jazzed november 2009

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

NOVE

MBE

R 20

09 •

$5.

00

The Official Publication of

JAZZ EDUCATION NETWORK

LYNNEARRIALE

Lessons LearnedThe Jazz Big Band

Jazz ForumCarmen McRae

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

JAZZ PLAY-A-LONGS

FROMJAMEY AEBERSOLD JAZZ

JAZZ FOR THE HOLIDAYS

VOLUME 12

DUKE ELLINGTONSa n Doll • Perdido • Take The “A” Train • Solitude • Mood Indigo • I Let A Song Go Out Of My Heart • Sophis cated Lady • Prelude To A Kiss • In A Sen mental MoodRHYTHM SECTION: Kenny Barron; Piano, Ron Carter; Bass and Ben Riley; Drums.

VOLUME 48

DUKE ELLINGTON

In A Mellow Tone • Co ontail • Got It Bad • Warm Valley • C Jam Blues • Just Squeeze Me • I Didn’t Know About You • Don’t Get Around Much Anymore • Do Nothing ‘Til You Hear From Me

ALSO AVAILABLEVOLUME 126

RANDY BRECKERw/DEMO CD OF RANDY!BOOK/2-CDs .................................................$19.95

VOLUME 127

EDDIE HARRIS“LISTEN HERE”BOOK/CD .....................................................$15.90

Get your holiday season in full swing!

VOLUME 125

CHRISTMAS CAROL CLASSICSAway In A Manger • Deck The Hall • Greensleeves • God Rest Ye Merry Gentlemen • Go Tell It On The Mountain • Hark! The Herald Angels Sing • It Came Upon A Midnight Clear • Jingle Bells • Joy To The World • O Come All Ye Faithful • O Li le Town Of Bethlehem • Silent Night • The First Noel • Up On The Housetop • We Three Kings • We Wish You A Merry Christmas • Auld Lang Syne

VOLUME 78

JAZZ HOLIDAY CLASSICSWe Three Kings • Have Yourself A Merry Li le Christmas • Let It Snow • I Saw Mommy Kissing Santa Claus • Santa Claus Is Coming To Town • Silent Night • Sleigh Ride • Winter Wonderland • I’ll Be Home For Christmas • Rudolph, The Red-Nosed Reindeer • Auld Lang Syne

$15 90BOOK/CD

$16 90BOOK/CD

JAZZ CATALOG!1000s of Hand-Picked Items!

www.jazzbooks.comExclusive offers and discounts in our E-newsletter at

Special discounts, o ers, updates, jazz trivia and prizes!

Follow us on Twi er:��

��T �F��

SIGN UP AT JAZZBOOKS.COM

$15 90BOOK/CD

$14 90BOOK/CD

FOR ORDERING INFORMATION or FREE CATALOG • 1.800.456.1388

JAZ_COV2 COV2 11/11/09 11:09:04 AM

www.jazzbooks.com

APPLY ONLINE ATberklee.edu/summer/JazzEd

Summer Programs

JAZ_1 1 11/11/09 11:09:52 AM

www.berklee.edu/summer/jazzed

2 JAZZed November 2009

LESSONS LEARNED: ENSEMBLE PERFORMANCE 20Acclaimed educator and author Scott Cowan shares advice on how to best prepare for consistently solid ensemble performances.

LYNNE ARRIALE – TEACHING FEARLESSNESS 26JAZZed speaks with celebrated pianist and educator Lynne Arriale about her life as a student and teacher of music.

™

contentsN O V E M B E R 2 0 0 9

LYNNE ARRIALE “It’s important to help students develop a feeling of fearlessness.”

JAZ_2 2 11/11/09 10:49:25 AM

PUBLISHER’S LETTER 4NOTEWORTHY 6JAZZ EDUCATION NETWORK SECTION 10

departments48

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

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

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

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

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

issue may be reproduced without the written permission of the publisher. © 2009 by Symphony Publishing, LLC. Printed in the U.S.A.

™

NOVEMBER 2009Volume 4, Number 6

GROUP PUBLISHER Sidney L. [email protected]

PUBLISHER Richard E. [email protected]

Editorial StaffEDITOR Christian Wissmuller

[email protected]

ASSOCIATE EDITOR Eliahu [email protected]

STAFF WRITER Denyce [email protected]

Art StaffPRODUCTION MANAGER Laurie Guptill

[email protected]

GRAPHIC DESIGNER Andrew P. [email protected]

GRAPHIC DESIGNER Laurie [email protected]

Advertising StaffADVERTISING SALES Iris [email protected]

CLASSIFIED SALES Maureen [email protected]

Business StaffCIRCULATION MANAGER Melanie A. Prescott

[email protected]

ADMINISTRATIVE ASSISTANT Popi [email protected]

WEBMASTER Sanford [email protected]

Symphony Publishing, LLCCHAIRMAN Xen Zapis

PRESIDENT Lee [email protected]

CHIEF FINANCIAL OFFICER Rich [email protected]

Corporate Headquarters

26202 Detroit Road, Suite 300Westlake, Ohio 44145

(440) 871-1300www.symphonypublishing.com

Publishing, Sales, & Editorial Offi ce

21 Highland Circle, Suite 1Needham, MA 02494

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

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

Member 2009

36

18

JAZZed November 2009 3

Cover photograph: R. Andrew Lepley.

• PRESIDENT'S LETTER• NETWORTHY NEWS• JEN CONFERENCE• UPCOMING EVENTS• WELCOME NEW MEMBERS

JAZZ FORUM 36HOT WAX 40CD SHOWCASE 42CROSSWORD PUZZLE 44GEARCHECK 45

CLASSIFIEDS 46AD INDEX 47BACKBEAT: EDDIE LOCKE 48


RPMDA

NAJEE:WHAT’S ON YOUR PLAYLIST 18

JAZ_3 3 11/11/09 10:49:39 AM

It’s nice to have friends in high places… If you look back in history, most great classical composers had patrons who employed them in their court orchestras, perhaps mostly for their own pleasure, but also for the greater benefi t of their country. Bach was provided for by Prince Leopold, Beethoven by Archduke Rudolph (among oth-ers), Debussy was sponsored by Georges Harmann, and in more recent times in jazz circles, Thelonius Monk had Baroness Pannonica de Koenigswarter and Bud Powell had Francis Paudras. Unfortunately, without grants, sponsorships, and other forms of patronage, most forms of jazz and clas-sical music still cannot generate enough revenue to pay for concerts, salaries, promotions, et cetera. The percentage of market share for these types of mu-sic is still limited, despite the beauty and artistic nature of their production, and this holds true many other forms of art, including museums, poetry, Shakespeare plays, and more.

The presidency of the United States has seen its share of amateur musicians, including Franklin Roosevelt who played the organ, Warren Harding who was a multi-instrumentalist, Bill Clinton on saxophone, and Richard Nixon, who was a serious pianist. Clinton used his musical abilities to show he was a man of the people and he showed his love for music by incorporating many important musical events into the White House calen-dar, including “The Concert of the Century,” which fea-tured musicians who crossed many musical boundaries. Though he was not a professional, his interest in music “trickled down” to support music through many media outlets and thus was a boon to musical performance, the musical instrument industry, and especially the sales of red, white, and blue saxophones.

Although the Obamas are not known to be musi-cians, they are, according to the Associated Press article,

Capital Culture (Oct. 19, 2009), “demonstrating a com-mitment to use the White House to promote the arts in a huge way.” They have held numerous concerts which have crossed many musical genres, but they evidently “love jazz, according the Joe Reinstein, the deputy so-cial secretary who coordinates the White House music series.” By being visible in demonstrating the value of the arts in the White House, it will hopefully encourage more musical participation, patronage, and thirst for jazz as well as other genres of music. However, despite

the past presidential interest in music, many other countries outspend the USA when it comes to supporting the arts: “The 2004 British government arts budget was 800 million dollars, and thus 30 times higher than the per capita funding of the National Endow-ment for the Arts. (And Britain , by the way, has one of the lowest per capita rates of public funding for the arts in Western Europe.” “Some Stats for Eu-ropean Arts Funding,” newmusicbox, October 30, 2007)

It seems that if the arts are to remain an integral, important part of our soci-

ety it is benefi cial to not only have encouragement from the highest levels of government, but even more critical to provide funding for these efforts. The NEA appro-priation for 2009 was $155 million, and when you con-sider that the recent economic bailout and TARP funds combined into trillions of dollars, it’s confounding to think that the funding for the arts is a mere pittance and not considered worth a bit more for some of our greatest national treasures. Studies have shown that investments in the arts benefi t from an economic multiplier effect that often generates revenues for surrounding business-es, increases real-estate values, provides increased tax collections, and more. Isn’t it time to our government started investing, instead of just talking?

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

Friends in High Places

If the arts are to remain an

integral, impor-tant part of our society it is ...

critical to provide funding

for these efforts.


[email protected]

JAZ_4 4 11/11/09 10:51:00 AM

Juilliard JazzJazz Performance Education at this Country’s Premiere Conservatory

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

A curriculum tailored to the practical performanceneeds of its young artists at all levels� Bachelor of Music high school diploma or equivalent required� Master of Music bachelor of music degree required� Artist Diploma college degree or extensive experience required for this post-graduate, tuition-free program

All applicants must meet Juilliard’s jazz audition requirements.

Auditions take place in New York, February 26 – March 5, 2010Applications due December 1, 2009Apply online at: www.juilliard.edu/apply

Send Applications and Pre-Screen Recording to:Juilliard Admissions, 60 Lincoln Center Plaza, New York, NY 10023(212) 799-5000

www.juilliard.edu

Joseph W. Polisi, President

Jazz Bassist,alumnus, andJuilliard Jazz Artist-in-ResidenceChristian McBrideperforms withstudent EddieBarbash, on altosax, at Juilliard jazzensemble concert.

JUILLIARD JAZZ

Carl AllenArtistic Director

Laurie A. CarterExecutive Director

Artistic AdvisorBenny Golson

Artists-in-ResidenceChristian McBride

Visiting ArtistsBenny Green

Faculty

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

Pho

to: H

iro

yuki

Ito

JAZ_5 5 11/11/09 11:09:58 AM

www.juilliard.edu


he Jazz Education Network (JEN) plans to hold the fi rst of its annual conferences at the University of Missouri - St. Louis next spring. JEN board member and UM - St. Louis director of Jazz Studies, Jim Widner, was instrumental in bringing the conference to St. Louis. In June, Widner was recognized

with a Downbeat Magazine achievement award for a career of running jazz camps. He was among three music educators recognized across the country. The fi rst 500 members to register for the conference will receive priority seating at evening concerts.

For more information, visit www.jazzednet.org.

noteworthyFirst Annual JEN Conference

THoliday Release & Free Concert from Wynton Marsalis

ynton Marsalis is back with Christmas Jazz Jam, his fi rst holiday album in 20 years.Marsalis is partnering

with Target to exclusively release this holiday recording currently available on iTunes and in stores nationwide on November 1st.

Marsalis is joined by his septet for his 78th recording. Rooted in the spirit of New Orleans and the gospel church, these new arrangements of holiday standards are mixed with soul and swing. Marsalis’ trumpet is joined by Don Vappie on banjo and guitar; Wycliffe Gordon on trombone and tuba; Vincent Gardner on trombone; Victor Goines, Wessell Anderson, Walter Blanding and Paul Nedzela on reed instruments; a rhythm section

comprised of Dan Nimmer, Herlin Riley, and Reginald Veal with the vocals of Roberta Gumbel joining the band on “Mary Had a Baby” and “O Little Town of Bethlehem.”

Wynton Marsalis will give back to his fans as he opens the doors of Dizzy’s Club Coca-Cola at Jazz at Lin-coln Center on November 29th, 2009. More than 100 fans will be invited to join Marsalis and his quintet as they take the stage for this once-in-a-life-time performance. Free tickets will be distributed randomly to Wynton Mar-salis e-newsletter subscribers.

One lucky grand prize winner will receive two night’s stay at the Man-darin Oriental, New York. Additional winners will receive invitations to the quintet’s sound check, gift certifi cates to Gabriel’s Bar & Restaurant, tours

of Jazz at Lincoln Center’s House of Swing, and more.

This contest continues Marsalis’s efforts to fi nd new ways to connect with his fans and give them an in-timate look into his life and artis-tic process. He blogs regularly on Facebook about his experiences as a composer, educator, and performer on the road. He will also launch a new Web site later this year with exclusive content and opportunities for his fans.

Fans can sign up for free and view full details and rules of the contest at www.wyntonmarsalis.com.

W

JAZ_6 6 11/11/09 10:51:24 AM


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.

TU - BA or not TU - BA, that is the question....

noteworthyPortland Jazz FestivalThe 2010 Alaska Airlines/Horizon Air Portland Jazz Festival will be held February 22-28 with jazz outreach programming in area schools and community centers on Monday through Friday, February 22-26, leading up to a series of headline concerts Thursday through Sunday, February 25-28 throughout downtown and inner Eastside Portland venues.

The seventh annual Portland Jazz Festival features jazz masters and emerging new artists including three-time Grammy Award-win-ning bassist, bandleader and composer Dave Holland Quintet, leg-endary saxophonist and John Coltrane collaborator Pharoah Sanders, the Mingus Big Band devoted since 1993 to the musical legacy of Charles Mingus, Brazilian vocalist Luciana Souza, and contemporary trumpeter Dave Douglas Brass Ecstasy.

Additionally, Portland Jazz Festival’s annual thematic program-ming asks the provocative question Is Jazz Dead (Or Has It Moved to a New Address)? - New Music from Norway, featuring North Ameri-can premieres of leaders in Norway’s new and burgeoning jazz scene. This “festival-within-a-festival” includes the avant-garde chamber jazz of the Christian Wallumrd Ensemble, the saxophone/accordion duo of Trygve Seim & Frode Haltli, and the jazz/rock fusion of In The Coun-try featuring Morten Qvenild (keyboards), Roger Arntzen (bass) and Pal Hausken (percussion).

For more information, visit www.pdxjazz.com.

Micah Jones (Bass Dept. chair), Jymie Merritt, Kevin Mac-Connell (Bass instructor), and Mike Merritt.

The Merritts Present UArts’ WorkshopAfter receiving the Philadelphia Jazz Heritage Award at The University of the Arts last July, jazz bass legend Jymie Mer-ritt returned to the school on October 23rd to present a workshop. This time he brought his son, Tonight Show bassist Mike Merritt. Jymie and Mike entertained the large crowd of jazz majors with stories about Philadelphia jazz history, personal remembrances of jazz icons, current proj-ects, and a discussion about the rhythmic relationship be-tween bass players and drummers. Mike Merritt, who has been with the Conan O’Brien Show since 1993, spoke of his many musical infl uences and experiences that led to his current Tonight Show gig. The Merritts received a stand-ing ovation from the students. Jymie Merritt attended The Philadelphia Conservatory (now The University of the Arts) in the 1940s.

To fi nd out more, visit www.uarts.edu.

phot

o cr

edit:

Don

Gla

nden

“I can’t stand to sing the same song, the same way, two nights in succession. If you can, then it ain’t music - it’s close order

drill, or exercise, or yodeling or something. Not music.”

~ Billie Holiday

Say What?

JAZ_7 7 11/11/09 10:51:28 AM

noteworthy


Thelonious Monk International Jazz CompetitionThe Thelonious Monk Institute of Jazz hosted the 22nd annual Thelonious Monk International Jazz Competition and all-star gala concert on October 11 at the Kennedy Center Eisenhower Theater in Washington, D.C.

The Blue Note Records 70th anniver-sary gala concert attracted a collection of Blue Note recording artists, past and pres-ent, including Herbie Hancock; Dianne Reeves; Wayne Shorter; Kurt Elling; Bobby McFerrin; Ron Carter; Terence Blanchard; and McCoy Tyner. Bruce Lundvall, presi-dent and CEO of Blue Note Records, was presented with the 2009 Maria Fisher Founder’s Award, a highly coveted award that honors individuals who have made valuable contributions to jazz and jazz education.

The 2009 competition featured the bass and 15 of the world’s most outstand-ing young jazz bassists who were selected to compete before a panel of jazz greats in-cluding Ron Carter, Charlie Haden, Dave Holland, Robert Hurst, Christian McBride, and John Patitucci.

Ben Williams, 24, of Washington, D.C. received the $20,000 fi rst place scholarship and a recording contract with Concord Records; Joe Sanders, 25, of Milwaukee received the second place, $10,000 scholarship; and Matt Brewer, 26, of Oklahoma City received the $5,000 third place scholarship. The scholarships are geared to help pay tu-ition for college-level jazz education studies and provide funds for private, specialized instruction.

The concert also featured the winner of the Thelonious Monk International Com-posers Award, sponsored by BMI. This year’s winner was Joe Johnson of Kansas City, Mo., who performed his winning com-position, “Shepherd’s Song.” The Compos-ers Award, which carries a prize of $10,000, is presented annually to a composer who best demonstrates originality, creativity and excellence in jazz composition.

Proceeds from the Thelonious Monk In-ternational Jazz Bass Competition and Blue Note Records 70th anniversary gala concert will help fund public school blues and jazz education programs throughout Washing-ton D.C., Los Angeles, Chicago, New Or-leans, and the Mississippi Delta.

For more information, visit www.monkinstitute.org.

jalc.org/EssentiallyEllington Submission deadline:

An Annual High School Jazz Band Program Produced by Jazz at Lincoln Center since 1995

Essentially Ellington High School Jazz Band Competition & Festival

Submit a recording for your chance to be a finalist in the Essentially Ellington Competition & Festival, May 8–10, 2010, in New York City! 15 finalist bands and one community band will be invited to Jazz at Lincoln Center’s home in NYC for three days of workshops, jam sessions, performances and the opportunity to play with Wynton Marsalis.

and SEND US A RECORDING!

JAZ_8 8 11/11/09 10:51:34 AM

www.jalc.org

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

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

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

Or visit us online at www.northcentralcollege.edu.

www.northcentralcollege.edu 30 N. Brainard Street Naperville, IL 800-411-1861

Performing Opportunities at North Central College

Concert ChoirWomen’s Chorale

Women’s Chamber EnsembleOpera Workshop

Music Theatre ProductionsVocal Jazz Ensemble

Gospel ChoirNorth Central College

Express Show ChoirConcert Winds

Chamber WindsPercussion Ensemble

Brass QuintetBig Band

Jazz CombosChamber Jazz

Pep BandNaperville Chorus

North Central College2009-2010 Visit Days

Freshman Visit Days:

Wednesday, November 11

Monday, January 18

Saturday, April 10

Transfer Visit Days:

Saturday, November 7

Saturday, February 27

Saturday, April 24

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

JAZ_9 9 11/11/09 11:10:03 AM

www.northcentralcollege.edu

Our network is growing

Dear Readers, History is in the making….the fi rst annual Jazz Education Network Conference is being planned for May 20-22, 2010 in St.

Louis! Board member/ jazz educator/performer Jim Widner will be our host at the beautiful University of Missouri- St. Louis. Con-certs will take place in the stunning Touhill Performing Arts Center. Details are being fi nalized for headliners and hotels with the offi cial conference hotel being the Airport Hilton. Conference subcommittees are in the selection process right now to choose a good balance of presentations from a wide variety of performers and clinic submissions. Register online now as a member or an exhibitor at www.JazzEdNet.org to attend this exciting and historic conference and keep on checking that website for the latest details! Early registrants receive priority seating at evening concerts. We are planning a Meet Me In St. Louis Celebration prior to the Friday night concert that will be a great time and feature a taste of St. Louis food and beverages. You won’t want to miss this fi rst one….years from now you will want to say YOU were there!

This fall I had the fortunate experience of attending the amazing Monterey Jazz Festival put on by Tim Jackson and Rob Klevan. With all the top line musicians, this fest offers opportunities for jazz education featuring the best in the business. It was very impres-

sive how the young performers come back annually like it was a reunion. Everyone should put this on their calendar for next year!

I enjoyed seeing First Lady Michelle Obama’s quote comparing a jazz ensemble to an example of democracy with all having an equal voice and working together for the good of all! Chicago com-poser/fl utist Nicole Mitchell was commissioned by the Chicago Jazz Institute to honor the First Lady with a composition dedicated to her entitled “Honoring Grace: Michelle Obama.” It was performed by Nicole’s’ Black Earth Ensemble to a full house at the Spertus Institute on Michigan Avenue.

President Elect Dr. Lou Fischer and I have been invited to attend the Quincy Jones Musiq Consor-tium in New York City in early November. Quincy is bringing together leaders in the music fi eld to connect in an attempt to get more young people involved in music so we will let you know what JEN can do to assist. In addition to a site visit to St. Louis and serving on an appropriations panel in D.C., I will be attending my fi rst Percussive Arts Society conference in Indianapolis. December brings us to the well attended Midwest Clinic in Chicago, held for the fi rst time at the McCormick Place. Please stop by and visit us at the JEN booth #848.

I am honored to serve on the Advisory Committee for the NAMM Music Educator Days to be held in Anaheim January 16 & 17, 2010. If you haven’t attended a NAMM TRADE show…it is an amazing experience! In addition to attending the show there are special sessions being planned just for educa-tors. Visit the website for more information. To attend you do not have to be a member of any specifi c organization but you must be a working music educator.. I look forward to seeing you there!

In the spirit of excellence and with the advancement of jazz education always in mind…I look for-ward to working with you and for you.

Mary Jo Papich President, Jazz Education Network

Interim Fine Arts DirectorNiles School District 219

5701 W. Oakton StSkokie, IL

847-626-2050/2560 [email protected]

“Jazz is considered by many to be America’s greatest gift to the world.” Michelle Obama

June 15, 2009-The White House

JAZZ EDUCATION NETWORKA MESSAGE FROM JEN PRESIDENT MARY JO PAPICHNovember, 2009“There’s probably no better example of democracy than a jazz ensemble.” -- Michelle Obama

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

President’s LogNov. 4,Quincy Musiq Consortium-NYCNov. 5-7 Conference Site Inspection-UMSLNov.11-13 Perc Arts Society Conf - IndyDec. 16-19 Midwest Clinic (Booth 848) - ChicagoJan. 16-17 NAMM Trade Show & Music Ed Day - Anaheim

JAZ_10 10 11/11/09 10:52:25 AM


networthynewsVisit the Jazz Education Network booth #848 at the Midwest Clinic in Chicago! Be

sure and stop by to say HELLO and catch up on the latest plans about the upcoming fi rst annual conference to be held at the beautiful University of Missouri- St. Louis May 20-22nd, 2010. Have you registered yet? Visit www.JazzEdNet.org today! JAZZ EDUCATION NETWORK

Detroit recently celebrated a tradition that has brought jazz to the city every Labor Day weekend for the past 30 years. Billed as the largest free jazz festival in North Amer-ica, this year’s festivities ran September 4-7 and featured hundreds of performances on four main stages. TERRI PONTREMOLI (MI), says “In the months leading up to the festival, music fans participated in our Another Great Day in Detroit series that included noontime concerts at the his-toric Guardian Building; jazz/poetry sessions at the Charles H. Wright Museum of African American History; in-school sessions with 2009 Artist in Residence JOHN CLAYTON(CA-Board), GERALD CLAYTON, EDDIE DANIELS and SEAN DOBBINS; jazz films at Midsummer Nights in Mid-town; and concerts at Cliff Bell’s, Baker’s Keyboard Lounge, the Detroit Institute of Art and the Detroit Public Library. In putting together this year’s lineup, Terri set out to please the Detroit jazz audience. With the theme of “Keepin’ Up with the Joneses,” it was historically significant that they opened with the great Hank Jones and closed with a commissioned work by John Clayton honoring Hank and his legendary siblings, Thad and Elvin.” LOU FISCHER (OH-Board), MARY JO PAPICH (IL-Board), and JUDY SHAFER (OH) attended and participated in the 30th Annual DETROIT JAZZ FESTIVAL (MI-Charter Institutional Partner), at the invitation of festival organizer Terri Pontremoli. JEN hosted a booth near the educational stage, where we were able to spread the word about our organization to many that would not otherwise know of JEN. Thank you Terri! There were so many highlights, where do you start? GERALD WILSON, WAYNE SHORTER, JOHN PATITUCCI, DANILO PEREZ, DAVE BRUBECK QUARTET, BOOKER T., GERI ALLEN, ELLEN ROWE (MI), Detroit All Star Big Band under the direction of DENNIS WILSON (MI), and many more! Art-ist-in-Residence John Clayton brought the house down with a world premier of his commissioned three movement Concerto Grosso featuring the Scott Gwinell Jazz Orchestra and the Clayton Brothers Quintet titled T.H.E. Detroit, a tribute to one of the many musical families hailing from Detroit, Thad, Hank, and Elvin Jones. DJF selected John Clayton because of his immense talent as a composer, his warm, inclusive and inspirational way of teaching, and his own burgeoning family jazz dynasty (with brother Jeff and son Gerald).

DAVE ROBINSON (VA) reports Traditional jazz is alive today! The fifth annual Tradi-tional Jazz Youth Band Festival will take place at Sacramento State University (SSU) on February 13, 2010. Presented by the Sac-ramento Traditional Jazz Society (STJS) and SSU in cooperation with the Traditional Jazz Educators Network (TJEN-a JEN Network Affiliate Group), this adjudicated, non-com-petitive festival showcases young combos performing the New Orleans-derived styles of jazz. Workshops, jam sessions and solo-ist prizes are all part of the fun. Register by December 15, 2009 at http://sacjazz.org/youthfestival/

Pacific Coast Jazz of San Diego (CA Corporate Sponsor) founded in 2003, has been busy adding new inde jazz artists to its roster, primarily in straight-ahead jazz but also in contemporary jazz. Five of PCJ’s artists are vying for Grammy nominations in 7 categories. Those artists are bassist Rob Thorsen, pianist Danny Green (winner of the 2008 “Best Jazz Album of the Year Award” by the San Diego Music Foundation) and Saltman Knowles of Washington, DC. Other artists not in jazz categories are Sara Wasserman and Ramana Vieira. According to Donna Nichols, a total of 27 artists are now on the label’s roster and a second label was formed in 2008 to cover genres of mu-sic that are not jazz. Check it all out at www.pacificcoastjazz.com

Jazz Singer and writer/arranger ROSA-NA ECKERT (TX) has released a new CD on GEM Records titled Small Hotel. Appearing on the CD are pianist BRIAN PIPER, bassist JOHN ADAMS, drummer MIKE DRAKE, sax-ophonist CHRIS MCGUIRE, guitarist AARON KELLEY, and singer/writer GARY ECKERT who also produced the project. The CD also features a guest appearance and liner notes by trumpeter MARVIN STAMM (NY) as well as special contributions from pianist/arranger MICHELE WEIR (CA) and bassist CHRISTIAN McBRIDE. Available at www.rosanaeckert.com.

JAZ_11 11 11/11/09 10:52:30 AM

networthynewsJAZZ EDUCATION NETWORK

DARIUS BRUBECK (South Africa) will spend next Spring semester at the University of Cluj in Romania on a Fulbright Scholarship from Feb-ruary through May 2010, not the University of the West as reported in last July’s issue.

The Miami Saxophone Quartet’s latest CD “Fourtifi ed” has earned bonus points by doing something other such groups would be wise to emulate: it has added a rhythm section (at least on three of Fourtifi ed’s nine tracks). Featuring GARY KELLER, GARY LINDSAY, ED CALLE,and MIKE BRIGNOLA, there’s even a second quartet—viola, cello, two violins—on the aptly named three-movement “Jazz Suite for Double Quartet,” Latin percussion (courtesy of RICH-ARD BRAVO) on “Spunky” and “Seventh Sign,” and a guitarist (DAN WARREN) on “Spunky.” To add more spice to the bill of fare, alto Gary Lind-say doubles on synthesizer on his arrangement of Ron Miller’s “Sign.” Despite being partial to woodwinds, it’s pleasing to hear the saxophones in the company of assorted other instruments. www.miamisaxquartet.com

Progressive Jazz 2009...a new CD by TERRY VOSBEIN and the KNOXVILLE JAZZ ORCHES-TRA features Swing, Ballads, Afro-Cuban, Hot soloists...what more could you want? Includes seven unknown compositions and arrange-ments by PETE RUGOLO and BOB GRAET-TINGER from the most popular and innovative band Stan Kenton ever led. This music from 1948 has never been recorded and has not been heard since that time. Add to the mix half a dozen brand new pieces composed by Terry Vosbein and you’ve got nearly 80 minutes of the most refreshing big band CD to come along in years. Included is a 16-page booklet, complete with essays on Kenton and the music, as well as photos by William P. Gottleib and Patrick Hinely. www.maxfrankmusic.com

Ohio guys-MICHAEL PARKINSON (OH)-trumpet, KYLE SLEMMER-tenor saxophone, GRAHAM STEWART-voice, JEREMY SCHAF-FER-piano, TERRY DOUDS- bass, GUY RE-MONKO- drums and Guest Artist MATT JAMESon alto saxophone presented “1959 – It Was A VERY Good Year! - Celebrating the 50th anni-versary of classic recordings by Brubeck, Col-trane, Davis, Evans, Jobim, Mingus, Monk, Sil-ver & Strayhorn on Nov. 1st at Baker University Center Theater.

On Tuesday, October 20, at 8:00 pm, an eclectic coterie of re-nowned vocalists who “grew up” under the wing of vocalist Mark Murphy’s mentorship came together at Yoshi’s Oakland to celebrate Mark’s infl uence through songs, stories, and the establishment of the Mark Murphy Vocal Jazz Scholarship for Berkeley’s Jazzschool. The evening’s performers included KITTY MARGOLIS (CA), MADELINE EASTMAN, ANN DYER, LAURIE ANTONIOLI, BOBBE NORRIS,and JOYCE COOLING – all of whom are based in the Bay Area and have established international performing and recording careers as well as stellar artistic credentials.

REY BURNS’ (NY) Crossroad is an eclectic group that plays a wide range of music. A lively and inspirational string quintet and rhythm section that brings a refreshing blend of jazz, classical, and Latin sounds to listeners as they perform the music of Rey Burns. For information about Rey Burns and Crossroad, go to http://www.freefl ightmusic.com.

September 30, 2009; Monterey, CA; THE MONTEREY JAZZ FESTIVAL (CA) presented by Verizon and under the leadership of Tim Jackson and Rob Klevan, wrapped up its 52nd edition on Sunday, September 20th with a weekend of visionary performances, sonic sur-prises, and emotionally charged sets from 500 world-renowned and legendary artists. With the weather behaving in typical Monterey fash-ion, from a cool mist to hot sun, the music also represented a variety of jazz temperatures. At the end of it all, over 40,000 fans gathered to celebrate the joy of jazz in Monterey. President MJ Papich attended and was “wowed” by the line up of greats! Most memorable to her were: ESPERANZA SPALDING, DEE DEE BRIDGEWATER, DAVE BRUBECK, CHICK COREA, WYNTON MARSALIS and the Lincoln Center Jazz Orchestra, and of course, the Cal State Jazz Band from Long Beach under the direction of Kendor’s JEFF JARVIS (CA). Next year’s 53rd Annual Monterey Jazz Festival presented by Verizon will take place on the Monterey Fairgrounds September 17 - 19, 2010 with over 500 artists performing on 9 stages for 3 nights and 2 days of the world’s best jazz. The 53rd Annual MJF Artist-In-Residence will be four-time Grammy-winning vocalist, Dianne Reeves. The announce-ment regarding Artists for the Arena and Grounds, including ticket information will be made on March 29, 2010..


JAZ_12 12 11/11/09 10:52:34 AM


networthynewsJAZZ EDUCATION NETWORK

NAMM MUSIC EDUCATOR DAYS in sunny Anaheim, California at the fabulous NAMM SHOW will be January 16th and 17th 2010. Registered teachers may attend special sessions planned just for them and also visit the impressive NAMM SHOW to see the latest the industry has to offer. Visit the website to get more info!

Visit MATT HARRIS’ new website for big band music and CD’s. Categories include: New Charts, Maynard and Buddy Rich, Previously published, out of print charts, and Solo Vocal with Big Band. www.mattharrismusic.com

Concord has new releases from PONCHO SANCHEZ, RAMSEY LEWIS, CO-REY HARRIS, ALL-4-ONE and more. Video podcasts available from Miles Davis & Sonny Rollins, Art Tatum, Lionel Hampton and Ray Charles....click the follow-ing link: www.concordmusicgroup.com/newsletter/concord_newsletter_sept29.html

Illinois drummer JOEL SPENCER performed with BARBRA STREISANDlast month on the Oprah Winfrey Show. The show was taped on Tuesday (9/22) and was nationally broadcast Thursday (9/24) and is available on youtube. He said it was a real thrill to get a chance to work with Streisand on national TV! Also performing were TAMIR HENDELMAN- piano, ANDY BROWN- guitar, ERIC HOCHBERG- bass. Streisand’s new cd titled Love is the Answer features DIANA KRALL’s band with JEN’s own, John Clayton on bass, JEFF HAMILTON, drums, and ANTHONY WILSON, guitar, along with BOB HURST, bass, BILL CHAR-LAP, ALAN BROADBENT, and Tamir Hendelman, rotating in and out of the piano chair with Ms. Krall. The recording features wonderfully lush orchestrations by JOHNNY MANDEL, and there’s even a second bonus disc of the same tunes featuring only the quartet and Barbara.

WILLIE THOMAS is still at it…sending out regular youtube clips about how to play jazz…they are authentic and terrifi c! In depth information available at www.jazzeveryone.com provides anyone interested in learning to play jazz an op-portunity to interact with a set of well structured, online lessons at all levels. Concepts developed over a lifetime by one of America’s leading jazz teachers and players takes you inside of the jazz language. Special study and play-along materi-als are available for download and classroom study. Check it out!

User-Friendly Jazz Improvisation... by Alaadeen Improv + History Manual Do you have the desire to make swing your own thing? If you are a jazz educator or soloist, then you should

consider what Kansas City jazz master Alaadeen has to say in the release of his fi rst jazz improvisation and history manual: “The Rest of the Story.” Primarily known by his surname, Alaadeen…The Rest of the Story is presented in a simplifi ed manner with easy to understand terms that will help you to: make Swing your thing, play more instinc-tively, organize tones where they begin to work for you, and learn history and build upon it. Find out more by contact-ing [email protected].

MARVIN STAMM (NY) was invited to per-form and teach at six prestigious music col-leges and academies in the UK between Oc-tober 20 and November 3, 2009. The schools he will be visiting are Trinity College of Mu-sic, the Guildhall School of Music and Dance, the Royal Academy of Music, and the Royal College of Music, all in London; also the Royal Welsh College of Music and Dance in Cardiff and the Royal Scottish Academy of Music and Dance in Glasgow. Marvin will be per-forming the Miles Davis/Gil Evans suite Sketches of Spain with Scott Stroman and the Guildhall Jazz Ensemble, as well as presenting concerts with Mark Armstrong’s ensemble at the Royal College and Bryan Allen’s group at the Royal Scottish. At the other schools, he will be doing performance master classes and demonstrations.

Bassist/composer BEN ALLISON has launched The Think Free Project. Musicians and fi lmmakers can be part of a virtual collaboration by going to www.youtube.com/thethinkfreepro-ject and listening to Ben’s invitation to record and submit their own interpre-tations of two tracks posted on the site from his latest CD, “Think Free.” Ben and his band will choose their favor-ites and post at www.benallison.com, and their very favorite music and fi lm collaborations will receive copies of Ben’s complete CD catalog.

JEN’s own JIM WIDNER (MO-Board), who will be hosting the JEN Conference in May in St. Louis just returned from a week of clinics and performances in Hawaii at Castle High School and at Hawaii Pacifi c Coast Uni-versity, where PATRICK HENNESSEY (HI) is the director. He followed that up with a two day jazz ed workshop at Vandercook College in Chicago.

JAZ_13 13 11/11/09 10:52:40 AM


1st Annual Jazz Education Network Conference

Plan Now To Attend

• Shaping the future of Jazz Education



JAZ_14 14 11/11/09 10:52:46 AM


BE A PART OF HISTORY….ATTEND THE 1st JEN CONFERENCE

MAY 20-22, 2010 IN ST. LOUIS!

Complete Details NOW at www.JazzEdNet.org• Earlybird Registration Advantage through December 31st is $95! (Save $55 by registering before the new year!)• Two and a half days of concerts, clinics, panels, workshops, festivities and fun• World-class artists, clinicians, and ensembles• Attend the Annual Membership Meeting• Register early as participation is limited• First 500 members to register receive priority seating to the evening concerts• Exhibitor Packets Available Now! Space is limited. First-come First-served • We are proud to announce the Airport Hilton as the Offi cial Conference Hotel! • Affordable housing is available at the incredible price of $74 per night plus tax• Free shuttle service from the airport to the hotel• Log in to the JEN website for a direct link to make your reservation today • Shuttle Service provided from the Conference hotel to the UMSL campus• Meet Me In St. Louis Celebration Dinner Option featuring regional cuisine & local libations!

Save the Date: Thursday, May 20th through Saturday, May 22nd, 2010Featuring top quality professional musicians and clinicians…with many outstanding student groups.

Location:St. Louis, Missouri – Gateway city to the West

St. Louis attractions offers so many things to see and do when the conference is over that you’ll probably run out of time before you run out of options. Unique attractions, historic sites, charming neighborhoods and exciting entertainment are all within reach!

Presented in tandem with the University of Missouri - St. Louis• UMSL is located on the Metro rail line with direct link to downtown St. Louis• Easy accessibility to St. Louis International Airport• Ideal location with ample clinic rooms and concert venues • Hosted in the Beautiful State-of-the-Art Touhill Performing Arts Center and the Millenium Student Center on the UMSL campus

The Conference Program will include a broad spectrum of topics and issues of interest related to the three elements of the JEN Mission Statement: advancing education; promoting performance, and developing new audiences. Anyone involved in teaching, performance, business, presentation, and the enjoyment and appreciation of jazz is encouraged to attend!

JAZ_15 15 11/11/09 10:52:50 AM


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

JEN Partnerships in Jazz Education:Midwest ClinicDecember 16-18, 2009 Come visit us at Booth #848! Chicago, ILwww.midwestclinic.org

NAMM/Support Music CoalitionJanuary 14-17, 2010 Music Educator Days January 16th & 17th Anaheim, CA www.supportmusic.com

Music For All National FestivalMFA/JEN Honors Jazz Band of AmericaMarch 4-6, 2010 Indianapolis, IN www.musicforall.org

1st Annual JEN Conference: Shaping the Future of Jazz EducationMay 20-22, 2010 University of Missouri at St. Louis St. Louis, MO Register online today at www.JazzEdNet.org

Music For All Summer SymposiumMFA (BOA)/JEN Jazz Camp June 21-26, 2010 Bloomington, IL www.musicforall.org

upcomingeventsJAZZ EDUCATION NETWORK

JEN Endorsed Events:

Puerto Vallarta Jazz FestivalFebruary 12-15, 2010 Puerto Vallarta, Jalisco, Mexico There’s still room for a few more groups! Featuring Orbert Davis and Ruben Alvarez Call 1-800-733-8384 www.amclass.com

JAMfest New Orleans Junior Arts & Music New Orleans, LA March 4-6, 2010 www.WorldWideConceptsVacations.com

National Jazz Workshop July 11-16, 2010... Details Coming Soon! Beginner to Professional Musicians Shenandoah University in cooperation with U.S. Army Blues & Smithsonian JazzMasters Winchester, Virginia www.nationaljazzworkshop.org

JAZ_16 16 11/11/09 10:52:55 AM


New Members as of October 24, 2009.

Corporate Partner:ADVANCE MUSIC V. GRUBER GMBHPACIFIC COAST JAZZ

Institutional Partner:FIVE TOWNS COLLEGEGETTYSBURG COLLEGEJAZZ ST. LOUISSIUEUNIVERSITY OF MO - ST. LOUIS

Network Affi liate:CENTRAL ILLINOIS JAZZ SOCIETYUNIVERSITY OF NORTHERN COLORADO

Individual:VINCENT AIELLOARIEL ALEXANDERPHILIP ALPERSONPAUL BANGSERMARI MENNEL BELLBILL BERGRENWILLIAM BINGNACDE BOBADILLOROBERT BOSMAAMY BRANAHLDARRYL BRENZELGREGORY BUSHED BYRNEKEVIN CARROLLANDREW CHEETHAMMATT CLAUHSANN COLLINSANITA CRIDERFRANCISCO DEANCHERISE DEKRAAINICK DROZDOFFPHIL DUNLAPKEN DUQUAINEPETER ELLINGSON

welcome new members

NANCY ENGLISHLARRY ENGSTROMSCOTT FOSTERSTEPHEN FOSTERRODGER FOXRICHARD FRANKBRUCE GERTZLUKE GILLESPIEMARK GRIDLEYVERONIKA GRUBERARLEN GUIDRYTIM HAGANSKIRK HAMILTONCHARLES HARRISONSANFORD HINDENJEFFREY HOLMESBRADLEY HOWEYCHERYL HUGHEYCHRIS HUMPHREYJAMES HUNTERANITA JAYNESROBERT JOHNSTONBUZZ JONESPATRICK KEARNEYDANIEL KNOXCHRISTOPHER KOZAKPAT LACEYJOHN LARSONADAM LARSONGARY LAUSIERCAL LEWISTONVICTOR LOPEZSTEPHEN LUCASCHARLES MALEDYKATIE MATSUMOTORICH MEDDROBERT MEDDJEFF MELSHACHRISTOPHER MERZNICHOLAS MEYERRUSSELL MILLER

INGRID MONSONJENNY NEFFROBERT NORDMANMAUREEN O’HAENNYDOUGLAS OVERMIERT.J. PANULAEDWARD PARTYKAPAUL PAWLUKGARY PRATTDANIEL REDNERRUFUS REIDPHILIP RICHANNE ROLOFFHAIG SHAHVERDIANSHEILA SPARKSBRETT STAMPSKEN STEINCHRIS STEVENSJOHN THOMASRICK WHITEJONATHON WHITNEYMARGARET WISJAMES YOUNGDENNIS ZEITLIN

Current Membership includes Seven Hundred and forty-eight members in thirteen countries representing: Germany, Austria, United Kingdom, France, Australia, New Zealand, Japan, Korea, China, Mexico, South Africa, four provinces in Canada, and forty-seven states in the United States. The collective membership includes: thirty-one Corporate Partners; twenty-two institutional partners; and twelve Network Affi liate Groups. To see which of your friends and neighbors are members, visit our website at www.JazzEdNet.org

JAZ_17 17 11/11/09 10:52:59 AM


1. “Quiet Girl” – Billy ChildsHe’s one of my favorite artists. I like that whole album [Take for Example This...], but that song is just a beautiful melody, a beautiful song.

2. “Madame Toulouse” – Michael BreckerAs a saxophonist, composer, and all around scientist, he’s one of my favorites.

3. “Giant Steps” – Kenny Garrett He probably has the most unique approach that I’ve heard in a long time. That song is in 4/4, but he did it in 3/4 and it’s very interesting.

4. “Impressions” – Brecker/Hargrove/Hancock That’s another song where they did something totally differ-ent with it. They took an up-tempo tune and made it a ballad and it’s also very interesting harmonically.

5. “Ain’t it Funky Now” – George DukeHe took James Brown’s classic and he just tore it up on acoustic piano.

6. “Ponta de Areia” – Esperanza Spaulding I think she’s the most refreshing artist I’ve heard in a long time, to be honest with you. She’s one of those people who has the jazz vocabulary, but she manages to convey it almost like a pop star.

7. “A Tear for Crystal” – David Sanborn That’s one of the most beautiful ballads ever. A very simple song, but played beautifully.

8. “Naima” – Alex Bugnon He did a version that I thought was really, really nice. It’s a contemporary version done very well.

9. “So Amazing” – Gerald Albright I think this is just one of the best reinterpretations of a popular song.

10. “More” – Miles Davis That is one of my all time favorites. It’s a little sentimental for me, as well, because when I was beginning to listen to jazz this was one of the fi rst recordings that I really loved.

Among the more commercially successful instru-

mentalists of the past two-plus decades, saxophon-

ist/fl autist Najee consistently connects with both

jazz and R&B afi cionados – his crossover appeal

has led some to dub him the “innovator of urban

jazz.” Najee’s broad appeal as a player also when

considering the artists whom he has recorded or

performed with: Prince, Larry Carlton, Stanley

Clarke, Chaka Khan, and Billy Cobham, to name

just a few.

Najee’s newest disc, Mind Over Matter, fi nds him

collaborating with the likes of Eric Benet, Gary

Taylor, and Jeff Lorber.

What’s on Your Playlist?

Najee’s latest CD, Mind Over Matter (Heads Up), was released on August 25, 2009. www.najeeonline.com

JAZ_18 18 11/11/09 10:53:30 AM

Extraordinary Opportunities for Exceptional Students

www.music.northwestern.edu Northwestern University is an equal opportunity, affirmative action educator and employer.

Jazz students with highest-level achievement in both performance

and academics are invited to apply to the jazz program at North-

western University’s Bienen School of Music. Under the direction of

Victor Goines, the program offers both undergraduate and graduate

degrees in a setting just 12 miles from downtown Chicago, a city

renowned as a thriving jazz center. Undergraduates may also pursue

double and self-designed degrees. Auditions are held on the Evanston

campus and in eight cities nationwide.

Each summer the National High School Music Institute offers

a five-week precollegiate music-major experience for talented

high school musicians.

Jazz Faculty

Victor Goines, program director; jazz saxophone and clarinet

Carlos Henriquez, jazz bass

Willie Jones III, jazz drums

Christopher Madsen, ensembles and course work

Peter Martin, jazz piano

Elliot Mason, jazz trombone

John P. Moulder, jazz guitar

Office of Music Admission

and Financial Aid

Bienen School of Music

Northwestern University

711 Elgin Road

Evanston, Illinois 60208-1200

847/491-3141

[email protected]

N O R T H W E S T E R N U N I V E R S I T Y Bienen School of Music

JAZ_19 19 11/11/09 11:10:09 AM

www.music.northwestern.edu


lessons learned ENSEMBLE PERFORMANCE

The Jazz Big Band INGREDIENTS TO ASSURE GOOD ENSEMBLE PERFORMANCES

II was afforded the opportunity to play in jazz big bands from

my youth through higher education. I experienced many styles

of leadership, some more effective than others. Some ensem-

bles I played in at the University level were at a professional

level. Others were mere reading ensembles sorely lacking in

basic technique, intonation, improvisational skills, and appro-

priate feel. Throughout my nearly twenty years of directing jazz

big bands and observing a myriad of world class band lead-

ers, I have observed a plethora of ingredients, so to speak, that

have contributed to successful performances. The following

ingredients reflect my observations.

BY SCOTT COWAN

Ingredient Number One:Rehearsal Technique

I would define rehearsal technique as the ability to extract the best results from your jazz ensemble. Good rehearsal technicians know their musical scores intimately. They have clear rehearsal agendas and goals and are able to meet these goals through efficient use of re-hearsal time. They seek to communicate what they want in a concise, clear, diplomatic fash-ion. You may note that these observations differ very little from a conductor of other musical genres. This is true; however, the jazz genre

seems to breed many conductors/directors that are simply too loose. Some are ill-prepared, un-able to use rehearsal time efficiently, and end up “winging it” far too much. Effective jazz big band rehearsal technicians rarely “conduct;” that is, they don’t conduct a continuous pat-tern in front of the ensemble. They reserve those moments for when the ensemble “really needs them,” like out of tempo markings such as rubati and accelerandi, or other examples of rhythmic “stretching.” Though it may be a matter of semantics, “director” is a better term for someone who leads a jazz big band. A di-rector gives necessary cues and conducts only

JAZ_20 20 11/11/09 10:54:12 AM

lessons learned


when needed. When conducting, a “less is more” non-flamboyant style is most appreciated and effective for the jazz big band. Staying out of the way should be the goal and will garner the best results. Most traditional jazz big band literature is void of frequent tempo changes. Once a groove (time/subdivision) is established by a bassist and drum-mer, it can be non-productive and a nuisance having time dictated up front. Ideally, the horns (brass and saxophones) will hear the groove/time from the rhythm section and adjust with them creating a syner-gistic ensemble experience. Hence, the concept of jazz as a democracy rather than an autocracy should be the goal in the jazz big band. One exception to the principle of “con-ducting little and directing much” is with a young or inexperienced rhythm section. Unfortunately, con-stant conducting may be required to prevent the ensemble from falling apart.

Ingredient Number Two:Repertoire Selection

Picking the right jazz big band repertoire is a practical as well as a philosophical issue.

On the practical side, picking suitable repertoire for your ensemble is a critical ingredient for a success-ful jazz big band performance. Many publishers of jazz big band literature indicate on their scores the diffi culty level of the chart. It is up to you, the director, to evaluate the strengths and weaknesses of your ensemble and determine if your students will eventually thrive or will continually struggle with a chart. Some charts will push your students toward ex-cellence, while others may prove a discouraging experience for every-one. Mixing a program with a variety of rhythmic feels and levels of diffi -culty generally provides an interest-

ing program for the students as well for the audience. Unfortunately, I have witnessed jazz ensembles “un-ravel” during performances. This is a terribly embarrassing scenario for everyone. Probable causes for this

could include that the ensemble was ill-prepared, under rehearsed, the chart was too diffi cult, or the tempo was counted off too rapidly.

On a more philosophical side there is a lot of current jazz big

It’s jj Babbitt’s

90th AnniversaryCelebrate the sound!

Introducing... the Otto Link Vintage mouthpiece

by jj Babbitt. Commemorating 90 years of helping you

make great music.

www.jjbabbitt.com • E-mail: [email protected]

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

JAZ_Sec1-21 Sec1:21 11/11/09 10:54:16 AM

www.jjbabbitt.com

lessons learned


band literature available by living jazz composers/arrangers. I have no complaint regarding the selling and performing of the work of current jazz artist. I am a published jazz big band composer and arranger my-self. However, I am concerned when I adjudicate festivals and hear no performances of historically impor-tant jazz literature. The historically important cannon of jazz big band music is readily available today through the Smithsonian Archives, transcribers, and certain publishers. Finding the music of Fletcher Hen-derson, Duke Ellington, the Count Basie writers, Thad Jones and others are a critical part of educating jazz students. Audiences also need to be exposed and educated to our his-torically important jazz big band li-brary. After all, let us not forget this

music is indigenously American and a national treasure.

Ingredient Number Three:Aural Vs. Verbal Instruction

A quick method to enable stu-dents to grasp a musical jazz con-cept is to demonstrate it vocally or instrumentally. Jazz is most certain-ly an aural tradition. Most students who have a propensity for music quickly pick up on aural demon-strations. Presenting a concept this way and having the students imme-diately emulate the example can be fun and quite effective. Teaching the concept of swing sensibility through a verbal explanation can be quite te-dious and difficult. However, aural-ly demonstrating jazz articulations, phrasing, and swing sensibility can expedite the process. Recordings are

also indispensable. There are many nuances in jazz that are only really comprehended when heard aurally. If one is explaining the concept of pitch bending to a the saxophone section, “cut to the chase” and play an appropriate recording of the Count Basie saxophone section or pick a recording of Ellington’s star lead saxophonist Johnny Hodges.

Ingredient Number Four:Spirit Vs. Spiritless Performances

I would define a spirited perfor-mance as one that is special, interest-ing, and memorable; in other words “musical.” Musical performances might 1) demonstrate dynamic nu-ances, 2) highlight noteworthy or-chestration blends and textures, and 3) balance foreground, background, and other supportive material. They may not demonstrate a technically perfect performance but could com-municate a highly emotional musi-cal experience. This highly emo-tional musical experience could be exhibited through jazz nuances such as vibrato, bends, a wide dy-namic palette, stylistic integrity and appropriateness, accents, melodic personalization, phrasing, and tone manipulation. A clean performance may be applauded for its technical proficiency but lack all the qualities that make a jazz performance spir-ited, special or memorable. Listen-ing critically to recordings of spir-ited jazz ensemble performances can assist a director to guide his or her ensemble to capture the spirit in which the music was delivered. It is this spirit that has the capac-ity to transform or lift a technically brilliant but dry performance to the highest level of art.

One might seek out examples of near perfect technical performances that are full of spirit. I would refer-ence the Count Basie Orchestra. It is above all a world-class jazz ensem-ble that exhibits the ultimate level

ARBORS RECORDSWHERE CLASSIC JAZZ LIVES ONDick Hyman’s Century of Jazz PianoDick Hyman’s Century of Jazz Piano

Now available, Dick Hyman’stour-de-force survey of historic

styles of jazz piano in 121performances on a set of 5 CDs

with a DVD of instruction and analysis, plus historical

and personal notes.Special retail price $60 andspecial price for non-profit

educational institutions $30ARCD 19348

American Express, VISA, MasterCard, Discover accepted.Free catalog: Arbors Records

2189 Cleveland Street, Suite 225, Clearwater, FL 33765 Phone: (800) 299-1930 Fax: (727) 466-0432

E-mail: [email protected] Internet: www.arborsrecords.com

JAZ_22 22 11/11/09 10:54:23 AM

www.arborsrecords.com

lessons learned


of jazz spirit. Basie’s ensembles also had the capacity to perform charts at a technically brilliant level. This was, in part, likely due to a rigor-ous performance schedule. Ensem-bles that play night after night often achieve a technically proficient level that is rarely heard from ensembles that perform much less frequently. Duke Ellington’s band occasionally struggled with technical issues but because their performances were so highly spirited the intense spirit of the performances superseded the technical issues.

Proverbs:• An obsessive technician tends to

create very safe, spiritless perfor-mances.

• Too much familiarity with a chart could encourage a stale, lacklus-ter performance.

• Technical imperfect performances packaged with a highly spirited sensibility can be more musical than perfect performances.

Ingredient Number Five:Section Leaders Vs. Lead Players

Section leaders are often the lead players in the section. However this practice should not be written in stone. It is important that you fill the section leader chairs with the most mature overall musicians in the section. Ideally these section lead-ers should also be responsible, en-thusiastic individuals who are able to work well with their peers. The best section leaders possess a teach-able, responsible disposition. They can be trained to lead productive sectionals, saving a director time to focus on refinement rather than on correcting notes and rhythms. They can also assist a director in setting the climate of rehearsals that helps to maintain an environment of pro-fessionalism (i.e., keeping chatter to a minimum). They can also be a ba-rometer for section morale.

Lead players are important be-cause they usually play the top note of a voicing. Because of this, they tend to be the most audible voice particularly if they have the melody. The lead trumpet chair quite of-ten plays the melody for ensemble shouts. A great lead trumpeter has the ability to elevate a mediocre brass section to something special. The best lead players have solid upper register chops (brass), sight-read well, are consistent, possess good intonation and can lead their section with stylistic finesse. Some lead players possess the attributes of a good section leader as previously mentioned; however I often find myself but I find myself appoint-ing second or third chairs to section leader positions.

Proverb:• It is better to appoint a reliable,

responsible, zealous individual as a section leader than the stron-gest musician who might not

be the most responsible person, lacks enthusiasm, or might have an inability to work well with his or her peers.

Ingredient Number Six:The Soloist

Contingent upon the age or lev-el of your students, put your best soloist forward in performance. If you discover some natural ability in particular students “fan the flame.” Provide them with recordings of the masters. Encourage them to take in as many live jazz concerts as possi-ble. Look for materials that will help in the development of their impro-visational abilities.

Proverb:• Encourage everyone to improvise

but feature those who excel at it.

Ingredient Number Seven:The Rhythm Section

In an ideal situation time and subdivision are generated from the

JAZ_23 23 11/11/09 10:54:29 AM

www.shermusic.com

lessons learned


rhythm section (bass, drums, and gui-tar), not the director. Much big band repertoire is in 4/4 or 3/4 with mini-mal conducting needed. Therefore, the brass and saxophone sections should be trained to listen to bass and hi hat for steady rhythmic sub-division. Drummers should be taught that a strong, crisp hi hat provides sta-bility for the ensemble. When using brushes it is also helpful for the en-semble to hear an audible “swish” on two and four while “stirring the soup” on the snare. A master of the rhythm guitar was the great Freddie Green of the Count Basie orchestra. He rarely if ever took a solo but provided crisp rhythmic comping which reinforced the rhythmic subdivision generated from the bass and drum kit.

One of my former professor used to plug a metronome into an ampli-

fier, enabling our entire ensemble to hear consistent time. This re-hearsal technique keeps ensembles from dragging or rushing in general and with time on specific figures. I have found this to be quite an eye opening experience for my students. Though a metronome will teach stu-dents good time, it will not teach a swing groove.

I once heard a professional bassist by the name of John Golsby define a swing groove as “an agreement to disagree.” He communicated that a swing “pocket” or “groove” is cre-ated between a walking bass and a ride cymbal pattern that is ever so slightly not together. I have found that having my bass players in the driver’s seat with the ride cymbal just slightly behind the bass subdi-vision opens up a swing “pocket” or groove. This agreement to disagree creates a width in the sound that is non existent if the ride cymbal and bass are playing exactly together. Width is the pocket or groove that professional musicians refer to. When a rhythm section finds a ma-ture pocket or groove, it feels and sounds fantastic. An entire horn section playing slightly behind the rhythm section creates a laid-back effect. This rhythmic tension be-tween the horns and the rhythm section can create much excitement and interest for select passages.

Tempos are critical for good per-formances. Find the tempo that al-lows your ensemble to shine. Use a metronome (quietly) for accurate count offs if you do not trust your-self. If tempos sag or rush during a performance quietly walk over to the rhythm section and address the situation. The horns should catch any slight tempo alterations from the rhythm section.

Drum kit proverbs:• Snare chatter should enhance, not dis-

tract or disturb the groove or pocket.

• A drummer must learn (through au-ral examples) when and how much to kick fi gures. Too much kicking distracts, not enough is boring.

• It is critical that the horns hear a rhythmic subdivision at all times; i.e., hi hat.

• Good time is developed through metronome assistance.

• Good time is consistent.• Fills must be in time and not disturb

a groove.• A swing groove and good time is not

necessarily the same thing.• Up tempos should be thought in

terms of large sections rather than each beat: a horizontal verses verti-cal conception.

• A great drummer can help transform a mediocre ensemble into something special.

Ingredient Number Eight:The Rehearsal Schedule

Rehearsal scheduling poses its own set of challenges regarding good jazz ensemble performances. Many primary and secondary educators are forced to schedule jazz band rehearsals before school starts (as early as 6:00am) or after school ends. Fortunate are those directors that have jazz ensemble re-hearsals scheduled into their weekly school days. If a director has a choice, choose a time that will enable students to be the most attentive and alert. With early morning or after school rehears-als, a director may fi nd his students struggling with fatigue, which inevita-bly leads to inattentiveness, less reten-tion, and ultimately less productivity. However, rehearsals of any kind are bet-ter than none. Those directors who are implementing a jazz program, regard-less of when they must rehearse, should be applauded and affi rmed for there dedication. If rehearsal frequency (one rehearsal a week) or sporadic rehearsals (skipping weeks) is an issue, schedul-ing a string of special rehearsals directly prior to a performance will increase the plausibility of a good performance.

JAZ_24 24 11/11/09 10:54:34 AM

www.pacificcoastjazz.com

lessons learned


Consistency, however, will garner the best results.

Proverbs:• Frequency leads to competency.• Frequency leads to increased reten-

tion.

Ingredient Number Nine:Goals

Successful directors keep the big pic-ture in mind. One of Stephen Covey’s principles from his book, Seven Habits of Highly Effective People, is to “be-gin with the end in mind.” Successful directors implement obtainable goals, carefully mapping out their rehearsal time. They know which tunes need to be worked on today, how and when to isolate diffi cult passages, and are able to pay attention to the details without los-ing precious time obsessing about them (majoring on the minors). They are willing to move on for the sake of the big picture. These goals assist in prepar-ing and empower students for success-ful performances.

Proverb:• Better to defi ne how many choruses

a soloist will take and when back-grounds will enter than risk a musi-cal collision.

Ingredient Number TenEnsemble Morale

In my years as a director and member of countless jazz ensembles, I have seen the impact that morale has on an ensemble. I have witnessed a disgruntled saxophone section quit a band at the conclusion of a gig be-cause of poor management skills on the part of the director. On the other extreme, I have seen mediocre en-sembles produce above average per-formances through smart manage-ment. A good director has the power to motivate an ensemble towards performances at a higher caliber than anyone suspected was possible.

Ensemble Morale is effected by:1. Rehearsal pace. A snappy rehearsal

pace keeps students on there toes, cuts down on distracting chatter, and usu-ally expedites the learning process.

2. Over-rehearsing. Too much familiar-ity with a chart can produce boredom and take the edge off performances.

3. The same soloist. Resist giving most of the solos to the same individual, particularly if there are other quali-fi ed candidates.

4. Listening to your players’ musical opinions. If they are good sugges-tions, use them. This can help estab-lish student ownership.

5. Rehearsal quizzes. Instigation of as-signed passages or an entire chart to be evaluated at a given time, in my experience, has been a huge moti-vator for college students. If tested publicly, it is critical the director handle the testing procedures with effi ciency and grace. Let the students know these quiz’s have the potential to affect their class grades. These quizzes also communicate to the students that you are dedicated to an ensemble of excellence. Most stu-dents relish the feeling or experience that they are a part of something signifi cant and special. Quiz instiga-tion also cuts down the amount of time a director must devote to basic rhythms and pitches during rehears-

als. This intern frees up critical time to focus on important nuances.

6. An overly militant, explosive style of leadership. This style can kill stu-dent enthusiasm.

7. Syllabus requirements that are not enforced. Distrust and/or disrespect will likely result.

8. Performance opportunities. Con-trasting venues and locations can be motivating and fun. Frequent per-formances will contribute to a “tight” ensemble experience and boost stu-dent confi dence.

Proverbs:• Make your students feel at ease, have

fun, laugh often.• Expect much, be available, be a good

listener, be a role model in behavior and speech.

• Respect is earned, not demanded.

About the author: Scott Cowan has been a jazz specialist at Western Michigan University since 2001. He is an artist/educator clinician for the Conn-Selmer instrument company and a published composer/arranger with UNC Jazz Press. Cowan holds degrees from the New England Conservatory of Music and the University of Miami.

This article was originally published in the International Trumpet Guild Journal.This reprint is made possible through the kind permission of ITG. To learn more about the International Trumpet Guild, visit their Web site: www.trumpetguild.org.

JAZ_25 25 11/11/09 10:54:39 AM

www.saxquest.com

26 JAZZed July 2009

Lynne

JAZ_26 26 11/11/09 10:57:13 AM


TEACHINGFEARLESSNESS

BY CHRISTIAN WISSMULLER

First making a major splash when she won the 1993 International Great American Jazz Pia-no Competition, Lynne Arriale has subsequent-ly claimed a prominent position in the world of modern jazz through a string of lauded per-formances and recordings – including her most recent CD/DVD, Nuance: The Bennett Studio Sessions (Motéma) – that have charmed critics and fans, alike. Collaborations with such heavy-weights as Benny Golson, George Mraz, Randy Brecker, Rufus Reid, and Kenny Barron, among many others speak both to her skill as well as her stature within the community.

In addition to being an accomplished jazz performer and scholar, Arriale is equally dedi-cated to sharing her knowledge and experi-ences. Currently on staff at the University of North Florida as director of Small Ensembles and assistant professor of Jazz Piano, Lynne also conducts clinics, workshops, and master classes internationally.

All photos by: R. Andrew Lepley

Arriale

JAZ_27 27 11/11/09 10:57:32 AM


JAZZed: Let’s talk about your early music instructors. Could you describe some specifi c experiences that infl u-enced you?

Lynne Arriale: I started play-ing by ear when I was three years old, mostly playing songs that I had heard, as I loved to listen to musi-cals. I had a little plastic toy piano and I begged my parents to let me study, but the local piano teacher told them I was too young. She ac-cepted me as a student when I was around four. I studied with her for several years, then with Sister Mary Romano, Adelaide Banaszynski, and continued my classical train-ing with Rebecca Penneys for eight years, earning my Masters degree in classical piano performance at the Wisconsin Conservatory of Music. I was very fortunate to study with Re-becca during her time in Milwaukee. She is an internationally renowned, brilliant performer and teacher who has been a professor at the Eastman School of Music since 1980.

JAZZed: At what point did you begin to zero in on jazz, specifi cally?

LA: It was around my time at Wisconsin I had a passing thought – kind of out of the blue: “You should study jazz.” Though I knew nothing at all about it, I decided to take some lessons and began studying with Da-vid Hazeltine in Milwaukee. It was a great revelation to find out that jazz was improvised music – that each night the actual content of a per-formance changed, even if the same pieces were played. For example, we all know the tune “Summer Time” by George Gershwin. Just think of the melody and imagine that it could be totally your creative choice to play it fast, slow, in any meter, any key, or with any feel. And that’s just the melody! After that, during the solo, new melodies are played over the same chord changes and a new and different piece of music is created every time it’s played. That was truly amazing to me. I had no idea that this kind of music and these kinds of creative musical options existed.

At that moment, I had an epiphany and decided to put all my energy into learning how to play jazz.

Over the years, I’ve studied with many great teachers. Richie Beirach has been my main teacher and men-tor and he’s had a profound influence on my playing through his teaching of motivic development. Of course, we hear this in classical music all the time, but to apply this to music that is created ‘on the spot’ has been ex-tremely exciting and rewarding. An idea is stated, and then developed throughout the improvised piece. This creates continuity within the solo and a sense of ‘telling a story.’

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

LA: I always knew I would perform and teach. Each person I studied with imparted more information to me than I ever would have discovered on my own. Being so grateful for everything that I’ve been taught, it was a natural progression to want to share that in-formation and experience with others. Over the years, I have learned that it is essential to fi nd as many ways as it

takes to communicate a concept effec-tively to a student. It’s my responsibil-ity to see to it that every student grasps what I intend to convey.

JAZZed: What was your fi rst teaching gig?

LA: I lived in New York for 14 years and began teaching private stu-dents there in the late ‘80s. I have been a faculty member of the Jamey Aebersold Summer Music Institutes, the Thelonious Monk Institute of Jazz and Jazz At Port Townsend. I have also conducted clinics and mas-ter classes internationally.

JAZZed: Can you describe some par-ticular lessons learned throughout your years as an educator?

LA: From the beginning of my teaching career, I realized that there are several very important elements that must be present when I’m teach-ing: honesty, compassion, kindness, being ‘solution oriented,’ trust and excellent assessment skills. Honesty can only be effective when all the oth-er elements are present. My mentor, Richie Beirach, always gives me his honest perspective and presents it in a

“At that moment, I had an epiphany and decided to put all my energy into learning how to play jazz.”

George Maraz, Randy Brecker, Lynne Arriale, and Anthony Pinciotti

JAZ_28 28 11/11/09 10:57:40 AM


way that inspires me to want to expand my knowledge and sense of musical possibility. By doing so, he has cultivated a strong trust between us. I know when he says that some-thing works well, he really means it. And, if something isn’t working as well, his comments are always constructive and solution oriented.

My experience has taught me that if we are not truly careful with our teaching approach, students can respond by closing down and believing that they cannot improve. I always think the phrase attributed to the Hippocratic Oath ‘fi rst, do no harm’ is pertinent.

As trust is established between teacher and student, the student needs an honest assessment of what specifi-cally, not generally, is going on with their playing. I try to identify the positive things that are present and then, when approaching issues that are problematic, I usually say, “Here’s what’s happening, and here’s what you need to do to correct this.” In that way, students are presented with a solution to the problem, and the focus shifts im-mediately from what is wrong to what needs to be done to correct it.

JAZZed: Talk a bit about your work with Golson, Brecker, Mraz, Barron, et cetera – What collaborations were most infl uential on your development as a player?

LA: I have been very fortunate to play with many jazz icons over the years. Their creativity, consistency, individual style and professionalism were all great examples and sourc-es of inspiration for me.

It was extraordinary to work with such masters on my lat-est release, Nuance, and I feel that the music reaches a deeper place every time we perform together. I felt, the fi rst time we played, as if we had been playing for years as a group.

When I think of George Mraz, what immediately comes to mind is impeccable time, intonation, concept of note choice, exquisite arco technique, beautiful resonance and a signature lyrical and emotional quality that resonates with my own personal style. George’s playing adds immeasurably to the intricate nuance of the arrangements and emotional quality of what I want to convey.

Randy Brecker possesses such a broad range and spectrum of dynamic technique that he makes every melodic contribution and harmonic detail sound completely organic to each piece.

Benny Golson is a brilliant composer, iconic musician and performer. It’s im-possible to enumerate all the ways in which I am impacted by him every time we play. Benny’s infl uence on jazz and jazz performers is as monumental as his skill as a world-class saxophonist.

Kenny Barron plays so beautifully, ev-ery note is in its perfect place. His play-ing and compositions have infl uenced several generations of jazz musicians.

Each of these brilliant performers is responsible for my having to set the bar higher in terms of my composing,

arranging and performance skills. These truly gifted mas-ters have inspired me to work even harder by adding more emotion and purpose to my work. Through them, I have come to realize that mastery is achieved only by a lifelong commitment to continued education, discipline, practice and a need to continually set a higher standard of personal excellence.

JAZZed: Can you describe how you came to be on staff at UNF? What, specifi cally, are your responsibilities there these days and how have they evolved?

Lynne Arriale: Précis Web site: www.lynnearriale.com

Selected Discography: The Eyes Have It, When You Listen, With Words Unspoken (DMP), Long Road Home, Live at the Montreux Jazz Festival (TCB), Arise, Come Together, Live, Nuance: The Bennett Studio Sessions (Motéma)

University of North Florida Music Department Online: www.unf.edu/coas/music

JAZ_29 29 11/11/09 10:57:45 AM


LA: Three years ago, I was offered a one-year visiting professor of Jazz Studies position at UNF. Subsequently, I was offered a tenure track, full time position as assis-tant professor of Jazz Piano and director of Small En-sembles.

Being at UNF continues to be a richly rewarding experi-ence for me. The students enjoy being challenged, are very gifted, and have a great thirst for learning. The jazz depart-ment has a world-class faculty of internationally recognized musicians lead by one of the great musicians and educators of the world, Bunky Green. He has established an extremely high standard of educational and performance excellence, humility and generosity of spirit. Bunky is a former presi-dent of IAJE.

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

LA: My students have gone on to pursue graduate degrees and professional jazz careers, which also often include plans to teach. Beyond music, I am constantly rewarded by watch-ing personal growth occur. I relish the opportunity of work-ing with diverse talents and unique musical personalities. I derive deep satisfaction from each student as they develop their own musical style and personal identity. I’m very happy that many of them still stay in contact with me and feel that I played a part in motivating and inspiring them to be their best.

JAZZed: What’s the most frustrating or challenging aspect?

LA: Balancing a professional and teaching career can be challenging. I applaud UNF for demonstrating the fl exibility necessary to maintain faculty with active international per-forming careers.

JAZZed: How would you advise a music director at the junior high school or high school level to most effectively go about introducing jazz education into their overall curriculum?

LA: Listening to the many different styles and genres of jazz is essential.

I recently wrote an article for DownBeat Magazine (Sept. 2008) outlining very easy steps a student can take to get his/her feet wet and experience, ‘hands on,’ how improvisation works.

Additionally, I would recommend that teachers have stu-dents play a basic F blues, using an F minor pentatonic scale as their pool of improvisational notes (F Ab Bb C Eb) for the entire form. First, the students should just play the notes in random order to get them under their fi ngers, and then take short rhythmic fi gures and use the notes to create little melo-dies. It actually sounds good whether the student is paying close attention to their note choice or not — that’s the beau-tiful simplicity of this exercise. A beginner can sound good right away!

JAZZed: Specifi cally pertaining to piano study, can you discuss common snags that younger players run into and offer advice for teachers to help their students overcome those challenges?

LA: I always recommend that students sing everything they are going to practice, before playing it on their instru-ment, because that will guarantee that the mind is engaged and the student really knows the material thoroughly, which is essential. This technique streamlines learning and creates a more effi cient use of practice time. If a student can’t sing an exercise or tune that they are learning, a strong foundation won’t be created.

The most direct path for successful development is for students to master each exercise and step along the way before moving on to the next — and by ‘master,’ I mean that they must be able to play it fl awlessly, in a va-riety of tempos, and be able to reproduce it anytime, any-where, whether it be in their practice room, in front of their teacher or an audience. I often hear students say ‘I played it perfectly in my practice room.’ But that is a to-tally safe environment where no one is scrutinizing each

“As trust is established between teacher and student, the student needs an honest assessment of what specifi cally, not gen-erally, is going on with their playing.”

JAZ_30 30 11/11/09 10:57:50 AM

The University of North Florida in Jacksonville is home to one ofthe most recognized performance-based music programs in thecountry. With an emphasis on American music and comprised ofdedicated faculty members who are recognized artist/practitionersin their fields, the UNFDepartment ofMusic offers a stimulating,personal atmosphere in which students can achieve theirpotential. Degree Programs include the B.M. in Performance,B.M. in Jazz Studies, B.A. in Music, Bachelor of Music in MusicEducation, and Performer’s Certificate.

University of North Florida Department of

www . u n f . e d u / c o a s /mu s i c

“Sound musicianship, stimulating interpretations,and impressive technique.” -Bastiaan Blomhert

Study with world-renowned faculty inan intimate setting…

N o O n e L i k e Y o u , N o P l a c e L i k e T h i s

Dr. Gordon R. Brock, ChairBunky Green, Director of Jazz StudiesFor more information, contact: Department of Music University of North Florida1 UNF Drive • Jacksonville, FL 32224 • 904-620-2961 • [email protected].

2 0 0 9 / 1 0 AUDITION DATES: OCTOBER 3, 2009 • FEBRUARY 13, 2010 • FEBRUARY 27, 2010 • MARCH 6, 2010

JAZ_31 31 11/11/09 11:10:15 AM

www.unf.edu/coas/music


note. Ideally, the exercise should be repeated so many times that stu-dents can, metaphorically speaking, play it in their sleep. Most students move on to the next level of an exer-cise after they’ve played it correctly just a few times. That is not nearly enough. When repeating an exercise, new neurological pathways are being created in the brain, and a tremen-

dous amount of repetition is needed for that to happen. I tell my students that if they ever listened to me prac-tice, they would be stunned at how much repetition is involved.

If an exercise is practiced incor-rectly or insuffi ciently, it is likely that the student will get off track in a matter of minutes and possibly get more off track as the week progresses —until I see them again. So, I always insist on having students practice

during their lessons, so that I can see and hear how they are practicing when they are on their own. My goal is to teach them how to concentrate and continually improve their prac-tice skills.

With younger students, it is ex-tremely helpful to have external support from parents to help mo-tivate and keep them on the right

path. This could mean having the parent at the lesson, so that they can help the student practice correctly at home. It’s a good idea to tape les-sons for the student and parent to reference.

JAZZed: Let’s talk a little bit more about improv – as a general topic and specifi -cally relating to piano. What are some of the key skills one must develop in order to master jazz improvisation?

LA: There are many skill sets that are needed. First is the development of a vocabulary for this music, much like learning a foreign language. This process is the same for learn-ing voicings and for certain melodic patterns/licks/rhythmic phrases, all of which are a part of the language of jazz. Additionally, transcription of jazz solos is very helpful as it is ex-cellent for ear training and for stu-dents to really get ‘inside’ the solo. Once they’ve done the transcrip-tion, they need to play along with the recording and try to emulate ev-ery accent and inflection in the per-formance. By doing this, they learn to ‘feel’ jazz in a more intuitive way than just practicing exercises. Addi-tionally, learning to play with good time is a lifelong pursuit. Students need to be taught how to practice with and without the metronome (I suggest turning it on and off, so that they are constantly trying to match up with perfect time but also not be-coming overly dependent on it.

“It’s important to help students develop a feeling of fearlessness.”

Spotlight.indd 32 11/11/09 2:02:38 PM

www.vicfirth.com


On a psychological level, it’s im-portant to help students develop a feeling of fearlessness. As a teacher, I do my best to create an atmosphere of trust and safety, so that each student is not afraid to make mistakes — they learn from them, pick themselves up and keep going. Every professional I know has learned, through experi-ence, how to cultivate that quality.

JAZZed: That all makes good sense. Changing gears a bit: what do you con-sider to be the highlights of your profes-sional career, thus far – as a performer and recording artist?

LA: Some of the highlights of my career have to do with feeling the connection with my band and the audience, when the audience actual-ly becomes part of the performance. Recording my last CD/DVD with Randy Brecker, George Mraz and Anthony Pinciotti was extremely gratifying. I recently completed my first solo project, which was a tre-mendous challenge.

I’m very grateful to have had a long association with Richie Beirach, who is a font of knowledge and experi-ence, and has always encouraged me to ‘fi nd my own voice.’ Additionally

It is up to us to educate future generations and to perform this music with integrity. Ellington, Monk, Parker, Roberts and many others have and continue to give us high quality art. Of course, there will always be some new talent creating other ways to play. Their innovations will become part of one glorious mainstream.

WyntonMarsalis

wyntonmarsalis.com

EDUCATION MATERIALS FOR

THE INDIVIDUAL MUSICIAN,

BAND DIRECTOR OR TEACHER:

DVDS

Sheet Music and

Solo Transcriptions

BOOKS

JAZ_33 33 11/11/09 10:58:00 AM

www.wyntonmarsalis.com

I’ve had a 15-year association with my manager and co-producer, Suzi Reynolds, whose multiple talents and wonderful insights have been a great gift to me. I have been with Motéma Music for many years, and Jana Her-zen, the president of Motéma, has been incredibly supportive; and that is deeply appreciated.

I was very happy to win Jack-sonville’s Great American Jazz Piano Competition, tour Japan with The 100 Golden Fingers (Hank Jones, Tommy Flanagan, Cedar Walton, Monty Alexander, Roger Kellaway, Kenny Barron, Junior Mance, Ray Bryant and Harold Mabern), and it has been incredible to have had a working group for many years and to continue to play for wonderful audi-ences around the world. I remember Sonny Rollins saying that if he could bring some enjoyment to people for a few hours, he felt that he had ac-complished something, and I feel the same way. If the music we play can ‘take people away’ from the stresses of everyday life and maybe even give them a lift from whatever might be going on in their lives, I would feel great. I am also touched by the per-sonal contact I always have with

PJLA MUSIC SALES & MARKETINGPO BOX 550, BARRINGTON, IL, 60011 USA

Toll Free: 1-877-541-4017 • Ph: 1-847-382-3210 • Fax: 1-847-382-4626 website: www.pjlamusic.com • e mail: [email protected]

A SAXOPHONE AS EXTRAORDINARY

AS OUR MODEL SDA-1000 CAN BE

YOURS.....BUT ONLY IF.....YOU’RE

READY TO BE ASTONISHED,

IMPRESSED AND PREPARED TO

FORGE AHEAD & EXPERIENCE A

THRILLING PERFORMANCE.

“Jazz is an expression of our deepest feelings, and it is a celebration of life.”

JAZ_34 34 11/11/09 10:58:06 AM

www.pjlamusic.com


members of the audience after per-formances.

JAZZed: Similar question, but this time: what are the high water moments of your career as an educator?

LA: Being on the faculty of UNF has been very gratifying; it is a very stimulating environment. As a pro-fessor, every time I see the ‘light turn on’ for a student, and they see that they have successfully moved from point A to point B, I am inspired that they have crossed a hurdle and we both a sense of accomplishment. To the extent that I have helped to facilitate that process — it is very special and gratifying.

JAZZed: Parting thoughts?

LA: We should all relish the op-portunities where we can find hu-mor, enjoyment and moments of in-spiration in life and in music. It is challenging work to become a mu-sician, but it can and should also be great fun. I want my music to be an honest reflection of my emotions. Jazz is an expression of our deep-est feelings, and it is a celebration of life. If we keep that in mind and pass that along, jazz will continue to sustain itself.

News

For Additional News in

JAZZed, please visit www.jazzedmagazine.com

JAZ_35 35 11/11/09 10:58:16 AM

www.cannonballmusic.com


jazzforum www.aajc.us

Carmen McRae: “We were happy in the days of Fifty-Second Street!” (Cologne, Germany, October 30, 1970, Interview by Arthur Taylor in his book, Notes and Tones, excerpted, edited and compiled by Dr. Larry Ridley)

Iimagine my interest in singing must have started when I was a baby. My father was a very musical man. Not a performer, but someone who loved good music. I don’t remember this, but I’m

told that as a child, I used to know all the popular tunes of the day, like most children do today because of listening to music that’s be-ing played constantly on radio and television. I found out later on that there were two or three relatives of mine who were musically inclined. I mean musically inclined to the point of having good-sounding voices. They could have been singers if they had wanted to be, but I guess they never did. So maybe that’s where whatever musical talent I have came from.

I’m the only one in my family who is in this business. I have been fortunate; they all wished me well and they might have wished me their talent. Their talent and maybe a bit of my own has helped me get where I am today. I had to be-come one of two things in life: someone who was musically inclined and good enough to be able to perform or else a good audience of music. I just happen to be a performer.

When I was still in my teens, I met a woman who became my idol. She was my idol then and continued to be my idol; though she is dead now, she still is my idol. That’s Billie Holiday. I met Lady when I was very young, and she was one of the most impressive women I have ever met in my life. She really scared me as far as singing was concerned. She seemed so utterly perfect to me that I felt anything after her would be anticlimactic. Consequently I was afraid of becoming what I had hoped to become at an earlier stage in my life. That was a very important phase to me. After that I had some minor experiences with Benny Carter’s band, Mercer Ellington’s band and Count Basie’s band, just short stints which really couldn’t infl uence me much because I was too young. What helped me was Billie Holiday, which happened at a very early stage in my life.

The next thing was going to Chicago [sings]: “Sorry that I can’t take you…” I’m getting carried away! Anyway, I went to Chicago and liked the city. In order to stay, I had to make a living. A friend of mine who was an ex-chorus girl knew I could play and sing, which I would do just for friends, not professionally. She said: “Why don’t you take a job playing and singing?” I said to her: “Lulu, that sounds great, but I don’t know if I’m capable,” She said: “I know someone who wants a girl singer and piano player. If you go and you don’t make it, at least you tried.” I said: “It’s hard for

a woman like myself, who is an Aries, to take a defeat. I would rather hear noth-ing than hear no.” She convinced me, I went, and the man there was beautiful to me. I will never forget him. He gave me a job for two weeks with a two-week option to play the piano and sing. He advanced me money to join the union. I stayed two weeks, and he picked up the option.

I realized that my piano playing was very limited, because I had never intended to become a real pianist except just to play for myself or to rehearse a tune. It became essential to play better. I stayed in that job for seventeen weeks. During that time I hired a piano, and as my repertoire was very shallow, I rehearsed every day until my repertoire grew bigger. I stayed in Chicago and worked there for three and a half years, which was the greatest experience I could ever have had. I don’t care that it happened in Chicago. I don’t care where it happened, as long as it happened. I found out I could make a living playing and singing. My idols were great pia-nists like Teddy Wilson and Art Tatum, so I could not be fooled by my own piano playing at all. My piano playing was just a means to get where I wanted to get as a singer.

How important do you think it is for a singer to know something about the piano?

Going by my experience, it’s one of the most important things. I don’t believe I would have whatever reputa-tion I have today if I had not had any knowledge of piano. That experience of studying music is what put me where I am today. Without it I would perhaps not even be singing, or if I had become a singer, it might not be as impressive as whatever it is I do now. I have said this for years, and I still think it is extremely important. It is important if you want to be a lasting artist. Any artist who really knows what he or she is doing musically

Carmen McRae

JAZ_36 36 11/11/09 10:59:10 AM


jazzforumjazzforumwill last. I think it’s the nonprofessional professionals who fade out. They earn a lot of money in a minute, yet they don’t make it somehow. After they’re gone, people don’t even remember who they were. That’s why it’s very important to know your craft.

What would you recommend to someone trying to start a singing career?

There is no set example you can give anybody. It’s a combination of luck, talent and being at the right place at the right time, with the right people listening. They should have some sort of musical knowledge. It doesn’t have to be the piano. It can be a guitar or a harp, but I think piano is the simplest if you want to be a singer.

Are you religious? If you don’t mind my asking the question.

If I didn’t want to answer it, A.T., I’d say so. If being religious is believ-ing in a Supreme Being and that all our lives are destined before we enter on this earth, and believing that fate has a lot to do with our lives, if that is being religious, then I am. If being religious is going to church or getting on my knees and praying to a Supreme Being every night, or reading any sort of Scripture in regard to a Supreme Being, regardless of whether it be Allah or God, then I’m not religious. I’m not an atheist. I was a Catholic as a child, and to me Catholi-cism is a farce! I gave it up. I have not found anything to delve into other than the Baha’i faith that Dizzy Gillespie talked about to me, but I don’t know.

I feel very comfortable the way I am. Rather than get involved in something that is seventy percent good for me and thirty percent not right, I’d rather not get involved in anything. I would like to embrace whichever bit of each faith suits my way of thinking. My main concept of anything we can consider godly would be to treat my fellow hu-man beings, regardless of what color or creed or religion they might practice, as individuals. Let me put it this way: A lot of individuals are not human beings. I’d rather treat an individual the way I get vibrations from him as a human being.

Consequently I have to practice it my-self. I cannot expect my fellow brother or sister to be decent if I don’t try to be.

You do meet people you don’t like and that you’re not compatible with. People meet me and dislike me, too, for some reason. I think when people feel like that, they should avoid each other, because life is too short to have to tolerate someone just for the sake of tolerating them. I don’t think it’s fair to them or to their intelligence. If you cannot make it with someone, then you both should go your own way. You’ve got to be fair to yourself before you can be fair to anybody else!

When you are onstage, are you singing for yourself, for the musicians or for the audience?

I’m glad you asked me that. That’s one of the most important things in the world. I can answer this question better than a lot of other questions. I have to sing for myself. Let’s look at this thing in the proper light. I am involved because I’m the one who is doing what I’m doing. Right? I’m only doing what I do because I want to please the people who have taken the time to come and hear me. I have to do it for somebody, because that’s the only way I can fi nd out whether I was right or wrong to feel good about whatever I’ve been doing. Consequently, I sing for the musicians, too, because I need them playing com-petently behind me, doing what I want them to do for the people that are sitting there. So it really is a combination of doing it for everyone. If the musicians are good--and they have to be for me to feel good--I’m going to do my best for the audience; so it’s really a combination of musicians, myself and audience.

I want the musicians to like it, too, ‘cause if they don’t like it they’re not going to be able to play for me, even if they are competent. If they don’t like what I’m doing and if they’re only playing for the sake of the bread, it’s no good. They’ve got to dig me. I dig them, ‘cause I’m hiring them. Right?

Of course, my main way of earning a living is pleasing my audience, so that I can pay the cats and get paid, too, so I can go home happy. Actually it’s a

JAZ_37 37 11/11/09 10:59:14 AM

www.vicfirth.com


jazzforumcombination of pleasing everybody. If you can start out onstage pleasing each other, ninety-nine percent of the time you please the audience, too. Audiences know who you are, they know what you do and they have come to hear you in person. You have those three things going for you before you open your mouth. You only have to do your thing, ‘cause that’s what they came for. If you do it well and you’re not inebriated or under the infl uence of anything, you’ll be sincere, which is all you need.

It’s such a beautiful business we’re in, A.T. I guess all the arts are beautiful, but I think we have a better chance of feeling good about ourselves, and we have more incentive to go on, because we get confi dence from the people who come to listen to us. The music business is one of the fi nest businesses in the world. You make contact with people immediately, and they tell you what they like and what they don’t like, and that gives you a sense of what you’re doing. You might want to go in one direction and they say no, they like the other way, so you go in the other direction. That’s what you’re really there for, to entertain. If I had to sing for myself, I would never hear a note, because I’m not here for that.

Do you consider yourself a jazz singer?That’s a question I have been asked

many times. I am jazz oriented; if it weren’t for jazz I wouldn’t be anywhere. I only want to be categorized as a good or a bad singer. I originally started as a

so-called jazz singer. I was dubbed that somewhere along the line, and I never really thought about it. I really didn’t start out to be a jazz singer; I just started out to sing. But it was awfully hard, as it is for any musician, to play and not to improvise in some sort of way on the melody. If doing that made me a jazz singer, then yes, that’s what I am. I have also done many tunes that couldn’t possibly be called jazz tunes and made many single records that were not jazz.

Either people like what I do or they don’t. They can say: “She has a good voice, but I wish she wouldn’t do…”I don’t care, but they must not catego-rize me. I know what people expect when you sing a song, and if you scat, that’s jazz; that’s understandable. I hear people who are not categorized as jazz singers, such as Ray Charles, Nancy Wilson, Tony Bennett, Frank Sinatra and many others who are all making exorbitant amounts of money. I haven’t heard them sing one song the way it was written yet. If they can deviate from the melody, which is what is categorized as jazz, where does it begin and where does it end? What makes one person a jazz singer and another one not a jazz singer? Is it a question of how much im-provising they do? I don’t understand it.

Today we have contemporary music, a lot of which is fantastic. A lot of it is also garbage. I’m very happy about contemporary developments in music, because to keep doing all the rest of my life eight bars and a channel and eight bars, and 4/4 time and ¾ time,

would have driven me crazy. I’m happy we have 6/8 time and 5/4 time; I’m happy we’re saying something different than moon june and love dove. I love what I’m doing now. I do Beatles tunes. Incidentally, I think they are excellent songwriters. I don’t think they are so great singing or doing their thing, but their songs are fantastic. If they want to call them jazz, I don’t mind just as long as they call me to do it.

Have you ever had any bad write-ups?Well, you don’t get all your write-

ups everywhere you go, but I don’t remember having had a critic that really spoke ill of me completely. I’ve seen what I consider bad write-ups. I have had critics who didn’t particularly like a certain thing I did but who really loved something else I did. The only thing I fi nd wrong with critics is that they are inclined to describe what the singers had on and what their hair looked like. I’m sure that’s important, and I’m not saying that’s not good, but I don’t think it has anything to do with the music. I think it’s the singing that should be described. If it’s criticized it should be criticized by someone who is an author-ity on the music you’re playing and not someone who comes up to you and asks you the name of your latest album. Then they tell you about an album they had ten years ago. How can they judge an artist if they’re not aware of what he has accomplished up to that point?

Everybody in the world wants good write-ups. I somebody is going to criti-cize, let him be someone who knows his subject. I’m sick of people who are critics for a newspaper and who don’t know a thing about what the artist is concerned with. Everybody gets a bad write-up now and then, so at least let it be from someone who is really nonbi-ased. It’s not easy, because human be-ings have traits they cannot live without, and one of them is being biased.

Let’s say I’m a critic and I’ve come to review you; before I walk in through the door, I’m in love with your playing anyway. So you’re ahead of yourself, and that isn’t truthful either, any more than when someone who doesn’t like

JAZ_38 38 11/11/09 10:59:19 AM

www.bigbandmanjazz.com


you walks in and you’ve got two strikes against you. It’s awfully hard to fi nd someone who is really down the middle and unbiased, walking in to do a com-pletely truthful criticism of someone’s art. You also have to remember that however good or bad criticism is, it’s only done by one person—his own opinion, that’s all you’ll get.

Do you fi nd traveling for your work a strain?

Yeah, it’s a drag. I’m getting tired of it now because I’ve done it for so long. I loved traveling when I fi rst started, but it’s like anything else. I don’t want to sit home too long, either. You try to fi nd a happy medium, which I guess doesn’t exist, anyway. I like to travel and I don’t like to travel; I do it and I don’t think about it. After I get where I am going, it’s all worth it if the music is good and the people like what I do.

Tell me your impression of Bud Powell.It’s funny, but I think I got to know

Bud better in Paris than I ever did in America. I don’t know why. In fact, I don’t think Bud and I ever exchanged more than fi fty words in the many years that we knew each other. Sometimes I wondered if he even knew who I was. It really didn’t bother me, because I knew who he was. I always loved him, and I still do. He was phenomenal pianist, a cat whose potential never really got where it could have gotten to. I think our way of American life has a lot to do with it. Bud was looking for something and he didn’t fi nd it. If he had lived a little lon-ger, he would probably have found what he was looking for. His piano playing to me was always a little frantic, never relaxed. He never relaxed, as though he was trying to do so much and get it all out because he did not have enough time to fool around. Even in ballads he had to get in so many notes, as though he might not get another chance to play the same tune again. He always gave me that impression. Art Tatum, great as he was and 93,000 years ahead of his time, was always relaxed when he played a ballad, however many arpeggios he made. Bud gave me the impression he had to get it

all in right now. Every time you heard him it was another artistry, something else. I loved him. I hear things of his to-day being played and I ask who it is and they answer Bud Powell, and I say yeah, that was beautiful!

What were your impressions of Charlie Parker?

Yard was without a doubt my very favorite musician of all time. My favorite musician now is Dizzy. But Yard, I still hear things of his today that are so phenomenal I don’t believe it. If they could take the background out of some of the things he did with strings or big band and just put in a really up-to-date group, it would sound as though he had recorded it last week. In my estimation no one has caught up with this man. If he were still alive and doing what he did some twenty years ago, even if he never played anything other than what he was playing then, he’d still be up to date. He was one of the biggest musical infl uences in the world.

What did you think when I asked if I could interview you?

I was really very pleased to know you were into something that we needed. To do what you’re planning to do is really necessary, so that people will be enlightened about us, the things we do and think. What I’m interested in are the kids. I fi nd the kids today so beautiful; they fi ght for anything they believe in, they’re in sympathy with all the minorities, which is what we are called. The young kids are for anything that’s right, and they’ll get out and help you fi ght for what is right, for what you believe you should have.

We were very happy in the days of Fifty-second Street. We didn’t think of the things we think about today, did we? The one who really made it promi-nent was our Martin Luther King. He changed the whole economic structure of Alabama. That was the beginning, and it all stemmed from that. Whatever we’ve done and whatever we’re doing now will be somewhere in time, in a book of posterity, that we were alive and that we contributed something.

jazzforum

Bari Woodwind Supplies, LLC A Division of the Cavanaugh Company

1805 Apex Road, Sarasota, Floridawww.bariwoodwind.com

www.myspace.com/bariwoodwind

N E W !H Y B R I DBARI Saxophone Mouthpieces

A truly unique fusion of hard rubber and metal. The comfort and feel of hard rubber with the dynamics of a metal mouthpiece.

AVAILABLE IN:HIGH POLISH AND VINTAGE FINISH

FOR:ALTO SAX AND TENOR SAX

JAZ_39 39 11/11/09 10:59:24 AM

www.bariwoodwind.com


HotWax New & Notable Music ReleasesAll dates are subject to change

October 6Roni Ben-Hur – Fortuna [Motema Music]

Dave Braham – To Be Free [Random Act]

Anouar Brahem – Astounding Eyes of Rita [ECM]

Jimmy Cobb – Jazz In The Key of Blue [Chesky]

Tim Quinlan – Streetscape [Addo]

Aldo Romano – Corners [Phantom]

Alex Terrier – Roundtrip [Barking Cat]

Trygghet – Roundtrip [Barking Cat]

Manuel Valera – Two View [Atelier Music]Terry Vosbein Knoxville Jazz Orchestra - Progressive Jazz 2009 [Max Frank Music]

October 13Ben Allison – Think Free [Palmetto]

Corina Bartra – Afro Peruvian Jazz Celebration [Blue Spiral]

Michael Bisio – AM [Cimp]

Alexis Cole – The Greatest Gift [Motema]

Dennis Gonzalez – A Matter of Blood [Furthermore]

Jazzonia – Little Boy Don’t Get Scared [Douglas music]

Davis Leonhardt – Bach To Blues [Bigbang]

Archie Shepp – Doodlin’ [Inner City]

Lonnie Smith –Art of Organizing [Criss Cross]

Ben Webster –Autumn Leaves [Futura Swing]

October 20Duck Baker – Everything That Rises Must Converge [Mighty Quinn]

Stefano Bollani – Stone In the Water [ECM]

Victor Feldman – Seven Steps to Heaven [Choice]

Bobby Hutcherson – Wise One [Kind of Blue]

Ahmad Jamal– Quiet Time [Phan-tom]

Hank Jones– Please To Meet You [Justin Time]

Diana Krall– Quiet Nights – Deluxe [Decca]

Kristina – Offshore Echoes [Patios]

Billy May – May Time [Montpellier]

Christian McBride – Kind of Brown [Mack Avenue]Chris Potter & Steve Wilson – Coming Together [Inarhyme]

Wadada Leo Smith – Spirit Catcher [Nessa]

October 27Tyondai Braxton – Central Market [Warp]Dave Douglas – A Single Sky [Greenleaf]

David Gould – Feast of the Passover [Tzadik]

Gtant Green – Street of Dreams [Phantom]

Euge Groove – Sunday Morning [Shanachie]

Jerry Goodman – It’s Alive [One Way]

Michela Lombardi – So April Hearted [Phantom]

Mike Rinta – Eponymous [Wide Hive]

Cinzia Roncelli – My Shining Hour [Phantom]

Seven Storey Mountain – Seven Storey Mountain [Important]

Aram Shelton – Two Cities [Del-mark]

Somi – If The Rain Comes First [ObliqSound]

Loren Stillman – Winter Fruits [Pirouet]

November 3Han Bennink – Calling Down the Flevo Spirit [Atavistic]

Marco Bittelli – Libera [Pacifi c Coast Jazz]

Carla Bley – Carla’s Christmas Carols [ECM]

Chris Botti – Live In Boston [Colum-bia]

Amy Cervini – Lovefool [Anzic]

Collage – Fifty-Four Minutes Twenty Seconds [Wool]

Xavier Cugat - Chica Chica Boom Chic [Indie Europe/Zoom]

Bill Evans – Bill Evans Album [Phantom]

Bill Frisell – Good Dog Happy Man [Nonesuch]

Wynton Marsalis – Christmas Jazz Jam [Patios]

Dave Murray – Devil Tried To Kill Me [Justin Time]

JAZ_40 40 11/11/09 10:59:53 AM

HotWaxSun Ra – Continuation [Atavistic]

November 10Harry Allen – New York State of Mind [Challenge]

Jesse Elder – Winding Shell [Off]

Eddie Harris – Freedom Jazz Dance [Venus Jap/Zoom]

Capathia Jerkins – Ache of Pos-sibility [Di-Tone]

Laurie Johnson – Recording Bal-ance: Joe Meek [Edsel]Nat Johnson and the Figure-heads – Roman Radio [Damaged Goods]

Meeting Point – Quintessence [Challenge]

New 5 – Introducing the New 5 [Blue Canoe]

NYNDK – Hunting Of The Snark [Jaz-zheads]

Joe Pass – Complete Catch Me! Ses-sions [Beat Goes On]

Bucky Pizzarelli – Diggin’ Up Bones [Arbors]

Danilo Rea – Romantica [Venus Jap/Zoom]

Kermit Ruffi ns – Have a Crazy Cool Christmas [Basin Street]

November 17George Benson – Songs & Stories [Concord]

David Bond – The Key of Life [Vine-yard Record Co.]

Andy Cotton – Last Stand at the Havemeyer Ranch [Brooklyn Jazz Underground]

Bill Dixon – Tapestries For Small Orchestra [Firehouse 12]

Dana Hall – Into the Light [Origin]

Nice Guy Trio – Here Comes the

Nice Guy Trio [Porto Franco Records/City Hall]

Jeb Patton – New Strides [Max Jazz]

Tom Tallitsch – Perspective [Oa2]

Mccoy Tyner – Nights of Ballads & Blues [Universal Japan]

Matt Vashlishan – No Such Thing [Origin]Matthew Welch – Luminosity [Por-ter Records/City Hall]

November 24Ralph Lalama – Audience [Mighty Quinn]

Medeski Martin & Wood – Radio-larians: The Evolutionary Set [Indi-recto]

Miles Davis – The Complete Colum-bia Album Collection [Sony]

Evan Parker – House Of Flowers [Tzadik]

Jacques Schwarz-Bart – Abyss [Emarcy]

Razer – Dark Devotion [NuGroove]

Bruce Turner –Dirty Bopper [United States Of Distribution LTD.]

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


JAZ_41 41 11/11/09 10:59:59 AM

www.johnfedchock.com


CDShowcase

Joey Stuckey's 'Oceanside' EP is available now from Joey's official website and will be avail-able on iTunes in December. For more information visit: www.joeystuckey.com

2009 ASE Jazz Artist of the Year releases new EP titled "Oceanside."

This download only recording project, is a little slice of summer magic. The music is reminiscent of the beach and easy living. Just in time for the cold winter of 2010 comes some bright and warm sunshine courtesy of Jazz music.

With scintillating guitar riffs in the style of Pat Martino and bass magic reminiscent of Markus Miller, this EP has something for everyone! Steel drums, trumpet, piano and even Jazz whistling, "Oceanside" is a must for fans of smooth Jazz with a world music flair!

Award Winning Blind Guitarist

Joey Stuckey To Release New EP

ProgressiveJazz 2009ProgressiveJazz 2009

Terry VosbeinKnoxville Jazz Orchestra

A great gift for the big band jazz enthusiast.

For audio samples, orders and a selection of scores and parts:

Newly discovered treasures from Stan Kenton's most innovative period, written by Pete Rugolo

and Bob Graettinger in the late 1940s.

Exciting new works from conductor/composer Terry Vosbein.

Sizzling soloists and tight ensembles.

Call: 1800-964-5150

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

Feature Your CD on CD Showcase

For Maximum Exposure!

The Jazz Player’s Connection

JAZ_42 42 11/11/09 11:02:43 AM

www.bellproductionco.com

www.maxfrankmusic.com

www.joeystucky.com


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.

DENIS JULES GRAYAuthor/Playwright

Gregory Joseph Foster, Jr., Creative Producer

A powerful parable about the jazz life “dedicated to all the cats in the band,” this CD dramatization doubles as a time capsule, sounding a lot like a hip radio play of that era, Gray is a master of nuance. The result is all jazz, a but-beautiful, most moving marriage of word & song, one that speaks both to the ages & for the condition we are in right now. -- Kirpal Gordon

Now Available Worldwide:

www.blacklovenotes.com

Release Date: January 12, 2010

ADVANCE REVIEWSA Fabulous CD – Mark MyersThe Music is Outstanding – Edward BiancoJazz s Premier Bassoonist – Andrea CanterTop Performance Rating – D. Oscar Groomes

ManagementNorth America Gino Moratti Artists Management Group Europe Proton MusikmanagementUnited Kingdom Concert Classical-Jazz Productions UKEurope/So. America Artemedios ManagementMedia Jazz Promo Services

DANIEL SMITH IS AVAILABLE FOR•Concerts with Jazz Quartet

•Classical-Jazz Programs • Master Classes •Recitals

www.danielsmithbassoon.comwww.myspace.com/danielsmithbassoonwww.facebook.com/danielsmithbassoon

C o m p a c t

ArtistA Morning Glory

Dotti Anita Taylor

Available at www.cdbaby.com/dottianitataylor

Cover:original oil painting by Dana GrayVisit www.dottianitataylor.com

Bookings:718-468-7376

"I like it. I like it"...Frank Wess

"one of the best fl ute record-ings to debut in years"

...Peter Sanchez, All About Jazz

Flutist, Pianist, Composer, Arranger, Transcriber

[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

JAZ_43 43 11/11/09 11:02:50 AM

www.tonywhiteinc.com

www.blacklovenotes.com

www.dottianitataylor.com

www.danielsmithbassoon.com

www.chijazzphil.org

www.milesosland.com

crossword Crossword by Myles Mellor

www.jazzedmagazine.com

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


Across1. The fi rst truly American musical genre, predating jazz6. Early modern jazz developed in the 1940’s8. Henry Allen’s nickname11. Having pitch13. Tolerate14. Kenny ___, Blue Train pianist16. “Star___,” Hoagy Carmichael hit17. Imprison20. Band equipment, generally22. Geological time division24. Albert King music26. Meaning two27. __! MTV Raps, the fi rst hip-hop music show on MTV28. Ancient time period29. Billy Taylor title30. Art Van ___, jazz accordionist31. Handheld device33. Joe ___, Italian-American jazz musi-cian and pioneer jazz violinist35. Common greeting36. Santa Fe locale38. That is, abbr.39. Bob ___, in 1938 he worked as second trumpeter to Lu Watters42. ___ Stewart, jazz cornetist best known for his work with the Duke Ellington

orchestra44. Refl ection of sound46. Include48. Moral strength in Confucianism49. Baker, ___ Lee50. Scaredy cat?52. Raw movie material description54. Duos55. Madison locale56. Dr. helper57. That guy59. Made the soundtrack for a movie62. Count Basie and Gordon Beck instru-ments65. ___ Peterson, jazz composer and pianist who was called the “Maharaja of the keyboard”66. Festive celebration67. Dizzie Gillespie’s “Peanuts” fl avoring?

Down1. Red ___, American bop and hard bop trumpeter2. Johnny ___, “Body and Soul” artist3. Computer department4. Type of jazz played by Herbie Hancock5. Means inside at the beginning of a word6. “St. Louis ___,” the most recorded jazz standard for over 20 years in the 1930’s7. ___ Metheny, he is one of the most

successful and critically acclaimed jazz musicians to come to prominence in the 70’s and 80’s8. “Still I __,” poem by Maya Angelou9. ___ Byrne, well-known American jazz trombonist and composer/arranger10. Blossom ___, American jazz singer and pianist known for her distinctive girl-ish voice12. Promotional item15. William, for short18. London news media19. Roswell ___, jazz trombonist who is primarily known for his work in free and avant-garde jazz20. Esteemed music award21. Commercial makers23. Overfl ow25. Big Band time period?28. Jazz feeling and color31. Mathematical ratio32. White lie33. Musician possessing outstanding technical ability34. Shoot down35. Santa’s saying, once37. “Round ___,” the most recorded jazz standard composed by a jazz musician39. The ___ of Jazz to Come, Ornette Coleman classic40. Firm, for short41. Harry ___, jass trumpeter and mem-ber of the Count Basie Orchestra43. Even, before44. Have supper45. Credit, for short46. Palin place47. Morning moisture49. The Magic City artist50. Kind of engineer51. People person, for short53. Gator57. Letters for many new tv sets58. Land of opportunity60. Notes61. Hospital show62. Sound system, for short63. Battery size64. Operating system, abbr.

JAZ_44 44 11/11/09 11:03:35 AM

Gearcheck


SKB’s Cymbal SafeSKB’s new cymbal case, the 1SKB-CS22 Cym-

bal Safe is designed for transport of either cym-bals in a gig bag or marching band cymbals that cannot be mounted on a spindle. The SKB Cymbal Safe is rotationally molded from Linear Low Density Polyethylene (LLDPE), offering high durability and strength.

The 1SKB-CS22 is a roto-molded D-shaped case design with molded in feet

for upright positioning and stability. The case includes a patented

Roto-X pattern for added strength, durability, and reliable stacking. Sure grip handles with a 90 degree stop are designed for easy lifting and transporting. The new Cymbal Safe also includes a padded interior for added protection.

www.skbcases.com

The Les Paul Guitar Book from Backbeat Books

Backbeat Books has released Tony Bacon’s third edition of The Les Paul Guitar Book: A Complete History of Gibson Les Paul Guitars. This updated edition includes hundreds of full-color pho-tos of nearly every make and model, from the fi rst prototypes to the models used by rock stars. Additionally there is a full reference section with detailed information on variations and signature editions, every fi nish available, as well as a detailed chronology from the early 1950s through the present with dating and serial number information, neck, body, and fretboard specs, complete with detailed photos.

www.halleonard.comwww.musicdispatch.com

Meisel COM-80 TunerMeisel Accessories’ new clip-on instrument tuner features a large

backlit LCD display and broad calibration range. The Meisel COM-80 chromatic tuner can tune any instrument, but has selectable calibration for guitar, bass, violin, and even ukulele. The calibration range extends to A=410Hz.

While small in overall size, the COM-80 features a large and bright display that shows the target note and the calibration setting. When the note is in perfect tune, the display changes from red to green, speeding up the tuning process. The tuner has a swivel mount and a gel-padded clip that won’t mar an instrument’s fi nish.

The COM-80 is light (1 oz., 27 g) and compact (2” x 1” x ¾”). It is powered by one CR2032 3V coin-type battery (supplied). The retail price for the Meisel COM-80 is $34.95.

www.meiselaccessories.com

GearCheck.indd 45 11/11/09 11:04:29 AM


ClassifiedsBooks

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

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

Visit:WWW.GREGFISHMANJAZZSTUDIOS.COM

for free sample etudes and duets.

DVDs

Instruction

Need some expert Advise? Guitar & Bass EncycloMedia13 years of Fretboard Excellence.

www.12tonemusic.com1-937-256-9344

Merchandise

Instruments

www.JAZZedmagazine.com

MerchandiseMerchandise

Merchandise

www.JAZZedmagazine.com

Classifieds.indd 46 11/11/09 11:06:28 AM


ClassifiedsMerchandise Print Media

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

www.OllieCreations.com

Repair

WE REPAIR, RESTORE, SELL & TRADE

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

Serving the Music Community for 37 years.

www.maestrowoodwinds.com

Print Music

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

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

732 227-0776

Call: 1800-964-5150

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

Feature Your CD on CD Showcase

For Maximum Exposure!

AdIndex Company Email/Web Page #

Arbors Records www.arborsrecords.com 22J.J. Babbitt Co. Inc. www.jjbabbitt.com 32Bari Woodwinds www.bariwoodwinds.com 39Berklee College of Music www.berklee.edu 1Big Bandman Jazz www.BigBandmanJazz.com 38Cannonball Music Instruments www.cannonballmusic.com 35Jamey Aebersold Jazz Aids www.jazzbooks.com cov 2Jazz at Lincoln Center www.jalc.org 8John Fedchock www.johnfedchock.com 41Juilliard School of Music www.juilliard.edu 5North Central College www.northcentralcollege.edu 9Northwestern University www.music.northwestern.edu 35Pacifi c Coast Jazz www.pacifi ccoastjazz.com 24Pearl Corp. www.pearldrum.com cov 4 PJLA Music Products www.pjlamusc.com 34SaxQuest, Inc. www.saxquest.com 25Sher Music Co. www.shermusic.com 23University of North Florida www.unf.edu 31Vic Firth, Inc. www.VicFirth.com 32Vic Firth, Inc. www.VicFirth.com 37Wynton Marsalis Enterprises www.wyntonmarsalis.org 33

Classifieds.indd 47 11/11/09 1:49:01 PM


Prominent New York jazz drummer and educator Edward

“Eddie” Locke died September 7, 2009 at the age of 79.

Eddie was born in Detroit on August 2, 1930, the young-

est of four sons, and played his fi rst club date at age 14.

He attended Detroit’s Wayne University, while playing

in jazz clubs at night, and became a part of the thriving

Detroit jazz scene in the late ‘40s and ‘50s. He developed a

variety act with his high school friend and fellow drum-

mer Oliver Jackson. They called themselves, “Bop and

Locke,” in which both played drums, danced, and sang.

After some local success, they were booked at The Apollo

Theatre in 1954, and moved to New York City.

After arriving in New York, Jackson and Locke parted

ways as drummers, but always remained great friends.

Count Basie drummer, “Papa” Jo Jones, became Eddie’s

mentor and he was soon well established, landing a job

at the famed jazz club, The Metropole. In 1958 he joined

the Roy Eldridge Band and played with Coleman Hawkins

through the ‘60s until Hawkins’ death in 1969. During

the 1970s, Locke worked with Eldridge at the popular

Jimmy Ryan’s jazz club on 52nd street, and was the house

drummer at Ryan’s for the better part of 15 years, until the

club closed in the early ‘80s. His work is heard on many

recordings, and his television credits include The Tonight

Show, Dial M for Music, and The Mike Douglas Show.

More recently, Eddie Locke continued to perform and

tour, and was a teacher who helped and encouraged a new

generation of jazz artists. For many years he was a much

loved music teacher at The Trevor Day School in New

York City. His personal photo collection including many

of Coleman Hawkins and Roy Eldridge, was purchased by

Columbia University and is housed in the Library’s Rare

Book and Manuscript Collection.

Backbeat

Eddie Locke1930 - 2009

JAZ_48 48 11/11/09 11:07:00 AM

JAZ_COV3 COV3 11/11/09 11:09:23 AM

www.jazzednet.org

The Best $1600 a Student Will Ever Spend.

JAZ_COV4 COV4 11/11/09 11:09:38 AM

www.pearldrum.com

jazzed november 2009

Documents

z z e d u c

contentsn o v e

t o r s

z i n enovember

world o

jazz trivia

z i n ejazz play

merry lile christmas