jazzed july 2009
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JazzEd July 2009TRANSCRIPT
JULY
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GEORGEGARZONE
Focus SessionInterpreting Slash Marks
Basic TrainingEar Training 101
T h e J a z z e d u c a T o r ' s M a g a z i n e
The Official Publication of
JAZZ EDUCATION NETWORK
JULY
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Who SaysTrumpets Are Just For Boys?
“My 3001mv trumpet feelslike it was made just for me.I can’t believe a horn canmake me feel this happy.”
Kiku Collins performs and records allover the world with pop superstars, indiebands, and her solo group. Her new album“Here With Me” is in stores now. For more information visit www.kikucollins.com
www.Getzen.com
JAZ_COV2 COV2 7/22/09 2:08:18 PM
JAMEY AEBERSOLD JAZZ®
w w w . j a z z b o o k s . c o m
That dis nc ve, iconic ‘count-o ’ has introduced thousands of musicians to the world of jazz improvisa on. Jamey’s familiar voice is a reassuring reminder that the rhythm sec on is ght, the changes are correct, and the experience will be as “real” as it gets! You simply can’t go wrong with the legendary rhythm sec ons on Jamey’s Play-A-Longs.
“I’ve found the best way to improve your musical skills is to be prepared. My Play-A-Long book and CD sets provide everything you need to learn jazz. From a basic founda on to all the great jazz standards. I’ve dedicated my life to helping you enjoy making ‘your own music.’”
- Jamey Aebersold
“One, two,
One, two, three,
four ... ”PLAY WITH LEGENDS.Jazz
MAJOR & MINOR
MAIDEN VOYAGE
Summertime • Bb Shuf le Blues • Impressions • Maiden Voyage • Watermelon Man • Doxy • Autumn Leaves • Solar Flair • Song For My Father • Cantaloupe Island • Satin Doll • Blues In F • Footprints
JAZZ:HOW TO PLAY & IMPROVISE
ANYONE CAN IMPROVISE
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2 JAZZed July 2009
REPORT: NEW ENGLAND CONSERVATORY CELEBRATES 40 YEARS OF JAZZ 9
2009 MONTREAL JAZZ FESTIVAL 20
BASIC TRAINING: EAR TRAINING 101 21Chaim Burstein offers three techniques to improve students’ skills at ear training and, consequently, their overall musicianship
GEORGE GARZONE: BECOMING ONE WITH THE MUSIC 26A prolifi c recording artist and performer since the 1970s, saxophonist George Garzone is also one of the foremost educators in jazz today. Currently on staff at Berklee College of Music, New England Conservatory, New York University, and Manhattan School of Music, George has mentored some of the biggest names around: Joshua Redman, Branford Mar-salis, and Danilo Perez, to name just a few.
FOCUS SESSION: INTERPRETING SLASH MARKS 30Lee Evans, professor of Music at NYC’s Pace University and author of numerous music books and articles, offers insight insights into properly understanding slash marks in fakebook leadsheets.
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contentsJ U L Y 2 0 0 9
George Garzone “Teaching wasn't my goal, but as i did it more and more, I got more and more into it.”
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PUBLISHER’S LETTER 4NOTEWORTHY 5SETH ABRAMSON:WHAT’S ON YOUR PLAYLIST 11JAZZ EDUCATOR'S NETWORK SECTION 12
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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
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The publishers of this magazine do not accept responsibility for statements made by their advertisers in business competition. No portion of this
issue may be reproduced without the written permission of the publisher. © 2009 by Symphony Publishing, LLC. Printed in the U.S.A.
™
JULY 2009Volume 4, Number 4
GROUP PUBLISHER Sidney L. [email protected]
PUBLISHER Richard E. [email protected]
Editorial StaffEDITOR Christian Wissmuller
ASSOCIATE EDITOR Eliahu [email protected]
STAFF WRITER Denyce [email protected]
Art StaffPRODUCTION MANAGER Laurie Guptill
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
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
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Publishing, Sales, & Editorial Offi ce
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Member 2009
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20
JAZZed July 2009 3
Cover photograph: Naoki Iwane
• PRESIDENT'S LETTER• NETWORTHY NEWS• 2009 JEN BOARD OF DIRECTORS ELECTION RESULTS
• MEMBERSHIP REPORT• THE JEN WEB SITE A STEP-BY-STEP GUIDE
JAZZ FORUM 33GEARCHECK 35CROSSWORD PUZZLE 39HOT WAX 40CD SHOWCASE 42
CLINICIANS CORNER 45CLASSIFIEDS 46AD INDEX 47BACKBEAT: JULIE CORYELL 48
JAZZ EDUCATION NETWORK
RPMDA
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Cuba has an extraordinarily rich history of produc-ing exceptional jazz musicians, many of whom per-formed in some of the country’s legendary venues in the fi rst half of the twentieth century, including the Roof Garde Salon in the posh Hotel Sevilla and the prestigious Hotel Presidente in Havana, among many others. Unfortunately, from the time of the Cuban Revolution in the 1950s, it was not until 1988 that the U.S. government allowed Cuban re-cordings into the USA and artists to travel here, albeit with signifi cant restrictions. Much of this, unfortunately, was reversed under the George W. Bush administration, as they “reduced the number of Cuban artists allowed to perform stateside and stopped issu-ing such visas altogether after 2003” (Billboard.biz, 5/15/09).
Many Cuban jazz musicians, ac-cording to the Chicago Tribune article, “Home-grown Virtuosos” (2/2/03), have benefi ted from the strict, classical style training favored by the infl ux of Russian teachers who emigrated during the com-munist rule. “The merger of Cuban musical tradi-tion and rigorous Soviet teaching has produced some of the greatest jazz players of the past 40 years.” However, the downside of communist rule was that many musicians, particularly students, to this day are performing and studying on sub-standard quality Soviet-era instruments, making it even more diffi cult to hone their craft. Although the teaching is superb, many conservatories and music schools in Cuba also remain in poor physi-
cal condition and have not been updated with the latest music technology that has been accessible to musicians around the world.
There is a hopeful anticipation on the horizon as relations between the U.S.A. and Cuba are fi -nally beginning to thaw under the Obama admin-istration. Some restrictions have been removed for Cuban Americans to send money and visit their families in their home country. As recently as June 1, according to ipsnews.net, Secretary of
State Hillary Clinton announced that talks on direct postal service and migration concerns indicate a new normalization of ties between the two countries. Although much of the embargo is still in place, art-ists and booking agents have begun to consider opportunities again to plan tours in the USA, including such Cuban favorites as Vocal Sam-pling, Septeto Nacional, the dance group Los Van Van, and others
(Billboard 5/15/09). The potential for further relations between our
countries opens myriad possibilities for greater musical interaction ranging from sales of musical instruments, equipment and publications, to more open musical festivals, improved training facilities, and of course the fl ow of musical ideas. Far too many Cuban musicians’ voices have been stifl ed for too many years, and it stands to reason that if the relations continue to improve, it is plausible for a great new era for jazz to emerge in the very near future. Stay tuned…
publisher’s letter R I C K K E S S E L
Back to Havana
“Far too many Cuban
musicians’ voices have
been stifl ed for too many years.”
4 JAZZed July 2009
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JAZZed July 2009 5
ynton Marsalis and friends joined the First Lady, Michelle Obama, on June 15 at The White House for the fi rst Jazz Studio. Honoring her commitment to the arts, First Lady Michelle Obama launched
the fi rst of three music studios to take place throughout the year. The White House opened its doors to 150 students to participate in a series of workshops including “American History and Jazz,” “Syntax of Jazz,” “The Blues Experience and Jazz,” and “Duke Ellington and Swing.”
The workshops were led by Ellis, Branford, Jason, Delfeayo, and Wynton Marsalis, as well as Jazz at Lincoln Center’s MSJA director Eli Yamin and Jazz at Lincoln Center Orchestra member Sean Jones, among others. Students who participated in
noteworthyJazz at the White House
W
by Rupert Hörst (www.hoerbst.net)Rupert's collections of music-themed cartoons – Brassival, Woodstocks, and Stringled – are available in the U.S. through Hal Leonard Publishing.
brass fantasy
Berklee College’s Africa Scholars ProgramBerklee’s Africa Scholars Program is designed to create op-
portunities for gifted African musicians who lack the fi nancial means to study at Berklee. The college will be holding audition and interview events offering talented musicians the chance to be awarded scholarships to attend the college. The auditions will be conducted in Nairobi, Kenya. Events also include clinics, a roundtable discussion, and a concert.
The college launched the Africa Scholars Program last sum-mer in Ghana and South Africa, resulting in $1.4 million in scholarship awards. The program, established by Berklee presi-dent Roger Brown and wife Linda Mason, is also intended to enhance Berklee’s presence in Africa; increase the number of Af-rican students, fostering a signifi cant cultural exchange; and in-crease awareness of the college among African musicians. Berklee will award another full, four-year scholarship covering tuition and room and board this year. Musicians who audition will also be considered for many other scholarships awarded by Berklee’s World Scholarship Tour, where the college visits more than 40 cities.
For information about the African Scholars Program, visit www.berklee.edu.
the workshops were invited to the stage to perform with the jazz greats and also received a lesson in the history of jazz as well as some general performance advice. Following the workshops, Michelle Obama in-troduced a short interactive concert featuring the Marsalis family and Paquito D’Rivera on clarinet.
To fi nd out more, visit www.whitehouse.gov.
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6 JAZZed July 2009
noteworthySatchmo SummerFest 2009
rench Quarter Festivals, Inc. (FQFI) will celebrate the ninth annual Satchmo SummerFest July 30th through August 2nd at Louisiana State Museum’s Old U.S. Mint in the French Quarter. This free family-friendly jazz festival is dedicated to the life, music, and legacy of New Orleans’ native son, Louis “Satchmo” Armstrong.
Two stages of music on the grounds of the Mint, and one indoor stage will feature traditional jazz, contemporary jazz, and brass bands. Indoor children’s activities include collage art projects, Zulu coconut and second-line umbrella decorating, a daily children’s second line parade and more. In addition, screen-ings of Armstrong animations and family friendly fi lms in which he appeared will be shown inside the Old U.S. Mint.
Inside the Mint, an array of speakers will host seminars, discussions, music, and movies. Presenters include Professor Robert O’Meally of Columbia Univer-sity; George Avakian - Armstrong’s record producer and friend; Michael Cogswell of the Armstrong House and Archives; noted Armstrong scholar and Grammy award winner Dan Morgenstern; writer and Armstrong fi lm collector Ricky Ric-cardi; and Yoshio Toyama, aka “Satchmo of Japan,” who will also perform with his Dixie Saints on the Traditional Jazz Stage.
Satchmo SummerFest keynote speaker, Professor Robert O’Meally of Colum-bia University, will speak on Thursday, July 30 at the Louisiana State Museum’s Old U.S. Mint, 2nd fl oor. This event is free and open to the public. The Louisiana State Museum has added a photo exhibit to the Old U.S. Mint. It contains 100 photographs along with narrative, from a time when the U.S. State Department sent famous jazz musicians (including Louis Armstrong, Dizzie Gillespie, Benny Goodman, and other greats) all over the world to act as ambassadors for the United States.
For more information on all FQFI festivals and events, visit www.fqfi .org.
F
Hudson Summer Jazz WorkshopPianist Armen Donelian and saxo-
phonist Marc Mommaas present the third annual Hudson Summer Jazz Workshop, August 13 - August 16, in Hudson N.Y. This year’s special guest is David Liebman.
Improvisation, composition, duo and ensemble playing, technique, practice
routines, and artist life issues are some of the topics to be covered. Vegetarian meals and housing are included in en-rollment fees. Enrollment is limited to al-low for an in-depth learning experience. All musicians aspiring to advanced level work are welcome.
The Workshop includes sessions with Armen Donelian and Marc Mom-maas on Thursday evening and full days on Friday and Saturday. David Liebman arrives on Sunday for a spe-cial morning session and a conclud-ing afternoon student/faculty concert at the historic Hudson Opera House.
For more information, visit www.armenjazz.com
“The music business is a cru-el and shallow money trench, a long plastic hallway where thieves and pimps run free and good men die like dogs. There’s also a negative side.”
~ Hunter S. Thompson
Say What?
Deboskey Named “Jazz Educator of the Year”
Mark Deboskey, KSDS-FM/Jazz88 station manager, has been named re-gional “Jazz Educator of the Year,” by the California Association of Music Education (CMEA)/Southern Border Section; the station he leads earned a national “My Source Community Im-pact Award for Engagement,” from the Corporation for Public Broadcasting (CPB). Jazz88 received the CPB award at a luncheon on July 8, 2009, at the Public Radio Development & Market-ing Conference at the Hilton San Diego Bayfront Hotel.
Both awards recognized the station’s innovative programs and services to young musicians. The CMEA Award to DeBoskey noted his leadership in the station’s annual CMEA High School Jazz Festival, held at San Diego City College. The Festival, now in its fi fth year, gives high school and middle school bands the chance to perform, receive critique, and coaching from jazz educators as well as professional musicians. CPB’s Award to the station also recognizes the Festival, along with Jazz88’s annual “Music Matters” instrument donation program for city schools.
For more information, visit www.jazz88.org.
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JAZZed July 2009 7
12th annual Kettle Moraine Jazz Festival
The 12th annual Kettle Moraine Jazz Festival will be held September 11 & 12, 2009. The event will take place along the banks of the upper Milwaukee River at Riverside Park in West Bend, Wisconsin. The festival, expected to draw more than 5,000 jazz lovers from all over the country, particularly from throughout Wis-consin and northern Illinois, will once again feature internationally recognized jazz musicians and vocal-ists. In addition to music, the festi-val has international cuisine, an arts marketplace where local and regional artisans display and sell their work, and interactive sponsor exhibits.
For more information, visit www.kmjazz.com.
NEA Jazz Masters Award
The National Endowment for the Arts announced the recipients of the 2010 NEA Jazz Masters Award – the nation’s highest honor in this distinctly American music. The eight recipients will each receive a $25,000 grant award and be publicly honored in an awards ceremony and concert on Tuesday, January 12, 2010 at Frederick P. Rose Hall, home of Jazz at Lincoln Center. George Avakian, a jazz producer, man-ager, critic, and educator from River-dale, N.Y., will receive the 2010 A.B. Spellman NEA Jazz Masters Award for Jazz Advocacy.
To fi nd out more and to view the list of award recipients, visit www.arts.gov/news/news09/2010-NEA-Jazz-Masters.html.
noteworthy Columbia College Chicago
...it keeps getting better!
PH
OTO
BY
NO
LAN
WEL
LS
You’re talented, inventive, determined. You need an education that understands your music and where you want to go with it. Columbia’s specialized programs in composing and performing contemporary, jazz and popular music will take you from basic theory to in-depth, high-level musicianship. Excellence in educating contemporary musicians is our goal. What’s yours?
WWW.COLUM.EDU/MUSIC
312.369.6300
IanJazz StudiesClass of 2010
JAZ_7 7 7/22/09 2:13:27 PM
noteworthy
8 JAZZed July 2009
New York Voices is the Grammy Award-winning vocal ensemble renowned for their excellence in jazz and the art of group singing. (Photo: Chris Carroll)
Sennheiser Supports BGSU Vocal Jazz Camp
The 2009 Bowling Green State Uni-versity’s (BGSU) Vocal Jazz Camp fea-tures instruction from members of the vocal jazz quartet, New York Voices. In recognition of what a signifi cant and unique opportunity the camp is for se-rious students of vocal jazz, Sennheiser and Neumann will support the camp by providing a scholarship and live microphones both for use during the camp, as well as for prizes.
New York Voices have been at the forefront of vocal jazz for over 20 years. Their performances and re-cordings have earned them numerous Grammys, in addition to a raft of other awards and accolades. This year marks the fi rst time that all four members will be at the BGSU Vocal Jazz Camp to provide instruction and inspiration to attendees.
BGSU Vocal Jazz Camp will run from August 4-9 and welcomes singers and ensembles at any level - from high school and college students to univer-sity faculty and professionals. Intense instruction in clinics, ensemble ses-sions, coaching, and special interest will convey the insights, nuance, and techniques that New York Voices have gained over their long careers. During ensemble and solo singing sessions, participants will use sixteen e 935 live vocal microphones that Sennheiser has provided to the camp. One lucky and talented soloist will win a Neumann KMS 104/105 live vocal mic.
The Sennheiser/Neumann schol-arship will pay one full tuition to the winner. Winning ensembles can either admit one free participant or split the deduction of one tuition among their members. Note that ensembles are also eligible for the camp’s ensemble dis-count, and camp participants that are already registered may also apply.
For more information, please visit www.sennheiserusa.com.
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JAZZed July 2009 9
In 1969, the New England Conservatory became the fi rst music conservatory to offer an accredited Jazz Studies program. The program was the brainchild of jazz historian, composer, musician, and then Conservatory president, Gunther Schuller. “I thought it was outrageous that there were no music schools in this
country offering Jazz Studies, particularly because jazz was created in this country. I always said this, but was never in a position to do anything about it,” Gunther explains. His fi rst act as NEC presi-dent was to announce the creation of a Jazz De-partment. The point was to not just have a school jazz band, but to offer a full jazz curriculum with degrees. His vision for the program was to nur-ture the “complete musician.” As current NEC Jazz Department chairman, Ken Schaphorst explains, “Our Jazz majors take the same music theory and music history classes as our Classical majors. This is a very important distinction between NEC and other schools where the Jazz students are often segregated from Classical majors.” It was Gunther’s intent to make the Jazz Studies program a part of the entire school and the NEC community. The program was designed to be free of orthodoxy and
New England Conservatory Celebrates 40 Years of Jazz Studies
Ken Schaphorst conducting a rehearsal in Jordan Hall
Gunther coaching a rehearsal in Brown Hall(All photos: Andrew Hurlbut/NEC)
boundaries. In 1986, NEC graduate and long time faculty member, Hankus
Netsky, was hired to chair the Jazz Studies department. Hankus explains, “At the time the program had taken a big turn from its original roots,
but it was not unsalvageable. My goal was to bring it back to those roots.” In the early 1980s, the Jazz Studies depart-ment went through seven chairpeople. According to Hankus, even though the program wandered a bit, possibly los-ing sight of Gunther’s original vision, it was never without quality. One of the changes implemented by Hankus was student concerts. “Why should a stu-dent come in, study for a year and never play for the public, at all?” That aspect of the program is still in place, larger than it has ever been, with great amount of community outreach. Throughout the year, in addition to various concert per-formances, NEC students showcase their talents at local area jazz clubs. As Hankus sees it, “Being in the Jazz Department is a way of creating an educational pro-gram that can inform a student’s iden-
report
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10 JAZZed July 2009
Prep School’s Youth Jazz Orchestra, one with vocalist Charles Morgan (and strings!) at NEC’s annual fund-raiser “A Feast of Music,” at the Copley Fairmont.
In concert in Brown Hall, conducted by Ken Schaphorst.
tity. This is not a cookie cutter program that encourages students to play just like someone else. My peeve is when a student comes in with a Miles Da-vis preset because they play trumpet. Ultimately students have to fi nd their own voice. Jazz evolves and NEC has an evolutionary program.”
Since 1969, the Jazz program’s fac-ulty has grown, along with the num-ber of students, which has made the admissions process more competitive. The program is still as well rounded as it was 40 years ago, covering every-thing from classic jazz history, to free jazz, and even world music. A hum-bled Ken Schaphorst says, “I’m very excited about our 40th anniversary. I don’t think most people are aware that NEC has been doing this for as long as it has and at the level it has. When I think about all of the amazing gradu-ates of the Jazz program, I think it re-ally is worth celebrating.” The NEC Jazz Studies program will mark this anniversary with a two weeklong series
report
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JAZZed July 2009 11
1. “Legs” (off of Let My People Go) - Darondo Listen to this and then try and tell me that Prince didn’t mine this record. Darondo somewhat of an enigma but I caught a rare live show at SXSW a couple of years ago and it was the highlight of the shows I saw there.
2. “Stuttering” (off of Live at Jazz Standard) – Fred Hersch Pocket OrchestraAlways musically engaging and imaginative, Fred assumes more duties with this bass-less group. It just happened to be recorded live at Jazz Standard.
3. Serenade – Toninho HortaAt the time I discovered this CD I wore it out on dates with my then-girlfriend who is now my wife. This is simply one of the greatest solo Brazilian guitar/vocal recordings ever made. The irony is that it was recorded live in Korea.
4. “Ocean And The River” (off of Senzo) - Abdullah IbrahimA contemplative solo piano work of profound beauty and spirit by this Zen South African piano master who was discov-ered originally by Duke Ellington.
5. “Lady Luck” (off of Kids) Hank Jones & Joe LovanoAs strong and fulfi lling a musical duo rapport in jazz you can fi nd, but this record should have been recorded live at Jazz Standard! (laughs)
6. “The Blossom of Parting” (off of Metamorphosen) - Branford MarsalisBranford’s soprano tone on this track is a work of art in and of itself ,but paired with the quiet fi re of their group interplay on this Joey Calderazzo composition that all at once sounds new and classically familiar, is magical.
7. “Knives Out” (off of Day is Done) – Brad Mehldau TrioBrad has developed such a personal piano trio aesthetic that inhabits a world that shines on this interpretation of a Radiohead tune.
8. “You Are My Sunshine” (off of Powell’s Place) – Shannon PowellThis takes me back to Donna’s Bar in the French Quarter where I fi rst saw Shannon perform with his group which is a quintessential down home New Orleans jazz celebration.
9. “Now, Now” (off of Marry Me) - St. Vincent If you were to imagine Bjork collaborating with King Crimson that is where you would fi nd this dynamic and sonically rich track by the talented Annie Clark that sticks in your head. While it’s not jazz, it is surely artful.
10. “Norleans” (off of Too Damn Hot) – Dr. Lonnie Smith This track from this aptly titled release is a funky, greasy organ trio blues as only the Doctor could prescribe.
As artistic director of Jazz Standard, Seth
Abramson has played an instrumental role
in shaping one of the most successful and
beloved clubs in New York City. His creativ-
ity in booking offers guests an eclectic mix of
both established and emerging jazz artists in
addition to blues, world, and R&B musicians.
In addition, Abramson serves as president of
Rabbit Moon Productions, a booking, live mu-
sic, production and consulting company.
What’s on Your Playlist?
JAZ_11 11 7/22/09 2:14:49 PM
Our network is growing
“Jazz is the only music in which the same note can be played night after night but differently each time.” – Ornette Coleman
Dear readers, members continue to roll in and I want to thank you for your continued support of Jazz Education Network. Be-ing a Full Member of JEN allows you to vote, hold offi ce and receive the magazine, if you are not doing so already. Most importantly, it shows your investment and commitment to the future of jazz education. If you haven’t taken time to join us you may do so today by visiting us at www.JazzEdNet.org . JEN is dedicated to building the jazz arts community by advancing education, promoting performance, and developing new audiences.
As a new organization we have gathered information via surveys, Open Forums and our JEN Web site and personal conver-sations. In our last survey, the “One Minute, One Question Survey” on the viability of having a conference in New Orleans next spring---your responses told us that though economic times are tough way over half of you said you would attend…many said the March date was not ideal. You can be sure that these responses will be studied at the summer meeting of the new Board of Directors and we will plan accordingly from there. We have held Open Forums in Chicago, Bloomington, IL and Anaheim and have one more planned –on the East Coast in Winchester, Virginia on July 23rd at 1:00 p.m. at Shenandoah University at the JEN endorsed National Jazz Workshop---see Calendar of Events on the Web site for details. We continue to invite your viewpoints as we join together to connect, network and work towards transforming the culture of jazz education!
JEN members, thank you for voting in our fi rst offi cial JEN Board of Directors election. JEN proudly announces the fi rst elected board of directors in this issue of JazzEd, please see appropriate page in this section. This new board will take offi ce July 1st. The Executive Committee (President, President-Elect, Vice-President, Secretary, Treasurer) will be elected from the new board at their summer meeting. At this time I would like to recognize and thank the volunteer JEN Board members whom have served diligently in a temporary capacity at their own expense since last June as they will not be serving on the new board: Jarrard Harris, Bob Breithaupt, Dan Gregerman, Ellen Rowe, Julie Traenkenschuh, and Michael Kenyon. We appreciate your many contributions and count on your continued support.
I have made the decision to go into semi-retirement early to allow more time to work on JEN. This means I am retiring from Highland Park High School as the Fine and Applied Arts Department Chair and teacher and will stay on part time to produce the biennial Focus on the Arts Festival. As most of you know, JEN has no paid staff at this time and building an organization of this
stature takes time and energy. Thank you for electing me to your board of directors, I am humbled by your support and will do everything in my power to move the organization onward and forward.
We look forward to new networking opportunities and are very excited about upcoming events and new partnerships and sponsors that are developing to advance jazz education. Dr. Lou Fischer represented JEN at the fi rst Quincy Jones Musiq Consortium in New York City this spring, we are honored to work with them in this project to connect more youth to jazz. We are collaborating with the Jazz Arts Group in Columbus on a project related to developing a model for audience development, and have just become involved with NAMM’s Support Music Coalition so we can further the mission of developing audiences.
As you head into the summer, remember to take time to renew, refresh…make time to do what you love and be with loved ones and family. It is so important that we revive ourselves so we can have all the energy we need to do what is ahead. Take time to visit our JEN Web site (www.JazzEdNet.org) and visit us often as we become your most valuable portal for jazz education information and news.
In the spirit of collaboration, good will, and with the advancement of jazz education always in mind…I look forward to working with you and for you.
Mary Jo PapichPresident, Jazz Education Network
Highland Park High School433 Vine Avenue
Highland Park, IL 60035224-765-2164
JAZZ EDUCATION NETWORKA MESSAGE FROM JEN PRESIDENT MARY JO PAPICHJuly, 2009
Our goal is to be a vital resource for a constantly evolving global art form today and for JENerations to come.
www.JazzEdNet.org
JAZ_12 12 7/22/09 2:15:13 PM
JAZZed July 2009 13
networthynewsThis column highlights what’s happening in the jazz world and features news sub-
mitted specifi cally for this area of the magazine. Want your event and/or news pub-lished here? Send your info (150 words or less to [email protected]
JAZZ EDUCATION NETWORK
PARIS RUTHERFORD (TX-Board) has announced his retirement from the UNC Jazz Studies Program as Director of the Vocal Jazz Program. Speak-ing of UNT, trombone great STEVE WIEST has been named to replace Neil Slater as Director of the One O’Clock Lab Band beginning Fall 2009. Steve was the interim director 2008-09 while a national search was performed.
After forty years of teaching in public schools, JOHN KUZMICH (CO) will be retiring effective May 28th. John plans to spend more time presenting clin-ics and writing articles. John will be presenting a workshop on How to make “live” digital recordings and incorporate them on one’s Web site seamlessly in minutes at the International Association of Schools of Jazz, June 29 to July 4 in Lucerne, Switzerland, and teaching combos, big-band, music technology, theory and jazz education techniques at the 2009 International Pulawy Jazz Workshop in Pulawy, Poland, July 10-17, 2009.
McNeese State University Professor, Director of Jazz Studies and saxophon-ist RICK CONDIT (LA-Expert Coordinator) recently returned from a six week Fulbright Senior Specialist grant in Romania. Condit was performing, giving workshops, and helping with curriculum development at the University of the West in Timisoara near the Hugarian border. DARIUS BRUBECK (South Africa) will spend the next Spring semester at the same institution as a Fulbright Senior Scholar. Condit is also helping to coordinate plans for a performance tour of Ro-mania by several American university big bands next summer. The Council for the International Exchange of Scholars (CIES), which administers the Fulbright program, has been extremely supportive in promoting jazz education in Romania, funding numerous grants in the last eight years. Fulbright is currently advertising for a one or two semester grant opportunity in jazz education in Romania for the 2010-11 school year. Information is available at the CIES Web site: www.cies.org. The grant number is 0359. You can also contact Rick for more information
Trombonist member TOM “BONES” MALONE (NY) continues to light it up nightly on the Dave Letterman Show as a member of the CBS Orchestra under the direction of pianist PAUL SCHAEFFER.
The second annual Trombone Institute at Interlochen will now offer a jazz component. Noted NYC jazz trombonist JOHN FEDCHOCK (NY-Expert) will take residency at the Institute during its entirety, June 13-19, offering master classes and private instruction in jazz styles, improvisation and performance techniques. Fedchock is joined by three leading artist-teachers of trombone: MARK LUSK (Penn State), MARK HETZLER (U. Wisconsin-Madison and TOM RICCOBONO (Interlochen Arts Academy). The Institute will provide an opportunity for serious trombonists age 15-22 to spend a week of intensive study. Admission is limited to 24 participants and 16 auditors. Daily mas-ter classes will focus on solo repertoire, etudes, jazz studies and orchestral works. Private lessons are available as well as solo and chamber recitals.
Saxophonist MILES OSLAND (KY) and co-leader RALEIGH DAILY, pia-nist have released a new cd on the SeaBreeze label featuring the OSLANDAI-LEY JAZZTET titled Evidence. Joining the two leaders are JOHN WILLM-ARTH, drums and DANNY CECIL on bass.
Composer/Arranger/drummer TIM DAVIES (CA) has released a cd featuring his outstanding big band from Los Angeles. The album is titled DIALMENTIA and the cover features Tim in a straight jacket. The author provides a detailed explanation of the title and cover within the album credits. Davies pens the Nine origi-nal arrangements, eight of them his own compositions, featured on this disc. The one exception being Duke Ellington’s Caravan(-dalized). Two years in the making, this is an excit-ing contemporary approach to big band music in which Tim incorpo-rates some rap, turntables, et. al.
Two of jazz’s fi nest were hon-ored with Achievement Awards in the June issue of DOWNBEAT. JIM WIDNER (MO-Board/Summer Camp Expert) was recognized for his con-tributions to jazz education, specifi -cally his dedication to planning and producing summer jazz camps since 1988. The summer jazz camps are modeled in the manner of Stan Ken-ton ‘s former camps. This summer the four camps will be at the Univ. of Nebraska-Omaha, California State-Sacramento, the University of Mis-souri-Kansas City, and the University of Missouri-St. Louis.
ROB KLEVAN (CA), Director of Jazz Education for the MONTEREY JAZZ FESTIVAL (CA-Institutional Partner) was recognized for his Achievement in producing one of the largest premier top student jazz band and vocal jazz high school/col-lege competitions in the country. The Next Generation Festival takes place in downtown Monterey, CA. Rob is now launching a Digital Music education project and has expanded the festival’s Traveling Clinician pro-gram.
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networthynewsJAZZ EDUCATION NETWORK
week was percussionist RUBEN ALVAREZ (IL-Board) touring with a different one of four designated groups Monday through Thursday performing Outreach Concerts and Clinics in area schools. Noontime concerts each day, happy hour concerts, evening formal concerts fea-turing a Faculty Series AND Student recital series are key elements of this exciting event. On Saturday all guest artists were featured in a fi nal concert with the group augmented by Capital faculty guitarist STAN SMITH (OH) and bassist LOU FISCHER
Secretary JULIE TRAENKENSCHUH (IL) just returned from a performance tour of New York City with the Peoria Jazz All Stars.
RONALD CARTER (IL), Director of Jazz Studies at NORTHERN ILLINOIS UNIVERSITY (IL-Institution Part-ner) recently received the top university award: “NIU Board of Trustees Professorship Award” for outstanding Scholar-ship, Teaching and Service. The NIU Jazz Ensemble under Ron’s direction has been selected to perform at the upcom-ing Midwest Clinic 2009 in Chicago, IL. The Liberace Jazztet also under the direction of Ron Carter recently performed at the Lima Jazz Festival in Lima, Peru, May 22nd –26th, 2009. This marks their second appearance in this beautiful city in South America.
The JAZZ ARTS GROUP (OH-Institution Partner) recent-ly established classroom, rehearsal and technology space on
President MARY JO PAPICH (IL) was recently honored with the fi rst ever Art Inspiration Award from The Art Center of Highland Park. Approximately 400 people honored her at the “Picasso Sings the Blues” with live jazz, inspiration book of testimonials, life-time membership and ten arts scholarships for students. Papich
has announced her semi-retirement from HPHS as Department Chair/Jazz teacher and will stay on part-time to produce the bien-nial FOCUS ON THE ARTS festival and work on JEN.
JON FADDIS (NY), Artistic Director of the Chicago Jazz Ensemble and JEN Founding Member, took the stage with his band at Chi-cago Symphony Center on June 5th and per-formed one of Duke Ellington’s most ambitious pieces Black, Brown and Beige to a sold out house. Each movement was introduced via the voice of Duke. The piece premiered in 1943 at Carnegie Hall, with Ellington introducing it “as a parallel to the story of the American Negro.” DICK DUNSCOMB (IL), JEN founding mem-ber, serves as Executive Director of the CJE as the group makes their home at Columbia Col-lege Chicago.
SCOTT HALL (IL) was center stage at the Ravinia Festival June 12th as he collaborated with NEA Jazzmaster RAMSEY LEWIS asarranger and conductor of “Proclamation of Hope.” This symphonic jazz work was a world premiere commissioned by Ravinia (Highland Park, IL) honoring the bicentennial of Abra-ham Lincoln. Also performing was JEN board member JARRARD HARRIS (IL).
JARRARD was recently named to head the Jazz Ensembles and Combo program for Midwest Young Artists in Fort Sheridan, IL CAPITAL UNIVERSITY (OH-Institution Part-ner) hosted the annual Jazz & World Music Festival, April 12-18, 2009. The Invitational component of the festival featured the world-class talents of drummer STEVE HOUGHTON(IN), pianist STEFAN KARLSSON, saxophon-ist JARRARD HARRIS, and trumpeter SCOTT BELCK (OH). Artist in residence for the entire
14 JAZZed July 2009
Capital University FUSION Band
Mary Jo Papich with Highland Park High School Jazz Students.
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JAZZed July 2009 15
networthynewsJAZZ EDUCATION NETWORK
the third fl oor of the historic Lincoln Theatre building developing the Jazz Academy, which began offering mu-sic education classes in 2006. With the move to state-of-the-art quarters at the Lincoln, the academy now of-fers instruction in media production, recording technology, keyboard lab media production as well as voice and instrument instruction. Academy students can range from preschool-ers to senior citizens. Programming in the academy space also will in-clude teacher training and collabora-tion with the Columbus City Schools and other districts. Executive Direc-tor BOB BREITHAUPT (OH), who is the driving force behind the enor-mous growth JAG has experienced in the last ten years, indicated to us that Herds of curious visitors packed the theatre in Columbus, OH on May 31 for a community open house to see what $13.5 million in renovations could do for the 80 year old, long-closed establishment.
How to Play Trumpet the James Morrison Way, is a DVD by JAMES MORRISON - an international trum-pet virtuoso from Australia, who is known for his startling originality and passion for playing the trumpet. Hav-ing played with the likes of Dizzy Gil-lespie, Wynton Marsalis, Ray Charles and B.B. King, Morrison shares his four decades of experience in this in-structional DVD. Learn his innovative techniques with tutorials in topics like breathing, range, endurance, articula-tion and projection.
The Master Drummer: How to Practice, Play, and Think Like a Pro, is a DVD by JOHN RILEY (NY). With more than 40 years of observing and studying the master players, renowned drummer, author, and teacher John Riley defi nes and explores the key musical components drummers must develop in order to play at their high-est level. He demonstrates exercises
The International Society of Bassists held their biennial conference June 8-14th at Penn State University in State College, PA. Upwards of 1200 bassists were in attendance representing 40 countries. Jazz was well represented during the week long event with numerous concerts and clinics performed by various veterans of the bass world including in alphabetical order: RICH APPLEMAN, REGAN BROUGH, JEFF CAMPBELL, RON CARTER, TODD COOLMAN, JOHN CLAYTON (CA-BOARD), WAYNE DARLING, RICHARD DAVIS, MARK DRESSER, JEFFREY ECKELS, LOU FISCHER (OH-BOARD), MICHAEL FORMANEK, DAVID FRIESEN, BRUCE GERTZ, DREW GRESS, HENRY GRIMES, TOM KNIFIC, KRIS-TEN KORB (CA), CHRIS KOSKY, STEVE LASPINA, JAY LEONHART, NILSON MATTA, CECIL MCBEE, PHIL PALOMBI, JOHN PATITUCCI, RUFUS REID, HAR-VEY S., LYNN SEATON (TX), HANS STURM, DANNY THOMPSON, and WILLEM VON HOMBRACHT. JORGE ROEDER, the 2007 jazz competition fi nalist was featured in concert as well. The 2009 jazz fi nals were also held with the winner scheduled to perform at the 2011 conference. Other jazz artists supporting concerts included: STEVE ALLEE, MATT FRIES, JOHN KNIFIC, BILL MAYS and NICK SANDERS-pi-ano; RUSSELL MALONE-guitar; TIM FRONCEK, MATT WILSON (NY), and MARCUS GILMORE-drums; CHRIS BECKSTROM, saxophone; CLAYTON DEWALT-trombone, and the U.S. ARMY BLUES (D.C.-Institutional Partner). (Editor’s note: there must have been a lot of gigs without bass players this past weekend!)
and strategies that will lead to the con-trol of your limbs, the opening of your ears and the focusing of your mind. Includes 9 play-along tracks and an E-BOOK containing all the exercises described in the DVD! John’s insight-ful approach will help any drummer grow, regardless of level or style! View a trailer at alfred.com. Both dvds are published by Belwin Jazz, a division of ALFRED MUSIC (CA-Corporate Part-ner). Additionally Belwin announces the release of its 2009-2010 Jazz En-semble performance charts. With 55 new pieces written and arranged by the talented Belwin Jazz authors, titles include the Billy Strayhorn classic Take The “A” Train, Led Zeppelin’s Stairway to Heaven, new titles from Gordon Goodwin and swingin’ original com-positions in a variety of styles. Select titles will be available on SmartMu-
sic™ starting fall 2009. A promotional catalog with more information and sample recordings will be available in summer 2009. To request your copy, please email [email protected].
KENDOR MUSIC (NY-Corporate Partner) announces the release of a new book titled: Jazz Solos for Bass – Volume 2, composed by DR. LOU FISCHER (OH-Board). This collection of jazz solos for bass are designed for either acoustic or electric bass, pizzi-cato or arco. Twelve solos grades 2-6, each based on standard chord changes easily recognized in a variety of key signatures, tempi, and styles to inter-est and challenge players. Articulation, dynamics, and slur markings are pro-vided. Each solo works equally well with or without a rhythm section, and chord symbols are provided.
Left to Right: John Patitucci/Lou Fischer/John Clayton
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16 JAZZed July 2009
2009 JEN Board of Directors Election Results!Congratulations to the newly elected Board of Directors of the Jazz Education Network:
Paul Chiaravalle John Clayton Steve Crissinger Jose Diaz
Dr. Lou Fischer Rick Kessel Jackie Harris Mary Jo Papich
Paris Rutherford Bruce Silva Bob Sinicrope Terell Stafford
Andrew Surmani Jim Widner John Wittmann
Rubén P. Alvarez Melody Balicki
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JAZZed July 2009 17
Welcome New MembersNew Members since April 16th, 2009.
Corporate Partner:SONARE WINDS
Institution Partner:NORTHERN ILLINOIS UNIVERSITY
Network Affi liate:PENTASTIC JAZZ FESTIVAL SOCIETY
Individual Members:BRETT BARKER PHILIPPE BAUGHROBERT BEHRENSMEGAN BELLKEVIN BENNETRONALD BLANDDARRYL BOGGSSTEVEN BRINKREYNARD BURNSARTURO CANOSCOTT CARTERRON CARTERJEFFREY DARROHNTIM DAVIESART DAVIS
DR. SCOTT GARLOCKGARY GILLETTJOHN HARNERMICHAEL HARRISONWILLIAM HARRISONANTHONY HYDECHRISTOPHER KAUFFOLDROBERT KEHLEGERALD KINZIEKATHRYN KNUEVEN ROBERT KNEUVENTHOMAS KNUEVENJEFFREY KUNKELSUSAN LYNN MARTINEZWILLIAM MASKTIM NUTTING
VICTORIA OTTOPAUL PEARCETHOMAS POOLEJORDAN REEDRICARDO ROBLESLUIS RODRIGUEZJOHN RILEYRONNIE RIOSJOE RODRIGUEZALI RYERSONJARED SLINGERLANDERIC SPEIDELLJOHN STETLERDAVID SYCKSGERALD SWANBERGJACK TAYLOR
SHANE SHINSATOMICHAEL SHIRTZEDWARD SWYDENRYAN THOMAS JOE TONDURODRIGO VILLANUEVADAVID WAGNERNEIL WETZELCURTIS WILSONBARRIE WOODEYJIM YEAZELLMICHAEL YONCHAK MARK YOST TOM YOUNG
Welcome to our JEN members and future partnersA new Jazz Education Network board has been elected and a new slate of offi cers is to be elected prior to July 1st and rati-
fi ed at the upcoming August meetings. Membership has exceeded 600 members and growing. During the last several months, collaborations have been established with Music for All, 12 Points Graphics, Symphony Publishing, and the National Jazz Workshop. Board members will be present at all upcoming events and stand ready to answer any of your questions and listen to your suggestions.
July will mark the one-year anniversary of JEN and it is now time to increase our membership in the corporate world. As vice president of Buffet Crampon USA, Inc. I was proud to become a charter member and corporate sponsor of the Jazz Education Network. Jazz education can only continue with the assistance and fi nancial support of corporate musical institu-tions throughout North America and the world. Your participation could assist in the support of educators and musicians who otherwise would not have the opportunity to experience the cultural opportunities the jazz community has to offer. As we look forward to a future JEN convention, your participation both fi nancially and personally will enhance JEN Partnerships in Jazz Education.
Bruce D. SilvaTreasurer
JAZ_17 17 7/22/09 2:15:44 PM
18 JAZZed July 2009
JAZZ EDUCATION NETWORK
www.JazzEdNet.org
If you are not a current member of JEN and are just visiting the Web site for the fi rst time, the fi rst page you will see when you place or type the address into your browser is the Splash Page! Our Mission Statement is prominently displayed here for the entire global community. Take a second to read through the descriptive portrait of JEN and see where YOU fi t into the family! Click Enter Here to access the Home Page.
Once on the Home Page, there are many options. Members, once logged in, have access to other areas of the Web site specifi cally designed for mem-bers only.
The fi rst thing you will notice is the announcement containing photos and names of the newly elected 2009 JEN Board of Directors! This group of seventeen volunteers will take offi ce offi cially July 01, 2009. All were elected by the JEN membership in the fi rst annual election of the Board of Directors completed in April of this year. To the left of this announcement you will see the JEN logo, and directly underneath that a link to the JEN home page on Facebook. Click the button marked f Find Us on Facebook. Nothing will happen to you except you will be redirected to the JEN pres-ence on Facebook where you can read various postings from Friends of JEN not posted on our Web site.
Directly to the right of the Board announcement you will see Member Login. If you are not yet a member of JEN, this area is of no benefi t to you. If you are a current member but have forgotten your password, or are having trouble with logging into the Web site, simply click Request New Password and a new one will be sent to you automatically within a few seconds. Di-rectly beneath that you will see a line that reads Upcoming Events. Click it to read about future JEN events and happenings. Directly beneath that line you should see the logo for the JENeral Store! Click it to access and purchase JEN merchandise...t-shirts, polo shirts, jackets, handbags, totes, computer bags, designed with the JEN logo. In the near future we plan to unveil new products here. We know you sound good, now look good! Show your support of the organization! JEN members receive a discount on orders processed through the Web site. Scroll down the page and you’ll fi nd a video and print version of a Message from JEN President - Mary Jo Papich.
On the MENU BAR directly above the Board announcement you can hover your mouse over the button, then click on the link to
The JEN Web site: A step-by-step guide
Are you using the JEN Web site to your best advantage? There are many facets of the JEN Web site that you may not be aware of.
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JAZZed July 2009 19
send us a message. Hover over the button to scroll through and click on any one of the various levels of membership. Hover over the button to access details related to orga-nizational structure, and to view membership options. Read about the meeting, which took place June 01, 2008 to form JEN. By the way, we are ONE YEAR OLD! and still growing with each passing day!
If you hover over the button you can read about individuals who volunteer their time to answer questions related to their area of expertise. This group is known as our
If you are not a current member of JEN, and click contact next to one of the individuals from this list, you will be redirected to a prompt to join JEN.
Click on the button. Anyone can read the informa-tion posted in the various topics for discussion. Subheadings in-clude JENeral Forums; JENeral Jazz Discussions (including Every-day Questions and Answers; Outside the Box); Jazz Events, with several sub-categories including JEN events, Middle School, High School, Collegiate and Professional Events; Job Vacancy Postings which includes a place for Clinicians to advertise and institutions to post Collegiate Vacancies; and fi nally the JazzEdNet.org Site Fea-tures which contains JENeral Information, Web site Questions, and an area related to specifi c Member Features of the Web site . Become a JEN member today in order to take part in the informa-tive discussions. Hover over on the Menu Bar to access By Laws and press releases.
As a current Member of JEN, you will see a different Home Page. First, on the left side of the page you should see a Link to JAZZed Magazine. This is the area members should use to access both current and past issues of JAZZed. Once you click on the link you will be given a password and username to login to the JAZZed site. We apologize for the inconvenience of having to log in to an additional site, but it is a security precaution necessary for anyone visiting the Jazzedmagazine.com site.
Directly under that button you will see a red link marked Board Minutes. Click here to access minutes of Board of Directors and Ex-ecutive Committee meetings as they become available. Financials will be posted here as well in the near future.
On the right side of the page, you will see several buttons. The Upcoming Events button has the same functionality as it did when viewed earlier. Directly under that button, as a current Member, you will see My Account. This is the area where you can update your profi le or change your password and/ or upload your pic-ture to the site. My Inbox is where you fi nd messages sent to you from other JEN members. My Relationships is where your list of established relationships is stored. Log Out is where you should click to leave the JEN Web site. Search Members is where you can fi nd other JEN members. Simply input a name or username if you know it. If it turns up marked No Response, click on the User Profi le button directly above that message and hopefully you will be successful. If those two should fail, check the Members List under JEN Members at the top of the page. The list is alphabetical
and is only viewable to JEN members. Simply click on the per-son with whom you wish to establish a relationship and follow the prompts. Maintaining member privacy is very important, therefore email addresses are not visible to other members. As a security precaution, you must secure permission to establish a relationship prior to making contact. Members logged in to the site,may send emails directly to any member of: the Executive Committee; the Board of Directors; or the Network for the Experts by clicking on the contact button next to a name or photo. Please advise the JEN administration at [email protected] should you not receive a timely response from any of JEN’s experts. or Board Members. Everyone is a volunteer, so please allow for a reasonable amount of time to receive a response. We consider this communication portal vital to the success of JEN.
Do sign into the Guestbook to state your case related to why you joined JEN! Did you know that JEN members receive a dis-count for merchandise purchased in the JENeral Store?
The JEN Web site is constantly evolving. It is secure. You can trust your information is not released to individuals to which you have not granted permission. As a member of JEN, please be ad-vised your information may be shared as part of Strategic Partner agreements. Rest assured, in all such cases, you always have the option to OPT OUT of any unwanted emails with a simple click of the mouse.
One last thought as the membership manager for JEN...if the site does not accept your credit card, it generally means you are not using the address which your bank has on fi le for the credit card, which results in an AVS mismatch on the site. This ultimately results in the denial of your credit card in the system. This is not a problem with the JEN Web site. This is your bank refusing the address you have input into the system. Please be certain you are using the same address that is on fi le with your bank. For example, if you wish to use your school address for JEN, that is okay with us, but it must be placed in the Shipping Address portion of the order, rather than the billing address area. The billing address area is where the bank which administers your card secures the infor-mation they need to verify and approve the transaction. Since our inception, many people have experienced this particular problem. This is a security precaution required by law and JEN must remain in compliance.
It is my hope this article will shed some light on the function-ality of the JEN Web site. The Web site may not appear to be doing much, but in reality, it is doing quite a bit, working so you do not have to! Most importantly, it is a safe and secure environ-ment where membership can share information and ideas towards the satisfaction of JEN’s mission statement...building the jazz arts community by advancing education, promoting performance and developing new audiences. We WELCOME all!
Dr. Lou FischerCo-Founder/VP/Membership Mgr.
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20 JAZZed July 2009
Whether your tastes run towards traditional jazz, be-
bop, smooth jazz, R&B, or many other varieties of
music, the 30th Anniversary edition of the Montreal
Jazz Festival provided an extraordinary lineup of mu-
sicians and ensembles for every imaginable taste. The
Festival again solidifi ed its position as one of the larg-
est musical events in the world with such superstar
performers as Stevie Wonder, Dave Brubeck, Chris
Botti, Tony Bennet, Joe Cocker, Jackson Brown, Al
Jarreau and dozens of others. Over 3,000 musicians
performed in 650 concerts during the 11 day event
which brought over 2.5 million visitors to the beauti-
ful city of Montreal. If you are a sax lover, you couldn’t help but be blown away by the
searing hot jazz of Joshua Redman, whose blazing technique and in-novative soloing was one of the highlights of the Festival. Redman’s supporting quartet, which included Aaron Parks, Eric Harland, and Matt Penman showed their own virtuosic abilities to help garner sev-eral standing ovations from a very appreciative audience.
Eliana Elias’s concert made you feel as though you were sitting at a beachside café in Rio de Janeiro in the 1960s with her wonderful interpretations from her recent Bosa Nova Stories album. Her sultry alto voice never sounded strained and was reminiscent of the original Jobim recordings, all while providing superlative keyboard work.
Chris Botti, the velvet toned trumpeter, performed a variety of mu-sic to appeal to a large audience who seemed to enjoy his interpreta-tions which ranged from Jeff Buckley’s haunting tune, “Hallelujah,” to the pop standard, “The Look of Love.” Backed by the 80-piece Montreal Jazz Festival Orchestra, Botti also performed a tribute to the 50th anniversary of Mile’s Davis’ seminal Kind of Blue, and was backed by jazz great, pianist Billy Childs, as well as several other talented artists.
Montreal 2009
festival
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JAZZed July 2009 21
Prior to tackling these three exercises, students must be familiar with the underlying scales and moveable “Do” solfege. If students are not familiar with moveable “Do” solfege, or cannot play these scales on their instruments, you have your work cut out for you! If your students are already way past that point, read on. These exercises can be modifi ed for even the most advanced students and will serve them well for years to come.
Crazy for ChromaticsOnce students have a solid understanding of
moveable “Do,” it is essential that they learn to sing a chromatic scale. As chromaticism is prevalent throughout modern jazz, this exercise will improve both intonation and students’ understanding of the genre. When singing through the chromatic
scale, remember to use sharps when ascending and fl ats when descending. (See Example 1) Begin by accompanying students at the piano. Don’t be afraid to change to a higher or lower octave when necessary. This exercise is not intended to make your students better singers; it is designed to improve their ears. For jazz musicians, octave displacement is an important skill and should be encouraged whenever possible. After students have mastered the exercise and solfege syllables, slowly remove the piano accompaniment, and spot check specifi c tones as needed.
Target TonesTarget tones are an essential part of any ear
training regimen. They force students to hear not only chord tones, but surrounding tones as well.
There are three qualities that every good jazz musician must possess: a great ear,
a strong sense of time, and a unique sound. While there are many different ways
to approach these skills, the first two always require a certain amount of drilling.
The ear can be thought of as a muscle and to a certain degree must be trained
like one. Improved ears will lead to better intonation, improvisation, ensemble
playing and transcription skills. With that in mind, here are three great ways of
dramatically improving your students’ ears and, hopefully, their overall playing.
basic training B E G I N N I N G G U I TA R
Ear Training 101BY CHAIM BURSTEIN
Example 1
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22 JAZZed July 2009
basic training
Example 2a
Example 2b
Additionally, I have found that while many students can correctly sing a major scale, they have some diffi culty picking out specifi c intervals at random. As an example, try thinking of the letter of
the alphabet which precedes the letter “O.” Most people are unable to provide the answer without silently singing or thinking of the letters “L,M,N.” With practice, this habit can be broken. With
respect to the scales and scale degrees, the best way to practice this is through the use of target tones. Here are two of my favorite target tone exercises and their uses.
Example 3a
Example 3b
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JAZZed July 2009 23
This fi rst target tone exercise still uses the crutch of the scale but forces students to hear each scale degree without counting up from “Do.” I like to call this the “Leap Frog” exercise and it tends to produce great results in very little time. (See Example 2a) 1. Start by having students sing the
solfege with piano accompaniment. Play the exercise in all twelve keys, using octave displacement when appropriate.
2. After getting comfortable with the exercise, slowly remove the piano accompaniment until the students are able to sing the entire exercise a cappella.
3. The fi nal step in mastering this exercise is perhaps the most diffi cult. First, play middle C and have the students sing through the exercise without the piano. When fi nished, have the students sing C# as the new “do” and check their pitch with the piano. If they’ve practiced the chromatic scale, this should be easy.
Once your students are able to master the major scale, try moving on to more advanced scales. Example 2b displays a version of the Leap Frog exercise which utilizes a Lydian Dominant Scale. This exercise is endlessly adaptable and should be used whenever you introduce a new scale or tonal cluster. The second target tone exercise
removes the scale entirely. This is useful in a number of ways. First, it requires the students to hear each interval without the comfort of the scale. Second, it’s a great way to introduce the concept of bebop approach fi gures which are often used in jazz improvisation. As with the
fi rst two exercises, begin with piano accompaniment and slowly work towards students singing a cappella. Example 3a displays target tones used within the context of a major scale while Example 3b utilizes a Lydian Dominant scale.
Drill, Baby, DrillEar training is one area that is all too
often pigeon-holed into a single course and classroom experience. To create a successful jazz program, teachers must
strive to involve the ear in every aspect of the student’s coursework. These exercises are not meant to be run through only once a semester, rather they should be continuously practiced and drilled until they are thoroughly absorbed by the students. After obtaining complete control over these three simple exercises, students should be encouraged to expand upon them as their understanding of scales and modes continues to grow. The beauty of each of these exercises is the fact that the only material needed to practice each exercise is a pitchfork or metronome with A440. When I was an undergraduate at Berklee College of Music, I carried a pitchfork with me and practiced the exercises on the train while commuting to class. All three exercises will provide students with a solid foundation for transcription and analysis courses and will improve their overall playing, intonation, improvisation, and sectional playing. All in all, it’s a recipe for success.
Chaim Burstein holds a M.M. in Jazz Stud-ies from the University of the Arts in Philadel-phia and a B.M. from Berklee College of Music. He is an active musician and educator in the Boston area. www.myspace.com/chaimburstein
“IMPROVED EARS WILL LEAD TO BETTER INTONA-TION, IMPROVISATION, ENSEMBLE PLAYING AND
TRANSCRIPTION SKILLS.”
basic training
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FOR:ALTO SAX AND TENOR SAX
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By Christian Wissmuller
Becominga Part of
the Music
Since the 1970s, saxo-phonist George Gar-zone has been a key player in contemporary jazz, notably as a mem-
ber of The Fringe, a jazz trio that also includes drummer Bob Gullotti and bassist John Lockwood. As a performer and recording artist, he’s worked with the likes of John Pa-titucci, Danilo Perez, Joe Lovano, Dave Liebman, Michael Brecker, Chick Corea, and Kenny Werner, to name but a very few. Addition-ally, his talents have led to collabo-rations with major acts outside of the realm of jazz, such as Aeros-mith, Aretha Franklin, Tom Jones, Engleberg Humperdink, and even New Kids on the Block(!).
George Garzone
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All photos by Naoki Iwane.
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During over three decades as a mu-sic instructor at a number of respect-ed institutions, George has mentored countless students, some of whom have gone on to be counted amongst the greatest players of their age: Joshua Redman, Branford Marsalis, and Chris Speed, among others.
Recently JAZZed spoke with George about his lifetime in music, his pio-neering “Triadic Chromatic Approach” to instruction, and his thoughts on performing and teaching jazz.
JAZZed: Let’s talk a bit about how you fi rst got interested in music. What fi rst inspired you? What drew you to the tenor sax?
George Garzone: I have a family given sound on the saxophone. My Uncle Rocco taught me saxophone in
the back of his pizza shop in Boston. Rocco’s sound was so beautiful and he passed that down to my cousins and me.
JAZZed: Sounds like a pretty great early learning experience. As you got older – high school, college – who were some infl uential teachers?
GG: I was playing gigs and mak-ing real money in my early teens, but when I got to Berklee the faculty really kicked my butt. That’s when I started to become the player that I wanted to be. Joe Viola was my main teacher and his infl uence was everything. Plus guys
like Joe Lovano, Kenny Werner, Billy Drewes, Jamey Haddad, and many others who were students at that time were so inspiring. Frank Tiberi was also an important mentor.
JAZZed: What fi rst drew you to the no-tion of becoming a teacher, yourself?
GG: I had been in Las Vegas play-ing for Tom Jones and when I returned to Boston work was kind of slow, so I started teaching some ensembles at Berklee. Teaching wasn’t my goal, but as I did it more and more, I got more and more into it. I think that my ap-proach to teaching is different than
“I’ve had many students who had the skills to go on to great things, but it’s not always obvious who will get that lucky break.”
George Garzone, John Patitucci, and Mike Stern In the studio for anupcoming JodyJazz Inc. Project.
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most teachers and students seem to respond to that.
JAZZed: You’ve taught some of the heaviest hitters in contemporary music – Branford Marsalis, Joshua Redman, Danilo Perez, and the like. Do you fi nd you have to modify your approach when dealing with an exceptionally gifted student? Is it always obvious when you’re dealing with someone who’s going to go on to great things?
GG: The Triadic Chromatic Ap-proach that I’ve developed is deep enough that I’ve never met a player that was too advanced for it. No matter what a student’s skill level is, he or she can grow their playing by working on the TCA (Triadic Chro-matic Approach). I’ve had many
students who had the skills to go on to great things, but it’s not always obvious who will get that lucky break. But guys like Joshua, Branford, et cetera – you usually know that they’ll probably be the cats.
JAZZed: Let’s talk about the Triadic Chromatic Approach.
GG: The concept came about from listening to Coltrane and developing a way to use triads in a non-repeti-tive way. It teaches the player how to come up with non-repetitive, non-pre-dictable lines, so you can improvise over chord changes with confi dence, sounding fresh and original. There’s a lot more to it than that, but that’s the simplest way that I can describe it.
JAZZed: I’ll want to go back to that to talk about the DVD, but for the moment let’s move on. You’re currently on staff at a couple of places – how are you dividing your time?
GG: I split my time between Bos-ton and New York. I’ve been at Berklee College of Music since 1975 and I also teach at New England Conservatory, New York University, and Manhattan School of Music.
JAZZed: Sounds pretty busy. What’s your favorite thing about teaching?
GG: The kids are really great. They’re the ones who taught me how to teach and they are probably why I was able to develop the TCA, because if I didn’t have to teach it to someone other than myself, I don’t think I would have formalized it into a method that can be taught.
JAZZed: What do you fi nd most chal-lenging about being an educator?
GG: Staying fresh and present with each student.
JAZZed: What’s different about giving master classes, compared to tradi-tional classroom settings or one-on-one instruction? Of the three, which do you prefer?
GG: One-on-one lessons are the best because everyone learns dif-ferently and you can customize the learning process in a private lesson. Next, the classroom is great because you get to teach a subject over many weeks, so that you have the oppor-tunity to go in depth. And I love do-ing Master Classes around the world because the energy that I receive
George Garzone PrécisNotable Students: Branford Marsalis, Donny McCaslin, Teadross Avery, Seamus Blake, Kenny Brooks, Joshua Redman, Chris Speed, Marcus Strickland, Mark Tuner, Bruce Barth, Danilo Perez, Antonio San-chez, Chris Wood, Norm Zocher
Performed with: Randy Brecker, Tiger Okoshi, Herb Pomeroy, Jer-ry Bergonzi, Michael Brecker, Kenny Garrett, Dave Liebman, Joe Lova-no, Joshua Redman, Stan Strickland, Steve Wilson, John Abercrombie, Chick Corea, John Patitucci, Buddy Rich, Den-nis Chambers, Peter Erskine
On the Web: www.georgegarzone.com, www.thefringejazz.com
Selected Garzone Discography:Alone, Four’s and Two’s, The Fringe in New York(NYC), One Two Three Four, Among Friends(Stunt), In the Zone (Ats)
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from people is amazing. And there are some great players in places you wouldn’t think of having burning jazz musicians.
JAZZed: You’ve performed and recorded with so many notables from the worlds of jazz and well beyond. What have you learned from working in such disparate styles?
GG: Just to be present in the mo-ment and make music with whom-ever you’re with. On one hand, you’re always going to get my sound when you hire me, but I’m also go-ing to try and do what I hear is the right thing for the music that’s hap-pening.
JAZZed: What’s your proudest achieve-ment as a performer and recording artist?
GG: My 30 years with The Fringe. There also was a gig I did in Japan that was a tribute to Coltrane. Michael Brecker, Dave Liebman, Josh Redman, and myself were the featured soloists and when I was holding my own with those guys I knew I could hang with anybody.
JAZZed: And your proudest accomplish-ment as an educator?
GG: My DVD, The Music of George Garzone and The Triadic Chromatic Ap-proach.
John Lockwood, Bob Gullotti, George Garzone, and Mulgrew Miller in the Studio for an upcoming Jody-Jazz Inc. Project.
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JAZZed: And the DVD and partnership with JodyJazz came about how?
GG: How the DVD came about is an interesting story because it shows you how things in life work sometimes. Jody Espina was one of my students at Berklee in the early ‘80s and then about 20 years later I hear Dino Govoni, an-other sax teacher at Berklee, playing in the next room and his sound was huge. So I asked Dino what mouthpiece he was playing and he said it was a Jody-Jazz. I said, “You mean Jody Espina?” So I contacted Jody and he worked with me on what I was looking for in a mouthpiece and I’ve been playing his pieces since then. I would recommend Jody’s stuff to any sax player, he’s the real deal.
From hanging out with Jody, he knew that I had wanted to publish a book on the TCA for quite sometime, but I just hadn’t done it because it didn’t feel right to me in a book form. Jody approached me with the idea that his company would publish it and it was his idea to make it a DVD. Also since the TCA is a relatively advanced concept, Jody wanted to make the DVD accessible to more players, so he had me do a whole lesson on getting a saxophone sound. We put an album’s worth of performances on there with Mike Mainieri, Frank Tiberi, Chris Crocco, and The Fringe, plus interac-tive play-alongs where the user trades choruses with me. Everybody involved with this project did an amazing job and I couldn’t be happier with the re-sults. And sales have been amazing.
JAZZed: What words of wisdom would you pass along to your fellow jazz teach-ers and artists?
GG: Hang in there and keep doing what you are doing. If that’s your pas-sion, go for it and don’t listen to the people who will try and put you down.
JAZZed: Final thoughts?
GG: Music is the purest, most beau-tiful thing I know of. If you give it your all, you will become a part of the mu-sic and there’s nothing better that I can think of than that.
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INTRODUCTIONA jazz or popular-music fakebook is a book of
songs presented as one-staff musical sketches con-sisting of each song’s melody, plus alphabetical chord symbols above the melody, and the song’s lyrics below the melody. Each such presentation of a song in a fakebook is known as a leadsheet.
A fakebook is so called because the word “fake” is synonymous with “improvise” in the jazz ver-nacular. What must be improvised are melodic em-bellishments and the chords, employing desirable voicing and voice leading, keeping in mind that a chord symbol does not always indicate whether the chord should be played in root position or in an inversion. The chord symbols will also serve as the harmonic framework for improvisation after the initial chorus of the song has been stated.
Baroque fi gured-bass keyboard parts may be considered to be classical-music precursors of the popular-music leadsheet, in the sense that both are mere sketches that require keyboard players to improvise a full realization based upon limited information.
SLASH MARKSAmong the symbols employed in jazz and pop-
ular-music fakebook leadsheets are slash marks, a subject of some mystery to many classical musi-cians. Slash marks are versatile in that they actual-ly serve several different purposes that this article will defi ne and illustrate with musical examples.
1. CHORD INVERSIONSSlash marks are employed to indicate chord in-
versions. An upper case letter to the right of a di-agonal slash mark denotes the bottom note of the chord. Thus F7/C means an F7 chord played in an inversion in which C is the bottom note; in other words, in this case a 2nd inversion chord.
2. NON-HARMONIC BASS TONEAn upper case letter to the right of a diagonal
slash mark may also denote a non-harmonic bass tone. A non-harmonic bass tone is a tone that is not one of the chord tones indicated by the char-acter to the left of the diagonal slash mark.
Had the above chord symbol (Db/C) been spelled DbMA7, it would have been left entirely to the pianist to guess at the composer’s voicing intention.
focus session S L A S H M A R K S
Interpreting Slash Marks in Fakebook Leadsheets BY LEE EVANS
Example
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3. POLYCHORDSA slash mark may also indicate a polychord. A polychord
is a single chord comprised of two or more chords.
A polychord is sometimes indicated by a horizontal slash mark (see above) rather than a diagonal slash mark, but this practice varies widely in different fakebooks.
Polychord symbolization is clearer and therefore pre-ferred over a chord symbol showing harmonic alterations:
add #8 C add #6 add#4
…another way of expressing the above chord.
As seen in polychord symbolization, when chord qual-ity (major, minor, diminished, augmented, dominant 7th, etc.) is indicated by the character below the horizontal slash mark, or to the right of the diagonal slash mark, F#/C7, an entire chord rather than a single tone is to be played by the left hand while the right hand plays the chord indicated by the upper or left character.
4. CHORD REPETITION IN A NEW INVERSIONAn upper case letter to the right of a diagonal slash mark,
where there is no character to the left of the slash mark, indicates a different bass note to be played with the previ-ous chord.
EXAMPLE: Bb/F /D should be played as Bb/F Bb/D
5. REPETITION Diagonal slashes that come after the fi rst beat of the bar
indicate repetitions of what is written on beat one.
6. CHORD CHANGESA. Slash marks are employed in rhythm section parts to
show the specifi c beats where chord changes occur.
B. Slash marks instead of note heads are at times also em-ployed for rhythm section instruments to indicate specifi c points where chord changes occur off the beat.
7. UNEVEN DISTRIBUTION OF CHORDS IN A BARIn a 4/4 bar where there are two chord symbols and no
slash marks, it means that the chords are to be played on beats one and three, respectively.
EXAMPLE: 4/4 C Am
However, slash marks are employed to indicate the spe-cifi c beats where there is a chord change:
a) in 4/4 bars in which one or more of the chords are played on other than beats one and three.
EXAMPLE: 4/4 Eb / / Eb+
b) in 4/4 bars containing three chords.
EXAMPLE: 4/4 Cm / B+ Bb7
c) in 3/4 bars containing two chords.
EXAMPLE: 3/4 Eb Eb+ /
d) in any other uneven distribution of chords in a bar.
Example
is played as
Example
Example
Example
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8. ONE MEASURE REPEATThe sign below means repeat the previous bar. If the repeats
continue for more than one bar, number each repeat bar:
…or as an alternative, number every few bars:
9. TWO-BAR REPEATTo repeat two consecutive different bars, use two paral-
lel diagonal slash marks with dots and write the number 2 over it.
This two-bar repeat sign is ordinarily used for rhythm instruments, but I don’t see any reason why it can’t also be used for other instruments.
If more than two bars are to be repeated, traditional re-peat marks are employed rather than the above sign.
10. SINGLE GRACE NOTESA single grace note is usually written as a cue size 8th
note, and may use a diagonal slash mark slanting upward to the right, no matter the stem direction.
11. CAESURA (pronounced si-zhoor-uh)The caesura (often referred to as ‘railroad tracks’ by jazz
and pop musicians) is a slight pause, or breathing point, in the tempo; a break in the sound. These parallel diagonal slash marks, placed on the fourth staff line, should cross the top staff line at the exact point in the bar where the break occurs and should be located at the end of a note’s full value:
…or just before the barline if the break occurs immedi-ately before the barline:
If a longer break is wanted, a fermata should be written over the caesura:
Note: Sometimes an apostrophe - called a breath mark - placed above the staff where the breath is wanted, is used instead of a caesura. This symbol may or may not interrupt the tempo, and is somewhat shorter in duration than the caesura.
I hope that readers have found the information in this article informative and useful.
Lee Evans is professor of Music at NYC’s Pace University. He is the author/composer/arranger of over 90 books, plus numerous articles. Among his recent books are Discovering Blues Improvisation, Books 1 and 2 (Hal Leonard.)
Example
Example
Example
Example
Example
Example
Example
Example
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jazzforum www.aajc.us
Indianapolis, the past recaptured: Freddie Hubbard and Wes Montgomery sitting in with Sun Ra at the Senate Avenue YMCA. Cannonball Adderley stretched out ecstatically in his chair at
the smoky afterhours Missile Room, his eyes closed and his thumb raised in hipster benediction as he hears Montgomery’s blues-but-tered octaves for the fi rst time. Pookie Johnson and Buddy Parker throwing down on saxophone with bebop legends Dexter Gordon and Wardell Gray at a post-gig jam session, David Baker’s progres-sive-bop band holding court at the Topper on 34th Street before going on to form the nucleus of the revolutionary George Russell sextet. A group of young “Turks” known as the Jazz Contemporaries kicking out 1950s hardbop at George’s, a bar at the intersection of Indiana Avenue, Senate Avenue and Vermont Street; their ranks included the leader Larry Ridley, Freddie Hubbard and Jimmy Spaulding, future musicians on many classic Blue Note albums of the 1960s. The Montgomery Brothers (Wes, Monk, Buddy) and the Hampton family establishing musical dynasties like forerunners of the Marsalis family in New Orleans.
Whitman Sisters. The Blackbirds, an orchestra led by Reginald DuValle—the local pianist who had taught composer Hoagy Carmichael to play ragtime and jazz—remained a perennial favorite. On Labor Day 1928, an S.R.O. crowd eager to see husband and wife vaudeville team, Butterbeans and Susie, spilled onto Indiana Avenue. “Early before the doors opened, street car after street car unloaded hundreds of patrons at the intersection of the Avenue and North Street,” reported the Indianapolis Recorder www.walkerthe-atre.com/index.asp?p=27)
“By the time I was in high school (1945), the Avenue was jumping,” says Indiana University Distinguished Profes-sor, Dr. David Baker, an internationally renowned musician, composer, and jazz educator. “There were clubs from one end of it to the other, from Ohio Street to Lockefi eld Gardens. There was the Cotton Club, the Sunset Terrace, the Missile Room, George’s Bar, Henri’s, the Red Keg… There was the Sky Club, with tap dancers, pantomimes and female impersonators too. You name it and it was happening.”
These were the places where India-napolis musicians learned to survive and thrive, when jazz education took place in the clubs and in all-night musical jousts known as “cutting contests,” in which players tried endlessly to top each other’s riffs and licks. Montgomery, Hubbard, Ridley, Slide Hampton and J.J. Johnson all honed their art along the Avenue, as did so many others, less well-known but certainly compatible in terms of talent: pianists Erroll Grandy and Melvin Rhyne, guitarist Paul Weeden, trumpeters Virgil Jones and Maceo Hampton, saxophonists Charles Cox, Jimmy Coe, David Young, “Pookie” Johnson, drummers Willis Kirk, Paul Parker and “Killer Ray” Appleton. They jammed freely with the big names that came through town and often bested them. “Any out-of-town musician that walked into those after-hours sessions did so with trepidation,” says Baker. “There were no secrets in the jazz world. Every-body knew who these cats were.”
The Jazz History of Indianapolis
This is the jazz history of Indianapolis, Indiana, as rich and deep as the soil its crops come from, shadowed by the politi-cal agents of segregation, economic dislocation, and cultural change. Its soundtrack, if it could be heard today, would be the music that spilled out into the streets on summer nights in the days before air-conditioning, the doors propped open, Indiana Avenue alive and a town unto itself, with pool halls, restaurants, barber shops, shoe shine stands, pharmacies, doctors’ and lawyers’ offi ces, stores, apartments and houses and the crown jewel of the African American community, the Madame Walker Theatre. It alone still stands today.
Ironically, the late 1920s construction boom that added Crispus Attucks High School, the Phyllis Wheatley YWCA and the Walker Building to the cluster of black community build-ings like the Senate Avenue YMCA and the Knights of Pythias Hall, was in part a by-product of racist policies that intensifi ed from 1921 to 1928 when the Ku Klux Klan controlled India-napolis city politics. The black community—hovering at ten per cent of the population and out-maneuvered by an at-large system for selecting political representatives—could not coun-ter the powers that pushed to segregate public facilities. But at least there was some consolation in having the Walker, a place where they could see fi rst-run Hollywood movies without the insult of rear entrances and dirty balconies; where they could enjoy Sunday dinner in the Coffee Pot restaurant; and where they could shop at the Walker Drug Store with its promise that “positively no stale seconds, inferior or refuse merchandise will be used, stocked or sold.”
During that fi rst year in 1927, the Walker Theatre began featuring an array of black entertainers from blues queen Mamie Smith and her Original Jazz Hounds to the famed
By David Brent Johnson
JJ Johnson
Montgomery Brothers
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jazzforumjazzforumThen there were the homegrown
virtuosos who left Indianapolis for the West Coast, including the Montgomery Brothers, bassist Leroy Vinnegar, and pia-nist Carl Perkins. “No one talks about an Indianapo-lis school of jazz, but you could,” says Ted Gioia, Palo Alto, California-based author of the critically acclaimed books, “West Coast Jazz” and “The His-tory of Jazz”. “The players from there always had a distinctive style, a tremen-dous but relaxed sense of swing. They fi t in really well with the West Coast sound; their music always cooked along, but without ever sounding anxious or rushed. I always wondered, ‘Is there something in the water out there?’”
Gioia believes that Carl Perkins, an immensely gifted pianist who died of alcoholism at the age of 29 in 1958, is “one of the most undiscovered talents in jazz history.” As a child he developed an unusual style of playing with his left arm held sideways because he couldn’t quite reach the keyboard; he sometimes used his elbow to hit bass notes. He was an integral part of units led by Art Pepper and Curtis Counce, and widely respected among musicians. “Whenever Miles Davis was in California, he would spend hours with Carl exchanging musical ideas,” says Gioia. “The body of work he put together is too strong to be forgotten.”
If there was a ground zero for this ex-plosion of Indianapolis jazz that reached across three decades, it was Crispus Attucks High School, founded in 1927 as a means of diverting black students from other Indianapolis schools. Attucks be-came a haven of African American schol-arship and achievement, with legendary music teachers such as Russell W. Brown, Norman Merrifi eld and Lavern Newsome tutoring students like Baker, J.J. Johnson, Spaulding, Vinnegar, Montgomery, the Hamptons and countless others. Ruth McArthur’s conservatory down on the Avenue provided valuable instruction as well. Outside the nurturing confi nes of Attucks, the students went where there was opportunity, and the opportunity was jazz.
“People tend to excel in the areas that are open to them,” says Baker. “At that time, a black person was expected to
play religious music, R & B or jazz. I can remember auditioning for the Indianapolis Symphony Orchestra and being told, in no uncertain terms, that even though my audi-
tion was the best, there was no chance that I’d become a member.”
Fortunately there was no shortage of work on Indiana Avenue, otherwise known as the “Black Man’s Down-town” or the “Street of Dreams.” The Avenue and the area around it
had been a center of African-American residency and business activity since the turn of the century. In its earliest days it spawned musical careers of note in ragtime, the blues and big bands. Ragtime composer Russell Smith got his start there, as did Noble Sissle, who went on with Eubie Blake to do the musical “Shuffl e Along” (”without it there would be no “West Side Story”, says Baker). Leroy Carr and Scrapper Blackwell, the most popular blues duo of the 1930s, met wait-ing tables at Dee’s Paradise. Speed Webb put together one of that era’s hot-test bands–sadly un-recorded–which fea-tured Roy Eldridge on trumpet and Teddy Wilson on piano. The Ink Spots began as a street corner group, then known as the Riffs. Champion Jack Dupree jump-started his barrelhouse-piano legacy with a spell in Indianapolis during the early 1940s, when he was often featured at the brothers Denver and Sea Ferguson’s four-story Cot-ton Club on Senate and Vermont.
Such a history would be impressive in its own right, but the players that came out of Baker’s generation left the imprint of Indianapolis on American jazz forever. J.J. Johnson practically reinvented the trombone as a jazz instrument, intro-ducing what Ira Gitler called “a swift, extremely legato, eighth-note style.” Wes Montgomery’s notes-to-octaves-to-chords way of constructing a solo infl uenced jazz guitarists around the world. Wes’ brother Monk pioneered the use of the Fender bass in Lionel Hampton’s band. Baker
has been nominated for a Pulitzer Prize, founded the jazz studies program at Indi-ana University and become director of the Smithsonian Jazz Masterworks Orchestra, dedicated to preserving the history of American jazz through performance.
“Jazz was still an underground music when I was growing up in Indianapolis,” Baker says. “You heard Nat King Cole and Louis Jordan on the radio. If you wanted to hear jazz, you had to listen to “Randy’s Record Shop”, a program that came out of Tennessee. There were half a dozen record stores on the Avenue, one of them owned by an ex-fi ghter named Kid Edwards (Champion Jack Dupree’s sponsor) but Baker says none of them carried much jazz, stocking mostly gospel and R & B.He and his friends headed down to the Lyric Record Shop on the corner of Illinois Street instead.
“Everybody went down to the Lyric on Thursdays, when the records came in,”
says Baker. “You knew the label by the color of the record–Dial was yellow, Savoy was purple… We’d go and listen to new 78s by Gene Ammons and Dexter Gordon and then hand them back to the people behind the counter. That
was the record store–white, black, it didn’t matter, if you were looking for jazz you went there.”
Baker and his friends also encountered nationally famous jazz acts at the many venues in town that hosted them. The Circle Theater, the English Theater, and the Indiana Roof all featured national acts, as did the Cotton Club and the Sunset on the Avenue. The bands and perform-ers that came through included Count Basie, Duke Ellington, Jimmy Lunceford, Billy Eckstine, Charlie Parker, Dizzy Gil-lespie, and Illinois Jacquet. Many of them jammed afterwards at Henri’s, where a sign above the entrance read, “Through these portals pass the world’s fi nest musicians.”
(To be continued)Written by David Brent Johnson, host of
WFIU Public Radio “Night Lights” (WFIU.org); Editing by Dr. Larry Ridley, AAJC executive director.
Madame Walker Theater Center
Jazz Contemporaries
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JAZZed July 2009 35
Alaadeen’s The Rest of the StoryKansas City jazz master Ahmad Alaadeen has released his fi rst jazz improvisa-
tion and history manual. Primarily known by his surname, Alaadeen, The Rest of the Story is presented in a simplifi ed manner with easy to understand terms. Alaadeen’s methods are meant to help guide intermediate to advanced artists in fi nding themselves as soloists, while laying down a foundation to the art of improvisation. Alaadeen offers a performer’s perspective rather than that of a theorist who may not play on a regular basis. Alaadeen’s jazz method manual and approach encourages creativity and individuality in play-ing. Written in old school script, one aim of the manual is to encourage music soloists to play with originality from their instincts and gut.
While the manual is not a step-by-step guide, it does contain lesson plans for jazz educators and soloists. Also included are stories and photos from Alaadeen’s life experience that are a part of our oral tradition. This experience contains musical values, knowledge and lesson, surprising stories of struggle and great perseverance that should not be lost. One of Alaadeen’s favorite sections in the manual is the discovery section. “It opens up your mind. I think the students should discover themselves. For example, take a chord or group of notes, then expand on it.”
www.alaadeen.com
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HQ EcoPadHQ Percussion’s new recycled
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jj Babbitt’s Otto Link Vintage Mouthpiece
The jj Babbitt Com-pany, Inc. has introduced the Otto Link Vintage mouthpiece for tenor sax to commemorate its 90th anniversary. The new model recaptures the retro sound of the company’s old Otto Link mouthpieces. The sound of the old Otto Link has been recaptured through a combination of minor adjustments to the mouthpiece. The body shape, bore, chamber, baffl e, side rails, and tuning are all different from current Otto Link models. Otto Link Vintage is available with the same standard tip openings as current Otto Link models and comes in a choice of metal with 24-karat gold plating or hard rubber. Each mouth-piece is individually serial numbered and comes with a ligature and cap. The metal Otto Link Vintage is specially wrapped in a black & gold box and hard rubber models are packaged in a red and white box.
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36 JAZZed July 2009
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M O U T H P I E C E S F O R C L A R I N E T S A N D S A X O P H O N E S
Drum Channel Releases New Buddy Rich DVDsThe Buddy Rich Memorial Concert 2008, a new DVD set from Drum Channel docu-
ments the all-star showcase held to honor the “world’s greatest drummer.” Filmed last October at New York City’s Hammerstein Ballroom, the program features promi-
nent jazz and rock drummers backed by a big band with bassist Will Lee. The drummer – Tommy Igoe of the Birdland Big Band, John Blackwell of Prince’s band, Buddy’s grandson Nick Rich, Zappa alum Terry Bozzio, Peter Erskine, Chad Smith of the Red Hot Chili Peppers, and Neil Peart of Rush – get a few tunes each, tackling both jazz and fusion standards and big-band arrangements of their rock hits. The set includes the original show divided between two DVDs, plus a bonus disc with rehearsal footage and an interview with Cathy Rich.
Drum Channel has also released Buddy Rich Up Close, a collection of six performances originally taped as the pilot for a jazz TV series in 1982. For practicing drummers, the perfor-mances have been re-edited to allow for better study of Rich’s technique. The audio has also been reconfi gured to better showcase Rich’s chops. In ad-dition to the standard audio, Up Close includes audio tracks for at-home play-along and a drum-heavy mix for close listening. The tunes performed include “Love for Sale,” “Bugle Call Rag,” “West Side Story,” “Birdland,” “Greensleeves,” and “Dancing Men.”
www.drumchannel.com
JAZ_36 36 7/22/09 2:20:45 PM
Gearcheck
JAZZed July 2009 37
Sonaré Winds’ Intermediate Trumpets
Sonaré Winds’ new 500 and 600 Series of intermediate trumpets feature a Blackburn designed brass leadpipe and the MicroLok adjustable valve guide system, now exclusive to all Sonaré trum-pets. The 500 model horn comes with a lacquer fi nish and black pearl buttons. The 600 model is silver plated and comes with gold plated valve caps and fi ngers buttons. A backpack style case and a 5C mouthpiece are included with each 500 or 600 trumpet. Retail prices are $899 for the 500 model (TRB-500) and $999 for the 600 model (TRB-600).
www.sonarewinds.com
Pure Instrument Polish from Black Diamond
Black Diamond Strings introduces Pure Instrument Polish, a boutique instrument polish packaged in a two ounce bottle, which fi ts easily into the compact storage areas of any guitar case. The bottle also comes with an atomizer pump sprayer which spreads an even and well dispersed amount of polish directly on the instrument or cloth. Additionally, the stay tight cap prevents the atomizer sprayer from being depressed while in the case.
www.blackdiamondstrings.com
New Orleans Jamfest 2010 is All About JazzMarch 4-6, 2010
Come celebrate the music, the fusion, the fun. Optimal experience for you and your students. Middle School through College Jazz Ensembles will have the opportunity to perform for nationally recognized Jazz Educators! Walk in the footsteps of the giants of jazz while discovering the city of its birth. En-joy your adjudicated performance, master classes, jam sessions & incredible evening performances by renowned jazz artists! Culminating with a public performance, Naturally N’awlins secondline parade, & awards banquet.You and your students are invited to:Live, Explore, Remember…. Jazz New Orleans Style.
For more info and to register please visit :www.NewOrleansJamFest.com
JAZ_37 37 7/22/09 2:20:51 PM
Gearcheck
38 JAZZed July 2009
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The Music of George Garzone & The Triadic Chromatic Approach from JodyJazz
For all instruments, this three hour plus, two DVD set represents a life’s work, offering a comprehensive, intimate portrait of legendary tenor man and jazz educa-tor, George Garzone. Features include lessons, performances, trading play-alongs, Garzone on sound, PDF supplements, and interviews. Musicians featured on the DVD’s include George Garzone on saxophone; Mike Mainieri on vibraphone; Frank
Tiberi on saxophone; The Fringe’s Bob Gullotti on drums; and John Lockwood on bass. The DVD set is designed to be used by intermediate to the most advanced players.
www.jodyjazz.com
“Methods to FindYourself as a Soloist”
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JAZ_38 38 7/22/09 2:20:58 PM
crossword Crossword by Myles Mellor
www.jazzedmagazine.com
For the solution to this issue's crossword, visit:
JAZZed July 2009 39
Across1. ___ Bolling, renowned French jazz pianist, composer, arranger and occasional actor5. Donald ___, Off to the Races artist7. ___ Carter, one of the most-recorded bassists in jazz history10. ___ Hefti, jazz trumpeter and composer of the “Batman” television theme12. Pianist and singer-songwriter, Amos13. Coltrane ballad in 1959 named after his then-wife15. “Waltz for ___,” famed Bill Evans Trio album18. Bread spread, for short19. Newspaper sections, abbr.23. Drum cymbal25. Herbie ___, American jazz pianist and composer who was obscure during his lifetime but is now highly regarded by many musicians and critics27. York Symphony Orchestra, for short29. __ Monde, French daily30. State where jazz originated32. Eternity, almost34. Exist36. Afl ame, 2 words38. Jazz age, stone age, etc.40. British poet, John ____43. ___ Shaw, “Lazy Blue Eyes” musician44. Night-time images46. ___ Midnight, the most recorded standard composed by a jazz musician
48. ___ Byrne, well-known American jazz trombonist and composer/arranger49. ___ Rainey, she was known as “The Mother of the Blues”51. ___ Robinson, tenor saxophonist turned recording engineer53. “Jazz___” 1974 Carole King song54. Get away from58. Tech department59. Kulu Se ___, 1965 John Coltrane album61. Lou ___, bebop-based pianist infl uenced by Bud Powell and later embraced the cool jazz medium63. Glasgow girl66. ___ Rosnes, she is a pianist, composer and arranger in the hard bop and post-bop mediums68. Little bit69. “___ Leaves,” much recorded jazz standard that Roger Williams made a number one hit in the U.S. in 195570. King ___, jazz cornet player who pioneered the use of mutes
Down1. ___ball, Nat Adderley’s brother and jazz alto saxophonist2. Rashied ___, free jazz and avant garde jazz drummer best known for playing with John Coltrane in the last years of Coltrane’s life3. Code of life
4. Poet, Cummings5. Carla or Paul6. The “Grandfather of Rock n Roll,” for short7. Max ___, pioneer of bebop8. Alternative word9. ___ Train, The Oscar Peterson Trio classic album11. George and Pepper14. Flame fl ier16. “___ and Soul,” the most recorded jazz standard17. Major search engine20. ___ Butterfi eld, band leader and jazz trum-peter and cornetist who studied with Frank Simons21. Drink addition22. Musical passage that highlights one instru-ment24. Manny ___, jazz baritone sax player that was infl uenced by Bix Beiderbecke26. Bandleader Sam28. Beginning of a fl ower31. Relative33. Must have35. Absolutely necessary37. Trends39. Sun ___, one of the most controversial jazz musicians40. Al ___, jazz fusion guitarist who was in Chick Corea’s band from 1974-197641. Hospital room42. San-Francisco based saxophone quartet that became an important leader in the movement of genre-bending music45. Royal offi cial appointed by a lord in olden times47. Song success50. Good grades52. Joe Bushkin instrument53. Urban V.I.P.55. Play people56. Night time57. Acquire for one’s labor60. “__, myself and I,” De La Soul61. Hawaiian garland62. Compete with64. Gold symbol65. “Mi casa es ___ casa”67. Above ground railway
1 2 3 4 5 6 7 8 9
10 11 12
13 14 15 16 17
18
19 20 21 22 23 24
6252 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
JAZ_39 39 7/22/09 2:22:18 PM
40 JAZZed July 2009
HotWax New & Notable Music ReleasesAll dates are subject to change
June 2Dee Dee Bridgewater – Keeping Tradition [Emarcy]
Eric Dolphy – Eric Dolphy at the Five Spot, Vol. 2 [Prestige]
David Garrett – David Garrett [Decca]
Michael Kaeshammer – Days Like These [Alert]
Masabumi Kikuchi – End for the Beginning [Universal Japan]
Pat Metheny – Day Trip/Tokyo Day Trip [Nonesuch]
M-Swift – Evening Sun [Freestyle]
Roberto Occhipinti – Cusp [Alma UK]
Rob Thorsen – Lasting Impression [Pacifi c]
Sam Yahel – Hometown [Posi Tone]
June 9Rick Germanson – Off the Cuff [Owl]
Freddie Hubbard – Liquid Love [Wounded Bird]
Arthur Kell Quartet – Victoria [BJU Records]
Daniel Kelly – Emerge [BJU Re-cords]
Jim Ketch – Next Set [Summit]
B.D. Lenz – Hit It and Quit It [Apria Records]
Guilherme Monteiro – Air [BJU Records]
Joshua Redman – Mood Swing [Nonesuch]
Bart Wirtz – Prologue [Challenge]
Megan Washington – Nightlight [Newmarket]
June 16JD Allen – Shine! [Sunnyside]
Jerry Bergonzi – Simply Put [Sa-vant]
Bobby Broom – Bobby Broom Plays For Monk [Origin]
Kevin Deitz – Skylines [Origins]
Dave Douglas – Split Moves [Koch]
Four80East – Roll On [Native Lan-guage]
Jalala – The Old Mercer Magic! [Dare]
Oscar Peterson – Songbooks [Verve]
Eileen Simon – The Visit [Tapestry]
Wet Cookies – Soul Protection [Cat ‘N Roof]
Yalloppin’ Hounds – The Great Recession [Chambermusik]
June 23Bob Baldwin – Lookin’ Back [Nu Groove]
Gato Barbieri – In Search of the Mystery [ESP Disk Ltd.]
Al Cohn – Mosaic Select: Cohn,
Newman & Green [Mosaic Select]
Andy Narell – University of Calypso [Heads Up]
Albert Rivera – Juicy Ibiza 2009 [Black Hole]
Preservation Hall Jazz Band – New Orleans Perservation, Vol. 1 [Preservation]
Soft Heap – Soft Heap [Esoteric]Monnette Sudler – Where Have All the Legends Gone? [Heavenly Sweet-ness]
The Thing – Bag It [Smalltown]
Alexander Zonjic – Doin’ the D [Heads Up]
June 30Beegie Adair – Parisian Cafe [CMD/Green Hill]
John Balke – Siwan [ECM]
Larry Carlton – Sleepwalk [Warner Bros.]
Andrew Green – Narrow Margin [Microphonic Records]
Evan Parker – The Moment’s En-ergy [ECM]
Alvin Queen – Mighty Long Way [Justin Time]
Lee Ritenour – Rit [Warner Bros.]
Andy Sheppard – Movements in Colour [ECM]
Edward Simon – Poesia [Camjazz]
Soulive – No Place Like Soul [Co-lumbia]
Baptiste Trotignon – Share [Sun-nyside]
July 7Michael Knopf – Plomosis [Rrygu-lar]
Steve Kuhn – Mostly Coltrane [ECM]
Barry Miles – Sky Train [RCA]
The Modern Jazz Quartet – A Quartet Is a Quartet Is a Quartet [Wounded Bird]
Gayle Moran – I Loved You Then…I Love You Now [Wounded Bird]
JAZ_40 40 7/22/09 2:23:03 PM
JAZZed July 2009 41
HotWaxNotes To Self – A Shot in the Dark [BBE]
Miroslav Vitous – Remembering Weather Report [ECM]
Matt Wilson – That’s Gonna Leave a Mark [Palmetto]
July 14Bob Florence – Legendary [Mama]
Dexter Gordon – Dexter Calling [Apo]
Fred Jackson – Hootin’ ‘n Tootin’ [Apo]
Quincy Jones – Jazz Manifesto [Jazz Manifesto]
Franz Koglmann – Lo-Lee-Ta: Mu-sic of Nabokov [Col Legno]
Brian Lynch – Fuschia/Red [Cellar Live]Christian McBride & Inside Straight – Kind of Brown [Mack Avenue]
Dave Rivello Ensemble – Facing the Mirror [Allora]
B.A. Rolfe – Let’s Do It [Document]
Art Taylor – A.T.’s Delight [Apo]
The Temperance Seven – 33 Not Out [United States]
Bert van den Brink – Friendship: Live at the Muziekgebouw [Chal-lenge]
July 21Greg Abate – Straight Ahead [Can-did]
Jon Alberts – Apothecary [Origin]
Louis Bonilla – Pasos Gigantes [Candid]
Herb Ellis – The Navy Swing [Sounds of Yesteryear]
Bill Frisell – Disfarmer [Nonesuch]
Johnny Griffi n – From Johnny Griffi n with Love [Storyville]
Elliot Levine – Elliot Levine Meets the Seesaw Ensemble [Porter]
Jon Mayer – Nightscape [Reservoir]
Roscoe Mitchell – Congliptious [Nessa]
Ben Neuman – Introductions [OA2]
Ricky Sweum – Pulling Your Own Strings [Origin]
Anthony Wilson – Jack of Hearts [Groove Note]
July 28Cyro Baptista – Infi nito [Tzadik]
Rick Braun – All It Takes [Artistry]
Joe McBride – Lookin’ For a Chance [Heads Up]
Pietro Ciancaglini – Reincarnation of a Lovebird [Rearward]
Ken Colyer – The Classic Years, Vol. 3 [United States]
Bill Evans – Turn Out the Stars: Final Village Vanguard Recordings [Warner Bros.]
Rosenberg Trio – Seresta: 20th An-niversary [Hot Club/Norway]
Streetwise – Put U to Bed [Shanachie]
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]
[email protected] — www.CulturalTourConsultants.com
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JAZ_41 41 7/22/09 2:23:09 PM
42 JAZZed May 2009
CDShowcase
SCHOOL OF MUSIC
®
www.unl.edu/musicAn equal opportunity educator and employer with a comprehensive plan for diversity.
®
CDs featuring the UNL Jazz Ensemble ICDs featuring the UNL Jazz Ensemble I are available atwww.unl.edu/band/band_sales.shtml
JAZ_42 42 7/22/09 2:26:45 PM
JAZZed May 2009 43
CDShowcase
To buy go to JazzWorkbook.com
Author of the Jazz Workbook
Miles Donahue
Featuring; Kurt Rosenwinkel – Guitar Fred Hersch – Piano Jerry Bergonzi – Sax
divajazz.com
Live From Jazz At Lincoln Center's Dizzy's Club Coca-Cola
Featuring Carmen Bradford
Sherrie Maricle & The DIVA Jazz Orchestra
“The spirited interplay between the sections and immediately distinctive soloists compel me to, as I used to years ago, shout aloud in pleasure.”
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FIVE PLAYWhat the World Needs Now“Bravo to Five Play for an excellent release... incredible talents.”
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California 805-646-6677NYC 212-879-5900
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JAZ_43 43 7/22/09 2:26:53 PM
44 JAZZed May 2009
CDShowcaseTHE TONY WHITE PROJECT
Contact: [email protected] Website: www.tonywhiteinc.com
CD available at www.cdbaby.com/artist/thetonywhiteproject
Tony had been talking about stepping outside of just teaching music and doing more playing of his instrument. Thus as provi-dence would have it, the two men just happened to be in the same general area at the same time when a chance introduction brought them together. Little did they know that The Tony White Project would be the result of that introduction.
Tony’s saxophone work is simply sublime.
This is a magnifi cent collection that I would recommend to every Jazz fan to have in their collection. I fell I love with it when Tony and Billy sent me the fi rst preliminary copy of t he session.
James Janisse – 89.9 FM KCRW Santa MonicaKLASFM.COM - Hollywood
Continental & Copa Airlines – The World of Jazz & The Jazz Beat
As a Jazz radio announcer, DJ and afi cionado I have the distinct pleasure of being associated with some of the fi nest musical minds to have ever played, composed, ar-ranged and produced this music.
In 2006, Tony White – a fi ne saxophone player and musical educator of young minds, was intro-duced to Billy Mitchell. Billy just hap-pens to be one the premier musical educators, arrangers, producers and stellar pianists in Southern California or anywhere else. It was truly seren-dipitous.
[Evidence] "is refreshing and appealing... this recording is honest, open, joyful, receptive and giving"
– Jeff Coffi n
For more information, contact:Miles Osland - [email protected]
http://www.milesosland.com
"This is not yourfather's Big Band"
New Album Out Now
For more information, scores, score videos
and streaming audio please visit
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Cds now available at all major internet sites includ-ing, Amazon, Cd Baby, Best Buy, Tower Records,
and Barnes and Noblewww.glenndavismusic.com
JAZZED MEDIA PRESENTS:The N. Glenn Davis Quintet
with special guest Phil Woods
Come Right In
An exciting recording of swinging straight-ahead jazz played by an impressive quintet headed by jazz drummer N. Glenn Davis, featuring alto saxophone legend Phil Woods on several tunes. Also features premier NYC pianist Mark Soskin (15 years with Sonny Rollins), bassist Dean Johnson (10 years with Gerry Mulligan), Jack Schantz (recorded with Oscar Peterson and soloist with Woody Herman), and excit-ing young saxophonist Dave Sterner.
www.philmorrisontrio.comwww.myspace.com/worldunityjazzensemble
http://philtrio.blogspot.comhttp://keithpiano.blogspot.com
"PHILANTHROPY"A BEBOP/SPOKEN WORD TRIBUTE TO
JAZZ GREATS...PAST & PRESENT!!
Phil Morrison and Keith Williams'** wonderfully crafted creative tool for Jazz Educators featuring Barry Greene, world class guitarist and educator
Jazz! BeBop! - more precious than goldTaste it! enjoy! - it's food for the soul...
Miles, Sarah, Bird & DizRespect it people...tradition lives!
JAZ_44 44 7/23/09 10:02:50 AM
JAZZed July 2009 45
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JAZ_45 45 7/22/09 2:27:45 PM
46 JAZZed July 2009
ClassifiedsBooks
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JAZ_46 46 7/22/09 2:33:05 PM
JAZZed July 2009 47
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JAZ_47 47 7/23/09 10:05:47 AM
48 JAZZed July 2009
Julie Coryell, singer, songwriter, actress, manager, and author, passed away unexpectedly in Poughkeepsie, N.Y.,
on May 10th. She was 61 years old. She collaborated with award-winning photographer Laura Friedman on the
seminal book, Jazz Rock Fusion: The People, The Music, fi rst published in 1978 at the height of the fusion boom.
In preparation Julie conducted in-depth interviews with 58 musicians associated with jazz rock fusion – includ-
ing Jaco Pastorius, John McLaughlin, Carla Bley, Ron Carter, Randy and Michael Brecker, Freddie Hubbard, Billy
Cobham, Tony Williams, Herbie Hancock, Keith Jarrett, Joe Zawinul, Dave Liebman, Wayne Shorter, and Miles
Davis – the only interview granted during his most reclusive period. The interviews are accompanied by the
Friedman’s striking photo-portraits.
Julie was married to guitarist Larry Coryell and co-wrote and performed on several of his recordings, and
managed his career while simultaneously pursuing her own.
Backbeat
Julie Coryell1947 - 2009
JAZ_48 48 7/22/09 2:28:51 PM
JAZZ EDUCATION NETWORK
www.JazzEdNet.org For complete membership information/benefits please visit us at: www.JazzEdNet.org
Who we are: students, teachers, directors, musicians, composers, authors, fans, media, industry...WE are YOU!
lead the transformation of the jazz education culture
TheJazz Education Networkis dedicated to building the jazz arts community by advancing education,
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The Jazz Education Network was founded in the spirit of collaboration and excellence.
Our goal is to be a vital resource for a constantly evolving art form that lives globally.
Full IndividualMembership(18 and up) - $50
eJENMembership Levels:
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Partner Membership Levels:
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Affiliate - $25 Annual Fee + $10 per person/member
17 and under categories to be launched soon!
Please check the web site for updates.
JAZ_COV3 COV3 7/22/09 2:08:24 PM
