Timing, place, and content become the unacknowl-

edged formula for that success. Every-one involved becomes dependent upon that formula as does the brand that we are trying to promote. The branding concept is as true in the public sector as it is in the private sector. Our goal therefore was to time the annual occur-rence with Jazz Appreciation Month and the month with the event.

Nothing Succeeds Like Success

The 2nd Annual BIG BAND JAM! was held between April 20th-23rd, 2006 and included the addition of more schools and more master classes. We featured 25 high schools, colleges, and univer-sities over four days and added world renowned trombonist Slide Hampton, saxophonist/educator Loren Schoenfeld, members of the U.S. Army military jazz ensemble, and the SJMO in a series of clinics, classes, and workshops.

Education is still the focal point of our event. We structured our budget around the branding concept and we sold it to our partners in the form of a business proposal. We posited a theme, constructed its itinerary, distributed it to the community of stakeholders, mar-keted it to the public, and placed it in the middle of our nation’s capitol. We broadcasted our press releases over the Internet and we empowered others to promote the program. It was unremark-able in its undertaking but it was a clas-sic win-win-win marketing model.

Nothing succeeds like success. The 3rd Annual BIG BAND JAM! was cel-ebrated between April 20th-29th, 2007 and expanded to include four venues over 10 days. We included six addi-tional performance dates and received requests from outside our immediate academic community. We promptly provided follow-up letters to our past partners and participants and asked that they request a placeholder position in the coming calendar year. The pri-mary mission of the festival continued to promote education while the founda-tion of the festival expanded to include

increased clinics and classes. We again secured the venues but we expanded our invitation list to include the inter-national cultural community through our preexisting strategic ties to the em-bassies located here in Washington. As we further examined our content we peeled back the layers of our city to see colleges and universities and so we in-troduced “Collegiate Jazz JAM! day.

We invited all of the universities lo-cated within our community and fur-ther partnered with George Washington University to promote the event. We wrote articles and placed advertising in the campus newspaper and alumni magazine. We sought volunteers from their marketing and media schools to assist in festival support and further instituted Web links. We installed a downloadable brochure on-line and further developed the brand in the mar-ketplace. We inaugurated tribute dates to honor jazz luminaries to coincide with “Jazz Appreciation Month”.

Our goal was to establish our legiti-macy in the larger festival marketplace and we cultivated a partnership list to include local tours and exhibits at the various cultural institutions within our community. We tabulated a compre-hensive press release list and further expanded our portals by establishing Web links with prominent civic and cultural Web sites. The response was overwhelming and that year included the Jazz Knights from WestPoint, New York, the One O’clock Band from the University of North Texas, the Count Basie Orchestra, and seven European Union ensembles.

The 4th Annual BIG BAND JAM! oc-curred between April 18th-27th, 2008 and included all of the above and also included all of the academic, embassy, and military communities. We made a list of big bands and brought in the Basie, Dorsey, Ellington, Smithsonian, and Berklee College Orchestras. We invited an ever-increasing number of schools, sponsors and venues. We host-ed 47 separate ensembles with more

JAZ_28 28 11/14/08 11:45:44 AM

Talk to your New Horizons Sales Manager today about application materials and details.

800.327.4695 • www.nhtt.com • [email protected]

Tour Travel,Inc.NewHorizons

A Tui Student Travel CompanyAsk about our new, worry-freeRefund Guarantee Program.

Wherever you travel, we handle all the details with “GPS”…Genuine Personalized Service!

Don’t Miss a BeatCall us today to start planning your trip to the 2009 Big Band Jam!

New Horizons is proud to be a BOA preferred travel partner.

Tui Student Travel is the exclusive travel planner for the Big Band Jam!

JAZ_29 29 11/14/08 9:32:47 AM

www.nhtt.com

guest editorial


than 60 events on six separate stages. We identifi ed sponsors from every sig-nifi cant professional category and paid tribute to Ella Fitzgerald, Duke Elling-ton, and Willis Conover. We had 27 high schools, colleges and universities participate from as far away as Canada and New York City. We documented

their participation through photo-graphs, recordings and certifi cations.

The BIG BAND JAM! continues to be the only jazz festival in America specifi cally created by kids to kids for kids and from kids. The theme of the event focuses on composition, arrang-ing and orchestration. The jazz DNA of

Washington, D.C. is deeply committed to these three educational approaches and enjoys a deep and storied tradition via the military ensemble presence. We are reaching out further and farther to include both music publishing and in-strument manufacturing support.

The recent loss of the International As-sociation for Jazz Education (“IAJE”) can-not be suffi ciently overstated. IAJE was one of our principal and primary partners and promoters. Instead we have had to turn to alternative sources of association affi lia-tions located locally. We have constructed a strategic alliance with New Horizons Tour and Travel (“NHTT”) to help promote our festival nationwide. We have expanded the number of available performance slots on the National Mall to 30 and will continue to seek new donors, sponsors and venues. The appeal of the festival reaches young and old, rich and poor and every ethnicity. The loss of the annual IAJE Conference has left a tremendous void in the world of jazz education but, with your support, it will not be forgotten.

Not Rocket ScienceWhat I have described here is not

rocket science and can be replicated by anyone anywhere with the right amount of caution, consideration, perseverance and approach. I will concede that we have a signifi cant home fi eld advan-tage because of our location, but that should not deter others from accepting the challenge and learning that the key to success lays in academic understand-ing and musical cooperation. Everyone knows that jazz is not for everyone, but that this genre alone transcends genera-tions and all socio-political or economic borders. It is a unifying force that should be shared by all and we invite you to share it with us.

Harry Schnipper is executive director of the Blues Alley Jazz Society (BAJS) whose mission it is to promote youth, jazz and education. He is also the owner of Blues Alley Jazz and founder of the annual BIG BAND JAM!, held each April in Washington, DC. The 5th Annual BIG BAND JAM! will occur between April 17th-26th, 2009. www.bigbandjam.org.

Sittin’ In with the Big Band:Jazz Ensemble Play-AlongThese are more than fun play-alongs! The Book/CD combination features great big band charts written at the medium-easy (Vol. I) or at the medium-difficulty level (Vol. II). Play your part with the outstanding professional players and learn about blend, style, phrasing, tone, dynamics, technique, articulation, time and playing in tune. You will also experience a variety of styles including Latin, swing, jazz waltz, ballad and rock. Unique to this series is the availability of rhythm section books providing opportunities for drummers, pianists, guitarists and bassists to experience all the benefits of playing along and learning.Volume 1: Book & CDAlto Saxophone (00-27527) .......................$14.95Tenor Saxophone (00-27530) ....................$14.95Trumpet (00-27533) .....................................$14.95Trombone (00-27536)..................................$14.95Guitar (00-27545) .........................................$14.95Bass (00-27542) ............................................$14.95Piano (00-27539) ..........................................$16.95Drums (00-27548).........................................$14.95

Volume 2: Book & CDAlto Saxophone (00-30668) .......................$14.95Tenor Saxophone (00-30669) ....................$14.95Trumpet (00-30670) .....................................$14.95Trombone (00-30671) ..................................$14.95Guitar (00-30673) .........................................$14.95Bass (00-30674).............................................$14.95Piano (00-30672) ..........................................$16.95Drums (00-30675).........................................$14.95

Visit alfred.com for more informationand to find a retailer in your area or online.

from Belwin Jazz

Gordon Goodwin’s Big Phat Band Play-Along SeriesBy Gordon Goodwin and Select Members of the Big Phat Band

Titles include: Swingin’ for the Fences • La Almeja Pequeña • Hunting Wabbits • Whodunnit? • Count Bubba’s Revenge • Get in Line • Horn of Puente • The Jazz Police • High Maintenance • Cut ‘n RunBook & CDAlto Saxophone (00-25244) .......................$24.95Tenor Saxophone (00-25247) ....................$24.95Trumpet (00-25250) .....................................$24.95Trombone (00-25253)..................................$24.95Drums (00-25256) ........................................$24.95

JAZ_30 30 11/14/08 11:45:48 AM

www.alfred.com

JAZ_31 31 11/14/08 9:32:53 AM

www.cannonballmusic.com


After many years of teaching and playing, I have learned that these transitions can sometimes make or break a performance. If the transitions are seamless and they help the music to fl ow, then it makes for a much more enjoyable musical experience for everyone.

Recently, I have begun writing specifi c transitions and fi lls for my drum students to use as a springboard for their own creativity. Many drummers, including myself, have come from a rock or pop background, so think-ing of a swingin’ transition isn’t the fi rst thing that our hands gravitate towards. Because swing is based on triplets, I have designed some simple triplet-accent patterns as a place to begin.

It is safe to say that all of us have either listened to, or played in, a young jazz group

and that we are well aware of that awkward point in the music when the drum-fill

transition approaches and the very excited drummer either rushes, drags, freezes,

or plays something completely inappropriate. I cringe when I hear this because I

know that with a little practical coaching, the drummer could sound much more

confident and provide a smoother transition.

focus session TR IPLETS

Swingin’ Transitions For DrummersBY KEITH HALL

Triplets

Let’s begin by playing triplets while alternating Right, Left, Right, et cetera...Ex. 1

JAZ_32 32 11/14/08 9:48:11 AM


focus session

Since most American music is grouped in four-bar phrases, I like to have my students practice with this in mind. This trains them to hear and feel the length of a four-bar phrase and eventually they won’t have to count or think about them.

Begin by playing three bars of swing time and then use triplets on the fourth bar as a transition. Feel free to keep the feet going through the triplets.

Ex. 1A

The important thing with this is to have a seamless transition going from the swing time to the triplets and back again. Practice these with a metronome so that you work on keeping the tempo consistent throughout.

“Imitate, Orchestrate, and Create”

ImitateOne of my mottos is “Imitate, Orchestrate, and Create.” We must fi rst copy and imitate what we hear or see, sec-

ondly move it around the kit to hear different sonic possibilities, and fi nally begin to turn it inside out and backwards as we create our own ideas based off of the original material.

Now we will add some accents to the triplets and develop what I call “Rhythmic Melodies.” The idea is to make the accents very clear and much louder than the other notes so that you only really hear the accents. I call these “Rhythmic Melodies” because they are “singable” and are easy to remember.

Ex. 2

Ex. 3

Start these on the snare drum fi rst with the same foot pattern. Practice these until you get very comfortable with the sticking and accents.

JAZ_33 33 11/14/08 9:48:16 AM


focus session

Now play it as a fi ll at the end of a four-bar phrase.

Ex. 2A

Ex. 3A

Again, the idea is to make the transitions seamless as you go from playing time to triplets and back to playing time. Don’t forget the metronome!

You can also try longer phrases: – eight-bar phrases: seven bars of time plus a one-bar fi ll.–12-bar phrases: 11 bars of time plus a one-bar fi ll.

OrchestrateOnce you get comfortable with these on the snare drum, you can now begin to orchestrate these rhythmic patterns

around the drum kit. Let’s orchestrate the previous ideas. Notice the right hand accents are orchestrated on the fl oor tom and the left

hand accents are orchestrated on the high tom.

Ex. 2B

Ex. 3B

JAZ_34 34 11/14/08 9:48:19 AM


focus session

CreateNow let’s try to create our own phrases fi rst by connecting the snare and orchestrated patterns together to make a

two -or four-bar pattern. Remember to keep the feet going.

Ex. 2C

Ex. 3C

Let’s connect pattern 2 and 3 together in a two-bar pattern on the snare only.

Ex. 2D

Orchestrate it.

Ex. 3D

JAZ_35 35 11/14/08 9:48:23 AM


focus session

Reverse them both.

Ex. 4D

Ex. 5D

You can see that there are numerous ways to create fun and challenging patterns for yourself.

Now let’s use these two-bar patterns as transitions. Begin by alternating two bars of swing time with two bars of the new pattern.

Ex. 2E

Ex. 3E

Now play four bars of swing time and play four bars using the snare ideas for two bars and orchestrating for two bars.

JAZ_36 36 11/14/08 9:48:27 AM


Ex. 4E

This is the common practice of trading fours, which happens quite often in a jazz performance. Making these transitions smooth and seamless will help the music fl ow and make the performance fun and more exciting for everyone.

I hope that you take this concept of “Imitate, Or-chestrate, and Create” and apply it many other ways including playing time and improvising. The possibili-ties are endless!

Check out some of my favorite drummers, including Max Roach, Philly Joe Jones, Art Blakey, Elvin Jones, Roy Haynes, Billy Hart, Ed Thigpen, Jimmy Cobb, and Vernel Fournier – just to name a few! These great

drummers are all masters at incorporating these types of accented triplet patterns. I encourage you to listen to them and other great drummers on classic record-ings, as you look for ways to increase your jazz drum vocabulary. Have fun and keep swingin’!

Keith Hall is a performer and educator who has performed with Betty Carter, Sir Roland Hanna, Luciana Souza, Curtis Stigers, Steve Wilson among others, and his own band, Tri-Fi. He is the jazz drum set professor at Western Michigan University and is the director of the Keith Hall Summer Drum Intensive held in Kalamazoo, Mich. For more info or questions, please visit www.KeithHallMusic.com.

Focus Session.indd 37 11/14/08 11:46:59 AM

www.nedsteinberger.com

www.music.wayne.edu

By Christian Wissmuller

AnythingBartMarantz

isPossibleC

urrently director of Jazz Studies at the acclaimed Booker T. Washington High

School for the Performing and Visual Arts (BWHSPVA) in Dallas and previously

on staff at Jones County Junior College (Ellsville, Miss.) and Lake Sumter Com-

munity College (Leesburg, Fla.), Bart Marantz has been playing an active role

in shaping the future of jazz for nearly three decades.

JAZ_38 38 11/14/08 10:02:47 AM

JAZ_39 39 11/14/08 10:02:55 AM


Since Bart joined the faculty at BWH-SPVA in 1983, the school has seen a num-ber of high profi le musicians matriculate including Roy Hargrove, Erika Badu, Keith Anderson, Norah Jones, and Bart’s own son, Matt. The school’s music department has received no fewer than 194 DownBeatStudent Music Awards and the jazz stu-dents have performed at the Monterey In-vitational National Jazz Festival, the IAJE Conference, and the White House.

As a performer, Marantz has played with the likes of Gladys Knight and the Pips, Nancy Wilson, and Frankie Valli and has toured with a number of shows, including Ray Charles and The Glenn Miller Orchestra. Additionally, Bart has contributed to a number of respected jazz periodicals and has co-authored three respected method books, Jazz Fig-ure Reading Studies, Trumpet Masterclass-es, and Teach Jazz – A Course of Study.

JAZZed recently sat down with Bart Marantz to discuss his background as a scholar, performer, and teacher of jazz.

JAZZed: Talk a bit about your fi rst expe-riences with music – as a student and as a fan.

Bart Marantz: I was born in Brook-lyn, New York in 1950 and moved to Miami with my family when I was seven years old. I did study music in elementa-ry school as well as junior high school in Miami, which was where I heard a brass quintet for the fi rst time. The group had come over to my elementary school to do an informance. The fi rst trumpet player would become my trumpet teacher and mentor about a year later.

JAZZed: A pretty big deal then, that performance.

BM: This was strictly a coincidence, but our relationship continues today! His name is Dr. Frank Biringer. He and my Jr. high teacher, Mr. Wallace Mc-Murry, would give me a foundation that would last me the rest of my life, both as a musician and a person.

JAZZed: How about your high school years?

BM: My high school days were my worst musical experience. The direc-

tors, all of them, did not understand jazz and commercial music and didn’t make any effort to learn this wonderful art form. I felt that those who should have encouraged and supported me always looked down on me for loving this music. I played in the jazz band, then known as the stage band, the wind ensemble, the orchestra and un-fortunately, the marching band.

JAZZed: Why do it if you were so against it?

BM: If I didn’t do the Marching Band I couldn’t participate in any of the other ensembles! They had me. Unfortunately many directors still use this policy today to populate their large ensembles, especially marching bands. Shortly after coming to Coral Park High School in Miami, I struck a deal with my band director. I would play his marching shows if I could leave after the performance, that’s after half time, to go to Miami Beach to play shows at the hotels on the strip. This was the mid-‘60s and it was a nine-month performance season and the large hotels with show rooms were always short on musicians. I cut my teeth on per-forming major shows, playing a low book in the trumpet section, learning early what it was to be a working musician.

JAZZed: Valuable les-sons, all.

BM: In my senior year – that’s the 1967/1968 school year – I was the lead and jazz trumpet player for the Florida All-State Jazz Ensem-ble. This was a big deal back then, as there were really so few jazz programs in the US on

the college level. Indiana University had the first full university degree program in the US started by Jerry Coker. The University of Miami, Berklee and a few more were run-ning programs at that time as well. Jerry Coker was the clinician for the Florida All-State Jazz Ensemble in 1968, and after the first break in our first rehearsal, JC asked me where I was going to college. At that point I really didn’t know. Jerry Coker had just moved from Indiana to start the program at the University of Miami. David Baker took over the Indiana University program handed to him by JC. Jerry offered me a full schol-arship and it was a done deal.

Bart Martantz/Booker T. Washington HSPVA Précis:

Web sites: www.dallasisd.org/btw/; www.bartmarantz.com

BTWHSPVA Accolades and Awards: DownBeat/Musicfest USA Invitational National Jazz Festival (10 Awards); Monterey Invitational National Jazz Festival (Combo Win-ner 3 times); International Associa-tion for Jazz Education Conference (17 Performances) DownBeat Stu-dent Music Awards (194); Grammy National Signature School: (5 times – 2000-2008).

Bart Marantz Education: BM in Instrumental Jazz Studies/Per-formance – University of Miami; Masters Degree in Afro-American Jazz Music – New England Conser-vatory of Music

JAZ_40 40 11/14/08 10:02:59 AM


JAZZed: That settled that I guess.

BM: [laughs] Funny, I remember him showing me his masters disserta-tion soon to be printed as Improvising Jazz, the fi rst book of its kind in the jazz education industry. He was leaving IU to take the newly formed position at the University of Miami hired by Dr. Bill Lee, then the Dean of the Univer-sity and a wonderful jazz pianist and writer. He knew that Jerry was one of those special musician/instructors who could bring the street into the class-room. Jerry has proven himself to be truly one of the all time jazz education pioneers.

I was so intrigued by JC telling me about IU, that I decided to go there for my sophomore and junior years in undergraduate school. I did this after a year between schools, touring with shows starring Dick Clark, the Smoth-ers Brothers and the like. It was fun, but I wanted to play jazz and this cer-tainly was not it.

JAZZed: How was your time at Indiana University?

BM: While at IU I had the privi-lege of studying with Bill Adam on trumpet – who at 90 years of age is still one of the all time most respect-ed trumpet instructors – and David Baker, NEA Jazz Master, who still heads the IU jazz studies program. David was always busy and on the road himself a lot, so I hooked up with an IU alumni in New Albany, Indiana once a week for jazz lessons. His name was Jamey Aebersold. This was before the fi rst Play-Along! Am I giving my age away? No, I did that before when I told you I was born in Brooklyn in 1950. The hour and a half back and forth once a week to New Albany, Indiana for my lessons with Jamey was spent listening to my 8-track recordings, allowing me to take in all my favorite jazz musicians of the day.

JAZZed: Time well spent.

BM: Time well spent, indeed. My relationship with the ABCs of jazz edu-cation remains intact to this day.

JAZZed: The ABCs?

BM: I consider these men to rep-resent the ABCs of jazz education: Jamey Aebersold, David Baker and Jerry Coker. Dan Haerle was a big infl uence on me as well, as he was the assistant to Jerry Coker at the University of Miami when I was a freshman in 1968. All of these peo-ple are indirect infl uences on my stu-dents and all I really do is pass on the same information they gave me to our Booker T. young artists. The

interesting thing though is that these young jazz students are now receiv-ing the same information I got as a senior in college as juniors and some-times sophomores, in our performing arts curriculum! They are growing quicker and attaining information at a faster pace. Anything I relate to my students in the classroom at Booker T. Washington or at any of the col-leges where I have taught has come directly from those four men.

Also, while at IU I had the pleasure of playing with a young drummer named

JAZ_41 41 11/14/08 10:03:03 AM


Peter Erskine and a pianist named Alan Pasqua. They are still working together at The University of Southern Califor-nia in LA. This has remained an on go-ing friendship as well.

I fi nd all of these wonderful mu-sicians and educators have in com-mon an innate love for the art form – a deep commitment to jazz music

and a sense of never having fi nished the task of sharing new ideas in pass-ing along this wonderful music. All of these men, excluding Peter and Alan, are now in their 70s and are still hard at work releasing new books, music and participating in clinics on a regu-lar basis, sharing the music with any-one who wants to learn it.

JAZZed: Let’s talk a bit about your expe-riences as a touring musician.

BM: I had left the University of Mi-ami after one year of instruction to try my hand at an offer of full time road-work. I was out with a show at 19 per-forming with the Smothers Brothers, the Rhodes Brothers, and hosted by Mickey Rooney and Dick Clark. It was fun, but not jazz music and I was frus-trated. We were performing in Cincin-nati at the Lookout House and Buddy Rich was performing downstairs in the small room. This is where I met Frank Brown, a wonderful jazz trumpet play-er who hooked up with me during a week’s stay in Ohio. We went to din-ner, listened to jazz, and just started hanging out together. He recommend-ed me to Indiana University and got me into the studio of Mr. Bill Adam, who changed my life for the better as a person and musician.

After my junior year at Indiana, I found out that many of my credits from Miami, especially in the area of music theory, would not transfer. As a result I asked Dr. Bill Lee, then dean of the School of Music at the University of Miami to consider my reapplication

for scholarship and he was gracious enough to return it to me.

I had heard from David Baker some months before going back to Miami that he had heard a 17 year old gui-tarist at the Whita Jazz Festival who was about to rewrite the instrument. When I got to Miami I met him. He was an incoming freshman named

Pat Metheny. By the way, like in most cases with David, he was right. Pat played in the Concert Jazz Band and, from our getting to know each other, he kindly performed on my senior re-cital along with Mark Colby – tenor sax, Danny Gotlieb - drums, Mark Ea-gan – bass, Carmen Lundy – vocals, and a number of other wonderful art-ists who were all at Miami studying at the time.

It has been such a privilege and in-spiration in my life to have established relationships with musicians of this calibre during my college and graduate study years. To this day I’m in touch with, or run into, these wonderful artists and it’s like very little time has passed. I saw Pat just about six weeks ago and it was old home week! Many of these musicians have been over to Booker T. Washington, to give back to the next generation.

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

BM: Teaching never really inter-ested me in the early years. Like with most young players, all I wanted to do was play. There comes a time when, if your’e fortunate enough to be sur-rounded by great players, you come to terms with just where you are musical-ly. This is why I have never recorded – I would much rather listen to someone else. There are so many great players out there and I have always struggled with the question of, “What do I have

to say, as compared to those I would rather listen to?” After stints on the road with a number of artists including Ray Charles, I found myself wanting the other side of life: a home, children, and a chance to pass this wonderful art form on to others.

I’m old school: jazz is an oral lan-guage and I teach that way. Yes, I use

printed materials and have been part of three books, but to me it’s really all about the oral side. 20 years ago, when Jeff “Tain” Watts visited Booker T. Washington HSPVA with a young 20-something trum-peter named Wynton Marsa-

lis, I asked him where he had gone to school and he said, “I went to Berklee for a minute, but I really studied at the school of Blue Note!” I think this says it best. I think I was never interested in teaching jazz music – I just wanted, and still do want, to pass it on.

JAZZed: A subtle distinction perhaps, but a point well made.

BM: My degrees are in performance – both my undergraduate and Masters. I want to see aspiring young artists who are committed to and interested in jazz music succeed, and the way to do this is now in the classroom. I do very little “teaching” at Booker T.; it’s really a coaching gig more than anything else. There are now very few big bands and gigs to hone the blade of a jazz musician. The opportunity those avenues once presented has now gone to the performing arts high school, universi-ties, colleges and conservatories. We are a “Peer to Peer” Arts School and are tied to The Thelonious Monk Institute along with the Brubeck Institute, of which I have been a founding faculty member since 2003, are where the fi nal preps are now done before going on to changing the jazz industry. Festivals like the Mon-terey Jazz festival, and unfortunately, the now demised IAJE are and were all jump-ing off points for young artists inn the jazz music industry.

JAZZed: What was your fi rst teaching gig?

BM: When I got married I came off the road and settled where my

“When students can be convinced that they can achieve any level of excellence if they work hard, it’s much easier to go there.”

JAZ_42 42 11/14/08 10:03:08 AM


then-girlfriend, now my wife of 30 years and the mother of my two boys, was living near her parents. I started teaching in the back room of a church and within six months I was working out of my home. This was in Hattiesburg, Mississippi – home of the University of Southern Mississippi.

JAZZed: So the private lessons lead to other things?

BM: I was seeing some great in-terest in private study and was gain-ing students pretty steadily. I was able to land a weekly column in the Hattiesburg American Newspaper, called the “Jazz Corner” and tied this into the WMSU Radio Station for a weekly jazz show using my li-brary of vinyl. The following year I was offered an adjunct position at Jones County Community College in Laurel Mississippi. I worked for the band department and was as-

sistant to the band director teaching some jazz courses as a supplement to the band program. That year I brought in Woody Herman to do a one-night concert, which sold out, and, later that semester, I arranged a small group residency with the likes

of Bill Berry, Mundell Lowe (guitar), Lenny White (drums), Lou Levey (piano), and George Duvivier (bass). What a great few days that was! This was breaking new ground in jazz history for this part of the country at the time.

Students will use this essential on-line

resource filled with informative articles to help

them make decide on the best college music program.

NOW ON-LINE! Including information on over 100 music schools:

College Music ProgramsUniversitiesConservatoriesMusic Education DegreesTechnologyPerformanceCommercial BusinessInstrument RepairMilitary Band ProgramsRecording Engineering

College Search & Career Guide

Expert Articles & much more!

An Essential Resource for College Bound Music Students!

This dynamic 2009 edition can be found at:www.collegesearch.epubxpress.com

Bart Marantz and Wyntom Marsalis

JAZ_43 43 11/14/08 10:03:12 AM


JAZZed: What came next in your teach-ing career?

BM: The next year an offer came from Lake Sumter Community College in central Florida where I became head of an instrumental department with an emphasis in jazz. This was a good teach-ing gig, but was not a full time position in jazz studies. I had to invent ways to expand the curriculum and did this by

producing a three-day jazz festival that brought about 30 bands in from a three-state area to be adjudicated and take in some evening concerts with national jazz stars. We also had some wonder-ful jazz clinicians including people like Willie Thomas, John Lockwood, and Bill Dobbins. It was a high level for any area of the country and brought into the region new ideas about, and more ac-ceptance of, jazz music.

My fi rst month at the college I pro-duced my fi rst concert and at the re-ception the new college president told my wife and I how much he enjoyed the music, but unfortunately he was closing the fi ne arts department and the new facility for music would be housing a new nursing program he envisioned! He told us to start look-ing for prospects elsewhere, as we only had three years before the program we presently taught in would close.

JAZZed: Your wife also taught at Lake Sumpter?

BM: Yes. My wife, Sara, and I taught in the same music program and it was going to be a challenge to survive.

I then began the chore of calling friends in the jazz education business and letting them know I was looking for a gig. In July of 1983, I got a call from Willie Thomas who was doing a series of clinics at what was then known as the Dallas Arts Magnet High School. It resumed its original title, Booker T. Washington (HSPVA) some ten years later. Willie told me there was an open-ing at the school and the talent level was amazing. Yea, right: a high school kick-ing jazz to a new level. Sure!

JAZZed: Skeptical, I guess.

BM: To say the least. But, I called the school and spoke to Dr. James O. Gray, the Principal, and asked him if the school had a marching band. He laughed, and said no. I told him I was interested in the position in the music program. He had me send in my resume and support ma-terials and I was offered an interview. We got into our trusty VW Bug and drove a thousand miles, round trip, to take the tour. Upon our arrival at the school I was most unimpressed with a building that was the worse for wear and used rags for acoustic treatment in the jazz room!

JAZZed: Yikes.

BM: My wife and I looked at each other and thought what a mistake we had made in our long journey to Dal-las, Texas. After a couple of hours, which included a verbal interview and a de-tailed tour of the building, I was ready

Beautiful Music from jj Babbitt.jj Babbitt produces the sax or clarinet mouthpiece for every individual level and style of play—from easy-to-blow student modelsto super-responsive professional models. Under our label or yours,there is no finer quality mouthpiece or more choice in styles and facings than from jj Babbitt. That’s why our mouthpieces are the number one choice of musicians worldwide.

Great-sounding Music Starts with a Great-Playing Mouthpiece. www.jjbabbitt.com

E-mail: [email protected]

The World’sFinest Mouthpieces

Hite

JAZ_44 44 11/14/08 10:03:18 AM

www.jjbabbitt.com


to get back into our Bug and go back to Florida in hopes of fi nding something else that would work as a jazz educa-tion gig. Before we left the building, Dr. Douglas Cornell, department coordina-tor dropped the needle on their group’s latest vinyl recording and after ten or so seconds I asked if I could sign a contract now or did I have to wait?

JAZZed: It was that convincing – wow.

BM: It was. I was told we would meet for dinner that evening and we could go over more details of the school and jazz studies program. I was just blown away by the talent and immediately re-alized the building had little to do with the program. It was all about the kids, along with the responsibility of reinforc-ing their musical desires with positive feedback and new ideas for direction for their futures and, in turn, the future of this wonderful music.

JAZZed: Do any lessons learned while teaching at Booker T. Washington stick out?

BM: One lesson learned from being at Booker T. Washington is that you have to remember that the gig is not about me or any other instructor. It’s about the young artists who bring the future of jazz into the building every day. In doing so, these wonderful young artists have changed the future of jazz and commercial mu-sic. I really learn from all my students. I get just as much from them as I hope I am giving them. They bring a lot to the table and for some it’s laying out their artistic souls. I have always seen this in Roy (Hargrove). For him, it’s naked art, from the time I met him in 8th grade to the present day. Every time I hear him play he is standing in front of the world baring his inner most self. I can’t say this about many artists. He is the truth.

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

BM: When you see the light bulb go on and you know that a young musician has just gotten the concept you are trying to relay, it’s the best. I might add that when these same wonderful young artists come back and keep us posted on their progress

it’s just so rewarding. Once in a while I’ll hear from a former student with a thank you letter or e-mail. These updates on their successes keep me aware that we are making a real difference and it reinforces the notion that we need to continue the effort in moving forward with our youth.

JAZZed: Ok, fl ip that question on its back – what do you fi nd to be the most frustrating aspect of being an educator?

BM: My biggest disappointment as an educator is that not all the students that you pour your time and energy into put forth the amount of effort that you would like to see in return. Of course, some of those that didn't show that much interest in pursueing jazz have gone on to successes in other musical genres, such as rock and pop, and I'm proud for them, as well. But motivating the underachiever is a diffi cult and of-ten disappointing task.

Also, I would have to say that deal-ing with diffi cult parents is always an

issue. I don't so much mind the ones that seek to promote their talented child, as that just goes hand in hand with being an interested parent, but it's the ones who always take the side of the child who is not putting in the "woodshed" time to warrant a particu-lar position or opportunity.

Again, I would have to add in the frustrations of having to fi ll out countless amounts of "paperwork" to comply with administrative policies and the diffi culty in raising the mon-ies needed to give my students more opportunities to travel and participate in worthwhile educational events. In that vein, I would like to say a spe-cial thank you and express my admiration for The Thelonius Monk Institute and JB Dyas. For several years they have stepped in to fi ll this "fi nan-

cial gap" by sponsoring our Combo I's travel as a "Peer-to-Peer" group, allowing them the opportunity to serve as student educators to other jazz students around the country. It is a unique and highly ef-fective concept, and I applaud them for their ingenuity and commitment to jazz education. This same Institute has also funded monthly clinics at our school, enabling me to invite in our local jazz greats, including many of the noted jazz professors at the University of North Texas, along with a wonderful mix of our successful alumni. So, I may have started out lamenting my disappointments as an educator, only to end on a positive note!

JAZZed: “Jazz,” as a topic is perhaps more prevalent in jr. high and high school music programs than it once was, but for many music teachers it’s still an unknown quantity or “diffi cult” – how would you advise a music director to in-troduce jazz education into their overall curriculum?

BM: Listening to the music is the essence of learning the art form. My fi rst experience in jazz was hearing a recording at a friend’s house and be-coming overwhelmed by what I heard. I was ten years old and never looked back. Bring in recordings of great and exciting “jazz” artists. Here is where the

“I think I was never interested in

teaching jazz music – I just wanted,

and still do want, to pass it on.”

Bart Marantz and Doc Severinsen.

JAZ_45 45 11/14/08 10:03:22 AM


crossroad divides the future for a pro-gram. Some directors don’t really know about hardcore jazz music and think that crossover or fusion music along with funk is jazz music. There is a way to teach this art form and it all starts with Louis Armstrong and evolves from him. Of course, it’s important to intro-duce Buddy Bolden and all the early names to youngsters, but to hook them in one needs to let them hear Bird, Art Blakey, Horace Silver or some big bands like Woody Herman, Duke El-lington and Stan Kenton. They need to hear something that will capture their imagination and show them what they can become. Even the RH Factor, Roy Hargrove, can be a hook for these kids if the director will go back and allow them to hear Roy play with his trio on Parkers Mood and then something as beautiful as Moment to Moment where Roy is playing with strings. Man, how could you miss with those albums?

Teaching the inner workings of jazz theory comes later and should start with the major scales and keys. From here I use the modes to expand the theory these students already know. I use three approaches. Horizontal - scales, vertical - chords, and the combination of both, patterns based on scales and chords within the key of the moment. An exam-ple would be C7 a V7 chord (mixolydian mode) allowing the key center of F Ma-jor. This allows the young student to vi-sualize these concepts when using chord changes and eventually gives them the freedom of just reacting to a key center for colors and ideas.

Teaching Jazz: A Course of Study gives a daily lesson plan that can be used by any teacher who needs help with put-ting together a plan for teaching jazz. It also gives these concepts listed above and many more including a listing of essential audio and video. The book was produced a number of years ago and took a long time to get into the jazz education market, but in most ar-eas it is still fresh with ideas and teach-ing concepts.

JAZZed: What are some of the highlights of your career as an educator?

BM: There have been wonderful trips to Montreux Switzerland, The

Columbia College Chicago

...a new tradition in jazz!

We’re all about Jazz and we know what it takes for our students

to succeed. Our Jazz Studies Program offers personalized

skill development, workshops, master classes and the unique

experience of learning your craft within a community of

professional Jazz artists. At Columbia, we teach more than the art

of Jazz performance. We teach the art of being a Jazz musician.

COLUM.EDU/MUSIC

[email protected]

312.369.6300

AlexJazz Studies

Class of 2010

Fall 2009New Student Audition Date:February 7, 2009Auditions by Appointment Only

JAZ_46 46 11/14/08 10:03:26 AM

www.colum.edu/music


IAJE Conference all over the nation and Canada, going down to Miami for the NFAA, working with and learning form the above mentioned alumni, but visiting the White House in 2004 when now alumni, Matt Ma-rantz performed with the New Gen-eration II under the direction of Dr. Billy Taylor has to be the highlight of my 25 years at “ARTS.” Matt was part of a group that performed with Dr. Taylor earlier in 2004 at the Ken-nedy Center in Washington DC and this was a performance with the same group for the NEA Jazz Masters Se-ries. Enjoying the rehearsal at the Kennedy Center, having private time with the President and Mrs. Bush in the Blue Room, and experiencing the performance in the East Wing of the White House was surreal.

JAZZed: Booker T. Washington’s music program has achieved so much – nota-bly all of the DownBeat awards. To what do you attribute the school’s and the students’ success?

BM: The “DownBeat Student Mu-sic Awards” have been a magical ride. We won our first award in 1983, the year I arrived, but the preparation for the first win was done the year prior. I did see, though, that this very motivating award was a way to get our kids out into the public eye by allowing their talent to be docu-mented by one of the most respected jazz periodicals on the market. I re-member buying a DownBeat in Af-rica in 1989, as a Fullbright scholar working in part with Darius Bru-beck, and realized at that time the importance of having this “world magazine” publicize and promote our talented students. Our kids are self-motivated, knowing that if they are prepared to play at the highest levels of jazz and commercial music, the sky is the limit. We, as a faculty try our best to prepare materials that allow out kids to audition with top of the line technology. Of course they have to prepare for the oppor-tunity, but the many accolades and awards all prove our students to be hard working artists who take their music seriously.

My teaching philosophy is simple: Anything is possible. I use the three Ds: Desire, Discipline, and Dedica-tion. When students can be convinced that they can achieve any level of ex-cellence if they work hard, it’s much easier to go there. I remind them that there are no grantees and that this is a

business and not a party. If they take this seriously and treat our vocation as they would if they were becoming a doctor or any profession that could change lives for the better, than they will have the right attitude to go for-ward. Many of them have.

Improve

Record Your IdeasRehearsals & Gigs Direct to CD

Change Key & TempoSet A-B LoopsReduce VocalsRecord LPs & Tapes to CDProfessional Inputs & Outputs

for recording concertsand rehearsals!”

- Jamey Aebersold

www.superscope.net 800-374-4118

“I love the Superscope

JAZ_47 47 11/14/08 10:03:32 AM

www.superscope.net

www.shermusic.com


LaryngitisAcute laryngitis is the infl ammation of the lar-

ynx or “voice box,” a condition which may last up to three weeks. One usually notices laryngitis by an abnormal speaking voice, a condition which may range from simple hoarseness to a soft whisper. Other signs of laryngitis include coughing, diffi -culty swallowing, feeling of swelling in the throat, swollen lymph nodes, congestion, and fatigue. Laryngitis is often seen by physicians as reddened swelling of the membrane covering the vocal cords with little, if any, fl uid accumulation. The result-ing thickness or stiffness along the entire length of the vocal cords causes a lower pitch in the voices of people suffering from acute laryngitis. This con-dition may be caused by fungal, viral, or bacterial infections, allergies, air pollutants, vocal trauma (overuse), asthma inhalers, smoking, or alcohol consumption. Gastric refl ux disease can also be a cause. In this case, acidic digestive juices from the stomach travel back up the esophagus and cause irritation of the vocal cords.

Treatment of acute laryngitis involves time, avoiding excessive use of the vocal folds, and other irritating factors. Inhaling humid air from

a hot shower or bowl of boiling water can cause the upper airway to get some moisture and lessen the intensity of the symptoms. Smoking and alco-hol consumption should be avoided completely for a timely recovery. Treatment for gastric refl ux may also help through anti-refl ux medications or changes in dietary habits. If laryngitis is caused by bacteria, an antibiotic may help. Viral laryngi-tis simply takes time to heal. Acute laryngitis may be prevented altogether by not smoking, avoiding secondhand smoke, drinking plenty of water, and avoiding clearing your throat, which causes exces-sive mechanical throat irritation.

Vocal Fold PolypsVocal fold polyps or nodules also interfere

with the quality of one’s voice. Vocal fold nod-ules are the result of scar tissue accumulation on both medial edges of the vocal fold. This usu-ally leads to breathiness and hoarseness since the vocal folds cannot close properly. Also, the range and stamina of the voice goes down, while the voice itself gets more fatigued. In many cas-es, vocal nodules are present since childhood, and it is not necessarily a compromising condi-

Ajazz singer's voice is an invaluable tool, yet it is often taken for granted and

exposed to many damaging factors. These factors may either be environ-

mental or behavioral. Many times, these factors are intrinsic in every-

day activities, and thus could be detrimental to someone’s well being with-

out his or her knowledge. Over time, this exposure could result in various

vocal fold complications, ranging from soreness or irritation to hemorrhage.

health clinic V O C A L F O L D A I L M E N T S

Staying in Good Voice:BY J. PIETER NOORDZIJ, HARINI NAIDU AND HADAS GOLAN

UNDERSTANDING AND PREVENTING VOCAL FOLD AILMENTS

J. Pieter Noordzij

JAZ_48 48 11/14/08 10:05:24 AM

tion. Some vocalists who have small nodules are not adversely affected.

Vocal fold polyps are similar to nodules except they are only found on one side of the vocal fold. The symptoms of a polyp are similar to those of a vocal fold nodule; how-ever, diplophonia, a condition in which two simultaneous vocal tones are produced, is also possible with polyps. If the polyp is very large, one may have trouble breathing, but this condition is unlikely in professional vocalists.

Treatment for polyps and nodules is based on the symptoms of the pa-tient. First, gastric reflux is treated if it exists, along with muscle tension dysphonia, which is the tightening of muscles around the vocal cords. Voice therapy usually treats this con-dition. In addition, it is used to im-prove vocal hygiene and reduce any

swelling around the nodule or polyp. After therapy, it is possible to have complete recovery. Some singers may still notice vocal limitations, and thus might opt for surgery in which polyps are removed. Surgery for vo-cal fold nodules is almost never rec-ommended because of concerns for permanent vocal fold scarring and recurrence of the nodules.


“GOOD DIET, EXERCISE, AND AN ADEQUATE AMOUNT OF PHYSICAL REST ARE NECESSARY TO MAINTAIN OPTIMAL VOCAL HEALTH.”

health clinic

Learn jazz by living it in the heart of Greenwich Village. Here,

your mentors are legendary professionals from New York

City’s renowned jazz community. Your classmates are brilliant

musicians from around the globe who are passionate about

their art and ready to take their talent to the next level.

Perform in the city’s hottest clubs, including Sweet

Rhythm and Dizzy’s Club Coca-Cola

Take advantage of the resources of a major university

Get real-world performance experience through the

professional Gig Office

Consider the five-year, dual-degree BA/BFA option

(available with Eugene Lang College The New School

for Liberal Arts)

For application and audition information, call 212.229.5896

x4589 or visit us online.

www.newschool.edu/jazz11

GET A BFA IN

THE JAZZ CAPITALOF THE WORLD

New York is JAZZ

is New York

JAZ_49 49 11/14/08 10:05:29 AM

www.johnfedchock.com

www.newschool.edu/jazz11


Vocal Fold HemorrhageVocal fold hemorrhage occurs af-

ter intense use of the voice for pro-longed period of time or in relation with an upper respiratory tract ill-ness. After strenuous vocal use, a sudden change in the voice is often noted. The condition characterized by the bleeding of the soft tissue of the vocal folds caused by the ruptur-ing of blood vessels on the surface of the vocal cords. Someone who has vocal fold varices, or large dilated veins, on the surface of the vocal fold has a higher risk of suffering from vocal fold hemorrhage. The hemor-rhage usually only occurs on one vocal fold, but rarely it can happen in both. This condition is common among females and professional vo-calists. This is thought to be because of hormonal imbalances and fre-quent overuse of the vocal folds and a higher sensitivity to vocal changes, respectively.

Vocal cord hemorrhage is consid-ered an emergency and calls for im-mediate and complete vocal rest for one to two weeks. During this time, the vocal cord usually flattens and the blood diminishes. If the condi-tion persists, surgery may be required to fix the bleeding. Voice therapy and medical follow up is required to reach and confirm a full recovery. In some cases, hemorrhage can reoccur. Prevention of vocal cord hemorrhage involves avoiding prolonged vocal strain.

PreventionAs devastating as these condi-

tions are, taking proper precautions can prevent them, starting with good oral hygiene and general health. Good diet, exercise, and an adequate amount of physical rest are necessary to maintain optimal vocal health. In certain situations, one may be ex-posed to detrimental environmental factors. Vocal students are some-

times at high risk for the vocal fold damage because of the drugs or al-cohol involved in the partying scene on college campuses. In addition, yelling at sporting events contributes a great deal to adverse vocal strain. Although singers make an effort to be cautious with their singing voices, they often forget to apply the same care to their regular speaking voices. Adverse vocal strain from everyday activities is often the cause of laryn-gitis and other vocal illnesses.

Professional singers often have to handle frequent changes in environ-ment. Smoke-filled concert venues or clubs take a huge toll on vocal hygiene by causing irritation and, at times, infection. In addition, those who travel frequently are exposed to the dry air of airplanes, as well as, the noisy sound of the engine. One should avoid talking on airplanes for these reasons. Talking loudly over the noise and the drying of the vo-cal cords will cause unwanted or un-necessary irritation. The burden to perform when ill is also very high for professional singers. Singing when suffering from allergies, cold, or swollen cords would result in dev-astating vocal conditions that last months.

Proper vocal training also pre-vents vocal cord damage by teaching singers techniques to avoid unneces-sary strain and promote better voice quality. Good posture and body alignment are crucial in creating a healthy work environment where respiration, phonation, resonance, and articulatory systems can work together efficiently. Complementary therapies such as Yoga, Pilates, Al-exander technique, and Feldenkrais help to develop awareness and are very useful in the development of core stability and strength, balance, and flexibility.

Breathing for singing is simply an extension of the natural functioning

health clinic

HealthClinic.indd 50 11/14/08 10:36:38 AM

www.divajazz.com

www.keithfelch.com


health clinic

of the respiratory system. The system is designed to meet our basic needs for sufficient air. Ironically, not con-tent with “sufficient,” singers strug-gle to take in more breath than they actually need, locking tension in the respiratory muscles, and actually re-stricting air intake and blocking the natural flow of vocal energy.

Well-balanced phonation requires

coordination between the vocal folds and the flow of breath. The vocal folds function as a valve on top of the airway. For optimal vibration, they must position themselves in a nearly closed position, where mini-mal breath will set them into vibra-tion. Pushing too much breath will blow the vocal folds too much apart, weakening the tone and resulting in excessive laryngeal muscle tension, as the singer tries to bring them to-gether again. Holding back with the breath will result in laryngeal strain as well. For good phonation a bal-ance is required, not holding back with the breath and not forcing it forward.

The articulatory system has a ma-jor and sometimes unrecognized im-pact on voice quality and resonance. The tongue and jaw must be very

strong to assist in chewing and swal-lowing but both can have a very neg-ative effect on singing. Singers who habitually constrict the jaw and base of the tongue often complain of vo-cal fatigue, restricted range, and loss of pitch flexibility. For optimal reso-nance a maximum pharyngeal space with lifted soft palate is required. The jaw should hang nicely in place with a flexible ready tongue.

When everything is working in balance the singer will experience active posture, natural abdominal movements as breath fl ows in and out, no strain at the laryngeal level, vibrations in the head, and feelings of ease and pleasure in singing.

A performer’s vocal health may be taken for granted until one of the above common maladies develops. Fortunately, most common vocal fold ailments are reversible. More impor-tantly, many are preventable if the above guidelines for vocal health are followed.

J. Pieter Noordzij, MD is associate rofessor of Otolaryngology-Head & Neck Surgery at Boston University School of Medicine, Boston Medical Center. Harini Naidu is a BS medical student at Boston University School of Medi-cine. Hadas Golan, B.Ed. Mus. MS/CCC-SLP is a voice therapist at Boston Medical Center.

ALTHOUGH SINGERS MAKE AN EFFORT TO BE CAUTIOUS WITH THEIR SINGING VOICES, THEY

OFTEN FORGET TO APPLY THE SAME CARE TO

THEIR REGULAR SPEAK-ING VOICES.

Sierra Music PresentsThe classic, recorded

charts from the greats !!These are all the original, exact

charts which were performed andrecorded by these artists.

The amazing charts ofRugolo, Holman,Russo,Niehaus, Richards andothers .....

The StanKenton Library

MaynardFerguson’s

DreamBand

Library The stunning chartsof Slide Hampton,Don Sebesky, WillieMaiden, Mike Abeneand others .....

TheBill HolmanBand

Oliver Nelson’smany superbBig BandsThe legendary chartsrecorded over manyyears by the best jazzmusicians in history

Go towww.sierramusic.comour ALL-NEW website for

more information

ORDER NOW !• www.sierramusic.com

• Fax to 1 (509) 928-2350• Call 1 (800) 255-6551 or

1 (509) 928-7422 (Int’l)

The Doc Severinsen LibraryTen more exciting charts from the

Johnny Carson show band are nowavailable. There are now a total of 20

arrangements in print. They werewritten by such great arrangers as Bill

Holman, John Bambridge and thewonderful Tommy Newsom.

Bill’s wonderfularrangementsand originals hehas written for hissensational band

SurveyIf you are interested in participating in upcom-ing JAZZed music educa-tion surveys, please contact Editor Christian Wissmuller at [email protected]

JAZ_51 51 11/14/08 10:05:40 AM

www.sierramusic.com

noteworthy


crossword

Across1. The fi rst truly American musical genre, predating jazz6. ___ Freeman, his sax playing was the strong alternative to Coleman Hawkins’8. ___ Blakey, one of the inventors of the modern bebop style of drumming11. Yusef Lateef instrument12. My gal?14. ___ Ross, jazz singer and actress best known as a member of the Lambert, Hendricks & Ross trio16. Canadian leaf type17. Henpeck18. ___ Edwards, American jazz tenor saxophonist and Sunset Eyes artist21. “___-Ya,” Thelonious Monk standard23. You can ring mine?24. On a cruise27. State with a famous hotel, in song28. Bracelet trinket29. Jimmy Blanton’s instrument33. Poker bet34. ___ Johnson, he is considered the father of the “slap” style of string bass playing35. College degree36. “___, I love you”37. The quality of a musical note39. Room, abbr.

40. Beginning part of a song42. Type of jazz that was fi rst developed in the 1950’s and 1960’s44. John Coltrane’s train color?46. ___ Byrne, well-known American jazz trombonist and composer/arranger48. Ella Fitzgerald’s forte50. That is, for short52. ___-garde, experimental or innovative music description56. Musical piece57. David Raskin girl60. Turn on the radio62. Small, for short63. Request64. Bring along66. ___ Hines, jazz pianist whose playing helped shape the history of jazz68. Stereo opposite70. Duke Ellington’s fi rst name71. ___ Donahue, American swing jazz tenor saxophonist, trumpeter and musical arranger who worked with Benny Goodman72. Tempo indicators

Down1. ___ Down, popular Jimmy Smith album2. Stomach muscle3. ___ Morning Susie Soho, Esbjorn Svensson

Trio favorite4. Musical scale note5. Miles Davis’ psychic album?6. Paul ___, Canadian free jazz pianist who worked with Charles Mingus7. Steely ___, rock group8. ___ and Demons at Play, Sun Ra record9. Narragansett locale10. “___ Me a Bedtime Story,” Herbie Hancock standard13. Manny ___, jazz baritone sax player that was infl uenced by Bix Beiderbecke15. Seize, suddenly16. Folk tale19. Gil ___, he played a seminal role in the development of cool jazz, modal jazz, free jazz and jazz-rock20. Freshwater carp22. ___ Blake, “Memories of You” composer25. Literary genre26. Hospital show27. Headgear30. “We’re in this Love Together” singer fi rst name31. Bar words?32. ___ Lanin, American jazz bandleader34. Buddy35. Breakable dinner items?37. Transaction time, abbr.38. This type of jazz doesn’t use chord progressions as its harmonic framework40. Vitamin measurement, abbr.41. Compass direction43. ___-friendly, aka green44. Miss Lady Day?45. Green fi eld47. Patriotic song49. Speeds of musical pieces51. Famous Chet53. Stringed Renaissace instruments54. Good grades55. Drink for two58. United Airlines, abbr.59. They come before T61. Desensitize65. Cut off67. Billboard feature69. Santa Fe state

Crossword by Myles Mellor

www.jazzedmagazine.com

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

JAZ_52 52 11/14/08 10:06:16 AM


We are so fortunate that he is willing to spend some time with us at JAZZed In the Classroom.

JAZZed: Welcome, Ira.

Ira Nepus: Thank you. I’m glad to be here.

JAZZed: You’ve had the opportunity to see and be a part of so much of the history of this great music. I’d like to start by asking for a story. Would you be willing to share a favorite memory with our readers?

IN: One of my fondest memories as a professional mu-sician was when I was in Woody Herman’s band, in 1969 or 1970. We were in New Orleans working at Al Hurt’s nightclub for two weeks. We would do two shows a night, and would have up to two hours off between shows. So, I would run across the street in the French quarter and go sit in with all the old New Orleans guys, like Sweet Emma, Louis Catrell, and Punch Miller over at the Preservation Hall. Then I’d go back and play my sets with Woody Her-man – two completely different genres.

After we left that gig' we fl ew to New York City, where we were working at one of the major hotels.

We’d do our jazz set there and on our breaks I’d run over and sit in with the Thad Jones-Mel Lewis Big Band. In a relatively short period of time I went from the very beginning of jazz, in New Orleans, to sitting in with the most contemporary big band in the world at that time. Being able to cross over like that was like going through a musical time machine.

I think it’s important for young players today to really understand the entire history of jazz, and to be able to know and play the repertoire. I didn’t go into Preservation Hall with lead sheets and a fake book. Whatever tune they’re playing is the tune I had to be able to play – the tunes those guys played every night. But then to go and sit in with Thad Jones-Mel Lewis and read the very sophisticated charts they had stretches you to the max. You’ve got to be at their level, as well. It really stretches you, and makes you a better player.

That was one of the greatest memories of my life.

JAZZed: Incredible, Ira.

IN: It was just amazing. And then there were those three weeks at Caesar’s Palace in Los Vegas – with

IJAZZed In the ClassroomBY BRAD HOWEY

Ira Nepus is one of the quiet heroes of today’s jazz world. He has performed and/or recorded with some of the greatest names in jazz, including Benny Carter, Woody Herman, Quincy Jones, Lionel Hampton, Ray Charles, Ella Fitzgerald, Diana Krall, and Cab Calloway – to name a few. He was one of the founding members of the Clayton-Hamilton Jazz Orchestra, and contin-ues to perform with them after over 20 years. He has recorded in every ma-jor Los Angeles-area recording studio, and can be heard on soundtracks for movies and television shows from Remember the Titans to X-files and from Family Guy to Jeopardy.

in the classroom I R A N E P U S

JAZ_53 53 11/14/08 10:06:53 AM

in the classroom


Woody Herman and Duke Ellington’s Orchestra on the same stage, every night. We were trading tunes: Duke would play a number, and then Woody would play; then Duke, then Woody. Then we’d move over across the stage and play Ellington’s music, while El-lington’s guys moved across the stage and played Woody’s music. And then we’d end it all with the really grand fi -nale: both playing at the same time. We did that for three weeks – all the way through Christmas and into New Year’s Eve. It was one of the most memorable gigs of my life. One I’ll never forget.

JAZZed: Now you’ve got a great relation-ship with that horn of yours. What do you love most about it?

IN: I love that I am still discovering the instrument: still learning how to play, and still learning about the music. I don’t ever feel like I’ve arrived; it’s an on-going process. And, I truly love the trombone. I’ve loved it from the day I fi rst opened up the case in elementary school, and fell in love with the sound of it listening to professionals play: it just gave me goose-bumps!

JAZZed: What advice can you give to our readers with regard to playing the trombone?

IN: Well, I’ll tell you: it isn’t as much about playing scales as it is about the way they get around on the slide. You need to memorize your ma-jor scales in several octaves and play them is if they were the fi nest piece of music in order to ultimately free your-self from the physical-ness of playing the instrument – to allow playing to become more of a natural process, like walking down the street. Rather than trying to move perfectly from position to position, it should be a kind of fl ow-of-the-slide: so that instead of moving from fi rst to second and from second to third, you are moving from all the way up the slide to all the way out the

slide, passing the positions along the way. I’m very much into the classical world, as I am the jazz world, and have watched some of the greatest classical trombone players. The ones that I ad-mire the most are the ones whose slide just fl owed, without stopping on every position in order to make the notes come out

JAZZed: Thank you, Ira. Tell me: What is it about jazz music that makes it so special?

IN: The great thing about jazz is that every performance is different. No two solos are alike. Of course, it is true that, for instance, Chick Corea sits down at the piano and works out solos for hours beforehand. Now that doesn’t mean that when Chick Corea performs he is going to play the same solo note-for-note, but he is going to work out certain things in his solos that he is going to be able to draw on when he performs. You build up a reserve of little ideas—a repertoire of things that you’ve played in the past that help to propel your solo in the present.

JAZZed: So…part of preparing for a fresh performance is making sure you have some things that you can rely on?

IN: Yes. Now there are guys that practice patterns all the time, and of course there is nothing worse than a guy that gets up and plays a solo and the whole thing sounds like a pat-tern. That’s not right either. But if he draws from some of that, and really makes it interesting, he can really get to us!

Like a painter who has a general picture in their mind of what they want to paint, a jazz musician has a general picture in his mind of what kind of a solo he wants to play: is it a hot solo? Is it a kind of a down ballad, or is it a romantic solo? What is it going to be? Like the painter who paints with color, so we are painting with notes.

But we don’t know exactly how it’s going to turn out until it is over. When I go into the recording studio and some-body says they want a trombone solo on a tune, we’ll often give them three or four solos in a row and let them choose which one they like the best, or which one moved them the most. Sometimes they’ll even take bits and pieces of each solo and construct their own fi nal solo, be-cause the picture they had in their mind for a particular tune was a certain way. That’s the way it’s done in the studios.

JAZZed: Ira, when you look over your lifetime in jazz music and you look at the kids today, why would you say that they should study jazz? What is it about jazz that is valuable for them?

IN: There are lots of reasons. For one, playing jazz makes you feel good! I feel good when I’m playing the kind of jazz I like to play. It raises me to an-other level. In normal life when I go to the post offi ce, or the bank, or to the gas station, I’m living at that level. But when I’m performing and playing jazz in the right environment, I’m in a totally different realm--and it is just such a wonderful world. It can be such a wonderful space to be in!

JAZZed: One fi nal question: Over your years in the music business, you’ve seen all kinds of young people come to the stage in the hopes of becoming the next great jazz discovery. But in the end—of all of those you’ve seen come and go--what’s the quality that really makes the difference? What’s the most important quality that a young person can have if they really want to be suc-cessful?

IN: The most important quality you can have is persistence. You have to see your goals and dreams clearly in your mind, and then you have to go after them! Set up a practice schedule and don’t give up…motivate yourself and don’t give up on practice!

JAZ_54 54 11/14/08 10:06:57 AM


In the Classroom…Activity

Mr. Nepus shared a couple of his favorite musical memories with us. How incredible it must have been to per-form with Woody Herman and Duke Ellington! Think back over the performances you have seen and the ones you have given; the rehearsal that made you laugh and that teacher who meant so much to you. Describe one of your favorite musical memories and why that moment was so important to you.________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

“Like the painter who paints with color, so we are painting with notes.” Imagine: you, as a musician, are paint-ing with notes! How cool is that? Some pieces make me think of colors; like splashes of yellows and blues. Others remind me of people dancing and having a good time. Choose one of the pieces your ensemble is working on right now. What kind of pictures does it paint for you? What kinds of things does it remind you of?

________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Ira said that there are lots of good reasons for young people to study jazz. What if someone asked you why studying jazz is valuable; what would you say?

________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Last question: Ira said that the most important quality a young musician could have is persistence. Of all of the things he could have said, why do you think he said that? Why is persistence so valuable? Can you give an example from your own musical life when being persistent helped you to be successful?________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Answers to this and future JAZZed In the Classroom activities will be posted on the JAZZed In the Classroom bulletin board—so fi ll ‘em out encourage your teacher to turn them in! Your answer may just be posted in JAZZed

In the Classroom! www.jazzedmagazine.com

JAZ_Sec1-55 Sec1:55 11/14/08 10:07:00 AM

in the classroom


Follow-up Activitiesfor Directors

Ira spoke of going back and forth between bands of different eras. Big bands today often play music from many different eras, but we seldom take the time to listen to recordings of the great bands and how they ap-proached the music in their own time. Here is an activity to help us do just that:

Go online and search for:Duke Ellington Orchestra – “It

Don’t Mean a Thing” (you’ll want the version featuring Ivie Anderson.) Purchase the track and save it to your computer.

Thad Jones Mel Lewis Orchestra – “It Don’t Mean a Thing” (you’ll want the one featuring Joe Williams). Again, make the purchase and save the fi le to your computer.

Burn both tracks to disc so you can play them for your kids at school.

Now play both recordings for your kids. Work with their reactions. How do the bands sound the same, and how do they sound different? Both vocal-ists use some similar techniques, but use them very differently to make for exciting performances. What are they doing differently? Continue to run with this and have some fun – these are two of the fi nest jazz bands ever to play a note and it is really just fl at out incredible that you’re giving your kids a chance to listen to them!

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

If you are

interested in

participating

in upcom-

ing JAZZed

music education sur-

veys, please

contact Editor Christian

Wissmuller at cwissmuller@

symphonypublishing.com

Survey

If you are interested in

submitting an article

to JAZZed, please visit

www.www.jazzedmaga-

zine.com and click on

Submissions Info.

Subm

ission

s

For Additional News

in JAZZed,

please visit

www.jazzedmagazine.com

News

JAZ_56 56 11/14/08 10:07:04 AM

www.marianuniversity.edu

Gearcheck


The Jazz Ear The Jazz Ear features discussions between music critic Ben Ratliff and jazz greats about recordings by the musicians who most infl uenced them. In the process, Ratliff coaxes out a profound understand-ing of the men and women themselves, the context of their work, and how jazz—from horn blare to drum riff—is created conceptually. Expanding on his popular interviews for The New York Times, Ratliff speaks with Sonny Rollins, Ornette Cole-man, Branford Marsalis, Dianne Reeves, Wayne Shorter, Joshua Redman, and oth-ers about the subtle variations in genera-tion, training, and attitude that defi ne their music.

www.timesbooks.com

Barney Kessel: A Jazz LegendDescribed as the fi rst book to document Barney Kessel’s remarkable life in music, the comprehensive discog-raphy of hundreds of his jazz recordings included in Barney Kessel: A Jazz Legend will prove to be a valuable source of informa-tion to jazz historians for many years to come.

www.halleonard.com

Hal Leonard’s Jazz Standards

As part of their Note for Note Key-board Transcriptions series, Hal Leonard releases Jazz Standards-authentic transcriptions of 23 classics by 23 jazz masters such as Duke Ellington, Bill Evans, Errol Garner, Thelonious Monk, Oscar Peterson, Bud Powell, Art Tatum, “Fats” Waller and others. Some of the songs included: “Blue Skies; Come Rain” or “Come Shine; Honeysuckle Rose;” I Remember You;” “A Night in Tunisia”; “Stormy Weather (Keeps Rainin’ All the Time);” “Where or When.”

www.halleonard.com

JAZ_57 57 11/14/08 10:07:27 AM

Gearcheck


Dyna-Flow Modular Mouthpiece System These trumpet mouthpieces come in three piec-es that can be assembled to create a complete custom-designed mouthpiece by the player. This new design is the adjustable throat length design that allows the length of the throat to be adjusted in order to also adjust the air-fl ow resistance that occurs when playing. This can be adjusted to fi t the player’s preferred blowing style or to match the horn to the player and the style of music being played.

www.dynafl owbrass.com

New Stageline Music StandsStageline has expanded its offering to include desktop wooden music stands. The desktop stands are available in two size options and fi nish-es, including a black or cherry fi nish. The DS10BK, CH has a 14” width / 10” height and retails for $109. The DS15BK, CH has a 20’ width / 13” height and retails for $125.

www.stagelinestands.com

The Pearl Anniversary Quantz Coda Series FlutesPearl's Quartz Coda Series fl utes incorporate features from the high-end Dolce and Elegante series, including a solid silver Forza head-joint, C# trill key, D# roller, and elegant 10k gold lip-plate, along with all features as found on the Quantz series.

The Anniversary Quantz Coda A665RBE-CODA carries a list price of $2,300.

The Anniversary Quantz Coda A765RBE-CODA carries a list price of $3,600.

www.pearlfl utes.com

The Titan GuitarTitan Guitar is the new fl agship model in

Highland’s Electric Jazz Guitar series. The Titan is crafted in a high gloss vintage fi reburst fi nish over a quilted maple top, back and sides. Features include a custom wooden pickguard, rosewood volume and tone control knobs, and a rosewood fl oating tailpiece cover. Wooden pickup covers, multi body fl ame maple and abalone binding, deco style gold tuners, and a rosewood fi ngerboard provide complement to the Titan’s appear-ance. A gold Bixby tailpiece is optional.

www.highlandgui-tarcompany.com

The Offi cial Vintage Guitar Price Guide 2008

Published annually by Vintage Guitar maga-zine, The Guide not only includes historical data, it is the only book that lists values derived from comprehensive research and hard-nosed, realis-tic market analysis on thousands of vintage and recent-model guitars, amps, basses, effects ped-als, mandolins, lap steels, ukuleles, and banjos. The Guide includes information on nearly 1,700 brands supplemented by 1,200 photos, along with an in-depth look at the factors that drive the collectible instrument market. The price is $27.95.

www.vintageguitar.com

JAZ_58 58 11/14/08 10:07:35 AM

Gearcheck


New Belwin Jazz Play-Along CollectionsBelwin Jazz has packaged several solo and ensemble pieces in two series: Sittin’ In

With the Big Band, Volume II and Best of Belwin Jazz: Young Jazz Collection.Sittin’ In With the Big Band, Volume II features ten new big band pieces from top

arrangers such as Victor López, Dave Rivello and Dave Wolpe. These medium-dif-fi culty level pieces teach about blend, style, phrasing, tone, dynamics, technique, articulation, and playing in time, as well as a variety of Latin, swing, ballad, and rock styles. A professionally-recorded CD contains two recordings of each piece – one for demonstration and one for accompaniment in study and performance.

Best of Belwin Jazz: Young Jazz Collection includes 12 jazz arrangements for the young grade two ensemble. Each chart is written by experienced educational jazz arrangers and composers in a variety of styles and tempos: swing, ballad, holiday, rock, Latin and pop. The collection is written for a full ensemble, but can easily accommodate reduced instrumentation. The conductor’s book includes full-length CD recordings of all titles.

www.alfred.com

Elixir’s Holiday PromotionElixir Strings is getting into the holiday spirit. Starting now, while supplies

last, musicians can get a free Elixir Strings microfi ber polishing cloth with the purchase of two sets of specially packaged acoustic Elixir Strings. The promotion is avail-able at your local Elixir Strings dealer. Two sets of acoustic strings (one version with Light, one with Medium) are shrink-wrapped to-gether with a 20x30cm microfi ber polishing cloth in its own package.

www.elixirstrings.com

W. Schreiber‘s New ClarinetsAs of October 2008, clarinets

from W. Schreiber are being distributed on the US market exclusively by Gemstone Musical Instruments.

Along with a model made of ABS material (model 6010), there is a clarinet made of grenadilla wood (model 6025). This instru-ment is made of high-grade grenadilla wood, perfectly sea-soned and highly protected due to a state of the art impregnation method. Computer-controlled machinery guar-antees a high-precision fi nish. This new instrument provides top class intonation throughout all registers and suites both beginners and advanced musicians alike.

www.schreiberharmony.com

Tone Gear String Cleaner

The String Cleaner by Tone Gear extends the life and preserves the tone of guitar strings. It removes harmful substances like sweat and oils and keeps strings strong. The revolutionary design allows for 360 degrees of cleaning power. String Cleaner requires no solution, and there’s no possibility of it damaging frets. Featuring cleanable microfi ber pads, it saves money on new strings by prolonging the life and the tone of the string. It has a suggested price of $12.99.

www.thestringcleaner.com

JAZ_59 59 11/14/08 10:07:41 AM


HotWax New & Notable Music ReleasesAll dates are subject to change

October 7The Art Ensemble of Chicago – Les Stances a Sophie [Soul Jazz]

Marc Ayza – Offering [New Talent Spain]

Kenny Burrell – Bluesy Burrell [Prestige]

Laika Fatien – Misery [Blujazz]

Henriette Groth – Dufugl [Ilk]

Harmonious Wail – Resist Tempta-tion [Range]

Eldredge Jackson – Listening Plea-sure [Hi Five]

Dick Oatts – Gratitude [Steeple-chase]

Jeff Richman – Aqua [Mascot]

Sun Ra – Secrets of the Sun [Atavis-tic]

Toots Thielemans – Amazing Sound of Toots Thielmans [Fresh Sounds]

The Vanguard Jazz Orchestra – Can I Persude You? [Steeplechase]

Jack Walrath – Ballroom [Steeple-chase]

October 14Steve Allee – Colors [Owl]

Moon Baker – ABC of Romance [Challenge]

Alain Caron – Conversations [Ghost Note]

The Cool Yule All-Stars – Big Band Christmas [Immergent]

Bill Cunliffe – Blues and the Ab-stract Truth [Resonance]

Dejan’s Olympia Brass – Dixieland Christmas [Sheridan Square]

Ruslan Khain – For Medical Purpos-es Only [Smalls]

Klaus Doldinger – Back to Brazil [Wounded Bird]

Amina Figarova – Above the Clouds [Munich]

Herbie Hancock – Future Shock/Head Hunters [Legacy]

Bob James – Christmas Eyes [Koch]

Amina Figarova – Above the Clouds [Munich]

Passport – Hand Made [Wounded Bird]

Jenny Scheinman – Crossing the Field [Koch]

Tom Scott – Desire [Wounded Bird]

Johnathan Voltzor – More to Come [Kol Yo]

October 21Air – Air Time [Nessa]

Warren Battiste – Quiet Storm in New Orleans [Progressive]

Avishai Cohen – Flood [Anzic]

Brian Culbertson – Christmas & Hits Duos [Universal]

Chano Dominguez – Cuetos del Mundo [Sunnyside]

George Duke – I Love the Blues, She Heard My Cry [Verve]

The Here and Now – Break of Day [Origin]

Khan Jamal – Cool [Porter]

John Klemmer – Arabesque [Verve]

Hendrik Meurkens – Dig This Samba [Candid]

John Patton – Along Came John [EMI Japan]

Grover Washington, Jr. – Soul Box [GRP]

Clive Wilson – Heart Full of Rhythm, Vol. 2 [GHB]

Stomu Yamashta – Freedom Is Frightening [Esoteric]

Joe Zawinul – 75 [BHM]

October 28The Art Ensemble of Chicago – Full Force [EMC]

Art Blakey – Moanin’ [JCT]

Bill Carrothers – Home Row [Pir-ouet]

Gerry Eastman – Brown Skin Gal [Pacifi c Coast Jazz]

Gilfema – Gilfema+2 [ObliqSound]

Joe Henderson – Page One [JCT]

Huntsville – Eco, Arches and Eras [Rune Grammaphon NW]

Hank Mobley – Soul Station [Blue-note]

Oregon – Ecotopia [Touchstones Series] [ECM]

Jean-Michel Pilc – Discover: Jean-Michel Pilc [Dreyfus]

Sonny Rollins – Road Shows, Vol. 1 [Emarcy]

JAZ_60 60 11/14/08 10:08:34 AM


HotWaxDino Saluzzi – Kultrum [ECM]

Wayne Shorter – Speak No Evil [JCT]

Various Artists – Women of Jazz [Putumayo]

Kim Waters – I Want You/Love in the Spirit of Marvin [Shanachie]

November 4Peter Brotzmann – The Brain of the Dog in Section [Atavistic]

Mark Egan – Tell Me a Bedtime Sto-ry: The Big Apple [Universal Japan]

Bela Fleck – Jingle All the Way [Rounder]

George Freeman – Birth Sign [Delmark]

Terumasa Hino – Jakkou [Epic Japan]

Christian Scott – Live at the New-port Jazz Festival [Concord]

Uncle Funkenstein – Together Again [P-Vine Japan]

Sunset Swish – Asunaro [Sony Japan]

November 11Diego Amador – Rio de Los Canas-teros [World Village]

Paul Bley – Barrage [ESP Disk Ltd.]

Bujo Kevin Jones – Live [Montema]

George Kellaway – Live at the Jazz Standard [Ipo]

Lee Konitz – Round and Round [Nimbus]

Charles Langford – That’s Wassup [Blue Canoe]

Bireli Lagrene – Electric Side [Dreyfus]

Muzzy– The Boathouse Sessions [FOF]

Walter Norris – Drifting [Enja]

Tish Oney – Dear Peg [Rhombus]

Ronnie Lynn Patterson – Freedom Fighters [Zig Zag Territories]

Ray Reed – Plays Ray Reed [Rhom-bus]

Revolutionary Ensemble – Revo-lutionary Ensemble [Enja]

Red Rodney – Spirit Within [Wound-ed Bird]

Alan Sondheim – Ritual All 7-70 [ESP Disk Ltd.]

Alex Wilson – Tell Me Why [Oarfi n]

November 18Big Bang – From Acid to Zen [Oglio]

Dan Cavanagh – Pulse [Oa2]

Mark Colby – Refl ections [Origin]

Arnold Cheatham – Thing [Porter]

Jack Foster III – Jazzraptor’s Secret [Prog Rock]

Jerry Fuller – Clarinet Portrait [VSOP]

Clay Giberson – Spaceeton’s Ap-proach [Origin]

Brad Goode – Polytonal Dance Party [Origin]

Jerry Gray – Flag Waver [Montpel-lier]

Tim Green – Change of Seasons [Oa2]

Steve Hobbs – On the Lower East Side [Candid]

Alex Maguire – Brewed in Belgium [Moonjune]

Tom Richards – Smoke and Mirrors [Candid]

Joe Sample – Soul Shadows [Pra]

Don Thompson – For Kenny Wheeler [Sackville]

November 25Arild Andersen– Live at Belleville [ECM]

Dan Baraszu– Christmas Time is Here [Blue Canoe]

Roberta Gambarini– Roberta & Her Friends [3d Japan]

Stan Getz– Live in London (Deluxe Edition) [Cleopatra]

Herbie Hancock – Thrust [Colum-bia]

The Hot Club of San Francisco – Bohemian Maestro: Django Rein-hardt and Impressionist [Azica]

Julia Hulsmann – The End of a Summer [ECM]

Return to Forever – Returns [Eagle]

Sabertooth – Old Days & The Island [Arena Rock]

Sista O & d’ Vine Praize – Medita-tion [R.N.I.G.]

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

JAZ_61 61 11/14/08 10:08:40 AM


Jazz pianist Dave McKenna was best known for his solo work and his trademark left-handed bass style. He

began his musical career at the young age of 15 when he started playing with Boots Mussulli. In the years that

followed, he collaborated with the likes of Charlie Ventura and Woody Herman’s Orchestra.

In 1954, after returning from two years in the army, McKenna began working with musicians such as Gene

Krupa and Stan Getz. He made many recordings as an accompanist, but most markedly as an unaccompanied

soloist. In 1966, McKenna and his family moved to Cape Cod, and he began to work less frequently with bands

and more often as a solo pianist, performing mainly in the New England area. During the 1980s, he was the pia-

nist in residence at the Copley Plaza Hotel in Boston. McKenna once said of himself, “I don’t know if I qualify

as a bona-fi de jazz guy. I play saloon piano. I like to stay close to the melody.” His modesty seemed a contrast to

the vibrant piano playing he was best known for.

Dave McKenna passed away on October 18th at the age of 78.

Backbeat

Dave McKenna1930-2008

JAZ_62 62 11/14/08 10:09:09 AM


Classifieds

Jazz Videos

JAZZ DVD’SConcerts, fi lms.

TV, documentaries,instructionals.(Armstrong to Zorn).

Free JAZZ DVD CATALOGUEJAZZWEST, PO Box 3515(ED).

Ashland, OR 97520(541) 482-5529

www.jazzwestdvd.com

BooksJAZZ SAXOPHONE ETUDES & DUETS

BOOK & CD PLAY-ALONG SETS BY GREG FISHMAN

Endorsed by Michael Brecker, Dave Liebman,Jerry Coker, James Moody, Mark Colby & Bob Sheppard.

Visit:WWW.GREGFISHMANJAZZSTUDIOS.COM

for free sample etudes and duets.

Instruments

Instruction

CDs

Advertise in the Classifi eds!Call Maureen 1-800-964-5150 ext. 34 • [email protected]

When your Group Travels with

American Tours & Travel

Travel anywhere throughout the world

800-243-4365

EARN FREE AIR MILES!

Group Travel

Merchandise

Guy Lee"The Hurricane Waltz"All-Instrumental Guitar

Oriented CDwww.guytar.com

www.JAZZedmagazine.com

Combo & Big Band ArrangementsDedrick, Leeds, Stocks

Music for Piano, Guitar & Bass GuitarMusic Accessories50% off most items

List SASE (2 stamps)Bambauer Music

1212 ElmFairbury, NE 68352

(402) 729-5418

FOR SALE

Merchandise

JAZ_63 63 11/14/08 10:11:50 AM


Alfred Publishing Co. www.alfred.com 30

J.J. Babbitt Co. Inc. www.jjbabbitt.com 44

Big Bandman Jazz www.BigBandmanJazz.com 15

Cannonball Music Instruments www.cannonballmusic.com 29

Chord/Scale Mastery www.keithfelch.com 50

Claude Lakey Mouthpieces www.claudelakey.com 15

Columbia College www.colum.edu/music 46

D’Addario & Co. www.daddario.com 9

DIVA Jazz Orchestra www.divajazz.com 50

Five Towns College www.ftc.edu 10

Hal Leonard Corp. www.halleonard.com 5

John Fedchock www.johnfedchock.com 49

Juilliard School of Music www.juilliard.edu 11

Jupiter Band Instruments www.jupitermusic.com 1

Marian University www.marianuniversity.edu 56

New Horizons Tour & Travel www.nhtt.com 31

New Horizons Tour & Travel www.nhtt.com cov 3

NS Desigs www.NedSteinberger.com 37

North Central College www.northcentralcollege.edu 7

Pacific Coast Jazz www.pacificcoastjazz.com 59

Pearl Corp. www.pearldrum.com cov 4

Saxquest, Inc. www.saxquest.com 61

Sher Music Co. www.shermusic.com 47

Sierra Music Publications www.sierramusic.com 51

Superscope Technologies www.superscopetechnologies.com 47

The New School for Jazz www.jazz.newschool.edu 49

Vandoren www.dansr.com cov 2

Wayne State University www.music.wayne.edu 37

JAZ_COV3 COV3 9/11/08 12:57:30 PM

www.nhtt.com

JAZ_COV4 COV4 9/11/08 12:58:56 PM

www.pearldrum.com

jazzed november 2008

Documents