newsletter no 2 - jeiowa.org · included great information regarding vocal jazz, ... elements for...
TRANSCRIPT
FOR JAZZ EDUCATORS www.jeiowa.org
A Word From The President
JEI President’s Message
I hope this newsletter finds you well and ready to embrace 2011, Happy New Year! A number of performance and educational opportunities are highlighted in this issue of our newsletter. We have chosen the "Rhythm Section" to be our primary focus for content discussion with the Advisory Board reports but have also included great information regarding Vocal Jazz, recently presented material(s) from IMEA, JEN, Synergy Jazz and a newly constructed Jazz Calendar of Events. A special note of thanks to Chris Merz for compiling this list of current Jazz happenings. Pleas share any future opportunities that you may know of directly with Chris. He can be reached at [email protected]. Preparations for processing the All State Jazz Band Recordings are under way and I wish to thank all of you who participate with this program. I have assembled a solid group of experienced auditors for this year's listening to ensure a quality experience. As we all know, not everyone will be selected but having your students prepare for these recordings will no doubt benefit everyone involved! With the recent recognition and celebration of Dr. Martin Luther King's birthday, I thought it was appropriate to share to following speech he gave at the 1964 Berlin Jazz Festival. Thanks to Bruce Jackson and David Dempsey with William Patterson University for securing rights to reproduce this monumental speech in the January 2011 issue of Downbeat
magazine. It is titled "Humanity and the Importance of Jazz". Here, in full, are his comments:
"God has brought many things out of oppression. He has endowed his creatures with the capacity to create - and from this capacity has flowed the sweet songs of sorrow and joy that have allowed man to cope with his environment and many different situations.”
"Jazz speaks for life. The Blues tell the story of life's difficulties, and if you think for a moment, you will realize that they take the hardest realities of life and put them into music, only to come out with some new hope or sense of triumph. This is triumphant music.”
"Modern Jazz has continued in this tradition, singing the songs of a more complicated urban existence. When life itself offers no order and meaning, the musician creates an order and meaning from the sounds of the earth which flow through his instrument.”
"It is no wonder that so much of the search for identity among American Negroes was championed by Jazz musicians. Long before the modern essayists and scholars wrote of "racial identity" as a problem for a multi-racial world, musicians were returning to their roots to affirm that which was stirring within their souls.”
JEI BOARD
PRESIDENTRODNEY PIERSON
PRESIDENT-ELECTCHRIS MERZ
VICE-PRESIDENTPATRICK KEARNEY
PAST PRESIDENTSTEVE SHANLEY
SECRETARYJEFF SCHAFER
TREASURERMYRON PETERSON
JEI NEWSLETTER NO. 2 JANUARY 2011
PROVIDING JAZZ RESOURCESFOR IOWA’S EDUCATORS
Join us on
Listen to Jazz
Learn more
FOR JAZZ EDUCATORS www.jeiowa.org
"Much of the power of our Freedom Movement in the United States has come from this music. It has strengthened us with its sweet rhythms when courage began to fail. It has calmed us with its rich harmonies when spirits were down. And now, Jazz is exported to the world. For in the particular struggle of the Negro in America there is something akin to the universal struggle of modern man. Everybody has the Blues. Everybody longs for meaning. Everybody needs to love and be loved. Everybody needs to clap hands and be happy. Everybody longs for faith. In music, especially this broad category called Jazz, there is a stepping stone towards all of these."© Copyright 2008 by AxisofLogic Thanks for supporting Jazz in your program and continued success to you all!Rod
Rod PiersonPresident Jazz Educators of [email protected]
Educational Resources
It was decided that the Rhythm
Section would be the focus of this newsletter, as it has a habit of being one of the most unfamiliar areas of the jazz band to most educators. We have included some valuable information from Colleen Hecht and Steve Shanley (see last 4 pages of newsletter) that should be very useful in tackling this challenging yet vital section of the jazz ensemble.
-Mike McMann
Rhythm Section At The Junior High Level
Submitted by Colleen Hecht
The young rhythm section can be a challenge for band directors, but there are plenty of resources available to help directors teach these instruments correctly. One resource is the series "Essential Elements for Jazz Ensemble." The rhythm section book discusses the three basic elements of the rhythm section:
1. Pulse - keep a steady beat. In most cases less is more. Young players tend to overplay and do too much. 2. Harmony - play chords, provide harmonic accompaniment for melodies and improvisations. 3. Rhythmic Interaction - playing the rhythmic accompaniment for melodies and improvisations. A few other basic reminders for the young rhythm section are:
*Teach the set player to "feather" the bass drum so it only subtly reinforces the bassist.
*The set player has the widest dynamic range of all the instruments in the jazz ensemble so encourage them to use all dynamic levels. Young players usually play forte really well so stress the soft parts - especially during the solo sections!
*Most bass lines for junior high students are written out. A big help for all bassists is to learn their scales so as they progress they can learn to form their own bass lines.
*Beginning bass players tend to make everything short. Encourage them to connect the notes and stress legato style playing!
*Guitar players have a couple different rolls in the jazz band: sometimes they have a written out line that is played with the horn section, other times they play chords as part of the rhythm section groove. Jazz chords tend to be difficult for young guitar players. There are many guitar chord books and places online to look up chords for your guitar players. If they have a good concept of scales and chords, they will have an easier time figuring out the jazz chords.
* Pianists are similar to guitar players in that they play melody lines at times or they are required to comp. It is helpful to write out some comp rhythms for the beginner, such as playing the chords on beat 1, the and of 2 and beat 4. Stick to 3 or 4 basic comp rhythms at first, then let them explore!
*The sustain pedal is not used very often in jazz band so encourage your piano players to lay off the pedal! The exception might be when playing a ballad.
*Stress interaction and communication not only between the members of the rhythm section, but among the rhythm section and the horn players.
Excellent Resources:
"Teaching Music Through Jazz Performance" Compiled and Edited by Richard Miles and Ron Carter. The chapter on rhythm section is written by jazz pianist Reggie Thomas. "Standard of Excellence for the Jazz Ensemble" This is another series similar to "Essential Elements." "Rhythm Section Workshop for Jazz Diretors" by Shelly Berg, Lou Fischer, Fred Hamilton, and Steve Houghton
http://vicfirth.com/educationhttp://www.menc.org/forums/viewforum.php?id=12
JEI NEWSLETTER NO. 2 JANUARY 2011
JEI IS:- committed to the creative development of students- strengthening Iowa’s jazz community and culture- supporting the development of lifelong performers and consumers of jazz music
FOR JAZZ EDUCATORS www.jeiowa.org
JEI NEWSLETTER NO. 2 JANUARY 2011
Rhythm Section Checklist Compiled by Steve Shanley ([email protected])
Bass • Make sure everyone in the band can hear it. • The player should generate most of the sound by pulling the strings hard, NOT by turning
the amp volume louder. This will help the groove considerably and can prevent feedback. Make upright players practice without the amp for a few weeks.
• The electric bass should be higher on the torso than the student likely wants. The left wrist should be up near the left shoulder.
• The left arm and elbow should be high in the air while playing upright, and the player should use most of the right index finger to pull the strings.
• The bass line should especially lock in with the drummer’s right hand (swing) or right foot (straight 8th).
• Adjust the EQ so exact pitches can be heard and the sound is not “boomy.” Most people tend to set the bass levels too high and the treble levels too low.
• Get it in tune. This will make it MUCH easier for the horns to play in tune. Drum Set
• The drums and cymbals should be arranged in a comfortable playing position. The player should not have to reach very far for any reason.
• RIGHT HAND QUARTER NOTES RULE THE SWING STYLE. Lock those in first. Then add 8th notes on the “and” of 2 and 4. Once comfortable with this basic pattern, experiment placing upbeats in various combinations throughout the bar (but ALWAYS play the ride cymbal on the downbeat).
• The hi-hat should “chick,” not “chuck.” Most players do not push the pedal hard and fast enough.
• When in doubt on a swing tune, focus on just the right hand and left foot. • Avoid 2 & 4 on the snare in the swing style, except possibly for shout sections. • Comping effectively on the snare is an advanced skill. In the swing style, beginning
players should use the snare mainly for fills and supporting crashes. • When first starting, avoid bass drum while keeping time on swing tunes. • SUPPORT ALL CRASHES WITH A DRUM. • Lock in with the bass player (right hand on swing, right foot on straight 8th). • Using brushes? Make sure the snare head is coated (and the coating is still on). • Small and light sticks sound more authentic than marching snare sticks. • Make longer solo sections more interesting by varying the cymbal choice for each soloist. • Avoid changing the cymbal (used for time keeping) in the middle of a chorus. • On “Latin” tunes, verify the drummer is playing the correct pattern (this may or may not
be what is written on the part). When in doubt, ask for help. Piano
• Do not double the bass line on swing tunes (it is acceptable on straight 8th tunes). • When in doubt, do NOT use the sustain pedal (save it for slow tunes). • Pianists must swing too (do not detach consecutive 8th notes). • Less is more—especially on swing charts (avoid getting too busy). • Comping: play more short chords than long and more upbeats than downbeats. • The two octaves on either side of middle C are the richest and clearest of the piano. Most
playing should be done in this register. • Try to avoid horn backgrounds behind piano solos.
FOR JAZZ EDUCATORS www.jeiowa.org
JEI NEWSLETTER NO. 2 JANUARY 2011
Guitar • The guitar should generally be “felt” and not “heard” (it should either blend with other
melodic instruments or blend with the drums and bass). • There are two instances when the guitar should be heard: comping for a soloist or playing
a solo melodic line. Make sure to turn up loud enough when soloing. • Aim for a mellow sound. A hollow body is the easiest way to achieve an authentic sound.
Adjusting the pickups and EQ can help as well. • When comping quarter notes in swing, the strumming should be very aggressive and
chords should be slightly detached. • The tablatures included with most new jazz band charts are generally accurate. Give
them to the guitar player in addition to the music, and the chances of stylistically correct voicings will go up.
Vibes/Auxiliary
• The vibes should play melodic lines most of the time. Comping effectively on the vibes is an advanced skill. Poor vibes comping can ruin the clarity of the band.
• Using the pedal, especially on lines, is also an advanced technique. It is easiest to avoid the pedal altogether or save it for long and sustained notes.
• Write out a separate vibes part if one is not provided. This can double the lead alto and/or lead trumpet melodic lines. Do NOT simply play the right hand of the piano part.
• On “Latin” tunes, make sure players are using stylistically correct auxiliary instruments and patterns. When in doubt, ask for help. (A standard tumbao conga pattern works on most Latin and swing charts, and, at the very least, is better than making something up.)
General
• Rhythm section members should set up as close to one another as possible and as close to the band as possible. Why set up far apart?
• The hi-hat is placed as close to the 2nd trombone as possible, and the guitar is generally in the same row as the saxophones.
• The bass player can stand in between the drums and trumpets (beginning bands) or drums and piano (more advanced bands).
• Strive for a set-up that allows eye contact between all rhythm section players. • Place the amplifier BEHIND the student using it. The bass amp may be elevated. • The rhythm section should spend as much rehearsal time playing their instruments as the
horns spend playing theirs. If possible, include the rhythm section even when sectionalizing.
• Rehearse the rhythm section without the horns. You’ll be amazed at what you hear. • If comping (either for a soloist or an ensemble section) consists of improvised and non-
repetitive rhythms, the piano and guitar should alternate. • It is acceptable for the piano and guitar to play at the same time if the guitar is playing a
written melody or a repeated rhythm. • The rhythm section can play dynamics too. But do NOT sacrifice the feel for the sake of
playing soft. • The band sounds different from different places. Alternate standing by the rhythm
section, in front of the horns and 15 or 20 feet in front of the whole group. • Remind players to listen to one another and to the soloists. This alone will fix or prevent
many problems. • Get your group to sound like the model in your head. Don’t have a model in your head?
Start listening to more jazz, or YOU will be the limiting reactant to your band’s success.
FOR JAZZ EDUCATORS www.jeiowa.org
JEI NEWSLETTER NO. 2 JANUARY 2011
FOR JAZZ EDUCATORS www.jeiowa.org
JEI NEWSLETTER NO. 2 JANUARY 2011
FOR JAZZ EDUCATORS www.jeiowa.org
Vocal Jazz Choirsubmitted by Linda Vanderpool
It is my pleasure to be a part of the JEI Advisory Board. Vocal Jazz education in Iowa has always been an important priority in my professional life. The Iowa All State Jazz Choir which I established has been a successful venture, partnered with ICDA, for over 12 years now. We have brought in fabulous directors for many students and teachers to learn from. The rise of vocal jazz ensembles in the state has been significant and I applaud the efforts of many secondary institutions for investing in the education of future music educators in vocal jazz techniques. These demonstrations of growth are significant. Growth has not been easy however. New learning for both student and teacher takes time and interest. Finding quality music and instruction on effective methodology is an ongoing process. Opportunities for professional development continue to expand in Iowa through workshops and festival settings. ICDA and ACDA continue to feature quality ensembles at conferences (there are 6 jazz ensembles featured at the March ACDA National Convention in Chicago—a first!) and will lead in the development of opportunities in the vocal jazz area. Ultimately it is an individual choice. I can certainly attest to all the positive effects that jazz choir have brought to my program. This JEI newsletter features a guest contributor. Joel Foreman makes a passionate statement regarding the issue of show choir vs. jazz choir. I invite everyone to read and consider all aspects of his article. Please feel free to contact Joel or myself for further discussion or information. Happy New Year!
Something To ConsiderSubmitted by Joel Foreman
Let me begin by stating that what I am about to say is only intended to create critical thinking among professionals and an opportunity to assess what we do as music educators. So, here it goes…
High School Show Choir is no longer the best educational and musical addition to a choral program. Vocal Jazz has musical and educational value that I would argue is far greater reaching than that which is sung in most show choirs.
At every contest, conference, honor choir, and professional development opportunity I have attended, I can always count on one topic of conversation; directors love to relate about the monster that is high school show choir. We are frustrated by the time and energy that it consumes, the drama that coincides, the money it costs, the ratings we receive, and the drain it has on our personal and professional lives.
Let me be clear. It is not my argument that Show Choir has zero value or educational purpose. We can all acknowledge the valuable recruitment tool it was intended to be, the sense of hard work, dedication, and leadership it can produce, and the connection to the community it can create. My argument is that vocal jazz, serves just as many students, provides greater educational and musical value, and requires substantially less time, energy, and money of our students and us as teachers. Imagine this; what if you took all of the time and energy you spend on your choreography, costuming, weekend and summer rehearsals and instead spent it all on singing? How outstanding would your choirs be? How musically trained and experienced would your singers be? How enhanced would the core (concert choirs) of your program be? You can easily maintain 2-3 jazz choirs in the same amount of rehearsal time as one
show choir and it is currently being accomplished around the state.
Consider the current monetary investment for many schools. Most programs in Eastern Iowa are charging a fee of $300-$1200 to participate in show choir. For one choir of 40 students, (and many schools have 2 or 3 show choirs) that equates to $12,000-$48,000 per choir. Most schools could purchase and setup a new sound system for Jazz Choir with only 10% of that amount! Moreover, the fees are a yearly expense for Show Choir while only a one-time investment for Jazz Choir.
Consider the current musical investment for many schools. At most of the competitions, 2 or 3-part pop tunes have become the standard. We could speculate that this allows music to be learned faster, thus allowing for more time to prepare choreography, staging, costume changes etc. I strongly question the educational integrity of placing such a low priority on singing. Pop tunes and Broadway arrangements will never exist in the same educational league as vocal jazz.
In jazz, we routinely sing in 4-6 parts and utilize jazz harmonies that build the ears of singers. This music is extremely beneficial to the training of singers of all ability levels. We also stress improvisation and arranging (one of the National Music Standards) which allows for musical development and promotes listening and understanding of music theory and history. For any choral program to be successful, the priority must be placed on the quality of music both in the classroom and on the ballot.
As directors, we should seek clinics, workshops, master classes, and readings to strengthen our knowledge and understanding of jazz, branch out in our profession, and create highly educational opportunities for our students. As a professional organization (State or National Choral Associations) we should enhance our offerings to directors and that will help them grow in
JEI NEWSLETTER NO. 2 JANUARY 2011
FOR JAZZ EDUCATORS www.jeiowa.org
their knowledge and ability to teach vocal jazz.
I believe as a whole, we as vocal music educators been overtaken. Show Choir has become the tail that wags the dog. We need to reevaluate our programs, choose quality vocal literature, and keep the emphasis on singing. If you currently do not have an auxiliary ensemble or are considering adding another, I strongly urge you to consider starting a Jazz Choir. It will pay huge dividends both to the quality of our choral programs and to the lives of the students we teach. If you would like additional information on beginning a jazz choir or have any questions regarding your current vocal jazz program, please feel free to contact:
Joel [email protected] [email protected](515) 633-4000
The Jazz Education
Networksubmitted by Larry Green
[email protected] Greetings!!!! I am sitting at a table filled with JEN Registration and Exhibitor information!!!! I am now employed by Jazz Education Network as the JEN Network Office Coordinator, Exhibits Coordinator, and continue to be Network Affiliate Coordinator. Note: 2012 JEN will be in Louisville, KY with our Iowa friend, Jerry Tolson, as host at the Galt Hotel, Louisville. This will be a another great opportunity for Midwest groups/clinician/educators/enthusiasts to make plans to attend. IOWA is among the leading "back on its feet" state jazz educator groups in the entire US along with Ohio,
Massachusetts, Arizona, Missouri, and others. Please send me any materials which you would deem important/significant as I am going to use IOWA as an example at my presentation at the Open Board Meeting at the JEN Conference. (Its not that I am prejudice, is it???!!!!)
Synergy Jazz submitted by Bill Bergren
Synergy Jazz Foundation is pleased to announce a new collaboration with Drake University in presenting the Jazz Workshop/Concert Series. This monthly series brings faculty from the internationally known Jamey Aebersold Summer Jazz Workshops to Iowa in special four day residencies. Drake will be providing workshop and performance space in the new Patty and Fred Turner Jazz Center. The recently completed 1.5 million dollar facility was made possible through a gift by Drake alumnus and retired CEO of McDonald’s Corporation Fred Turner. The facility adjoins the Harmon Fine Arts Building and will be the center of Jazz education and performance in the central Iowa area. Dr. James Romain, a member of the Synergy advisory board, has been instrumental in establishing this relationship that will greatly benefit both Drake and the central Iowa Jazz community. Now in the third year, the Jazz Workshop/Concert Series features elementary school "informances" (all school assemblies) that include an educational component, interactive participation, and performance by the teaching artist in collaboration with Iowa musicians. Students are exposed to the art form of Jazz, stressing American culture, the importance and etiquette of group interaction, and the concepts of rhythm, melody, harmony, lyrics, and improvisation. Students participate through rhythmic movement, vocalization, and spontaneous reaction to the music. The different sounds of the instruments are explored as each member
of the ensemble explains the working of their instrument. Cross curricular examples such as interpersonal communication, mathematics of music, physics of sound, and the cultural and historical elements of the music are explored. Two days of workshops and jam sessions will be hosted by Drake in the Turner Center. The center features outstanding acoustics and with café seating has the feel of a small Jazz club. A Saturday evening performance features the visiting artist in concert with some of Iowa’s finest Jazz musicians. Students and educators as well as community members from all walks of life are welcome to take advantage of this unique event. Scheduled events in the series include University of South Florida saxophonist Jack Wilkins on January 22-23, Pat Harbison from Indiana University on February 12-13, and guitarist Corey Christiansen in conjunction with the Hoover Jazz festival on March 5-6. These events are suitable for instrumentalists and vocalists of all levels. Take note; students under 18 will be required by Drake to have a parental/guardian liability waiver. Synergy will be sponsoring the third annual Jamey Aebersold Summer Jazz Workshop Experience, July 10-16. By registering through Synergy you will receive free transportation and a mini-workshop to prepare you for the trip. Registration will be opening soon so keep your eyes open for special early bird discounts and scholarship opportunities. Participation has doubled in the past two years of this trip so when registration opens do not procrastinate. In the mean time check out the workshops here; www.summerjazzworkshops.comQuestions? [email protected] www.synergyjazz.org A great opportunity for your students to explore the world of Jazz is through the projects of Synergy Jazz Foundation.
JEI NEWSLETTER NO. 2 JANUARY 2011
FOR JAZZ EDUCATORS www.jeiowa.org
Jazz On The Air--Dennis Green, KCCK-FM
It was good to meet many of you at All State. If you’re wondering what the manager of a jazz radio station was doing hanging around the JEI booth, it’s actually simple: At KCCK, we are in the same business as you, education. For us, education takes two forms. First and most obvious, our daily programming. KCCK is not just a jukebox playing pop jazz. We work hard to balance our music between important archival recordings, and quality new jazz. And our producers research their shows to bring the listener interesting and useful background and context to help you better understand the music. In essence, every KCCK show is “Jazz 101.” But for several years, we have also taken a more direct educational approach, investing time and funds in
direct education programs, most provided free of charge to schools, that impact over 5,000 students annually. While our education programs at this time are limited to our coverage area in the Eastern Iowa Corridor, we hope they can be a model to other areas of the state, and also that through the JEI, we can see what other programs are working and incorporate those into our local area and around the state. Even if we aren’t doing school programs in your neck of the woods, remember that KCCK’s webcast is available wherever you are, and that our iPhone app makes listening convenient wherever you or your students may be. Listen online or learn how to access KCCK on the Mobile Web at www.kcck.org. There are several programs in particular we would recommend to enhance your students’ appreciations and knowledge of jazz. They’re listed on our Teacher resources page at http://www.kcck.org/jazz/teacher_resources.php. Also on this page are the notes from the presentation Rodney and I gave at All-State on engaging different learning styles in teaching jazz. In the meantime, I wish you good luck and a successful jazz band season!
News from the
President-ElectSubmitted by Chris Merz
A common complaint heard around the state is that there aren’t many opportunities to hear or perform jazz here in the middle of the cornfield. A quick dash around the internet proves otherwise. This spring is shaping up to be a busy one, with events of all kinds ranging from performances by local, regional and national acts to competitive festivals, many of which feature a strong educational component such as clinics or sight-reading. Media pundits, enamored with the “flavor of the month,” constantly repeat the mantra that that “jazz is dead.” Not true, although the easiest way to kill it is through lack of attendance. It is critical for the health of this music that educators and their students support these opportunities. We all have a stake in this, so attend when you can, and spread the word! In addition, I would encourage you all to send me notices of events you are sponsoring for inclusion in future installments of this calendar.
Please also feel free to contact me with corrections and we will post them on the JEI website as soon as possible.
JAZZ EVENTS:WHERE AND WHEN?
A common complaint heard around the state is that there aren’t many opportunities to hear or perform jazz here in the middle of a corn field.
JEI NEWSLETTER NO. 2 JANUARY 2011
FOR JAZZ EDUCATORS www.jeiowa.org
Jazz Events CalendarSpring 2011
LEGEND*Event includes clinics for participants^Event includes sight reading+Event includes competition!Event features professional jazz performances%Event includes jam session
Ongoing
Mondays, Des Moines Big Band, Adventureland Inn, Altoona, 6:30 PM
Wednesdays, Jazz Jam with Pat Smith/Rich Wagor Trio%, Gatherings, Cedar Rapids, 7 PM
February2/2, NWIBA District Jazz Festival*+, Sioux City Convention Center, all day
2/2, Trombone Shorty and Orleans Avenue!, Lincoln Hall, Chicago, 8 PM
2/5, Stanley Clarke with Hiromi!, Jazz at the Bistro, St; Louis, time TBA
2/4, Jazz at Lincoln Center Orchestra with Wynton Marsalis!, Symphony Center, Chicago, 8 PM
2/5, Urbandale Jazz Colloquium*,
Urbandale High School, all day
2/5, Central College Jazzmania*+, Pella, all day
2/5, John Scofield Trio!, Old Town School, Chicago, time TBA
2/11, Kurt Elling!, Old Town School, Chicago, 7:30 PM
2/11, Al Jarreau!, Touhill Center, St. Louis, 8 PM2/11, Ellis Marsalis!, Folly Theater, Kansas City, time TBA
2/12, NCIBA Middle School Jazz Band Clinic*, Clear Lake Middle School, all day
2/12, Morningside College Jazz Festival, all day
2/12-14, Synergy Foundation presents Pat Harbison!*%, Turner Center, Drake University, Des Moines. Saturday workshops at 9 AM and 1 PM, concert at 7:30 PM. Sunday jam at 1 PM. Sunday performance with the Des Moines Big Band at 6:30 PM, Adventureland Inn, Altoona
2/16-19, Ray Vega Latin Jazz Quintet!, Jazz at the Bistro, St. Louis, time TBA
2/17, Galactic!, Majestic Theater, Madison, WI, time TBA
2/17, Nnenna Freelon!, Center for Faith and life, Luther College, Decorah, 7:30 PM
2/18, Ladysmith Black Mambazo!,
Riverside Casino, 7:30 PM
2/18, Galactic!, Park West, Chicago, time TBA
2/18, Chris Botti!, Midland Theater, Kansas City, time TBA
2/18-19, Tallcorn Jazz Festival*+ and Sinfonian Dimensions in Jazz concerts featuring pianist/composer David Berkman!, Russell Hall and GBPAC, University of Northern Iowa, Tallcorn festival all day, SDIJ concerts 7:15 PM
2/19, SWIBA District Jazz Festival*+, Glenwood High School (3A/4A), all day
2/19, Ramsey Lewis Trio!, McAninch Arts Center, Chicago, 8 PM
2/19, Chris Botti!, Powell Symphony Hall, St. Louis, time TBA
2/20, John Pizzarelli!, Mayne Stage Theater, Chicago, time TBA
2/22, Lizz Wright!, Space, Chicago, 8 PM
2/22, Bill Frisell and Vinicius Cantuaria!, Cedar Cultural Center, Minneapolis, time TBA
2/24, SWIBA District Jazz Festival*+, Audobon High School (1A/2A), all day
2/25-26, Coe College Jazz Summit with Virginia Mayhew and Craig Boche*+!, Cedar Rapids, all day
2/25-26, Indian Hills Jazz Festival*+!, Ottumwa, all day
2/26, Jim Coffin Jazz Festival*+,
Woodward Granger High School, all day
2/26, Dirty Dozen Brass Band with Jon Cleary!, Sheldon Hall, St. Louis, time TBA
2/27, Terence Blanchard!, Orchestra Hall, Minneapolis, time TBA
March2/2-5, Chris Potter Underground!, Jazz at the Bistro, St. Louis, time TBA
2/4, Arturo Sandoval!, Folly Theater, Kansas City, 3 PM
2/4, Dirty Dozen Brass Band with Jon Cleary!, Space, Chicago,8 PM
2/5, SEIBA District Jazz Festival*+, Iowa City West High School, all day
2/5, NEIBA District Jazz Festival+, 1A/2A at Hudson High School, 3A at Vinton –Shellsburg High School, 4A at Waterloo West High School, all day
2/5, Hoover High School Jazz Festival*+!, Hoover High School, Des Moines, all day
JEI NEWSLETTER NO. 2 JANUARY 2011
FOR JAZZ EDUCATORS www.jeiowa.org
2/5-7, Synergy Foundation presents Corey Christiansen!*%, Turner Center, Drake University, Des Moines. Saturday workshops at 9 AM and 1 PM, concert at 7:30 PM. Sunday jam at 1 PM. Sunday performance with the Des Moines Big Band at 6:30, Adventureland Inn, Altoona
2/6, Joe Bonamassa!, Adler Theater, Davenport, time TBA
2/11, Arturo Sandoval!, Folly Theater, Kansas City, 3 PM
2/16-19, Christian McBride Trio!, Jazz at the Bistro, St. Louis, time TBA
2/17, Galactic!, the Pageant, St. Louis, time TBA
2/18, Equilateral at the Mill!, Jazz After Five series!, Iowa City, 5 PM
2/25, Equilateral at the Mill!, Jazz After
Five series!, Iowa City, 5 PM
2/24, Take 6!, Iowa Memorial Union (Main Lounge), Iowa City, 7:30 PM
2/25, Terence Blanchard and Branford Marsalis!, Symphony Center, Chicago, 8 PM
2/25, Diane Reeves!, American Jazz Museum, Kansas City, time TBA
Sincerely,Chris Merz - President [email protected]
CodaFinal Words From The
President
Before we part ways for this issue of the JEI newsletter, let me emphasize the importance of individual involvement. A number of great things have and will continue to happen for JEI due to committed members sharing their time, experience and expertise. I am including the minutes from our business meeting held recently at the IMEA conference this past November. I do this to encourage open and continuing dialog and also to serve as a reminder that this is YOUR organization. You can find a complete listing of past JEI meeting notes, newsletters and founding By-Laws under the "newsletters" tab on the home page of our website www.jeiowa.orgAs you will see, "Robert's Rules of Order" have been replaced by a bit more casual approach. Be that as it may, we're proud to be working together all the same!
Till next time,Rod "
Rod Pierson President [email protected]
JAZZ EDUCATORS
OF IOWA
www.jeiowa.org
Renew your member ship by clicking here.
You practice every time you play.
Thelonious Monk
JEI NEWSLETTER NO. 1 NOVEMBER 2010
Listen to Jazz
Learn more
Join us on
Visit our website
FOR JAZZ EDUCATORS www.jeiowa.org
JEI Meeting
Friday, November 19,
2010
Rod Pierson presiding: All-State Jazz Bands....Rehearsals will be at Johnston. New times for the rehearsals are on the JEI web site. Vocal All-State Jazz Group…ICDA may approach JEI to be more involved with handling the finances for the All-State Vocal Jazz Group scheduled during the ICDA Conference in July. Rod mentioned the possibility of connecting with Hancher Auditorium to sponsor some jazz residencies in the state. Program Director Jacob Yarrow with Hancher will serve as our main contact. Pat Kearney is in the process of collecting information from past All-State Jazz Ensemble conductors. This is in an effort to showcase either specific clinic materials presented at past IBA conferences or to highlight the Guest Director’s area(s) of specialization. This project reinforces Iowa’s
connection and JEI’s commitment to supplying the very best resources in Jazz Education. Articles are to be posted under “Classroom Resources” tab in the website. Steve Kellar has continued to add content to the JEI web site. Pat Kearney will investigate what it would take for Jolesch Photography to take pictures of the All-State Jazz groups. Chris Bird asked about the possibility of having Triad Studios do a “video” component to their product for recording the All State jazz Ensembles at IBA.
More research is needed regarding the feasibility and mechanics of how and when to video record.
Chris Merz Report…..
Road Show Concept: Bring in a working Professional Jazz Group to tour the state and provide jazz
experience to areas less served with jazz performance and clinic opportunities.
Late October/Early November time frame would be the best time to schedule this Road tour. Chris continues to price out options for consideration in 2011-2012. Funding is a major consideration and everyone’s efforts and ideas are appreciated.
Treasurer Report / Myron Peterson…..Membership is at 84 (higher than expected). All-State Jazz continues to break even.
Past-Presidents Report/Steve Shanley: Congratulations on the news letter….Working on Mentorship program. Is there a way to include mentorship questions on the registration form.
Mike McMann suggested gradually disseminating information from the North Scott web site in the newsletter.
Adjourned…
JEI NEWSLETTER NO. 2 JANUARY 2011