jazzed september 2008

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The Official Publication of

JAZZ EDUCATION NETWORK

FOCUSSESSIONAlteredPentatonics

BASICTRAININGLead Sheets

KENNY G

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.

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2 JAZZed September 2008

LESSONS LEARNED: JEFF COFFIN 26Saxophonist Jeff Coffi n of Béla Fleck & The Flecktones offers some tips for staying healthy while on the road.

FOCUS SESSION: ALTERED PENTATONICS 30Guitarist and educator Chaim Burstein expands the topic of his last column, exploring the uses of altered pentatonic scales.

KENNY G 34Is it a drag to consistently be called on the carpet by jazz purists for being “too soft,” for not truly being an improvisational artist, for not playing “real jazz?” Does selling millions and millions of albums soften the blow? As JAZZed found out in a recent conversation, Kenny G isn’t really thinking about any of that – he’s just doing his own thing.

BASIC TRAINING: LEAD SHEETS 44Educator, clinician, and performer Keith Felch shares suggestions for effectively unlock-ing leadsheets.

ONE-ON-ONE: JEN’S MARY JO PAPICH & DR. LOU FISCHER 50GUEST CLINICIAN: RUSS NOLAN 54Bandleader and clinician Russ Nolan discusses how to help students develop an effective vocabulary in the language of jazz.

™

Kenny G “There are certain people out

there who think that they need to ‘protect’ traditional jazz… I’ve

never really under-stood that.”

contentsS E P T E M B E R 2 0 0 8

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

• PRESIDENT'S LETTER• JEN CALENDAR OF COMING EVENTS• NETWORTHY NEWS• SIGHT LINES• WELCOME NEW MEMBERS

CROSSWORD PUZZLE 57GEARCHECK 58HOT WAX 67BACKBEAT: LEE YOUNG 69CLASSIFIEDS 70AD INDEX 72

departments26

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

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

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

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

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

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

™

SEPTEMBER 2008Volume 3, Number 5

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

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JAZZed September 2008 3

Cover photograph: Michael Muller

JAZ_3 3 9/11/08 12:56:37 PM

We are proud to announce that, beginning with this issue, JAZZed magazine has an exciting new affi liation as the offi cial publication of the Jazz Education Network – JEN! You’ve read about this new association in recent issues of JAZZed and know that this group was formed not only to fi ll the void left by the recent demise of the IAJE, but also to chart a new course and network with music educators, industry executives, publishers, record companies, trade associations, and others to bring them into the fold. JEN is made up of a diverse group of individuals who are dedicated to jazz education and whose mission “is dedicated to building the jazz arts community by advancing education, promoting performance and developing new audiences.” Beginning with this issue, there will be a dedicated sec-tion in each edition of JAZZed that provides the latest news and events from JEN. In the near future, there will also be an editorial advisory board to provide suggestions on interviews, technique articles, news, and other important topics.

JAZZed magazine has had a fast rise to promi-nence within the fi eld of jazz education in the two years since our inception. We have featured such luminary artists as Joshua Redman, Wynton Marsalis, Gary Burton, and Mike Stern, but equal-ly important, we have included educators from a variety of institutions who dedicate their lives to

instructing and encouraging future jazz players and jazz lovers. It is our very specifi c focus on jazz education that has enabled this synergistic relationship between JAZZed and JEN. In addi-tion to JAZZed magazine, both of our Web sites, www.jazzedmagazine.com and www.jazzplayer.com will have special, JEN members-only areas. We will also provide a digital version of JAZZedmagazine and a JEN specifi c bulletin board for

jazz educators. I have had the honor of working

closely with the executive board of Mary Jo Papich, Dr. Lou Fischer, Bruce Silva, and Julie Trankenschue and the rest of dynamic group of individuals who make up the JEN board of directors, to help bring this new network and relation-ship to fruition. There are many opportunities and goals which JEN will be pursuing in the coming years and many ways in which

new members can be actively involved in their important mission. I encourage you to join this important new group to help provide support and insight from your area of expertise. As JEN is still in its early phases there is an opportunity to culti-vate it into an entity that is vital and truly repre-sentative of jazz education. It is critically important to have an organization whose sole mission is to support and promote jazz education, so we look forward to having you involved!

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

A New Affi liation: JAZZed & JEN

“It is critically important to

have an orga-nization whose sole mission is to support and promote jazz education.”


[email protected]

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noteworthy

Master jazz guitarist Mark Elf, who has worked with, Dizzy Gillespie, The Heath Brothers, Clark Terry, Wynton Marsalis, Jon Hendricks and many others, opens his revolutionary online Jazz Guitar Conservatory.

Students can log on from anywhere in the world and study with this jazz guitar master. The Web site features over 200 videos, music, PDF, and midi fi les that students can view, download, and print. Students can enter the chat room

and talk to Mark live, ask questions in the forum, and have them answered promptly. Students can upload videos of their playing to Mark and get prompt and direct feedback on their progress.

Elf, who has over 35 years of teaching, performing, recording, and writing experience, has been teaching stu-dents on his site since May of 2008. For more information, visit www.markelfconservatory.com.

Jazz Guitarist Mark Elf’s Online Jazz Guitar Conservatory

he board of directors of the Jazz Education Network held their fi rst annual board meeting at Capital Uni-versity in Columbus, Ohio from August 7-9, 2008. In attendance were (back row): Andrew Surmani , Steve

Crissinger, Michael Kenyon, Bob Breithaupt, Dr. Lou Fischer, Rick Kessel, Paris Rutherford, (front row) Jarrard Harris, Mary Jo Papich, Julie Traenkenschuh, and Bruce Silva.

To learn more about JEN, visit www.jazzednet.org.TJazz Education Network

JAZ_6 6 9/11/08 12:35:56 PM

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noteworthy


2008 Music Industry Award from Texas Bandmasters Association

he 61st annual convention of the Texas Bandmasters Associa-tion (TBA) was held July 27-30 in San Antonio. At a spirited awards

ceremony to conclude the show, Paul Lavender, vice president of instrumental publications for Hal Leonard Corporation, received the organization’s 2008 Music Industry Award.

At Hal Leonard Corporation, Laven-der directs the product development and marketing of performance publications for orchestra, concert band, marching band and jazz ensemble, as well as instrumental books, collections, and methods. He supervises the creative work of the industry’s most respected composers and arrangers, overseeing more than 600 new publications a year.

Lavender is also one of the most widely played writers today. He has contributed more than 1,000 arrangements and com-positions to the educational and concert repertoire. He co-authored and edited Hal Leonard’s highly successful Essential Ele-ments 2000 method for beginning bands. His association with renowned fi lm com-poser John Williams has produced the prestigious John Williams Signature Series, featuring Williams’ authentic fi lm scores and concert music for professional orchestras.

The Texas Bandmasters Association Music Industry Award has been bestowed since 2000. Past recipients recognized for their commitment and dedication to music education include Remo Belli, Bill Ludwig, Fred Fruhauf, Vito Pascucci and others.

T

noteworthy

Jazzat MICHIGANDegree ProgramsBFA in Jazz StudiesBFA in Jazz and Contemporary ImprovisationBFA in Jazz and Contemplative StudiesMM in Improvisation

Jazz FacultyEllen Rowe, Chair; Piano, Improvisation, Advanced Arranging, Jazz EnsembleGeri Allen, Piano, Graduate Improvisation, CombosAndrew Bishop, SaxophoneMichael Gould, Drums and PercussionMarion Hayden, Bass, Combos

A World ofPossibilities

Robert Hurst, Bass, CombosMark Kirschenmann,Creative Arts OrchestraEd Levy, GuitarBill Lucas, TrumpetFrank Portolese, GuitarSteve Rush, Digital Music EnsembleEd Sarath, Contemporary Improvisation, Creativity and Consciousness, CombosMartha Travers, Creativity and Consciousness StudiesDennis Wilson, Trombone, Jazz Lab Ensemble, Jazz Arranging

For more information, contact the Office of Admissions, [email protected], 734-764-0593, or visit our web site at www.music.umich.edu

JAZ_8 8 9/11/08 12:36:01 PM

www.music.umich.edu

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.

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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.

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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).

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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

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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

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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.

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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.

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Blue Train (Blue Trane) Countdown Cousin Mary

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

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noteworthy


The Drum and Percussion Cookbook: Creative Recipes for Players and Teachers edited and with a forward by Rick Mattingly, is a collection of quick-to-read yet insightful learning strategies. With outstanding records of perfor-mance, workshop-clinics, recordings, research, composi-tion, leadership, and teaching, the 57 authors provide their favorite “recipes” that cover an extreme range of topics

form rudiments to rock, drum set to symphonic playing and keyboard percussion to interpretation.

Royalties from this project are being donated to the Percussive Arts Society (PAS), a non-profi t music service organization promoting percussion education, research, performance, and appreciation throughout the world.

Interested parties can visit www.pas.org.

Sixth Annual Tranquility Jazz FestivalThe Sixth Annual Tranquility Jazz Festival is set to take place on the island of Anguilla, on November 6-9, 2008. The lineup will feature Patti Austin, Christian Scott, Dee Dee Brightwaters, Dean Fraser, Michel Camilo, and Arturo Sandoval. They will be joined by a host of young, talented Anguillian musicians, ready

to make their mark in the jazz world. Special packages are available island wide at a selection of

luxury and affordable accommodations with options for land only and air/land offerings. All packages include festival tickets.

For more information, visit www.anguillajazz.org

Meredith Music Publications Donates Royalties to PAS

JAZ_10 10 9/11/08 12:36:06 PM

www.bands.af.mil

BERNARD PURDIE JIMMY COBBLegendary Groove Great: Aretha Franklin, Steely Dan

Legendary Jazz Great: Miles Davis, Cannonball Adderley

We know great vintage tone when we hear it, and HH cymbals have great vintage tone. Hand hammering givens them a warm, dark and musical sound… a Vintage Dark tone that let’s us sound like us or you sound like you.

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WHAT’S YOUR SOUND?

WE PLAY VINTAGE DARK.

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noteworthy


Conn-Selmer, Inc announced that John Wojciechowski is a new addition to its artist endorsement roster for Selmer saxophones. Hundreds of professional musicians and instructors endorse instruments from Conn-Selmer, including instruments by Bach, Selmer, C.G. Conn, King, Leblanc, Ludwig/Musser, and others.

Saxophonist John Wojciechowski, a native of Detroit, is cur-rently living and performing in the Chicago area. He studied at Western Michigan University, Wayne State University, and the Manhattan School of Music. His principal saxophone teachers include George F. Benson, Trent Kynaston, Ralph Lalama, and Donald Sinta. He also studied composition with Jim Hartway.

Wojciechowski was a fi nalist in the 1996 Thelonious Monk International Jazz. He has lead his own jazz groups and has recorded or performed with The Chicago Jazz Or-chestra, The Chicago Jazz Ensemble, The Woody Herman Orchestra, The Chicago Symphony Orchestra, The Detroit Symphony Orchestra, Clark Terry, Toshiko Akiyoshi, Char-

lie Haden, Kurt Elling, and Kenny Burrell. As an active musician, Wojciechowski has been performing with The Chicago Jazz Orchestra and fellow jazz artists Dana Hall, Joel Spencer, Tom Garling, Rob Parton, Steve Million, Laur-ance Hobgood, Kurt Elling, Dennis Carroll, Tito Carrillo, Dan Trudell, and Kelly Sill.

In addition to performing, Wojciechowski served on the faculties of Northern Illinois University and Northwestern University. He is also a National Board Certifi ed Teacher and an avid jazz educator who is in demand as a guest artist/cli-nician. Wojciechowski currently teaches music theory and directs jazz bands at St. Charles North High School in St. Charles, Illinois. His groups have been invited to perform at state and national conventions including the Midwest Band and Orchestra Clinic, the Illinois All-State Music Educator’s Conference, and the International Association of Jazz Educa-tors (IAJE) Conference.

John Wojciechowski Endorsing Artist for Conn-Selmer

PlayJazz“Recognized as one of the top 50 collegiate jazzprograms in the United States”

- DownBeat Magazine

Music and Academic Scholarships availableApplication Deadline: December 15, 2008

For up-to-date information, please visitwww.music.tcu.edu

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www.music.wayne.edu

Q U A L I T Y . P R O F E S S I O N A L I S M . V A L U E . S U P P O R T

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1. E.S.P. – Miles DavisIt’s the fi rst recording of the Miles Davis quintet including Wayne Shorter, along with Herbie Hancock, Tony Williams & Ron Carter (and Wayne’s tunes are featured on the record).

2. Born Under A Bad Sign – Albert King Both the song and the record are quintessential Albert King.

3. Unity – Larry Young This redefi ned the sound of an organ group and features extraordinary playing by Woody Shaw, Joe Henderson and Elvin Jones.

4. Voodoo – D’Angelo Everything about this album is great: the songs, the produc-tion, the singing, and Roy Hargrove’s trumpet playing.

5. There’s a Riot Going On – Sly Stone (Sly and the Family Stone)

Sounds like the music is happening in Sly’s head. Tunes like “Family Affair” and “You Caught Me Smilin’” are classics.

6. Crescent – John Coltrane There are so many great John Coltrane albums it’s hard to choose, but I picked this one because it’s got some

great tunes on it like “Lonnie’s Lament,” “Bessie’s Blues,” and the title track, “Crescent.”

7. Kind of Blue – Miles Davis Because it’s a classic!

8. Blond on Blond – Bob DylanThis album is scary, funny, and deep. There are so many levels that this album operates on it’s kind of amazing.

9. Juju Music – Sonny Ade This album is great because there are so many layers of rhythm going on and the kind of spooky joyful singing on the record is extraordinary.

10. Saxophone Colossus – Sonny Rollins This record is on every saxophone player’s top ten list.

11. Impressions – John Coltrane This is another record I also have to include. It is a live album that is, to me, the ultimate live recording of the John Coltrane Quartet including Elvin Jones, Jimmy Garrison, and McCoy Tyner.

For the past 40+ years, David Sanborn has

been perhaps the most infl uential saxophon-

ist in the worlds of R&B, jazz, rock, pop, and

crossover, spawning countless imitators. The

iconic saxophonist has added his distinctive

touch to recordings by such diverse artists as

David Bowie, Gil Evans, Guru, Ween, Ron

Carter, Stevie Wonder, B.B. King, George Ben-

son, and Bruce Springsteen.

For his new disc, Here and Gone (Emarcy

Records), the six-time Grammy winner teamed

up with the likes of Eric Clapton, Derek Trucks,

Christian McBride, and Steve Gadd to pay trib-

ute to the blues and R&B music of his youth.

What’s on Your Playlist?

David Sanborn’s album, Hear and Gone (Emarcy Records), was released in August of 2008. www.davidsanborn.com

Photo by: Lynn Goldsmith

JAZ_14 14 9/11/08 12:37:23 PM

JAZ_15 15 9/11/08 1:00:10 PM

www.prowinds.com

Starting this year, Essentially Ellington includes charts by Ellington and other seminal big band composers and arrangers.

And membership is now absolutely free.

Free membership includes:·Three Duke Ellington charts·Three Benny Carter charts·Reference Recordings and much more!

To join now, go toEssentiallyEllington.org

Phone: 212 258 9812Email: [email protected]

Funding for Essentially Ellington is provided by The Jack and Susan Rudin Educational and Scholarship Fund, the Surdna Foundation, The Irene Diamond Fund, the New York City Department of Cultural Affairs, the National Endowment for the Arts and Alfred and Gail Engelberg. Additional support is provided by the Ella Fitzgerald Charitable Foundation, The Heckscher Foundation for Children, The Charles Evans Hughes Memorial Foundation, The New York Times Company Foundation and other generous funders.

The 2008–09 Jazz at Lincoln Center High School Jazz Band Program

JAZ_16 16 9/11/08 1:00:20 PM

www.essentialllyellington.org


Introducing the newly launched

As Louis Armstrong once said… “to Jazz or not to Jazz”…there is no question.

So there was no question that a new jazz organization would and should emerge as we expe-rienced the happenings of last spring.

I was inspired and encouraged by the many e-mails and voice mails from friends, past lead-ers, and jazz fans from far and near. Colleague and friend Lou Fischer agreed, so we started to get to work. For more details, see the companion article in this issue. We have been work-ing ‘round the clock all summer. Your volunteer board has spent time, energy and money on the development of JEN. The Executive Committee of Bruce Silva, Julie Traenkenschuh, Lou Fischer and myself have all been working overtime to launch the Jazz Education Network.

Friends, I must share with you that I am proud to work side by side in the creation and development of JEN with vice president Lou Fischer. Dr. Lou is the hardest-working, most organized jazzer with whom I have ever served. It is that kind of determination and dedication that has brought the Jazz Education Network to the fore-front!

Launching this new organization is a fresh start for the future of jazz education. We have learned from the past and are connected to an exciting future. We are now member led, member driven… you have our pledge to be honest, hard-working, committed, dedicated, and real.

This organization will be what YOU want it to be. We represent YOU and are ready to listen to you. We are establishing partnerships with Symphony Publishing, MidWest Clinic, Music For All, NAMM and others, and have scheduled Open Forums/Idea Exchanges where we can connect with members and potential members to hear what you have to say. At this time we have the following meetings planned for you to attend:

JAZZ EDUCATION NETWORK!

A MESSAGE FROM JEN PRESIDENT MARY JO PAPICHSeptember, 2008

JAZ_17 17 9/11/08 12:37:58 PM




December 19, 2008: MidWest Band & Orchestra Clinic

Open Forum/Idea Exchange Chicago Hilton & Towers Chicago, IL

www.midwestclinic.com

January 16-18, 2009:NAMM Trade Show

Open Forum/Idea Exchange Jazz Education Panels/Clinics Eligibility to attend the NAMM Trade Show/Concerts Eligibility to attend NAMM Music Educator Day Anaheim Convention Center Anaheim, California

www.NAMM.com & www.jazzednet.org

July 17-19, 2009:NAMM Summer Trade Show/JEN Mini-Conference

MINI-CONFERENCE/OPEN FORUM Eligibility to attend the NAMM Trade Show/Concerts Eligibility to attend NAMM Music Educator Day Nashville, Tennessee

Why join JEN? It’s about connections!

Understanding our fl edgling fi nancial state, businesses and corporations who support jazz educators are stepping up and joining JEN right now. We extend special thanks to a few key supporters: Steve Crissinger, owner of 12 Pts. Graph-ics has developed and is maintaining our Web site, www.JazzEdnet.org. Steve’s already donated countless hours of work. CEO Joe Lamond and producer Kevin Johnstone of NAMM (National Association for Music Merchants) have also been supportive and encouraging.

“NAMM believes in jazz educators and we are very pleased to offer our support to the newly formed Jazz Education Network,” said Joe Lamond, president and CEO, NAMM. “We are hon-ored that JEN has chosen the 2009 NAMM Show for their in-augural meetings and we look forward to working with this very important segment of the music education community in the future.”

In working with Joe and Kevin, I feel nothing but sincere support for our new association. This his-toric (107 years!) organization of the music products industry encourages music making of all ages…and JEN does too! We are important to one another – we need them (especially at this time) and they need us. NAMM has their fi nger on the pulse of what is hap-pening today and it’s time for jazz education to fi nd today’s pulse. I envision informative, exciting clinics with today’s top artists (al-ready attending NAMM shows) at the upcoming JEN/NAMM gather-ings.

We are also honored that Sym-phony Publishing, a JEN founding corporate sponsor, has named the JAZZed magazine the offi cial pub-lication of the Jazz Education Net-work.

In reading this leading jazz educators magazine you will still fi nd the same great articles – now with JEN’s addition of “Networthy News” of what is happening with our members, a President’s Message with the latest list of events and hap-penings, a listing of new members, institutions, affi liate groups, corpo-rate sponsors and exciting reviews, teaching tips and more. If you have ideas of what you want to see in this magazine, let us know!

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.

JAZ_18 18 9/11/08 12:38:03 PM


Jazz education must be accessible to all people and relative to all culture. Jazz is the universal cultural connec-tor!

Why join JEN? It’s about time!

We are in a revolutionary moment – it is time to re-ignite our jazz arts community!

We are here because there is a need – a need to know more about America’s art form…that lives globally.

It’s time for us to acknowledge that JAZZ is an evolving art form that lives globally.

Why join JEN? It’s about value!

We will provide our members with quality conferences, workshops, and clinics at reasonable prices because we know the value of your hard-earned dollar.

Why join JEN? It’s about the music!

The music itself is reason enough… The skills used in improvisation are the very creative problem solving skills needed in the work world today. We must inspire improvisation in all that we do. As Bill Strickland says, “Life is jazz, jazz is life!” Be sure to read Bill’s inspirational book, Make the Impossible Possible: One Man’s Crusade to Inspire Others to Dream Bigger and Achieve the Extraordinary.

Why join JEN? It’s about YOU!

With your assistance, this organiza-tion will be the resource for educators, students, performers, and industry professionals…

Our JEN Web site will be:• A place to get

answers to your questions as you “Network with an Expert” online (just wait till you see our terrifi c lineup of greats!)

• A forum for dis-cussions online and at upcoming events

• A place to host a calendar for work-shops/ events/ conferences

• A place to network with other jazz-ers of all ages

• A place to download free jazz charts (elementary to pro – that will pay for your membership cost within months)

• A place that will offer podcasts of clinics and concerts

• A place to access our online maga-zine version of JAZZed by Sympho-ny Publishing

• And much more!!!

Plans are to roll out a cool “Stu-dent Members Only” section as well as a “Kid’s Corner” to connect with our youth raised on computers, iPods and video games. Monthly e-newsletters and e-blasts, along with our terrifi c Web site will keep us in touch. We in-vite the young and not-so-young, the professional and not-so-professional to join our network – as we promote tra-ditional and not-so-traditional jazz!

This organization will be what you need it to be. Talk to us… we repre-sent YOU… the teacher, the student, the musician, the technician, the pro-ducer, the businessman, the fan. We are all lifelong learners of jazz… eager-

ly awaiting the next exciting groove.

I cordially invite you to attend one or all of the special Open Forums that have been planned for members and potential members – mark your calendar to come and meet the volunteer lead-ership and get more

involved at the Midwest Clinic in Chi-cago – Dec. 19th and the NAMM trade show in LA (Anaheim) – Jan. 17th and Nashville in July – with more activities and opportunities to be announced!

Stay tuned, as together we network, transform and plan the future of Jazz Education. I remain sincerely and…

Totally Committed,

Mary Jo PapichPresidentJazz Education Networkwww.JazzEdnet.org Highland Park High School433 Vine AvenueHighland Park, IL [email protected]

The Jazz Education Network is founded in the spirit of collabora-tion, creativity and commitment. This organization is supported by professionals in music education, business, industry, and journal-ism…all believing in creative col-laborations. JEN has applied for a non-profit status as an educational service organization and all that re-lates to it.

Dr. Lou Fischer

JAZ_19 19 9/11/08 12:38:07 PM


December 19, 2008: MidWest Band & Orchestra Clinic Open Forum/Idea Exchange Chicago Hilton & Towers Chicago, IL www.midwestclinic.com

January 16-18, 2009: NAMM Trade Show Open Forum/Idea Exchange Eligibility to attend the NAMM Trade Show/Concerts Eligibility to attend NAMM Music Educator Day Anaheim Convention Center Anaheim, California www.NAMM.com & www.jazzednet.org

February 14-15, 2009:Vallarta Jazz Festival Showcase

H.S./Collegiate level performances/adjudication Malecon Downtown Puerto Vallarta Puerto Vallarta, Jalisco, Mexico www.amclass.com/Pages/Events/Schedule/ Sched_Nav.html

July 17-19, 2009: NAMM Summer Trade Show/

JEN Mini-Conference MINI-CONFERENCE/OPEN FORUM Eligibility to attend the NAMM Trade Show/ Concerts Eligibility to attend NAMM Music Educator Day Nashville, Tennessee www.NAMM.com & www.jazzednet.org

Jazz Education Network at work….Building Partnerships in Jazz Education!Upcoming Events: Stay tuned for more exciting details!

March 2009National Honors Festival/National Honors Jazz Ensemble Music For AllIndianapolis, IN

April 2009 JamFest (Junior Arts & Music) New Orleans, LA

June 2009 Music For All Summer Symposium Jazz Educators Workshop Normal, IL

And MORE to come!Stay tuned to

www.jazzednet.org

Future Festival/Event Partner-ships on the Network stage:


JAZ_20 20 9/11/08 12:38:12 PM


networthynewsThis column of JEN’s JAZZed magazine will feature “what’s happening in your jazz world” items that are worthy of interest. This debut col-umn features happenings from our JEN Volunteer Board of Directors and Steering Committee…

From Ellen Rowe, chair of the Dept. of Jazz and Contem-porary Improvisation, University of Michigan – “University of Michigan Jazz faculty was well represented at the Detroit Jazz Festival over Labor Day weekend. Robert Hurst per-formed with Dianne Reeves, Ellen Rowe played a set with her quartet, JEN’s Network with an Expert Dennis Wilsonled the UM Jazz Trombone Ensemble and directed the Big Band Jam, Andrew Bishop performed with Gerald Cleaver’s “Violet Hour” as well as the Ellen Rowe Quartet and Geri Allen was featured with Ravi Coltrane, The Detroit-Philly Connection Concert led by Christian Mc-Bride, and was a member of a panel focusing on the life and work of Alice Col-trane. Ed Sarath, director of The Program in Creativity and Consciousness Stud-ies, is at work on a new theory text, “Improvisation, Music Theory, and Aural Skills” to be published by Routledge in the spring 2009, and Michael Gould has just completed a recording with Grammy winning artist Alberto Rojo entitled Al-berto Rojo Trio–Amaicha. He will also be featured in a new drumset DVD and Web site published by the Swedish company Play Along which comes out in the win-ter of 2009. Featured guest artists for the UM Jazz Dept. this year include Gerald Cleaver, Michael Holober, Ron McCurdy’s Langston Hughes Project, Donny Mc-Caslin, Thom Buckner, and Lee Konitz.

Steering Committee member Judy Shafer, education director for Jazz Arts Group says, “Jazz education now has the opportunity to de-velop audiences as well as players. And we have so much to offer…Kindergarten and fi rst graders are learning about sets, sequence and predicting by studying and writing their own blues.”

In Columbus Ohio, Judy Shafer’s professional development in arts integration includes working with classroom and arts teachers, K-12, to discover teaching methods that can be modeled after a jazz ensemble. Teachers are investigating cooperative learning, differ-entiated instruction, and collaboration. Local musicians provide live music and interaction. The teachers are developing an understand-ing of jazz while discovering ways to include creative thinking in his-tory, mathematics and social studies lessons. Contact Judy directly through the “members only” section of Network with An Expert!

Members Reuben Alvarez and Mary Jo Papich (Chicago), Bob Sinicrope (Milton Academy-MA), Jim Repa (MIT), and John Baboian (Berklee) performed in workshops and concert at the South Afri-can Jazz Educators Conference at the University of Capetown this spring. They were hosted by Mike Rossi, director of the conference and SAJE. They also spent an afternoon at the Nyanga Township schools working with students (various photos are show on the JEN website at www.JazzEdNet.org ). They were guests at the Capetown Jazz Festival produced by Rashid Lombard.


Board Member Paris Ruther-ford’s contribution for the Net-worthy News section: Jazz fl our-ishes at the University of North Texas. Check the One O’Clock’s July tour of Europe - www.unt.edu/jazzeurope/ and related links. The UNT Jazz Singers looks forward to performing in December at the Midwest Clin-ic, representing both University of North Texas and JEN. We’re excited and proud to be a part of Jazz Education Network!

Sierra Music Publications is proud to announce the release of 23 brand new publications from the libraries of the Count Basie Orchestra, the Stan Ken-ton Orchestra, the Bill Holman Band, Pat Metheny & Lyle Mays, the Woody Herman Orchestra, the Bob CurnowBig Band and others. Please go to www.sierramusic.com for all the latest information about this amazing cata-log of 535 big band charts, well over 400 of these charts have been recorded by the best bands in the history of jazz. Sierra is celebrating 32 years of provid-ing the essence of jazz orchestration.

The Bob Curnow Big Band (Bob has been a continual mentor in the forma-tion of JEN) continues to work quite regularly in and around Spokane, Wash. The band features performances of the many charts that Bob has done with the music of Pat Metheny & Lyle Mays. The band also features Bob’s original music for big band.

JAZ_21 21 9/11/08 12:38:16 PM


networthynews

JEN sponsor Capital University welcomes Scott Belck to the Conservatory faculty! Trumpeter Scott Belck earned his Doctor of Musical Arts from the University of Cincinnati, and his MM in trumpet performance at the University of North Texas. His professional credentials include various solo, orchestral, commercial and side-man credits including: Minnesota Ballet Festival Orches-tra, Dayton Philharmonic Orchestra, Air Force Band of Flight, Cincinnati Pops with Erich Kunzel, Doc Sever-insen Big Band, Glenn Miller Orchestra, Columbus Jazz Orchestra, Blue Wisp Big Band, Dayton Jazz Orchestra, Maritime Jazz Orchestra of Canada, Aretha Franklin, Lin-da Ronstadt, Michael Feinstein, Manhattan Transfer, Yes, the Temptations, Olivia Newton-John, Randy Brecker, Slide Hampton, Marvin Stamm, Gerry Mulligan, Diane Schuur and many others. Scott has additionally served as the Artistic Director for the Cincinnati Contemporary Jazz Orchestra and the Dayton Jazz Orchestra.

Board member Andrew Surmani of Alfred Music reports that one of their artists, Gordon Goodwin and the Big Phat Band will be releasing their new album, Act Your Age on September 30th. He says, “It’s a great album, as I have heard an advanced copy of it. There is a track on there where they have synched the band up with an old Art Tatum recording.” He is also pleased to have just released 57 new jazz ensemble

charts for beginning through advanced levels for the 2008-2009 school year through Alfred. They are also proud to release fi ve new charts from theEssential Ellington Series by Jazz at Lincoln Center,where Alfred serves as the offi cial print music pub-lisher. In addition, Alfred released Jazz Standards for Vocalists with Combo Accompaniment by David Wolpe, which contains ten great jazz standards for solo vocalist with a nine or ten piece combo accom-paniment. Other new books include Playing Jazz Piano by Bob Mintzer, a medium diffi culty book for the instrumentalist who is not an accomplished piano player but desires basic jazz piano skills and

vocabulary, and the Best of Belwin Jazz: Young Jazz Collection for Jazz Ensemble, which includes twelve arrangements for the young jazz ensembles in a variety of styles and tempos.

Board member Rubén P. Al-varez will be featured as clini-cian and the keynote speaker at the Colorado Music Educa-tors Association Clinic/Confer-ence on January 22, 2009 in Colorado Springs, Colorado. Ruben teaches at Columbia College Chicago, Roosevelt and Northwestern Univer-sity and is looking forward to working with JEN “to develop an organization whose true mission is to preserve and and nurture the Jazz Arts world-wide by serving and uniting jazz educators, their students and the Jazz Arts Community worldwide.”

Jazz Education Network Members are invited and encouraged to send news items for possible publication in NETWORTHY NEWS to Julie Traenkenschuh at [email protected]. The next NETWORTHY column will feature news items from our NETWORK WITH THE EXPERT Team.


Board member Daniel Gregerman will be host-ing his annual vocal jazz retreat from Sept. 19-21. He takes all three vocal jazz ensembles and rhythm sections, to Wisconsin for the weekend. The re-treat consists of Team Building, Leadership Skills, Ice Breakers, Individual and Group Goal Setting as well as all of the musical elements that are involved. The Niles North H.S. Jazz Vocal concert is Friday, November 14, 2008 at 7:30 pm in the Niles North Auditorium in Skokie, Illinois. Also happening on the North Shore of Chicago…The Niles North H.S. orchestra under the direction of Pam Hendrix is combining with the Niles West H.S. orchestra under the direction of Steve Katz, for the Barrage Concert on Tuesday, November 18, 2008, at 7:30 pm at Niles North High School Auditorium.

JAZ_22 22 9/11/08 12:38:20 PM


Just when many of us were still feeling blue over the recent demise of the International Association of Jazz Educators, in stepped the Museum of Modern Art with a spectacular five-month show, “Jazz Score,” which opened on April 16th and continued through Sep-tember 17th.

Since its founding in the 1930s, New York City ’s MoMA has been in the vanguard of showcasing fi lm as a quintessentially modern American as well as international art form. And although it has occasionally spotlighted jazz in its evening Sculpture Garden concerts, “Jazz Score” is MoMA’s most ambitious celebration of the potent synergies inherent in the combination of both jazz and fi lm, arguably, two of the United State’s greatest gifts to the global arts scene.

The capstone event of this unprecedented show was “Anatomy of a Jazz Score: A Panel Discussion,” whose participants, including Oscar-winning composers Johnny Mandel and David Shire, took the stage at 6:30 p.m., on Wednesday, September 17th, with noted critic Gary Giddins presiding.

At the MoMA on W. 53 Street, there was a chance to catch an extensive gal-lery exhibition of jazz fi lm posters and ephemera. You will also have perhaps been fortunate enough to have scored tickets for screenings for feature fi lms including Elia Kazan’s A Streetcar Named Desire (1951; jazz score by Alex North) or documentaries such as Spike Lee’s When the Levees Broke: A Requiem in Four Acts (2006; jazz score by Ter-ence Blanchard), as well as animation works like John and Faith Hubley’s Adventures of an * (1957; jazz score by Benny Carter).

It is heartening that the world-renowned Museum of Modern Art is putting the weight of its considerable cultural capital behind the jazz fi lm via “Jazz Score.”

For jazz educators, it is particular noteworthy that an annotated catalog of jazz fi lms – features as well as documentaries and more experimental fare– is available through the Museum’s link (www.moma.org/exhibi-tions/exhibitions.php?id=8162#top). Here, one can meet icons of Hollywood and 52nd Street such as Louis Armstrong, Duke Ellington, Stan Getz, Sonny Rollins, Henry Mancini, and that’s just for starters.

Coda: kudos to curator Joshua Siegel and his staff for the vision and research that has made “Jazz Score” the must-see/must-hear jazz event of 2008!

Chuck Berg, Ph.D.; Film and Media StudiesThe University of Kansas

JEN Expert - Film & Video [email protected]

“Sightlines: Jazz on Display at the Museum of Modern Art”

BY DR. CHUCK BERG


JAZ_23 23 9/11/08 12:38:24 PM


The Jazz Education Network (JEN) is ready! We’re prepared to connect and embrace members of all jazz and jazz education related groups. The JEN board has chosen a business model offering an Affi liate Membership level that allows existing or re-structured organizations, for example: the Missouri Association for Jazz Education or the Hot Springs Hot Jazz Society, to join the network at a reasonable rate, without any individuals having to make a choice between the two groups.

The idea in this model is that the independent organization maintains autonomy, remains in control of existing membership, fi nances, bookkeep-ing, governance structure, local clinics, et cetera.. Should the potential Af-fi liate organization recognize JEN’s service offerings as advantageous to their membership (and we hope they do!), then the organization should: com-plete an Affi liate application online and become members of JEN, bringing in those identifi ed members as eJEN members of the network.

The fee is structured very simply. There is an annual $25 processing fee plus $10 per member for each individual within the group that desires to join JEN’s network. Members so designated then have an option to upgrade their individual membership, depending upon what level of involvement in the governance structure of JEN one wishes to participate. As stated above, this system guarantees the individual members of existing organizations do not have to choose between their present organization or JEN. It is win-win for both groups and all involved. Further, this model avoids a rebate struc-ture involving dues payable to a parent organization, then trickling down to members under the umbrella of the parent organization.

For your organization, society, group, or association to qualify for Affi li-ate membership, your Mission Statement will be reviewed upon application to make certain the Missions align, and someone will need to supply mem-bership information on an annual basis.

You can fi nd all of this information on our current website under the JOIN button. FYI, this website is a temporary shell, as we are in the very near future, planning to unveil a new design which incorporates a new Con-tent Management System, allowing for: online credit card application pro-cessing, a members only Discussion Forum, Calendar of Events, direct link to JAZZed Magazine on line, the distribution of merchandise through the JENeral Store, music, video, newsletter capabilities, etc. Other plans in the future include specifi c areas for Kids, categorized as 12-17, and under 12.

As detailed in this issue of JAZZed, the offi cial magazine of the Jazz Education Network, JEN now has a list of events being prepared for 2009 which will offer face to face Open Forums, Panels, Clinics, Festivals, etc. Stay tuned as things happen quickly due to the wonderful world of technol-ogy! We look forward to your group joining JEN by December 31st to be considered CHARTER AFFLIATES! We will feature YOUR group’s name in the JAZZed magazine and be happy to report to others the exciting things you are doing to further jazz education.

Onward and Forward!Dr. Lou Fischer

vice president/Membership chair, Jazz Education NetworkVisit: www.JazzEdNet.org for additional information.

United States:Bruce Gates AZ CharterBill Halbrook AZ CharterJ.B. Dyas CA FoundingArthur Lapierre CA CharterJoel Leach CA FoundingSherry Luchette CA CharterKerry Marsh CA CharterThom Mason CA CharterNick Phillips CA CharterCharles Richard CA CharterAndrew Surmani CA FoundingMike Vax CA FoundingH. David Caffey CO FoundingChristine Harrington CT CharterJohn Hasse DC FoundingLisa Kelly FL CharterBob Radock FL CharterBill Reinecke FL CharterBruce Silva FL FoundingCraig Saxton GA CharterFrank Alkyer IL FoundingRuben Alvarez IL FoundingPaul Chiaravelle IL FoundingJ. Richard Dunscomb IL FoundingDan Gregerman IL FoundingScott Hall IL CharterJarrard Harris IL FoundingDana Legg IL CharterHoward Levy IL CharterMary Jo Papich IL FoundingJulie Traenkenschuh IL FoundingMichael Kenyon IN FoundingEric Martin IN FoundingVirginia Rezac KS CharterNancy Grant KY CharterJohn Baboian MA CharterSid Davis MA Founding

Rick Kessel MA FoundingChuck Iwanusa MI FoundingEllen Rowe MI FoundingDennis Tini MI FoundingDennis Wilson MI CharterDoug Snapp MN FoundingJim Widner MO FoundingErika Paul NV CharterKen Druker NY FoundingLaura Johnson NY FoundingHarry Marvin Jr. NY CharterCecelia Smith NY CharterDamian Boyd OH CharterSteve Crissinger OH FoundingThomas Croghan OH CharterDr. Lou Fischer OH FoundingMary Ann Fischer OH FoundingBen Huntoon OH CharterRocky Reuter OH Founding Judy Shafer OH FoundingWilliam Ravel OR CharterLinda Scarborough OR CharterMichele Bousquet Qu CharterJennifer Jablonski SC CharterCathy Benford TX CharterRichard Birk TX CharterKatchie Cartwright TX CharterRick Dillard TX FoundingJohn Gates TX CharterSparkey Koerner TX FoundingRandy D.Marble TX CharterDwayne Pedigo TX CharterParis Rutherford TX FoundingLynne Rutherford TX FoundingWarren Sneed TX CharterSteve Stevenson TX CharterNancy Terry TX CharterPaul Watson UT CharterBob Curnow WA FoundingLori Lacey WI Charter

Africa:Mike Rossi Charter

Canada:Michele Bousquet Qu, Charter

United Kingdom: Steve King WM Charter

Corporate Partners:12 Points GraphicsSteve Crissinger OH FoundingAlfred Music Publishing Andrew Surmani CA FoundingAmerican Classic Music FestivalsRick Dillard TX FoundingBuffet CramponBruce Silva FL FoundingHal Leonard Music Publishing, Inc.DougLady MI FoundingSymphony PublishingSid A Davis MA Founding

Symphony PublishingRick Kessel MA FoundingJupiter Band Instrument Co. CharterStanton’s Sheet MusicBen Huntoon OH Charter

Institutional Partners:

Jazz Arts Group of ColumbusBob Breithaupt OH FoundingJazz at Lincoln CenterLaura Johnson NY FoundingJazz MNDoug Snapp MN FoundingUniversity of MiamiShelly Berg FL Founding

GROUPYourIs

Welcome! Members of the Jazz Education Network…

ready to connect?

JAZ_24 24 9/11/08 12:38:28 PM

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

FULL ADS_sept.indd 25 9/12/08 9:39:02 AM

www.juilliard.edu


lessons learned J E F F C O F F I N

Staying Healthy on Tour

The focus of this article is to discuss ways to stay healthy while on the road. With Béla Fleck & the Flecktones, we do a fair amount of overseas touring and, even without a time zone change, the travel can wear me, and the oth-ers, out. Most times airplane flights come way too early on the road!

We have to deal with all sorts of unforeseen conflicts while traveling and our road man-ager always rolls in extra time to get to the airport, through customs, and to the gate with time to spare. This has saved us potentially huge hassles more than once. Giving yourself more time than you think you need also re-duces stress. As most acknowledge, and doc-tors who practice different types of medicine around the world have concluded, stress can really break down and compromise your im-mune system.

Go to bed!The biggest health enhancer a musician can

have on the road is sleep! A lot of people think being on the road is a 24-hour traveling party. It’s not. Well, not for us. I see it as hard work with many sacrifices and dedication necessary to be at the top of my craft. I also see being on

BY JEFF COFFIN

Jeff Coffin

Pho

to: R

oxan

ne H

ayne

s

the road as an opportunity to make music with people I love and respect as well as a time to experience other cul-tures and other music from around the world. It’s also a lot of fun.

Needing to be 100 percent for the gig, I feel, is a must whether in the U.S. or overseas. Anything short of the best I can do is selling myself and the audience short. I want to give myself every opportunity to be at the highest physical and emotional level I can even if I am not feeling as well as I would like. Here are some of the ways I stay on top of my health while touring over 200 days a year:

• At the top of my list is get as much sleep as your body will take. You may think that you can handle get-ting four or five hours a night without too much trouble – and you may be able to for a very short while. After a few days of that lifestyle, however, you (and probably others) will more than likely no-tice your performances and your attitude starting to

JAZ_26 26 9/11/08 12:38:58 PM

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

www.temple.edu/boyer

JAZZ AT TEMPLE UNIVERSITY

PROGRAMS OF STUDY

Bachelor of Music

> Jazz Performance (Instrumental and Voice)

> Jazz Arranging/Composition

> Music Education with Jazz

> Music Therapy with Jazz

PianoBruce BarthMike Frank Tom Lawton

BassMike BooneMadison Rast

GuitarCraig EbnerEd FlanaganGreg Kettinger

DrumsSteve Fidyk Dan Monaghan

VoiceCarla CookJoanna PascaleJulie Bishop

SaxophoneDick OattsBen Schachter

TrumpetMike NataleTerell StaffordJohn Swana

TromboneLuis Bonilla

Business of MusicKim Tucker

Terell Stafford, Jazz Studies Program Director

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

> Student exchange program with the Amsterdam Conservatory

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

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

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

FALL 2009 AUDITION DATES

Saturday, January 31

Sunday, February 8

Saturday, February 21

Sunday, March 1

FACULTY

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


JAZZ AT TEMPLE UNIVERSITY

PROGRAMS OF STUDY

Bachelor of Music

> Jazz Performance (Instrumental and Voice)

> Jazz Arranging/Composition

> Music Education with Jazz

> Music Therapy with Jazz

PianoBruce BarthMike Frank Tom Lawton

BassMike BooneMadison Rast

GuitarCraig EbnerEd FlanaganGreg Kettinger

DrumsSteve Fidyk Dan Monaghan

VoiceCarla CookJoanna PascaleJulie Bishop

SaxophoneDick OattsBen Schachter

TrumpetMike NataleTerell StaffordJohn Swana

TromboneLuis Bonilla

Business of MusicKim Tucker

Terell Stafford, Jazz Studies Program Director

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

> Student exchange program with the Amsterdam Conservatory

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

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

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

FALL 2009 AUDITION DATES

Saturday, January 31

Sunday, February 8

Saturday, February 21

Sunday, March 1

FACULTY

JAZ_27 27 9/11/08 1:00:29 PM



slip. One of the ways I catch up is with short “power naps” of 10-20 minutes before or after sound check, or I get some sleep after dinner and before the gig, when possible. Sleep deprivation can, and eventually will, affect your mental health, so please take that into consideration in your jour-neys. I cannot stress enough how important sleep is to your overall wellbeing on the road!

• We should also have respect for our bodies. In saying this, I recog-nize that there is bound to be lots of “hanging out” while on tour. At the same time, I also recognize it is important to remember that there is a job we are there to do. We are all responsible for carrying our weight and for being a full participant in the process of making music while on the road. Just as we are all responsible for having good rhythmic time in a group and being prepared musically, we are all responsible for tak-ing care of ourselves on the road. Don’t be the person who makes it hard on everyone else by not having your-self together for s o u n d c h e c k s and shows. Sometimes not enough sleep

or abusing yourself too much can translate into bad moods, be-

ing late for the bus call, or not being able to perform at your potential – and that’s not good for anyone. The potential of losing your gig is only one of the many reasons to keep yourself together.

• Exercise and eating right are both very im-

portant. Your body will burn for fuel and energy

whatever you put into it, so be aware and thoughtful about what you give yourself for that ener-gy. Everyone has different ideas about the best way to do this but, for me, being a vegetarian on the road keeps me pretty healthy – especially when most people are going to late night truck stops. I have witnessed others who have been subjected to food poisoning after eating some kind of ques-tionable meat (late night bacon – bad idea). Try different eating styles and see which ones work best for you as an individual. Be aware of how you feel after you eat particular foods. Take care to eat something that doesn’t have much of a chance of being tainted by being left out or the like.

• Concerning exercising, I find that doing even a little something ev-eryday really helps a lot. I can take a 30-minute walk and get a nice feel for the city or town I am in. Doing some sit-ups or pushups and stretches in my ho-tel room or at the gig for 10-15

minutes a day helps, too. I have found that some basic yoga exer-cises also make a big difference for me. Staying healthy has to be like practicing, you have to make time every day for basic mini-mum maintenance! If you are already on some kind of exercise regimen, keep it up. If not, use your common sense when on the road and find an approach that work for you.

THE POTENTIAL OF LOSING YOUR GIG IS

ONLY ONE OF THE MANY REASONS TO KEEP

YOURSELF TOGETHER.

JAZ_28 28 9/12/08 9:50:48 AM


Don’t deny yourself the bright moments you might find after the gig, like some late night samba mu-sic in a small club in Sao Paulo, Bra-zil or in NYC at some tiny jazz club

where the music is alive and ripping, or some flamenco music in a cellar club in Madrid, Spain. There are adventures and music to be experi-enced everywhere in the world and these experiences can and will in-fluence your life and, thereby, your music and your perspective of both. Be sure that you take care of your-self so you can fully integrate your travels and adventures into your life and art. Staying healthy and be-ing proactive in your own personal overall health will help you realize your fullest artistic and personal po-tential. Good luck & good health!

Oh, and wash your hands. A lot! Now, go get some sleep.

Jeff Coffin is an accomplished performer and recording artist, most well-known as the saxophonist with Béla Fleck & the Fleck-tones. Jeff is currently sitting in with the Dave Matthews Band. Jeff’s new CD, Mutopia(Compass Records) was released on July 15th. Visit Jeff online at: www.jeffcoffin.com, www.flecktones.com, and www.myspace.com/jeffcoffinmutet.

lessons learned

JAZ_29 29 9/12/08 9:50:55 AM

www.cannonballmusic.com


Altered Pentatonic ScalesWhile many players are familiar with the ma-

jor and minor pentatonic scales, very few seem to have a solid grasp of altered pentatonics and their uses. This raises the question; What is an altered pentatonic? In a nutshell, an altered pentatonic is any scale with five notes per oc-tave that is not a major or minor pentatonic. Unfortunately, this leaves us with 322 differ-ent scales, many of which are not very useful. Hence, I’ve chosen to cover three of the more common altered pentatonic scales and their uses. This includes the 6 pentatonic, the 3pentatonic and the 2 pentatonic. Notice how each scale is essentially a major pentatonic with the exception of one ‘altered’ or changed note. (Example 1) This should simplify the learning process. Rather than memorizing a whole new set of scales, you sim-ply play a major penta-tonic while lowering the appropriate scale degree to achieve the desired altered pentatonic.

Altered Pentatonic PatternsTo familiarize yourself with these scales, I sug-

gest creating a number of different patterns. These patterns will come in handy later on when you’re generating structurally based lines. Due to the fact that pentatonics are not made up entirely of whole or half steps, patterns must be discussed in terms of skips and steps. A step occurs when the next note is an adjacent note while skips occur when we ‘skip’ over a note in the scale to play the next available note. Example 2a-b shows two examples of altered pentatonic patterns. Example 2a is a scalar pattern based upon a 6 Pentatonic and is comprised en-tirely of steps. Example 2b is an intervallic pattern

derived from a 2 pentatonic. The formula for the ascending pattern in Example 2b is as follows: skip , step , skip ,step . The descending pattern from Example 2b would read: skip , step , skip , step . Try to create a few of your own patterns. They will help cre-ate new ideas, assist you with the memorization of the new scales and will acclimate your ear the new sounds you are generating.

Last time we covered a few different ways to utilize major and minor pentatonics

to create a more structurally focused intervallic approach to our lines. This time,

we’ll expand upon those concepts by taking a look at altered pentatonics and their

uses in various harmonic situations.

focus session A LT E R E D P E N TAT O N I C

The Power of Altered PentatonicsBY CHAIM BURSTEIN

“REMEMBER THAT IMPROVISING MEANS THINKING OUTSIDE OF THE BOX AND EXPAND-

ING YOUR CREATIVE ABILITIES.”

Photo by: Lauren Hansen Fleish

JAZ_30 30 9/12/08 9:51:26 AM


focus session

Major Pentatonic Example 1: Altered Pentatonics

b6 Pentatonic b3 Pentatonic b2 Pentatonic

Example 2a: Scalar Pattern with b6 Pentatonic

Example 2b: Intervallic Pattern with b2 Pentatonic

Chord Scale RelationshipsAltered pentatonics can be very useful over a variety of

different chord types. Example 3 is a chart which depicts the various uses of each altered pentatonic scale. The fi rst col-umn shows the chord type (e.g. Major, Minor, Dominant), the second column presents the scale degree from which to build the major pentatonic, and the third column displays the resulting chord tones and tensions that each chord/scale relationship will produce. To further acquaint yourself with these new sounds, try playing each scale over its respective chord. Next, try to incorporate some of the patterns you’ve created with the chord scale you’re improvising with. Ex-ample 4 utilizes the pattern found in Example 2b to create a new line over the Chord C7(13,#11, 9#9). This happens to be one of my favorite uses of altered pentatonic scales. Notice how each measure the pattern is transposed up a 3 and repeated. This can be done with any 2 pentatonic cell or pattern when applied to a Dominant 7 with 13, #11, 9/#9.

Running ChangesOnce you’ve mastered the concept of playing altered pen-

tatonics over a single chord or harmonic situation, it’s time to move on to running some changes. Example 5 displays one of my favorite ways to use b6 pentatonics in the context of a minor II-V-I progression. The trick to remember this se-quence is that you will be building the 6 Pentatonic off of the root 3 and 5 of the tonic minor triad. Over Dm7 5 you will see a C 6 Pentatonic, over G7alt you will fi nd an Eb

6 Pentatonic and over the Cm6 there is a G 6 Pentatonic. Notice how the pattern links each idea to the previous one. Example 6 displays a mix of different pentatonics over a I-VI-II-V progression. Notice how the last three bars in Example 6 all begin on the same note. This creates a reference point for the listener’s ear and brings out the minute differences between each pentatonic scale.

Pentatonic PracticeHopefully the techniques outlined in this article have got-

ten your creative juices fl owing. I often fi nd that limiting my-self to one scale or sound can be liberating. Every note might not fi t over every chord, but forcing myself to fi nd out what does work is often a very enlightening experience. Remember that improvising means thinking outside of the box and ex-panding your creative abilities. Use your own ears as a guide

Example 3

b6 Pentatonic 1 2 3 5 b6

Chord Type Pentatonic Scale

Note Functions

Major 7 # 5 III 3 #11 #5 7 R

Minor (Maj 7) V 5 6 7 9 b3

Minor 6/9 V 5 6 7 9 b3

Dominant II 9 3 #11 6 b7

Half Diminished bVII b7 R 9 11 b5

b3 Pentatonic 1 2 b3 5 6


Note Functions

Altered Dominant bII b9 #9 3 #5 b7

Sus 4 (b9) bVII b7 R b9 4 5

Half Diminished III b3 11 b5 b7 R

b2 Pentatonic 1 b2 3 5 6


Note Functions

Dominant 13 #11 b9/#9 I 1 b9 3 5 6

bIII #9 3 5 b7 R

bV #11 5 b7 b9 #9

VI 13 b7 b9 3 #11

Example 3

JAZ_31 31 9/11/08 12:39:43 PM


focus session

for what works and what doesn’t and you’ll never be lead astray. Until next time, Good Luck!

Chaim Burstein holds a M.M. in Jazz Stud-ies from the University of the Arts in Phila-delphia and a B.M. from Berklee College of

Music. He is currently residing in Philadelphia where he is working as an active musician and educator. www.myspace.com/chaimburstein

Example 4: Intervallic Pattern over C7(13, #11,b9,#9) with b2 Pentatonics from the Root b3 b5 and 6

Example 5: b6 Pentatonics from the Root b3 and 5 of Tonic (minor) Triad

Example 6: Mixing it up!

G Pentatonic F b6 Pentatonic F Pentatonic F b3 Pentatonic

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The Basie Style – DennisWilson

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JAZ_33 33 9/11/08 1:00:35 PM

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BY CHRISTIAN WISSMULLER

“I’m just doingmy own thing,

too”

in addition to being a staggeringly suc-cessful solo instrumentalist since the mid-‘80s, saxophonist Kenny G has also served as perhaps the lightning-rod for purists who balk at the perceived misapplication of the term “jazz” to music that doesn’t adhere to strictly set guidelines. However, love him or hate

him, Kenny’s albums consistently top Billboard’s“Contemporary Jazz” chart (including 2008’s Latin-inspired Rhythm and Romance) and, for many, he is the face and sound of jazz music. As the saying goes (or as a variation of it might go, in this case): “Over 50 million CD-buyers can’t be wrong.”

So why does the classifi cation of Kenny G as a jazz artist get so many jazzers bent out of shape? The question is, of course, rhetorical – I get it, JAZZed’s readers (both those who are foaming at the mouth that we’d place Kenny on our cover and those who are perhaps a little more tranquil about such things) get it, and as I was happy (but not surprised) to learn, Kenny himself gets it: he’s nei-ther a torchbearer for traditional jazz, nor is he a bold pioneer of heretofore unexplored musical ter-ritories that stretch and challenge the boundaries of what it means to play jazz or fusion. Kenny G writes and plays pleasant songs with pretty melo-dies which people enjoy. A lot of people.

JAZ_34 34 9/11/08 1:51:03 PM

“There are certain people out there who think that they need to ‘protect’ tra-ditional jazz… I’ve never really understood that.”


JAZ_35 35 9/11/08 1:51:15 PM


Those who consider Kenny or other popular-but-not-“authentic” jazz musi-cians to be pariahs on the scene would do well to let this last point soak in. If one well acknowledged challenge facing jazz’s very future is the need to create new fans/scholars/musicians, is it wise to reject an artist who connects with such a huge segment of the popu-lace? Much as health offi cials often re-fer to marijuana as a “gateway drug”

to harder stuff, maybe try thinking of Kenny G as a “gateway artist” – as Ken-ny put it in our recent conversation: “Maybe if people like my music, they may delve into a Charlie Parker re-cord or something they wouldn’t have thought they’d like.” If some small fraction of Kenny’s enormous fanbase decides to take the plunge and explore the larger world of jazz culture, that’s unquestionably a good thing.

ANYway… Kenny was recently kind enough to sit down with JAZZedto talk about his own journey as a musician, his thoughts on music education, and his place in modern music. Read on – and to those who might still be sniffing derisively at our choice to run a Kenny G cover-story: the guy opened for Miles Da-vis and has sold more albums than Canada has people. What have youdone?

JAZZed: Talk to me briefl y about your own early experiences as a music student.

Kenny G: I was a product of Seattle public schools. I went to my weekly half-hour lesson, starting at the age of 10. Pretty standard stuff.

JAZZed: So it’s not like you got an ex-tremely early start or anything.

KG: I don’t know – in my day, 4th grade was when you started instru-ments.

JAZZed: Were you on sax from the get-go?

KG: Yes, I started on the alto sax.

JAZZed: What fi rst got you excited about music?

Kenny G Précis

Selected Discography: KennyG, G Force, Duotones, Silhouette, Breathless, Miracles: The Holiday Album, The Moment, Six of Hearts, Classics in the Key of G, Paradise, Ultimate Kenny G (Arista), Rhythmand Romance (Concord/Universal)

Awards & Accolades: Grammy Award – Best Instrumental Compo-sition (“Forever in Love” – 1993); Best Selling holiday album of all time – Miracles; #1 Ranking in Golf Digest “Top 100 in Music” (1996)

Web site: www.kennyg.com

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KG: I just did the normal stuff – nothing extraordinary. When I got to high school – Franklin High in Seattle – they had a composer in residence and that was one of the things that got me really excited. He would write charts for our jazz band that were different from the regular, standard charts, so that was cool.

JAZZed: Was it high school, then, when you got really into jazz?

KG: I didn’t really listen to any jazz until I was about 15 or 16. It just wasn’t on my radar. I was just doing my normal stuff, practicing whatever exercise I was supposed to practice. I didn’t play that much when I was a kid, either – maybe an hour or half an hour a day. When I was 15 or 16 I just decided I really liked playing the saxophone, so I started practicing a couple hours a day. Then I started to listen to more records by saxophone players and my teachers would give me stuff to listen to: from Grover Washington Jr. all the way to Charlie Parker, so I was exposed to a big spec-trum of styles.

JAZZed: The Grover Washington infl u-ence is apparent in some of your playing. Who else infl uenced you?

KG: Well, I love Cannonball Ad-derley. You probably wouldn’t know by my playing, but I do. I really listen to him a lot. Stanley Turrentine, I loved his playing. Of course, everyone loves Coltrane and when I started playing tenor I began to listen more to him and loved his sound.

JAZZed: What happened after high school?

KG: Well, I just started getting good. [laughs] At 15 I was just OK; at 16 or so I was starting to get really pretty darn good. I don’t know what happened. It was just one of those years where my mind got clearer and I fi gured out what I was supposed to do on that thing.

JAZZed: Your fi rst gig was playing with Barry White, yes?

KG: Yeah, that was at 17. That was my fi rst paid gig, ever.

JAZZed: Not a bad start for a young kid.

KG: [laughs] Yeah, a pretty good fi rst gig. The reason I got the job was because the composer in residence at Franklin High was having a con-versation with a friend who was in charge of booking all the extra mu-

sicians who were necessary for the Barry White Group while they were in town. The guy mentioned that he needed a sax player and, so my teach-er said, “Well I’ve got this high school kid who could probably do it.” They were so reluctant to let me do it – I mean, I was 15 years younger than anyone in the group. But he got me the gig in the end.

JAZ_37 37 9/11/08 1:51:26 PM

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JAZZed: Aside from school, did you take any private les-sons or were you mostly just learning on your own?

KG: I’m pretty self-suffi cient. That’s the way I am. I did take some lessons from a sax teacher in Seattle, Johnny Jessen. This was during high school, but it was maybe once a week for about a year. I think a lot of it was clarinet playing, actually. I don’t know exactly what I learned from him, but he was good. It was just more time on the instrument. That was kind of my deal – anything that I do, I’m kind of in charge of how I learn things, so in terms of sax playing I fi gured: the more I play, the better I’m going to get. Then the better I got, the more encouragement I got, which made me practice more, which made me better and that cycle kept going until here I am today; I still put in a couple hours of practice each day.

JAZZed: All genres of music – and, seemingly, jazz in particular – ultimately foster players and aficionados who sort of wind up as the self-appointed arbiters of what is “real” or “good” – the protectors of the music, if you will. Because of both your popularity and also the style of music you write and play, you’ve frequently been criticized by jazz purists. What’s your take on all of that?

KG: That’s a fair question and well put. First of all, I got really lucky early on with my parents. Whatever they did – I don’t know exactly what it was, because as

“It’s tough to be a music educator because you need to be extremely exible. There are different answers for everyone.”

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I parent I’m trying to do it, myself, for my kids – allowed me to wind up with a lot of self esteem. So when I do get the critic who doesn’t like what I do – and I’ve received those comments, cer-tainly – it just doesn’t really bother me. I already know what kind of a player I am and what kind of music I like to do and I’m doing that.

JAZZed: And selling a couple million units every few years doesn’t hurt, either.

KG: [laughs] Sure it doesn’t hurt, but even if I didn’t sell that many, I still have a feel for what I’m doing and that’s why I do it. I didn’t create the idea that this music’s going to sell; I just made music and people liked it and they bought it, which is cool for me.

Yeah, there are certain people out there who think that for some reason they need to “protect” traditional jazz and that anything that people do that’s not traditional jazz is somehow going to hurt that whole area of music. I’ve never really understood that. A lot of people don’t know this about me, but I was the opening act for Miles Davis for many, many gigs and, nowadays, people would say, “Well, that doesn’t make any sense!”

JAZZed: It must’ve made sense to Miles.

KG: Exactly. If he didn’t want me as his opening act he wouldn’t have had me. When I watched Miles play, night after night, I’ll tell you that I didn’t hear one lick of “traditional jazz,” but yet he gets the accolades from the types of guys who consider themselves the protectors of the music. But here’s a person who started with be bop and traditional jazz and then just kind of went on and did his own thing – I’m just doing my own thing, too.

I don’t care about the labels. In general I think people need labels be-cause it kind of helps weed out what they like or don’t like. For example, if I don’t like Japanese food and somebody says, “Hey, we’re going to go have some sushi,” well I already know I don’t like Japanese food, so I may say, “Let’s go to another restaurant.” Now on the other hand, they might say, “Well wait

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a minute, you may not think you like Japanese food, but why don’t you try a couple of different items – maybe there is something for you.” So, people could say they don’t like jazz, but then they do fi nd themselves liking my mu-sic. If people like my music, they may

Rico Reeds & Kenny G Promote Music Educa-tion

Rico Reeds and Kenny G have continued their partner-ship this time focusing on pro-moting music education around the world. In addition to cele-brating the launch of the Kenny G “G-Series” saxophone lines for both professionals and stu-dents, Rico announced it will offer reeds and accessories ex-clusively for Kenny G’s line. The arrangements for this are still underway.

In celebration of the launch and developing partnership, Kenny G and Rico made a do-nation to A Place Called Home - an organization that helps at-risk youths achieve their dreams through educational en-richment. The D’Addario Music Foundation and Kenny G’s do-nation gave over $20,000 and another $5,000 worth of prod-uct donations to A Place Called Home. A press conference was held earlier this year to present the check and provide the chil-dren from A Place Called Home a tour of the Rico Reeds plant hosted by Kenny.

“Rico has always been dedi-cated to building awareness for music education,” says Robert Polan, Rico Product manager, “and the partnership between Rico and Kenny G is the perfect opportunity to help this cause. From posting educational vid-eos on our Web sites to sup-porting teachers and clinicians, and now by going into partner-ship with Kenny G, we know that our efforts will encourage more students to make music.”

“The way that I improvise is just my style and it should be my style… To me that’s the whole point of playing music.”

Kenny G with students from A Place Called Home.

JAZ_40 40 9/11/08 1:51:43 PM


delve into a Charlie Parker record or something they wouldn’t have thought they’d like. There’s good in all of it. The categories are good for people to help them a little bit, but in terms of musi-cian-to-musician, I look at it like: do you improvise or do you not impro-vise? I improvise and the way that I improvise is just my style and it shouldbe my style. I should be doing exactly what makes me unique. To me that’s the whole point of playing music.

JAZZed: A big part of jazz is personal expression and identity, so: yes, I can’t see how it’d somehow benefi t the genre, or you, or any listener for you to try and not do what comes naturally to you.

KG: Thank you. I think that for mu-sic educators, it’s not bad if a kid fi nds somebody they really like and tries to emulate him or her. I think that’s a great way to start and the more artists that you can get into that mix, the better because then it comes out as something different in the end. Maybe you like some of my licks, maybe you like some of Michael Brecker’s style, maybe you like a little of David Sanborn, and a little of Sonny Stitt – you throw all that in there and the kid comes out sounding unique. So I don’t discourage somebody from copy-ing someone else. The reason I say that is, I mean, I’ve got the technique – I can copy every lick that Charlie Parker ever played. I can play that fast, it’s not hard to me, but to me it’s like… Ok, well he already did that and it sounded great, and I could copy it, but I’d rather do what I feel, personally.

JAZZed: Do you ever give lessons or conduct masterclasses?

KG: I haven’t done any private les-sons, but every now and then I’ll do a clinic. It’s been pretty impromptu. I’ll just fi nd myself in situations where I’ll notice that I’m surrounded by students and it’s just like: “Hey, do you want me to show you some stuff?”

JAZZed: Can you give me a recent example?

KG: One of my cousins has a son who was in a band class and I was in

JAZ_41 41 9/11/08 1:51:50 PM

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town for a show and my cousin sug-gested that I come in and say hello to the band. So I dropped by, took over the class, the teacher sat down, and I said “Hey, here I am – if you guys want to ask me questions about any-thing I’ll talk about it.” They were pretty shy, but I came up with some ideas and talked to them about the way I practice, what it’s like being on the road, what the difference is be-

tween being an amateur and a pro-fessional musician. I really like doing that kind of thing and I’d like to do more and more of it. It just needs to be pre-planned and hopefully this year there’ll be more of it because I’m excited about my own saxophone line [www.kennygsaxophones] and being able to show it off. I’m not doing this sheerly for the marketing, but it is a great saxophone and as a sax player

I know what it takes to start and like an instrument and I want to be able to provide that for kids.

JAZZed: What’s your favorite thing about those types of teaching experiences and the interaction with younger players?

KG: It’s fun to share some of the idio-syncrasies that I’ve fi gured out through my 30-plus years out here. I like seeing a student get something that they didn’t get before. I like to show them some-thing sensational that makes them go, “Wow! I didn’t even know a saxophone could play like that.” Plus I’ve been lucky enough to be pretty successful, so I want to give back. When you’re suc-cessful you always feel like you have an obligation to share what you know, be-cause I’ve gotten the good stuff.

JAZZed: Whether you’ve experienced it yourself or can just imagine it conceptu-ally, what do think is – or would be – the most diffi cult aspect of teaching jazz?

KG: The hardest part about teach-ing is that when you’re telling one stu-dent that they need to do “this” it doesn’t mean that the next student needs to hear the same words. It’s hard to talk in front of 10 or 20 people and make one state-ment on a topic when you know it may not be right for everybody. That’s why it’s tough to be a music educator because you need to be extremely fl exible. There are different answers for everyone.

It’s a big responsibility to be a music educator, so that should be taken se-riously. It’s a great thing that there are a lot of people out there who are pas-sionate about teaching jazz. It’s a really essential part of the whole picture.

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MThe reality of life is that students and teachers only have so much time to devote to scales and chords studies. We all agree that regular practice of the chords and scales we’ll face in our solos is necessary for all of us, but where does one start? So many choices: transcribed solos, traditional scale methods, and play-alongs all seem good, but what’s the best choice if that gig or rehearsal is coming up where anything can happen, and time is of the essence?

Having taught over 45,000 private lessons, I felt the need for a new, concise method to expose all players on a regu-lar basis to the top-10 basic chords and scales that he or she will need for that next solo, which can be studied in a very short amount of time. This will allow the player to feel confident (read “not ter-rified”) when faced with that next set of changes.

Problems with Traditional Prepara-tion Methods

Traditional scale methods are great, and we as educators work from and recommend them to our students all the time. But aside from im-proving technical and reading skills, traditional scale methods don’t pack enough focused punch when it comes to meeting all the needs of the

jazz player. Patterns meth-ods written by jazz players are also good, but are some-times not much more than practice diaries of what good players have found fascinat-ing. They also may not lead the student logically from one step to the next. Tran-scribed solos are also ter-rific, but usually only cover one tune in one key, and may not apply to your next solo very specifically.

astering the top ten chords used in jazz will enable you and your students to be ready for

any lead sheet or set of solo changes.

Picture this: you (or a students) arrive at a rehearsal or gig and are faced with some

daunting chord changes, which, at first glance, appear intimidating and scary. ■ “If only I’d

gotten ready in advance to face this,” you say, panic stricken. But how can so much com-

plex-looking information become easier to decipher and play on the spot?

basic training LEADSHEETS

Unlocking LeadsheetsTHE TOP TEN CHORD APPROACH

BY KEITH FELCH


“THE REALITY OF LIFE IS THAT STUDENTS AND

TEACHERS ONLY HAVE SO MUCH TIME TO DEVOTE TO SCALES AND CHORDS

STUDIES.”

JAZ_44 44 9/11/08 12:42:54 PM


A New Way: The Top-10 Chord ApproachI propose a different approach, as covered in my book Chord/Scale Mastery.

Here are the top 10 chords used in jazz, presented in the key of C:

You’ll notice that the chords are grouped by triad, and just the 7th/9th is being pushed around. This helps illustrate the commonalities between the chords in the mind of the player. The following are excerpts from this method in the Key of C.

Note about the scale modes you see below: the roman numerals listed next to the scales below give a clue as to where the scale came from. The first scale obvi-ously is a C major scale starting on the first degree, the second scale is the G major scale starting on the fourth degree, and the third scale is an E Harmonic minor scale starting on the sixth degree.

Let’s begin:

Notice that in the above example the basic triad is in parentheses, and there are instructions to the right of the C Major 7 chord.

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basic training


First, play the C Major Triad full range of your instrument (examples below in saxophone range).

Full Range Triad:

Now play the C Major 7 Chord full range:

Now continue with scale practice by picking just one scale from the list and practicing it using the full range of your instrument. There are many more choices than what I’ve listed here, but let’s pick the most commonly used one at the top of the list, the C Major Scale:

Now go on to the next chord:

JAZ_46 46 9/11/08 12:43:03 PM

basic training


You’ve already practiced the basic triad for this chord, so now follow the instruction to the right of the C7 chord example and play the 7th chord like so:

And choose just one scale to go with it. Let’s choose the top, most commonly used one again, the V in Major, the Mixolydian Mode:

Notice that the source of the scale (the V of major) and the name (Mixolydian) are there to familiarize the player with musical terminology, as well as basic construction of the scale (b7). In the book, a long list of scales are presented for each of the top ten chords for the player to choose from, so the player can choose from the very basic listed at the top to the more “outside,” depending on their level.

Here are the remaining chords, and their most fundamental assigned scales:

JAZ_47 47 9/11/08 12:43:07 PM

basic training


JAZ_48 48 9/11/08 12:43:11 PM

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After the player finishes practic-ing the four triads matched with the ten chords with a chosen scale for each, a leadsheet is presented with the chords in the same order, four bars for each chord. I test my stu-dents’ knowledge by having them only look at the chord change, play the chord to the 7th/9th, and then play the scale in one octave. They may not read any notes, and may only read the chord change, execut-ing the chord and scale from memo-ry. This helps assess whether or not a student has internalized what he or she has just practiced. Now it’s time to improvise with a play-along track that corresponds to the lead-sheet.

On the first few passes impro-vising with the rhythm section, the player may only solo using chord tones. After that’s done successfully, the entire scale may be used.

All of this material, and many other helps, are written out in all twelve keys, so the player gets great ear/technical/theoretical training in all keys.

I hope you enjoy using this meth-od with your students as I have, and that you’re able to more effectively get yourself and your students ready for that next solo at every practice session. Have fun, and happy prac-ticing!

Keith Felch has been a freelance wood-wind performer, teacher, and clinician for over 25 years. He has performed all over the world for Yamaha Music Education, and his book Chord/Scale Mastery is a textbook used by jazz educators internationally. He has teach-ing studios in South Orange County, Calif. and can be visited at www.KeithFelch.com, or e-mailed at [email protected].

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JEN’s Mary Jo Papich and Dr. Lou Fischer

one-on-one MARY JO PAPICH AND DR. LOU FISCHER

JAZZed: Can you talk briefl y about your perspective on the demise of IAJE and discuss the catalyst behind the formation of JEN?

Dr. Lou Fischer: The catalyst behind it was there was a huge void in relationship to an advocacy group

for jazz and jazz education due to the demise of IAJE, so we felt that an important enough mission to start something new.

Mary Jo Papich: A year ago I would never have dreamed I would be starting a new jazz edu-cation organization. I knew IAJE

was facing financial struggles, but none of us knew just how serious the situation was until it was too late. Experiencing this demise was the biggest challenge of my profes-sional career and it was as a vol-unteer leader. There was not one reason for the downfall, but many,

In the wake of IAJE’s demise this past spring, the woman who was slated to be that organization’s next president quickly stepped to the plate and began spearhead-ing efforts to form a new group that would build upon the traditions and successes of IAJE while learning from – and avoiding – the mistakes that ultimately led to the association’s downfall. With considerable assistance from a number of like-minded collaborators, in particular Dr. Lou Fischer, Mary Jo Papich was able to officially launch the fledgling group, Jazz Educators’ Net-work (JEN), on June 1. JAZZed (now the official publication of JEN) recently spoke briefly with Papich and Fischer – president and vice president, respectively – about the formation of the new association and their plans for the immediate future.

Mary Jo Papich

Dr. Lou Fischer

JAZ_50 50 9/11/08 12:43:55 PM

one-on-one


including weak management…eventu-ally I resigned because I felt that I had to distance myself before the association went down and because I felt my voice was not being heard. Committed board member/colleague Lou Fischer and I had presented several possible emer-gency plans in hopes of saving IAJE and they were not recognized. It was then that I realized what was really needed was a new organization. Starting JEN was just something that was a heartfelt conviction. All the past presidents of IAJE, through their devastation, came forward to support the birth of the new organization and all of my efforts. Lou and I had like thoughts, like goals, and total commitment and determination to forge ahead and we certainly knew the pitfalls to be aware of in developing an organization.

JAZZed: How did JEN evolve?

MJP: On the weekend of May 31- June 1, we gathered a group of supporters to-gether in Chicago who had e-mailed us repeatedly and asked to be involved in the formation of a new group. We add-ed more invitees to the list to add ethnic and gender diversity and asked them to cover their own expenses, as we had no budget. The outcome of the meeting of 35 (educators, publishers, businesses, and performers), led by Arts Consultant Gene Wenner (www.aecwenn.com) was: a title, a mission statement, by-laws draft, temporary volunteer board officers, a fledgling treasury, a Web site domain, a potential magazine, and a total commit-ment to the future.

LF: We made a huge effort to bal-ance the attendees at the organization-al meeting: academic representatives, artists, industry figures, people with business experience, and legal and not for profit management experience. We also wanted balanced racial and gen-der diversity.

We looked at many models of many different organizations and we chose

what was perhaps the best model to al-low the independent jazz organizations all throughout the world to join with us, but still remain autonomous. We wanted to embrace a governance structure that allowed them to do that. We wanted to

create a network to allow members to share info and resources, so beyond the individual and corporate memberships, we’ve created what we call an Affiliate Membership. Any already existing orga-nization can choose to try and join and

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JAZ_51 51 9/11/08 12:43:59 PM

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one-on-one


they can do so at a fairly reasonable rate and that brings in their entire member-ship base to the network.

MJP: JEN was created by a group of visionary and passionate individuals and founded in the spirit of collabora-tion and excellence. “We all know we have an enormous responsibility to stay true to the core values of jazz. The great players, composers, educators, and audiences who gave the best of their lives to this music are expecting us to take it forward,” says my mentor, Kahil Elzabar.

JAZZed: In simple terms, what is the mission statement of JEN?

MJP: The mission of Jazz Education Network to advance jazz education, pro-mote performances of all styles and ages,

and to advance the development of new audiences. We must give the listener, the fan some attention…we must educate the public. We must teach more than the 20 students in our jazz band. What about the other students? We must educate the public about their musical legacy in this country. We must address the question

of: “Why is jazz more appreciated abroad than here at home?”

LF: The real common denomina-tor is, it’s all about the jazz community. Our plan is to be an organization that helps connect teachers, students, art-ists, and everyone out there with a pas-sion for jazz. If we don’t develop new listeners, who’s really going to care?

MJP: The fact that MENC and for-mer president Willie Hill are recogniz-ing Jazz along with Band, Choir, and Orchestra is far-reaching and wonder-ful for jazz education. I have been a longtime advocate of requiring all mu-sic ed majors to take a jazz class. The more teachers we have teaching jazz, the more educated the listeners, and the bigger the future audience. I look forward to working with MENC, so our

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Jazz StudiesAaron Lington, Program CoordinatorJazz and improvised forms from all over the world. Distinguished faculty of scholars/performers.

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events and projects planned will be of-fered to as many teachers as possible.

JAZZed: What are some immediate plans for the future?

MJP: What are we planning? In the true spirit of collaboration and net-working we have established a solid working partnership with NAMM. Plans for the near future include gath-ering opinions online (www.survemon-key.com ) and in person at upcoming Open Forums around the country (see JEN’s “Events Page” on page 17).

Another exciting and unique perfor-mance showcase we are planning came about from my personal performing experiences with school groups in my beautiful coastal Sister City of Puerto Vallarta. I have visited there often and know the mayor and tourism and city officials and they are welcoming a Jazz Festival Showcase and promising us a crowd at the Malecon. I have traveled often with student groups and saw this as a way to have a musical and cultural experience at a reasonable cost and at the same time bring jazz to this lovely town. The only requirement is that you include at least one Latin chart in your repertoire! (www.amclass.com/Pages/Events/Schedule/Sched_Nav.html)

Other partnerships we are working on include events in the spring and summer of 2009 which see us collaborating with Music For All, JamFest, and others. As you can see, until we are financially able to stand alone, which I predict in a year or two, we are being welcomed as part-ners with successful organizations. All the board pays for everything themselves and, to date, all work has been donated. Things are looking great. We truly pledge to be the organization the membership wants and needs. JEN has been born, she is crawling – just waiting to walk and run!

LF: I’m amazed at how much we’ve been able to pull together in the first months of the organization. The first six to eight weeks were really spent ad-dressing nuts and bolts issues: bylaws,

paperwork, 501(c)(3) paperwork, the Web site, et cetera. Every significant re-lationship that I’ve enjoyed during my long, and fortunately very fruitful career, I developed through an organization of this type – that being IAJE – and that ability to network and share information

with colleagues and friends is so crucial to what we all do. It’s just crucial to life. Mary Jo often quotes, “Life is jazz, jazz is life!” and it’s really very true.

Interested parties can join JEN by logging onto www.jazzednet.org.

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How does one develop a vocabulary? I have found that easiest way to start is with the Blues Scale. These six notes not only cover over the basic Blues changes, but can be applied in various harmonic situations. Just as a child’s fi rst words are ‘mama’ or ‘dada’, we can use the notes of the Blues Scale as the same building blocks. When teaching in a group setting, I will use a ‘Call and Response’ format. Many students I encounter, even at the high school level, have never had a formal jazz improvisation lesson. I’ll start by playing a rhythm with the tonic and have the students imitate it. Then I will ask them to come up with their own. After a few students have tried this on their own, I will ask, ‘If you can improvise with one note, why not try two?’ And so it goes until we have progress through all six notes. The following is just one set of examples:

Building a Melodic Blues Line From the F Blues Scale Note by Note

guest editorial T H E L A N G U A G E O F J A Z Z

OTeaching Jazz As A Languagene of the most challenging aspects of learning how to improvise or how to teach improvisation is knowing where to start. Most of us did not grow up listening to jazz around the house. However, we did grow up listening to one or two spoken languages that gradually became our own. It’s by the same process that we learn the jazz language.

BY RUSS NOLANPhoto: Todd Weinstein

First 2 Notes

First 3 Notes

First 4 Notes

JAZ_54 54 9/11/08 12:44:52 PM


guest editorial

Now play 2- to 6-Note Lines going down the scale – Make up your own! That’s improvising!

By adding one note at a time, the students are not overwhelmed or intimidated by the information. They leave the workshop with tools that they can immediately apply and the confi dence to try it again.

If the students show a basic understanding of the Blues Scale, I will move on to the Bebop Scale. One of the dividing lines between high school jazz students and college jazz students is the use of this scale. Outside of transcribing, most of my own practicing and concepts of the Bebop Scale come from David Baker’s series entitled, How To Play Bebop (volumes 1-3). I site his books in my clinic reference materials. This scale is the basic tool used by advanced improvisers to smooth out their lines and land on chord tones on the strong beats (if they so choose—but that’s another discussion).

The Bebop Scale is typically played in a descending fashion. By adding a half step in between the root and the b7, the root, 3rd, 5th, and b7th land on the beats.

First 5 Notes

First 6 Notes

F7 Bebop Scale--Has both major 7th and dominant (flat) 7thHalf Step Half Step

Practice this scale from the root, 3rd, 5th, and b7th in descending fashion, keeping the original two half-steps (F-E-Eb) in place.

Now we can apply our new scale to the Blues Progression:

F7 Bb7 F7

Bb7 F7 D7b9 (Bebop scale w/b9, b6)

G-7 C7 F7 C7

JAZ_55 55 9/11/08 12:44:57 PM

guest editorial


Finally, as important as it is to give be-ginning improvisers the proper tools to build with, it’s equally important to reinforce the idea that these tools are

only the means to the end, not the end in themselves. Let’s go back to the ‘jazz as a language’ analogy. Just like Eng-lish, Spanish, German, French, Latin, et

cetera, jazz is a language. It is another medium of communication with an in-tended audience. Do you enjoy listen-ing to someone who speaks in a mono-tone, or at one volume, carries on with run-on sentences, or jumps from topic to topic without fi nishing any of them? What about the person who tries to im-press you with their vocabulary? You probably don’t – so let’s try not to do it with the Jazz language. Why do we enjoy reading books or going to mov-ies? If they are good, it’s because they tell a good story and involve their au-dience. ‘Telling a Story’ in Jazz doesn’t mean you have to play a ton of notes and have brilliant technique on your instrument. Mastering one’s instrument and jazz theory are only means to a musical end. A memorable solo is one that communicates to the audience that you love playing and it’s shown through passion, good time feel, good rhythm, and melodic development.

I remember Kenny Werner once asking me in a lesson, “Are you rel-evant?” and “Is your music or message relatable to an audience outside of your peers?” “Jazz is best when it satisfi es its peers on an intellectual level, and relates to non-musicians on a soulful level” is a phrase my former mentor, David Bloom used all the time. Non-musicians respond to story telling, ten-sion-and-release, and group interaction aspects of music, rather than theory. We can still be true to ourselves and yet reach more than the three percent that typically listen to jazz. Wouldn’t that be great?

Since arriving in the Big Apple in March 2002, Russ Nolan has begun to emerge as a bandleader, performing in various New York City jazz clubs and other performance venues. As a Selmer Artist and Clinician, he has performed 25 educational clinics and six school concerts in the last year and his clinician schedule continues well into 2008. Nolan’s debut recording, Two Colors (Rhi-noceruss Music), has received rave reviews.

Look for Russ’ new release, With You In Mind (Rhinoceruss Music), with the Kenny Werner Trio at http://cdbaby.com/cd/rntkwtrio.631.656.2110305 N. Service Road Dix Hills, New York 11746 email: [email protected]

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crossword1 2 3 4 5 6 7 8 9 10

11 12 13 14

15 16 17 18 19 20

21 22 23 24 25 26

27 28 29 30 31

32 33 34 35

36 37 38

39 40 41 42 43 44

45 46 47 48

49 50 51 52 53

54 55 56 57

58 59 60 61 62 63

64 65 66

67 68 69 70

71 72 73

Across1. Earl ___, Weatherbird pianist5. Lawrence ___, jazz clarinetist and member of Sugar Johnnie’s New Orleans Creole Orchestra8. Eddie ___, he is considered one of the best rhythm guitar players of all time11. Mena locale12. Curry cuisine?13. “___ in Paris,” Count Basie tune15. Rhythm, with time?17. Melody19. Annoy21. ___ Records, King Oliver’s record label24. Pianist, Makowicz26. That is, for short27. Hospital room29. OJ Judge30. “How High the ___,” Ella favorite32. Tonight at ___, Charles Mingus record33. Coleman Hawkins’ nickname35. Polo maker, initials36. ___ out, take the fi nal chorus38. Event alert card39. Winter sport41. Sheep cry43. Technical ability45. “He’s a good ___ boy...”

46. “Bloom___,” Charlie Parker tune50. New, in a way51. Bum52. Spider site?54. Johnny Dodds’ little bro55. Santa sound57. Nat King Cole’s musical director, Young58. A cola59. Any musical score63. Head wreath64. Pitch perceiver65. Glasses type67. Billboard feature68. The Jazz ___69. People person, abbr.70. Weight measure, for short71. ___ Jarrett, the “American Quartet” member72. ___ Goodman, “The Professor”73. ___ Venuti, he is considered the father of jazz violin

Down1. Lil ___ Armstrong, Louis’ lady2. Composer Gershwin3. Friendly alien4. ___ music, printed form of musical notation

5. ___tonic, the contrary of chromatic6. ___ Bop, Art Blakey’s style7. Extended play record, abbr.8. “The Song Don’t ___,” Marcus Miller tune9. Pub purchase10. “On ___ Dolphin Street,” Miles Davis song14. Engine power measure16. “Ready, set, ___!”18. Poetry parts20. 16th century stringed instrument22. ___ Oliver, “Sweet Like This” composer23. Rabbit action25. Now, now, now!28. “___it,” Herbie hit31. Dairy dunker34. Enterprise value, briefl y37. Yusef Lateef instrument38. Sun ___, aka Herman Poole Blount39. “___ What,” Miles Davis favorite40. “___ a Sentimental Mood,” Coltrane and Ellington favorite42. Hawaiin hello43. Type of jazz style of the early 50’s44. Pumpkin dessert46. Lawrence or Tracy47. Letters of debtors48. Decibel, abbr.49. Superfi cial appearance50. New York City, for short52. Think ___ of Me, Jack Teagarden album53. B section54. A transitional passage in which a soloist plays unaccompanied56. The sun, for example60. “Groovin ___,” Dizzy ditty61. Broken ___, irregular, improvised syncopation62. ___ Coltrane, “Giant Steps” artist66. “___ Me A River,” Arthur Hamilton song68. Location indicator70. Knock out, for short

Crossword by Myles Mellor

www.jazzedmagazine.com

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

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Gearcheck


The Business of Audio EngineeringThe Business of Audio Engineering by Dave Hampton is a practical guide to the working life of an audio engineer. From

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V&R Remote Pedalfl exV&R Remote introduces Pedalfl ex, an accessory that allows you to control your pedals and pedal boards from your mi-crophone stand. The control unit simply clips to your mic stand, and it works with any pedal or pedal board.

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February 13–15, 2009Special guest: Stefon Harris

The UNL School of Music will host the 2009Honor Jazz Weekend for high school students(sophomores, juniors, and seniors). Don’t missthis opportunity to work with vibraphonist andcomposer, Stefon Harris, “one of the most importantyoung artists in jazz.” (LA Times) For more information, go to

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Gearcheck


Method Books from Mel BayFiddling Method Grade 1 by Mary Ann Wil-lis provides the basic elements for absolute beginning musicians to get started playing. Including a comprehensive method of step-by-step instructions and slow, me-

dium, and normal speed play-along tracks for each tune on the two accompanying CDs, this Fiddling Method book introduc-es numerous techniques and establishes a solid foundation in fi rst position playing.

School of Country Guitar: Advanced Rhythm, Steel Bends & Hot Licks by Joe Carr contains solos, licks, and tricks in several country styles including blue-grass, western swing, rockabilly, classic country, and more. It also includes a section on string bending and special chords, as well as an accompanying CD.

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TASCAM GT-R1 Portable RecorderTASCAM has launched the GT-R1, a new portable recorder for guitar and bass players. A pair of built-in condenser

microphones captures rehearsals and live shows, or musicians can plug directly into the instrument input to record with amp simulation and effects. The GT-R1 includes a rhythm player for instant inspiration, and a 1GB SD Card and rechargeable battery are included to get started right away.

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MusicMedic.com Leak Tester and Post Fitting PliersMusicMedic.com has just fi nished the fi rst production run of their new Post Fitting Pliers. Head tool designer Matt

Scott in collaboration with profes-sional saxophone repair technician Curt Altarac have developed a new post truing tool that takes out the play between the post and the rod on any non-threaded woodwind post.

The Mu-sicMedic.comLeak Tester is a very sensitive leak detec-tion machine for woodwind repair. It will fi nd leaks in any instrument or tubing and is easy to use. It is also possible to use the Leak Tester to test for leaks in individual pads on fl ute, wooden instrument bodies, brass tubing or any part of any instrument that can be sealed on both ends. The Magnehelic gauge on the face of the Leak Tester gives a reading that quanti-fi es the amount of air leaking from an instrument.

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Cecilio “Z Series” BrassCecilio Musical Instruments is cur-rently shipping their 2Series trumpets and saxophones. The 2Series trumpets come with features such as 1st and 3rd

valve tuning slides, Monel Pistons, and medium bore tubing. It also includes a plush lines nylon case with backpack strap, 7C mouthpiece, valve oil, gloves, and cleaning cloth. The 2Series saxo-phones are offered in soprano, alto, and

tenor models. They come with large bore tubing, hand engraved bell decoration and come with plush lined nylon cases with backpack strap, neck strap, cleaning rod, and extra 10 reeds.

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Gearcheck


Miles Davis ClassicsFor use with all Bb, Eb and C instru-ments, the Jazz Play-Along Series is a great learning tool for all jazz musicians. With musician-friendly lead sheets, melody cues, and other split-track choices on the included CD, this fi rst-of-its-kind package makes learning to play jazz easier than ever before.

For study, each tune includes a split track with melody cue with proper style and infl ection, professional rhythm tracks, choruses for soloing, removable bass part, and removable piano part.

For performance, each tune also has an additional full stereo accompani-ment track (no melody and additional choruses for soloing.

The 10 songs featured are: “Blues by Five”, “Circle,Eighty One”, “Flamenco Sketche”, “Fran Dance”, “Green Haze”, “Mood”, “Petits Machins”, “Pfrancing (No Blues)”, and “Swing Spring”.

www.halleonard.com

König & Meyer Jazz Saxophone StandKönig & Meyer’s Jazz stand is made pri-marily from solid, black anodised square

aluminium profi les and weighs only 0.4 kg. With a practical, central locking screw the stand can be set up quickly. The attachment brackets, which can be folded out for the instrument bell and the support arms have protective, abrasion-proof rubber covers; the legs are fi tted with integrated rubber

feet. In spite of the high degree of stabil-ity the stand can be folded compactly (L 360 mm x 50/70 mm), and slips into the included velour bag for convenient, safe in-bell storage. Two versions are offered for Eb alto and tenor saxophones.

www.connollymusic.com

JAZ_61 61 9/11/08 12:47:17 PM

www.pjlamusic.com

Gearcheck


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/jazz3

GET A BFA IN

THE JAZZ CAPITALOF THE WORLD

New York is JAZZ

is New York

Korg Pa588 Korg introduces the Pa588, combining interactive workstation features with Korg’s RH3 graded hammer action, to provide songwriting tools with an authentic

feel for the accomplished or amateur pianist. Additionally, a new “Play Pia-no” switch transforms the Pa588 into a traditional digital piano instantly. The Pa588 combines the piano sound and feel of Korg’s fl agship C-720 Concert Piano with the interactive composition and performance features of its popular Pa500. It delivers 80-note polyphony along with 880 pre-loaded sounds (plus 128 user locations) and 56 preset drum sounds (64 user-programmable kits) and includes a GM2 soundset. In addition, four simultaneous effects (124 types) can be used. A USB jack al-lows the Pa588 to communicate with a computer and supports USB/MIDI. The onboard stereo sound system features 10cm bass speakers and high resolu-tion tweeters powered by dual 15-watt amplifi ers, all housed in a bass refl ex enclosure with a tuned EQ for rich musical sound quality.

www.korg.com

Classic Hammond OrganClassic Hammond Organ: Know the Players, Play the Music from Backbeat Books’ Master series chronicles not only the “who’s” and “when’s” but also the “how’s of this intimidating instru-ment. Author Steve Lodder lays down a solid foundation for novices and offers a refreshing take for more experi-enced players. Learn the essentials of keyboard splits, foot pedals, drawbars as well as signature licks from a broad range of styles. The book – with beau-tiful photos throughout – also includes an extensive list of essential listening and CD with numerous musical ex-amples to complement each lesson.

Retail price is $24.95.www.backbeatbooks.com

JAZ_62 62 9/11/08 12:47:23 PM

www.newschool.edu/jazz3

Gearcheck


Get With aWinning Program!The University of Kentucky

Jazz Studies Program

...invitational performances International Association of Jazz Educators ConferenceMidwest International Band & Orchestra Clinic

contact:Miles OslandDirector of Jazz StudiesUniversity of Kentucky105 Fine Arts BuildingLexington, KY 40506-0022

Jazz Studies Office: [email protected]

...award winning ”multiple awards”Downbeat Student Music AwardsNotre Dame Collegiate Jazz FestivalElmhurst College Jazz FestivalOhio State Jazz Festival

...critically acclaimedCharacterizes the best of today's college band output - **** DownbeatYou won't believe these are students! - Jazz TimesOne of the best university jazz ensembles in the land - Jazz Player[the UK Jazz Ensemble] is one of the best of its style - JAZZIZ

study with:

Miles Osland•Director of Jazz StudiesProfessor of SaxophoneUK Jazz Ensemble Director,UK Mega-Sax program

Raleigh Dailey•Professor of Jazz StudiesJazz Piano - UK Lab Band - UK CombosJazz Theory, Improvisation & Arranging

Gretsch Rosewood Snare DrumsThree new Rosewood snares have been added to Gretsch’s Full Range Snare line-up. Each 9-ply, 100 percent Rosewood snare drum features 30-degree bearing edges, die cast hoops, 10-lugs (20-lugs on 8 x 14) and 20-strand snares. Adjust-

able throw-off and Evans G1 batter side with Evans clear snare side heads includ-ed. Models:S-514-RW 5.5 x 14 Renown Purewood Rosewood Snare Drum $770, S-6514-RW 6.5 x 14 Renown Purewood Rosewood Snare Drum $845, S-8014-RW 8 x 14 Renown Purewood Rosewood Snare Drum $925.

www.gretschdrums.com

Bebop Guitar from CenterstreamBebop Guitar: Basic Theory and Practice for Jazz Guitar in the Style of Charlie Parker, the latest book/CD pack from Joseph Weidlich, shows guitarists how to transform basic jazz improve techniques into bebop fi gures in Bird’s famous “with strings” style by making chromatic and rhythmic alterations. Includes many mu-sical examples, most in the user-friendly key of G major, to accommodate players not well-versed in jazz fl at keys.

Price is $25.95.www.centerstream-usa.com

JAZ_63 63 9/11/08 12:47:28 PM

www.claudelakey.com

www.amazon.com

www.uky.edu

Gearcheck


800 388 9695 or 585 274 [email protected]

APPLICATION DEADLINE DECEMBER 1

www.esm.rochester.edu/departments/jazz

Harold Dankodepartment chair, piano

Jeffrey Campbelldouble bass

Bill Dobbinscomposition/arranging

Clay Jenkinstrumpet

Mark Kelloggtrombone

Dave Rivelloensembles

Bob Sneiderguitar

Dariusz Terefenkotheory

Rich Thompsondrum set

Walt Weiskopfsaxophone

Learn more about Eastman’s jazz degrees including the DMA in jazz studies, plus profiles of our award-winning faculty, summer jazz offerings for high school students, and more.

JAZZ FACULTY

Chord/Scale Mastery

Keith Felch

Jazz Chords and their Scales

For all InstrumentsTreble Clef

Play-along CD included!

© Keith Felch - All Rights Reserved www.KeithFelch.com

Master the Top Ten

Version

M-Audio Studiophile MonitorsM-Audio unveiled the Studiophile DSM1 and DSM2 reference monitors with built-in DSP for powerful sound processing. The new monitors were developed in collaboration with Digidesign. The collaboration makes reference technology accessible to a broad ar-ray of creative and professional environments.

The monitors feature an onboard DSP engine, which provides clear and accurate audio imaging by compensating for phase differences between the two drivers at the crossover point. The onboard DSP also man-ages a number of functions that enable users to tailor each speaker to their unique space and placement needs. The custom-voiced components ensure hours of accurate listen-ing without fatigue. The professional analog and digital inputs support studio-grade audio resolutions up to 24-bit/192kHz, in order to reveal every detail of music created with a digital audio workstation. Studiophile DSM1 and DSM2 Features:• 1” Teteron soft fabric, high-frequency

dome with Neodymium magnet and fer-rofl uid cooling – accurate to 27kHz

• custom low-frequency driver with anod-ized aluminum cone provides exception-ally low distortion (6.5” on DSM1, 8” on DMS2)

• onboard DSP manages the complex, 4th-order digital crossover for pristine imaging

• DSP-based EQ and Acoustic Space Con-trols optimize the monitor for diffi cult acoustic environments

• bass-refl ex port delivers controlled ex-tended bass response

• high-density cabinet yields good damping and reduced acoustic interference

• professional digital inputs (up to 24-bit/192kHz): S/PDIF and AES

• balanced analog inputs: XLR and 1/4” • bi-amplifi ed with Class D power amps:

100 watts (low frequency) and 80 watts (high-frequency)The Studiophile DSM1 and DSM2

monitors are currently expected to ship in the fourth quarter of 2008 and carry MSRPs of $649.95 per unit and $749.95 per unit, respectively.

www.m-audio.com

JAZ_64 64 9/11/08 12:47:33 PM

www.esn.rochester.edu/departments/jazz

www.keithfelch.com

www.divajazz.com

Available through your favorite music dealer or contact

www.advancemusic.coma

FRED LIPSIUS

PLAYING THROUGH THE BLUES This intermediate-level reading book withaccompanying CD (12 listening tracks; 12play-along tracks) contains very melodic,fun to play blues lines and riffs in variousstyles/feels. The keys and tempos are com-fortable.

It’s an excellent tool for learning what jazzsoloing is all about. Besides reading, you canimprovise over the play-along tracks usingthe chords for the tracks shown in the book.

Rhythm Section:Fred Lipsius - piano, Bruce Gertz - bass, John Wheatley - guitar, Bob Kaufman -drums, Yoron Israel - drums

Other editions for tenor sax, clarinet,trumpet, trombone, guitar and violin are in preparation.

ALTO SAX EDITIONAlto soloist: Fred Lipsius

Order No. 14900 (Book with CD)

FLUTE EDITIONFlute soloist: Matt Marvuglio

Order No. 14904 (Book with CD)

K A R L K R A M E R , D I R E C T O R

w w w . m u s i c . u i u c . e d uA

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IS

TF

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For more information, contact:Music Admissions OfficePhone: 217-244-7899E-mail: [email protected]

• Consistently ranked among the bestAmerican music schools

• Excellent facilities• Numerous financial awards• Thousands of successful alumni

VARIETY OF ACADEMIC PROGRAMSBachelor’s, Master’s, and Doctoral degrees

Accredited institutional member of the National Association of Schools of Music since 1933.

”Chip” McNeillsaxophone

Ron Bridgewatersaxophone

Tito Carrillotrumpet

Larry Graybass

Dana Halldrums

Joan Hickeypiano

Jim Pughtrombone

Chip Stephenspiano

Glenn Wilsonsaxophone

Gearcheck


Metric Halo’s Mobile I/O 2882 ExpandedMetric Halo announces the release of their new 24-bit/96kHz Mobile I/O

2882 Expanded multi-channel proces-sor and FireWire interface for recording and mixing in the studio or on the road. The portable 18-input/20-output 2882 Expanded incorporates the new 2d Card, which provides a nearly six-fold increase in the DSP power available for process-ing, routing and mixing in Metric Halo’s FireWire audio interfaces.

The 2882 Expanded features eight mic/line/instrument analog inputs, eight mic preamps with individually switchable phantom power, eight analog outputs on balanced TRS connectors, 24-bit/96kHz converters on all channels, eight channels of ADAT I/O (switchable to TOSLINK), and AES-S/PDIF Digital I/O with selectable SRC. It also includes a headphone amp with front panel mute/dim, front panel metering, and remote level control on all channels. Newly added ADAT implemen-tation includes optical S/PDIF support (independently switchable on both input and output) with asynchronous SRC for the optical S/PDIF input.

Version fi ve of the MIO Driver and MIO Console software, included with the 2882 Expanded, provides direct access to the power of Mobile I/O and the 2d Processing Architecture. It features a new customiz-able mixer, as well as unifi ed control of all the mixing and processing resources of all connected Mobile I/O Expanded hardware. Metric Halo’s character process-ing selectively adds 15 different fl avors of euphonic low-order distortions, found in classic analog devices to the inputs and mix busses of the system.

The 2882 Expanded also includes a bundle of basic production plug-ins, in-cluding MIO Strip (a full featured channel strip with gate, compressor, and six-band EQ), Halo Verb, Mid-Side Decoder, Sample Delay and Dither. The mixer also provides inserts that greatly simplify and accelerate the process of adding exceptional +DSP plug-ins to the signal path. The MSRP of the 2882 Expanded is $1,895. A +DSP bundle software license is $699.

www.mhlabs.com

JAZ_65 65 9/11/08 12:47:41 PM

www.bigbandmanjazz.com

www.music.uiuc.edu

www.advancemusic.com

Gearcheck


SKB Shock-Rack Line SKB introduces two new 4U shock rack models. The 24” deep (3SKB-R904U24) Shock-Rack model expands the 24” series to seven different sizes while the 30” deep model (3SKB-R904U30) expands the 30” line to four different models.

As with all SKB 24” deep shock mount cases, the 4U Roto Shock-Racks provide a rotationally molded tough shell with integrally molded valance, and they each come standard with eight elastomeric shocks (load up to 150 lbs). The load range can be en-hanced by adding an additional shock on each mounting point.

The 4U Roto Shock-Racks feature field-replaceable, black powder coated stainless steel latches, as well as a patent pending compound hinge door system that allows the lid to swing out and around and lie flat against the main body of the case (or alternately go lid-less with an effortless lift mo-tion) and then be reinstalled with the same ease in seconds. The front and rear lids are designed to protrude into the base of the case approximately 1”, and their unique double wall structure makes them incredibly stiff where this intersection occurs. Each 4U Roto Shock-Rack is securely stackable with the wheels on or off. Other features include removable 4” casters, gasketed doors and pressure relief valve. Street pricing as follows: 3SKB-R904U24 24” deep x 4U Roto Shock-Rack $949.99 and 3SKB-R904U30 30” deep x 4U Roto Shock-Rack $1,149.99

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

JAZ_66 66 9/11/08 12:47:48 PM

www.shermusic.com

www.unlv.edu

www.johnfedchock.com


HotWax New & Notable Music ReleasesAll dates are subject to change

August 5Kenny Barron – The Traveler [Uni-versal Jazz]

Erroll Garner – Portrait [Docu-ments Classics]

Chico Hamilton – Complete Studio Recordings [Fresh Sound]

Earl Klugh – Solo Guitar [JDC]

Carl LeBlanc – New Orleans Sev-enth Ward Griot [Preservation Hall]

David Liebman – Negative Space [Universal Jazz]

Art Pepper – Mucho Calor [Jazz Track]

Weather Report – Black Market/Heavy Weather [Legacy]

Art Tatum – The Art of Jazz Piano [Screen Edge]

August 12Paul Austerlitz – Journey [Innova]

Stanley Clarke – Griffi th Park Col-lection [Wounded Bird]

Five Play – What the World Needs Now [Arbors]

Ku Jazz Ensemble – Best Is Yet to Come [Sea Breeze Vista]

Gene Ludwig – Duff’s Blues [18th & Vine]

Niou Bardophones – Champ d’Anes [Buda]

S.M.V - Thunder [Heads Up]

Too Blue Lou & The Groove – The Birth of Hip Bop [Jazzheads]

Tribal Tech – Primal Tracks [Wounded Bird]

Pete Yellin – How Long Has This Been Going On? [Jazzed Media]

August 19Gary Bartz – West 42nd Street [Candid]

Eddie Henderson – Heritage [Blue Note]

Tsuyoshi Ichikawa – The Solo Gui-tar of Tsuyoshi Ichikawa [Art of Life]

Jack Jezzro – Romance in Rio [Century]

Robin McKelle – Modern Antiques [Cheap Lullaby]

Aaron Parks – Invisible Cinema [Blue Note]

Aldo Romano – Just Jazz [Dreyfus]

Heikki Sarmanto – Counterbalance [Porter]

Jeff Steinberg – Big Band Romance [Century]

The Three Sounds – Elegant Soul [Blue Note]

Barry Tuckwell – Sure Thing [DRG]

Under the Lake – People Together [Nu Groove]

Reuben Wilson – Set Us Free [Blue Note]

August 26John Abercrombie – Sargasso Sea [ECM]

Kenny Barron – The Traveler [Sun-nyside]

Chick Corea – Trio Music: Live in Europe [ECM]

Marc Johnson – Bass Desires [ECM]

Charles Lloyd – Dream Weaver: The Charles Lloyd Anthology [Warner Jazz]

Pat Metheny – American Garage [ECM]

Bob Mintzer Band – Swing Out [MCG Jazz]

Danilo Perez – Across The Crystal Sea [Decca]

Portinho Trio – Vinho Do Porto [MCG Jazz]

Lin Roundtree – Sumthin’ Good [NDM]

September 2Beegie Adair – Dancing in the Dark [Green Hill]

Mario Castro Neves – Brazilian Mood [Dutton Vocalion]

Lou Donaldson – Lou Takes Off [Blue Note]

JAZ_67 67 9/12/08 9:52:33 AM


HotWaxCurtis Fuller – The Opener [Blue Note]

Michael Lington – Heat [Nu Groove]

J.R. Monterose – J.R. Monterose [Blue Note]

Sadao Watanabe – Basie’s at Night [Koch]

Al Williams – Heart Song [Pacifi c Coast 3]

September 9Anat Cohen – Notes from the Vil-lage [Anzic]

Lowell Davidson – Lowell David-son Trio [ESP]

Carlos Franzetti – Film Noir [Sun-nyside]

Gunter Hampel – Music from Europe [ESP]

Randy Klein – The Flowing [Jaz-zheads]

La Bigband – From Acid to Zen [Oglio]

Paul Motian – Live at the Village Vanguard, Vol. 1 [Winter & Winter]

South Florida Jazz Orchestra – South Florida Jazz Orchestra [Mama]

M. Dee Stewart – Trombone Orna-ments [Summit]

Maria Winther – Dreamsville [Opus 3]

Eri Yamamoto – Redwoods [AUM]

September 16Atomic – Retrograde [UME]

Patricia Barber – The Cole Porter Mix [Angel]

Michael Bates – Clockwise [Koch]

Sonny Clark – Leapin’ and Lopin’ [Blue Note]

Ari Hoenig – Bert’s Playground [Dreyfus]

Javon Jackson – Once Upon a Melody [Palmetto]

Hank Mobley – Peckin’ Time [Blue Note]

Jenny Scheinman – Crossing the Field [Koch]

Reuben Wilson – Got to Get Your Own [Dusty Groove]

September 23Charles Duke – Feel [Verve]

Fourplay – Energy [Heads Up]

Charlie Haden – Energy [Heads Up]

Herbie Hancock – The Defi nitive Herbie Hancock [Verve]

Steve Million – Remembering the Way Home [Origin]

Luis Perdomo – Pathways [Criss Cross]

Mike Ruby – Play Time [Alma]

Theo Travis – Thread [Inner Knot]

Grover Washington, Jr. – All the King’s Horses [Verve]

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_68 68 9/12/08 9:52:38 AM

www.jazz.utoledo.edu


Lee Young was born in New Orleans, Louisiana and was the son of musicians, Willis and Lizette Young. Beginning

at the age of four, Lee toured and performed in a carnival act with his father and siblings – late saxophonist Lester

Young, and his late sister Irma.

In 1928 the family settled in Los Angeles, where Lee and his sister entertained at the dance marathons that were

the rage during the Depression. It was at this time that Lee began to perform as a drummer, having switched from the

trombone, and did some of his fi rst recordings with Fats Waller during the 1930s. He also played with Duke Elling-

ton, Count Basie, Lionel Hampton, and Nat King Cole. His accomplishments helped build a vibrant jazz scene along

the West coast, and earned him credit as the fi rst black artst to become a regular fi lm studio musician in Hollywood.

Lee also worked in A & R for several record companies. He began at Vee-Jay Records and went onto work at a

number of labels, which included United Artist, Motown, Dunhill, and ABC. It was during his time at ABC that he

discovered and signed the jazz fusion act, Steely Dan.

Lee said in a 1999 interview, “I don’t see how you can separate music where color is concerned. That’s why I think

I was successful in the record business, because it’s colorless to me. Either it’s a good song or it’s not a good song. I

don’t care who wrote it, just let me hear the song”

Lee Young passed away in Los Angeles on July 31 at the age of 94.

Backbeat

Lee Young 1914-2008

JAZ_69 69 9/11/08 12:50:19 PM


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

Merchandise

Help Wanted

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

Guy Lee"The Hurricane Waltz"All-Instrumental Guitar

Oriented CDwww.guytar.com

CASES CASES CASESFactory Direct!

Any ATA Case For $99Mixers, Amps, Heads, or Keyboards

www.discount-distributors.com800-346-4638

JAZ_70 70 9/11/08 12:51:19 PM


Classifieds

When your Group Travels with

American Tours & Travel

Travel anywhere throughout the world

800-243-4365

EARN FREE AIR MILES!

Travel

Print Music

Publications

Advertise in the Classifi eds!

Call Maureen 1-800-964-5150 ext. 34

[email protected]

Publishing/Teaching

The source for Germany’s Advance Music publications Celebrating 20 years of USA distribution

Write for a free catalog or visit the Caris Music Services homepageAlso distributing other fi ne publications including Universal Edition, Schott, Mr. Goodchord

plus select European imports and self published artist works2206 BRISLIN ROAD

STROUDSBURG, PA 18360 USA phone: (877)267-9797 or (570)476-6345 fax: (570)476-5368 e mail: [email protected] webpage: http://www.carismusicservices.com

CARIS MUSIC SERVICES

www.JAZZedmagazine.com

JAZ_71 71 9/11/08 12:51:24 PM


AdIndex Company Email/Web Page #

Advance Music www.advancemusic.com 65JJ Babbitt www.jjbabbitt.com 42Berklee College of Music www.berklee.edu 7Big Bandman Jazz www.BigBandmanJazz.com 65Cannonball Music Instruments www.cannonballmusic.com 29Capital University www.music.capital.edu 32Chord/Scale Mastery www.keithfelch.com 64Claude Lakey Mouthpieces www.claudelakey.com 63Columbia College www.colum.edu/music 39Cultural Tour Consultants www.culturaltourconsultants.com 49Cuyahoga Community College www.tri-c.edu 59DIVA Jazz Orchestra www.divajazz.com 64Eastman School Of Music www.ems.rochester.edu 64Five Towns College www.ftc.edu 56Frost School of Music www.music.miami.edu 51Golden Sound Distribution/Kenny G Saxophones www.goldensounddist.com 48Hal Leonard Corp. www.halleonard.com, www.halleonard.com/d 9Hamilton Stands Inc. www.hamiltonstands.com 49Indiana University Jacobs School of Music www.iu.edu 60Jazz at Lincoln Center www.jazzatlincolncenter.org 16Jazzmobile, Inc www.jazzmobile.org 32JodyJazz www.JodyJazz.com 41John Fedchock www.johnfedchock.com 65Juilliard School of Music www.juilliard.edu 25Jupiter Band Instruments www.jupitermusic.com 5Manchester Craftsmen’s Guild www.mcgjazz.org 41Midwest National Band Clinic www.midwestclinic.org 33New Horizons Tour & Travel www.nhtt.com cov 3New Horizons Tour & Travel www.nhtt.com 1NS Design www.NedSteinberger.com 37Pacifi c Coast Jazz www.pacifi ccoastjazz.com 66Pearl Corp. www.pearldrum.com cov 4 PJLA Music Products www.pjlamusc.com 61Pro Winds www.prowinds.com 15Sabian Ltd. www.sabian.com 11San Jose State University www.music.sjsu.edu 52Sher Music Co. www.shermusic.com 63Sierra Music www.sierramusic.com 45Stanford Jazz Workshop www.stanfordjazz.org 52Temple University www.temple.edu 27Texas Christian University www.music.tcu.edu 12The New School for Jazz www.jazz.newschool.edu 62United States Air Force Heritage of America Band www.heritageofamericaband.acc.af.mil/ 10University of Illinois www.uiuc.edu 66University of Idaho www.jazz.uidaho.edu 48University of Kentucky www.uky.edu 63University of Michigan www.music.umich.edu 58University of Nebraska Lincoln www.unl.edu/music 58University of North Carolina Wilmington www.uncwil.edu/ 56University of Nevada-Las Vegas www.unlv.edu 66University of Toledo www.jazz.utoledo.edu 68University of Tennessee, Knoxville [email protected] 58University of the Arts www.uarts.edu 53Vandoren www.dansr.com cov 2Virgin Entertainmet Group www.virginmega.com 36Wayne State University www.music.wayne.edu 12Yamaha Corporation of America www.yamaha.com 13

JAZ_72 72 9/11/08 1:52:39 PM

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 september 2008

Documents