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The Official Publication of

Nat Hentoff: Jazz Revolution vs.

Radio Stations Slashing Jazz

Survey: College & University Jazz Programs

John McLaughlin

BecomeWho You Are

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www.jazzbooks.com

Mastering music is more than a destination. It’s about all of theexperiences you have along the way. We give you the freedom toexperiment, find your own solutions, and evolve. But we also give youa structured and demanding curriculum that will test even the mosttalented musicians. You’ll be prepared to succeed in the world of music.Wherever it takes you. Learn more at berklee.edu

WHERE MUSIC TAKES YOU

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www.berklee.edu

2 JAZZed September 2012

LESSONS LEARNED: CLOSING THE QUALITY GAP 14Dave Marowitz investigates strategies and techniques to ensure your jazz ensemble isn’t hindered by skill disparities emerging between its musicians.

BASIC TRAINING: HELPING STUDENTS FIND THEIR VOICE AS A COMPOSER 28Contributor Ezra Weiss discusses the delicate art of guiding students through their early years of composing toward a knowledgeable, open-minded, and original start to a lifetime of writing.

JOHN MCLAUGHLIN: “BECOME WHO YOU ARE” 32Still going strong after a lifetime on jazz’s front lines with Miles Davis, the Mahavishnu Orchestra, Shakti, Wayne Shorter, and more, guitarist John McLaughlin talks to JAZZed about his experiences as a young student, a seasoned mentor, and tireless musical explorer.

GUEST EDITORIAL: JAZZ REVOLUTION VS. RADIO STATION SLASHING JAZZ 40Esteemed jazz journalist Nat Hentoff reports on the recent clashes between Boston jazz activists and the local radio stations who’ve nixed the music from their programming.

SOUND ADVICE FOR THE JAZZ VOCALIST: AN INTERVIEW WITH KIM NAZARIAN OF NEW YORK VOICES 44

FOCUS SESSION: JIMMY RANEY’S SOLO ON “DOUBLE IMAGE” 48Scott Mercer provides an in-depth study of Raney’s classic solo from 1954, mixing smiple motivic development with complex (almost dangerous!) lines.

SURVEY: JAZZ EDUCATION AT THE HIGHEST LEVELS 51A recent survey polls over 150 instructors and faculty members at university and college jazz programs on everything from early skill development to enrollment trends.

™

contentsS E P T E M B E R 2 0 1 2

JOHN MCLAUGHLIN

"The young musi-cian will need to

discover how much he or she loves and cares about music,

and the necessity of perseverance and

patience."

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PUBLISHER’S LETTER 4NOTEWORTHY 6NATALIE CRESSMAN: WHAT’S ON YOUR PLAYLIST? 10

departments28

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 offices. 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. © 2012 by Symphony Publishing, LLC. Printed in the U.S.A.

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September 2012Volume 7, Number 5

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JAZZ EDUCATION NETWORK SECTION 20•PRESIDENT’SLETTER•JEN'SNEWLOOK•JENERATIONSJAZZFESTIVAL•2013CONFERENCEEVENINGCONCERTS•TIPSFORASUCCESSFULSCHOOLJAZZPROGRAM•NEWS

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CLINICIANS CORNER 59CLASSIFIEDS61AD INDEX 63BACKBEAT: "UNCLE" LIONEL BATISTE 64

JAZZ EDUCATION NETWORKJAZZ EDUCATION NETWORK

RPMDA

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It seems that music has evolved in ways that are sometimes linear, but often with significant revo-lutions within the evolutions. There are points in time for all types of music that can be identified as the sparks that took music off its steady path into unknown new realms that either gained recognition or quickly flamed out of existence. Beethoven and Stravinsky shook up the classical world; the Bebop movement took jazz on a significantly different path; and performers like Hendrix, the Beatles, The Ramones, and Nir-vana moved pop music off its cen-tered path. The establishment of our educational world tends to be slower moving and usually takes some time to recognize, absorb, and then begin teaching music of the “new” genres, composers, and styles. This is certainly understandable. It’s not al-ways easy for people who have learned and grown up with certain genres to make the horizontal or vertical leap to a new form of music and be able to help the younger generation adapt to it.

The question that tugs at many of us is how to go about imparting the knowledge of past styles while still encouraging and engaging students on not only the cutting-edge styles, but also on how to go about considering ideas that have yet to happen? Can the student be encouraged to go off in radical new di-rections without having a solid foundation of the past? And, if they need a foundation, how far back and deep should it go? There are musical scholars

who study certain periods of music to become well-known experts, but the students should, perhaps, have enough exposure to gain a basic understanding of the various styles that have come before in order to develop new, breakthrough ideas. Can the cre-ativity be taught enough, so that students may come up with their own different style of music? Should this even be encouraged? After all, being different just to be different isn’t always the answer. Our

cover story this month is on one of the early purveyors of fusion, John McLaughlin, who deftly in-tegrated jazz, rock, and forms of classical and Indian music with the short-lived but historically impor-tant original Mahavishnu Orches-tra: He sheds some light on this difficult topic.

McLaughlin cites his early influences as a dispa-rate variety of sources, including early Mississippi blues musicians, Flamenco guitarists, Miles, Col-trane, Bill Evans, the Beatles, and so many other historically important figures. He states that he “never, ever had the intention of making or creat-ing ‘fusion’ jazz,” but it appears that the happenings of the world at the time, the “upheaval in society,” and the coming together of various influences lead him to develop his style. Beyond reviewing the past, students should be encouraged to open their eyes to what is happening in the world around them and consider it, and allow it to seep into their musical ideas…

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

Revolutions Within the Evolutions

“Can the student be

encouraged to go off in radical new directions without having a solid

foundation of the past?”

[email protected]

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www.music.miami.edu


he Festival of New Trumpet Music (FONT Music), directed by Dave Douglas, is presenting its 10th An-niversary Festival this fall throughout September and October. The festival is a “multi-genre, multi-venue celebration of new trumpet music by the instrument’s

most creative musicians.” “For our tenth festival we decided to go back to the full month

model,” said Douglas. “It’s a blowout of creative music that spans generations and genres that is our biggest festival since the early days when we had a residency at Tonic. We’re book-ending the festival with two great free events: Stephanie Richards’ Rotations Rotations and Claudio Roditi with the West Point Jazz Knights.”

The festival also includes newly-commissioned work from pio-neers like Charles Tolliver, Tom Harrell, and Jack Walrath, as well as music from emerging talents like Adam O’Farrill, Alicia Rau, Bruce Harris, and Douglas Detrick. Douglas will also be presenting his own new project, which will feature singer Aoife O’Donovan. The festival is taking place throughout New York City, including performances at the Jazz Gallery, Brooklyn Bridge Park, the Village Zendo, Smalls Jazz Club, Rockwood Music Hall.

www.fontmusic.org

T

noteworthyFestival of New Trumpet Music Celebrates 10th Anniversary

Font Music director Dave Douglas.

The Manhattan School of Music will be celebrating the 30th anniversary of the creation of its jazz program during the 2012-13 season. In the 1940s and ‘50s, when jazz innovators such as

drummer Max Roach, and pianist/composer John Lewis, were al-ready creative forces in bop and post-bop jazz, they were stu-dents at Manhattan School of Music. In those years, long be-fore MSM had a jazz department, or the internationally recog-

nized Jazz Arts Program, the school had the resources, faculty and atmosphere conducive to educating “the complete musician.”

It was in the fall of 1982 that Manhattan School of Music became one of the first conservatories in the United States to acknowledge the prime importance of jazz as an art form by creating a jazz/commercial music department, which first of-fered courses toward a master of music degree in 1984.

The awards and accomplishments of the MSM Jazz Commu-nity is long and growing. Its members include NEA Jazz Mas-ters like Roach, Lewis, Joe Wilder and Yusef Lateef, as well as MacArthur Fellows like Miguel Zenon and Jason Moran. Many concerts are being planned to celebrate MSM’s Jazz Arts 30th Anniversary Festival. Highlights include performances by the MSM Concert Jazz Band, the MSM Afro-Cuban Jazz Orchestra, and performances of masterpieces like Oliver Nelson’s Blues and the Abstract Truth and Miles Davis’ Miles Ahead.

www.msmnyc.edu

30 Years of Jazz at the Manhattan School of Music

Trumpeter Ambrose Akinmusire and drummer Obed Calvaire at a 2003 concert for the Manhattan School of Music.

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noteworthy


noteworthyBerklee Names Steve Bailey New Bass Chair

Berklee College of Music re-cently announced that Steve Bai-ley has been named chair of the college’s Bass Department. Bailey, six-string fretless bass pioneer, educator, and author, began his tenure this summer. He succeeds Rich Appleman, who retired in May 2012 after holding the posi-tion for 40 years.

A partial list of Bailey’s exten-sive recording and performance credits include Paquito D’Rivera, Dizzy Gillespie, Victor Wooten, Claudio Roditti, the Rippingtons, David Benoit, Jethro Tull, Willie Nelson, and Mel Torme.

Bailey brings to Berklee over 25 years of teaching experience, with faculty appoint-ments at Musicians Institute, UNC Wilmington, and Coastal Carolina University. He is the author of six books and instructional DVDs on bass performance, and is an in-demand clinician and performer. He holds a B.M. in Studio Music and Jazz from the University of Miami, with additional study at the University of North Texas. Bailey was twice recognized as runner-up Bass Player of the Year by Bass Player Magazine, and is co-founder of Bass Extremes, a collaboration with Victor Wooten.

www.berklee.edu

Montreal Jazz FestivalThe 33rd annual Festival de Jazz

de Montreal once again treated over two million people to an extraordinary show of jazz, folk, blues, world music, and several other genres. The Festi-val, which took place from June 28 to July 7, featured 10 outdoor stages where concert gatherers could enjoy a variety of music as well as state of the art theatres including the Maison Symphonique Montreal and Salle Wi-frid-Pelletier. Jazz legends like Stanley Clark, Ron Carter and John Schofield performed on bills with singing stars like Liza Minnelli and James Taylor, while numer-ous upstart groups made the Festival perhaps the singular largest musical event in the world.

A new chapter opened this summer as some of Miles Davis’ old brothers in arms assembled as the “Miles Smiles” collective and put on an extraordinary show which featured Wallace Roney on trumpet, saxophonist Bill Evans, bassist Darryl Jones, key-boardist Joey DeFrancesco, guitarist Larry Coryell, and drummer Omar Hakim.

www.montrealjazzfest.com

LA Jazz Society Names Wayne Shorter Jazz Tribute Honoree The Los Angeles Jazz Society’s (LAJS) 29th Annual Jazz Tribute Awards Dinner &

Concert is set for this October at the Hilton Los Angeles/Universal City, where Wayne Shorter will be the 2012 Jazz Tribute Honoree. Leonard Maltin will host the eve-

NEA Announces 2013 NEA Jazz Masters

The National Endowment for the Arts recently added four new names to the list of legendary jazz

figures with the announcement of the 2013 NEA Jazz Masters. Like the 124 honorees who came before them, these four individuals are rec-ognized for their lifetime achieve-ments and significant contributions to the development and perfor-mance of jazz. They will each re-ceive a one-time award of $25,000.

The 2013 NEA Jazz Masters are Mose Allison (pianist, vocalist, composer), Lou Donaldson (saxo-phonist), Lorraine Gordon (jazz club owner), and Eddie Palmieri (pianist, bandleader, arranger, composer). Lorraine Gordon is the recipient of the 2013 A.B. Spell-man NEA Jazz Masters Award for Jazz Advocacy, which is bestowed upon an individual who has con-tributed significantly to the appre-ciation, knowledge, and advance-ment of the art form of jazz. Full profiles of the 2013 NEA Jazz Mas-ters are located on the NEA’s web-site (www.nea.gov).

Newly announced NEA Jazz Master Lou Donaldson.

Bassist and jazz educator Steve Bailey.

Lady Linn and her Magnificent Seven at the Montreal Jazz Fest. Credit: Frédérique Ménard-Aubin.

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noteworthy


ning’s festivities and Herbie Hancock is this year’s Honorary Chair. LAJS’ 2012 Jazz Tribute awardees include Lifetime Achievement Award recipient John Pisa-no, Lifetime Composer/Arranger Award recipient Gordon Goodwin, Jazz Vocalist Award recipient Denise Donatelli, Da-vid L. Abell Angel Award recipient Jim

Barrall, Jazz Educator Award recipients Roger Neumann and Scott Whitfield, Teri Merrill-Aarons Founder Award re-cipient Terence Love, and Shelly Manne Memorial New Talent Award recipient Jamael Dana Dean. The Jazz Tribute also includes special guests, Jeff Hamilton, Larry Hathaway and Barbara Morrison.

www.LAJazz.org

Marvin Hamlisch DiesWell-known composer and pops

conductor Marvin Hamlisch recently

passed away on August 6th in Los An-geles. Hamlisch is known for unforget-table compositions from very early in his career that were used in films such as The Way We Were, Sophie’s Choice, and Ordinary People. He won three Oscars, four Grammys, four Emmys, a Tony, and a Pulitzer Prize, and was recently serv-ing as conductor for a number of orches-tras including the Pittsburgh Symphony Orchestra, the Milwaukee Symphony Orchestra, and the Dallas Symphony Or-chestra.

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1. Sarah Vaughan With Clifford Brown – Sarah Vaughan & Clifford BrownSarah Vaughan was one of the first great jazz singers I truly fell in love with, and this album is one of my favorites. When I was little, I sang along with “Lullaby of Birdland” on repeat, trying to mimic her incredible phrasing and attempting to emulate her rich, dark tone. Her finesse in her improvising was also something that particularly inspired me on this album. Adding the elegant voice of Clifford Brown on trumpet makes this one of my favorite Sarah albums. Another one of my favorite tracks is the obscure and heart-wrenching ballad, “Jim.”

2. Free For All – Frank RosolinoFrank Rosolino is one of my all-time favorite trombonists, and I literally wore out this CD with repeated listening in high school. Frank’s vibrant, effervescent voice really comes through on this 1958 release, which also features tenor saxophonist Harold Land and Victor Feldman on piano. His rendition of “Stardust” taught me volumes about how to interpret ballads, and his rhythmic pocket on “Don’t Take Your Love From Me” was so captivating that I transcribed it and used to play along with him over and over.

3. Turbulent Indigo – Joni MitchellIt was incredibly hard to pick just one of Joni’s albums to put on my playlist because there are so many that I feel make up a significant part of my musical DNA. She is possibly one of my biggest influences as a vocalist and songwriter. But it’s Wayne Shorter’s interaction with Joni’s lyrics that really struck me about this album. On “Sunny Sunday,” Shorter’s interjections are literally evoking the words of the song. His sensitivity and unbelievable depth, demonstrated here in such a unique musical setting, makes him stand out to me as one of my favorite musical minds.

4. III – Walter Smith IIIThis album contains some of my favorite modern jazz musicians/composers. I was first exposed to Walter Smith III through Ambrose Akinmusire’s release, Prelude to Cora (an-other one of my favorites), and this album features Ambrose along with Jason Moran, Joe Sanders, Eric Harland, and Logan Richardson, one of my favorite modern alto players in NYC. Every single musician on this release is stellar, and they deftly bring out the best qualities in each other’s playing. I love the lyrical nature of some songs, the subtlety of “Aubade” contrast-ing with the more brazen “Highschoolish” and “Himorme.”

By the time she graduated from high school, trombonist/vo-calist Natalie Cressman had already performed alongside luminaries such as Miguel Zenon, Joe Lovano, Ambrose Akin-musire, Eric Harland, Josh Roseman, and Carlos Santana.

Since moving from her native San Francisco to New York to study at the Manhattan School of Music, Cressman has delved heavily into the world of composition, in addition to performing widely throughout the city with bands including Nicolas Payton’s Television Symphony Orchestra and Peter Apfelbaum and the New York Hieroglyphics Ensemble. In 2010, Phish’s Trey Anastasio invited Cressman to be part of his seven-piece rock band, TAB, with which she’s been playing sold–out shows in major venues. In May of 2012, she was a featured soloist at the Apollo Theater in Harlem in Wycliffe Gordon’s Jazz A La Carte. Sharing the stage with the likes of Savion Glover and Maurice Hines, Cressman was dubbed “the future of jazz” by Gordon, her mentor and host of the evening. On top of all that, she’s formed her own band, Natalie Cress-man and Secret Garden.

Unfolding, her debut CD as a leader, captures the 20-year-old’s rapidly blossoming sensibility, a sound shaped by her love of Cuban, Brazilian and West African music, indie rock, funk, and the post–bop continuum.

What’s on Your Playlist?

Natalie Cressman’s latest album, Unfolding, was released on August 14, 2012. www.nataliecressman.com.

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5. GroundUp – Snarky PuppySnarky Puppy has been together for a while and they’ve been, in my opinion, largely underappreciated up until this most recent release. I am consistently impressed by their ability to make even the most complex, instrumental music danceable and appealing to non-jazz lis-teners. Their incorporation of more popu-lar music styles and grooves with jazz is something that I do with my band, and bringing jazz to a broader audience is something that I care about as well. If you haven’t seen a live Snarky Puppy show, I strongly urge you to check them out. They are an incredible band.

6. Weightless – Becca StevensThis album is certainly one that has changed the way I write. She has a unique compositional voice, and her soft-spoken, earnest delivery really resonated with me. She writes beautiful lyrics and, coupled with her song’s great harmonic content and detailed textures,

I feel there is a great balance of honest simplicity along with musical complexity and nuance. I keep coming back to this album from time to time, which is why I attest to her greatness as a composer/vocalist/bandleader.

7. How Bright A Shadow! – In One WindI was first introduced to the group through my friend Steven Lugerner, who plays various woodwinds on How Bright A Shadow! It skillfully synthesizes so many different genres that the result is uniquely beautiful music. I love their graceful melodies and three-part har-mony, but the contrasts on the album in terms of texture, groove, form, and harmony, are particularly brilliant. They are one of my favorite young bands, definitely a group of musicians to watch.

8. Signs of Life – Peter Apfelbaum and the Hieroglyphics EnsembleI remember going to see Peter Apfel-baum and the Hieroglyphics live and

spending the entire set with butterflies in my stomach. Something about the profoundness of his melodies and the deeply grounded African rhythms was so exciting. I remember leaving the concert and thinking, “I want to spend my life playing music like that.” Since moving to NYC, I have joined the NY Hieroglyphics Ensemble, and it is one of my favorite groups to play with. Peter has acted as a great musical mentor to me over the years, and each time I play with him I’m struck by how soulful he is.

9. Personalities – Fabian AlmazanFabian is one of my favorite pianists. I first heard him when attending a performance of Terence Blanchard’s band, but I love his solo debut for its graceful lyricism. I love how he meshes his Cuban background with jazz and classical music. This release is definitely on the cutting edge of where creative music is going. His sound of a piano trio plus a string quartet is great: it gives such fullness to his pieces. The rhythm section of Fabian, Henry Cole and Linda Oh is a serious combination of some really inspiring players who have gained recognition for their unique voices in jazz today.

10. In Pursuit – Donny McCaslinI’m a huge fan of Donny McCaslin: he is one of my favorite tenor players today. I love this album particularly because of its incorporation of Afro–Caribbean rhythms within the aesthetic of modern jazz. Having grown up in the San Fran-cisco Bay Area, my first professional gigs consisted largely of salsa, Latin jazz, and Brazilian music, so this album really spoke to me and encouraged me to let those influences seep into my own writing.

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www.uidaho.edu

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www.cannonballmusic.com


lessons learned ENSEMBLE PLAYING & JAZZ SOLOISTS

Closing the Quality GapENSEMBLE PLAYING AND JAZZ SOLOISTS IN THE SCHOOL ENSEMBLE

Astute jazz ensemble directors are always looking for ways to

upgrade the performing ability and musicianship of their

jazz ensembles. This article addresses a vitally important and

often-neglected aspect of jazz ensemble performing that is

characteristic of professional and outstanding student bands,

and is essential to truly effective performance.

BY DAVE MAROWITZ

The Quality GapIt is not uncommon among school jazz ensembles today to find a

disparity between the quality of ensemble playing and the quality of im-provised solos. More often than not, the improvised solos are the weaker of the two elements, so this article will proceed from that point of view.

Skillful ensemble playing juxtaposed to improvised solos that are relatively inferior in quality pose a problem of inconsistency and a lack of integrity in a band’s overall sound and effectiveness. Imagine a chic,

upscale men’s suit worn with a bargain-basement tie. Not only does the tie detract from the visual effect produced by the elegance of the suit, but also it actually attracts at-tention to itself. In essence, the tie takes center stage and steals the spotlight from the suit! Likewise, superior en-semble playing does not cover up for inferior improvised solos and neither is the reverse true. In fact, the stronger of the two can actually highlight the weaker state of the other. In terms of quality, ensemble passages and impro-vised solos should be evenly matched, and transitions be-tween them should be seamless. Jazz ensemble directors should assess this aspect of their jazz ensemble’s overall performance and if necessary, address it.

Lessons Learned Gap.indd 14 9/13/12 10:21 AM


lessons learned Why the Gap?

What could engender a quality gap between ensemble playing and im-provised solo sections of jazz ensem-ble performances? Most commonly, it is that the ensemble’s soloists and rhythm sections do not receive ad-equate instruction and training in im-provisation, while the ensemble gets the lion’s share of instructional and rehearsal attention.

I was once a member of a nationally recognized college jazz band whose ensemble playing was admirable, but the caliber of the improvised solos did not measure up to that of the ensemble playing. The director was a brilliant jazz composer and rehearsed his en-semble well, but he left his jazz soloists to fend for themselves. They received no training in jazz improvisation nei-ther did they practice or ‘jam’ with the rhythm section independently from the full ensemble rehearsal. If the di-rector had ensured that his soloists got proper instruction and training, the band, as good as it was, would have ascended to yet another level.

Since improvisation is the lifeblood of jazz music, improvised solos should be a highlighted and anticipated aspect of any jazz ensemble performance. This demands excellence on the part of improvisers and rhythm sections. Excellence here is not synonymous with complexity, but it does demand sound musical taste and listening skills, a good sense of timekeeping and style, sensitive soloist/rhythm section interaction, and adequate instrumen-tal proficiency and improvising skill. Some students improvise basically by combining the indiscreet ‘throwing of notes in the air’ along with notes that they have found to ‘work’ through ex-perience, in the hope that all will work out. In this survival approach there is usually no musical relationship be-tween the improvised solo and the written arrangement or jazz tune. Oth-ers emphasize emotion and expres-siveness at the expense of meaningful musical content. Both expression and musical content (melodic, rhythmic,

lessons learned ENSEMBLE PLAYING & JAZZ SOLOISTS

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lessons learned and harmonic espe-cially as it relates to the jazz tune and ar-rangement) are equal-ly important elements in jazz improvisation and should receive equal attention.

Then there are those whose method of improvising is largely founded on crowd-pleasing hype techniques (extreme high register playing, fast-for-the-sake-of-fast notes, loud vol-ume, showmanship, etc.) in an attempt to cover up for the lack of true improvisation-al skill, musicianship, and taste. Motivated students can learn to improvise skill-fully, intelligently, and expressively through instruction and guided prac-tice. They can, in fact, learn principles of improvisation that are not only ap-plicable to jazz, but also will enhance their understanding of and approach to music in general. In addition, rhythm section players need to become profi-cient in the art of supporting and in-teracting with soloists, which is quite a different skill set than playing with a large ensemble.

Closing the Gap with an Adjunct Improvisation Instructor

One means of upgrading the impro-vising ability of student jazz soloists is to have them study privately with qual-ified jazz musicians/instructors. An-other more comprehensive approach is for the jazz ensemble director to enlist an experienced jazz musicians/instruc-tor to serve as adjunct improvisation/rhythm section instructor.

On baseball teams, head coaches maintain oversight of overall team de-velopment while assistant coaches are employed to focus and train players on specialized aspects of performance

such as pitching and batting. Since jazz soloists too are specialists, they need specialized instruction and supervised practice in order to effectively grow and mature in their ability as improvis-ers. For this reason, recruiting an im-provisation instructor would be a wise move, especially for directors who are not trained in and experienced in the art and craft of jazz improvisation. The addition of this “assistant coach” can significantly accelerate the overall progress of the ensemble.

An improvisation instructor may be recruited either from within one’s school district faculty, or possibly from the surrounding locale or region. Di-rectors may want to request that their P.T.O. or band parent’s organization fund the enlisting of an adjunct im-provisation instructor, or perhaps ask the appropriate school administrator to consider earmarking funds from a school activities account to do so.

How the Instructor can Function Effectively

A jazz improvisation instructor can meet with a jazz ensemble’s jazz solo-ists and rhythm section separately from ensemble rehearsals. In another sce-

“SINCE IMPROVISATION IS THE LIFEBLOOD OF JAZZ MUSIC, IMPROVISED SOLOS SHOULD BE A HIGHLIGHTED AND ANTICIPATED ASPECT OF ANY JAZZ ENSEMBLE PERFORMANCE.”

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lessons learned


nario, a typical jazz ensemble rehearsal session could consist of a combination of the director working on ensemble playing with the brass and saxophones in one room while the improvisation instructor works with the rhythm sec-tion and jazz soloists in another room. This can be followed by a full ensemble rehearsal led by the director with the improvisation instructor observing, taking constructive critical notes on, and coaching the soloists and rhythm section. The job description of an im-provisation instructor can include the following:

• Instruct and train soloists and therhythm section in practical prin-ciples of improvisation and style.

• Instruct and train soloists andrhythm section how to make their improvisations connect musically with the tune and/or written ar-rangements.

• Instruct and train soloists andrhythm section in the expressive el-ements of jazz improvisation.

• Instruct and train soloists andrhythm section in principles of so-loist/rhythm section interaction.

• Instruct and train the rhythm sec-tion in the art of playing with a so-loist in contrast to the art of playing with an ensemble.

Application of these principles taught should be applied directly to current arrangements that the ensem-ble is preparing for performance. As students apply and internalize these principles in rehearsals and perfor-mances, they will intuitively carry them over and apply them in other and future musical situations. Another resulting benefit from this specialized instruction could be the emerging of a distinct performing jazz combo. This combo, by performing as a separate unit during jazz ensemble perfor-mances, could provide a very effective contrast to the large ensemble. They could even maintain an independent performance schedule.

Closing the Gap through Wise Soloist and Music Selection Choices

Another strategy in closing the quality gap between ensemble playing and jazz solos, is to, when necessary, reassign improvised solo sections to

players other than who is designated in any given arrangement.

For example, an arrangement that includes a section for a jazz trombone improvised solo could be assigned to a stronger soloist in the band (regardless of instrument), if the trombone play-

lessons learned

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ers are not strong improvisers or in-terested in becoming such. This is es-pecially important when preparing for competitions and performances. Musi-cally, this is consistent with the artistic license and extemporaneous spirit that is inherent in the nature of jazz music and, consequently, is not foreign to the professional music world.

In an arrangement that I wrote for Buddy Rich and his Big Band in 1976, I had designated a section where the baritone sax player would improvise. The band recorded the arrangement in that way, but on a later date and dif-ferent location, for whatever reason, they recorded it again with a tenor sax playing the solo rather than the bari-tone sax.

In general, directors should take care to choose music that is within their soloist’s ability to improvise com-

fortably in the jazz solo sections, just as they would realistically consider their ensemble’s ability to play the written arrangements. Failure to do so could create a quality gap between the ensemble and the soloists.

Maintaining a ‘No-Gap Zone’ through a Feeder System

Finally, a longer term and more far reaching strategy for elevating the qual-ity of improvised solos, in the case of high school bands, is to set up a feeder system. This would entail identifying talent in grades prior to high school, and beginning the process of teaching jazz improvisation and rhythm section playing at that grade level. In this way, high school jazz ensembles can count on a steady incoming stream of trained jazz soloists and rhythm sections, by

establishing an ongoing method of maintaining and helping to ensure that the quality of ensemble playing and jazz soloists will match.

ConclusionThe principles and strategies out-

lined in this article, if applied, can go a long way in upgrading the quality, in-tegrity, and effectiveness of jazz ensem-bles, and can catapult their performing prowess to new heights.

Dave Marowitz has worked as an arrang-er, trombonist, and euphoniumist extensively in the commercial, jazz, and classical fields of music, including with Lionel Hampton as a trombonist and Buddy Rich as a recorded arranger. He has taught music in the public schools since 1977 and is currently doing so in the Toms River (N.J.) regional school district.

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A Message from JEN President Andrew Surmani

Dear JEN Members,We are close to 100 days out from the 4th Annual JEN Conference and are excited to announce some of the great musicians that will be performing at the Atlanta show. See the following pages for more details. The JEN Board of Directors held our semi-annual meeting in early August at the site of our 2013 Conference, the Hyatt Regency Peachtree Center in Atlanta, Georgia. As you know, the Board is comprised of some of the most accomplished and respected thought leaders in jazz education today and

I want to share with you some of the highlights of our many plans outlined by the committees that will help us fulfill the mission of JEN.

1. Education Materials/Curriculum: This committee presented many educational resources that we hope to deploy this year and beyond, to enhance member benefits and provide support for jazz education.

2. Finance: We approved the 2012–2013 budget, which will be used to present the annual conference and support our programs. As always, JEN prides itself on its transparency for our members and the finan-cial information is available online for all members.

3. Fundraising & Development: We laid out plans to move forward on fundraising, registered on various grant sites and applied for some grants.

4. Festival Development: We reviewed and approved plans for the 2013 JENerations Jazz Festival.5. Marketing: We reviewed a detailed marketing plan and budget for this year that will allow us to

communicate new developments with our existing membership, as well as reach new audiences. We are delighted to launch a brand-new look for the JEN website and streamlined communication to JEN members.

6. Mentoring: We evaluated the first year of this great program, which provides mentorship to young musicians from industry professionals, and are happy to be continuing it with improvements in the upcoming year.

7. Outreach: We solidified a plan to expand the Outreach Program beyond the annual conference. 8. Strategic Planning: We began the first draft of a JEN Strategic Plan, a vital and important document that

we hope to complete and release some time next year.9. 2013 Conference: We explored the beautiful Hyatt Regency Peachtree Center that will host

our 2013 convention and are thrilled to welcome you there next January.As always, thank you for being part of JEN. We look forward to seeing you in Atlanta. Together, we can serve the beautiful art form that is jazz!Sincerely,

Andrew Surmani | JEN President


The JEN board at their August meeting in Atlanta.

PRESIDENT’S LETTER

JEN Board of Directors (2012–13): Rubén Alvarez, Paul Bangser, Bob Breithaupt, Caleb Chapman, John Clayton (Vice President), José Diaz, Dr. Lou Fischer (Immediate Past President), Dr. Darla Hanley, Dr. Monika Herzig (Secretary), Judy Humenick, Willard Jenkins, Rick Kessel (Treasurer), Mary Jo Papich (Past President), Bob Sinicrope (President-Elect), Andrew Surmani (President). Office Manager: Larry Green; Webmaster: Gene Perla; Marketing & Communications: Marina Terteryan; Web Hosting: AudioWorks Group, Ltd./JazzCorner.com

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JEN is Proud to Debut an Updated Logo and the NEW JazzEdNet.org

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JEN’S NEW LOOK



JENERATIONS JAZZ FESTIVAL

Develop Your Ensemble at Our Unique Event

JEN is extremely excited to present the JENerations Jazz Festival at the 2013 Conference. Piloted at last year’s conference, the event received rave reviews and excitement from all participants. Open to big bands, vocal groups, and combos, the JENerations Jazz Festival is unique because it truly focuses on students and directors experiencing jazz, performance, and mentorship in an innovative and educational format.

The festival features:

• A non-competitive format designed to encourage groups of all levels, including new groups and directors, to participate.

• The perfect scenario to challenge accomplished groups to perform more difficult music without the pressure of only letting the best players improvise to highlight the group.

• A performance format that includes a 10-minute setup/warm-up, 30-minute performance, and a 30-minute clinic.

• World-class clinicians.

• Big Bands: Ray Smith from Brigham Young University• Vocal Groups: Connaitre Miller from Howard University• Combos: Jeff Coffin, three-time Grammy-Award-winning

saxophonist from the Dave Matthews Band and Bela Fleck & the Flecktones

• An additional surprise celebrity clinician, who will offer encouragement and feedback.

• Full conference access for all group members.JEN is about music education and developing a culture of jazz music through nurturing and mentoring young musicians, teachers, and seasoned professionals. The JENerations Jazz Festival is a wonderful opportunity for student jazz groups of all skill levels and ages. Playing for and receiving focused attention from fantastic clinicians in a friendly and supportive environment is a unique experience not to be missed. Come join us and have an amazing time experiencing America’s musical gift to the world—JAZZ!

How to Have a Winning Jazz Festival Experience(Part 1: Musical Preparation)By Caleb Chapman

Maximizing ensemble growth at a jazz festival involves so much more than just rehearsing music! This article is the first in a two-part series that will help you create the best possible festival experience for you and your students.

Showcase the Strengths of the Ensemble

A great director will be very sure of the particular strengths and weaknesses of the ensemble. If you are a big band director you might ask yourself questions like: What is the range of your lead trumpet? Who are the soloists you would like to feature? Do you have a strong bass trombone? Directors of combos and vocal ensembles need to take stock in a similar manner. These questions and others need to be answered before the music selection process can begin. Once you have the answers, make an outline of characteristics the music should have. Knowing that information will make your music selection process much easier and more effective.You also should be aware of your ensemble’s weaknesses and work to avoid them. If, for example, you have an inexperienced bass player accompanying your vocal ensemble, a chart with an up-tempo double time section may not be a good choice.

Ray Smith Connaitre Miller Jeff Coffin



JENERATIONS JAZZ FESTIVAL

Choose Music at the Right Level of Difficulty

Resist the urge to attend a new music reading session, hear some exciting, very challenging charts, and then try to push them on your ensemble without thought for their ability level. There is a real difference between challenging your ensemble with music that is a bit of a stretch and setting them up for failure with charts that are simply out of reach at their ability level. Too many directors fall into the thinking that simply because a chart is difficult, it is automati-cally better than easier arrangements. This is certainly not the case! There is fantastic music available at every ability level. As a director, you need to make an invest-ment of time to find the best fit for your students. Take time to study the many demo recordings that publishers release each year on CD and online. Also, utilize resources like online bulletin boards, social media, and blogs to get recommendations from other directors, educators, and musicians.

Demonstrate a Wide Range of Styles

Most festivals allow time for three selections. With that in mind, the traditional formula for programming is as follows: • A medium or up-tempo swing• A ballad, and • A rock, pop, or funk chart

You may also consider replacing the ballad with a slow swing chart

similar to the style of Neal Hefti’s “Li’l Darlin’” (as compared to a straight-eighth note feel). These are challenging for inexperienced musicians and provide a great vehicle for growth.Another substitution worth considering is replacing the rock/funk chart with a Latin chart or

other world music style (Celtic, Reggae, Calypso, etc). For vocal ensembles this may mean tackling a different language. This will this push the ensemble musically and provide opportunities to explore other cultures!

For Big Bands, One to a Part!

As educators, we are naturally inclined to allow as many students as possible to participate in ensem-bles. That means we often find our-selves with too many saxophones, trumpets, or maybe guitars. It is important to remember that big band music is designed to have one player per part for proper balance. If you feel the need, let the players all be involved for home concerts. However, at festivals adjudicators

expect to see no more than 20–25 musicians on stage. More impor-tantly, without limiting the number of musicians your students are not getting the unique experience of playing in a big band.

Listen! Listen! Listen!

Finally, once you have selected your program its time to start listening to recordings of those charts (if available) and other great recordings in a similar style. Compile a list of these and distribute it to students early in the year. Design assign-ments that require focused listening. This is a fantastic opportunity to improve your festival set, expose the students to new artists, and grow

their listening library.This advice isn’t just for the students. Just as you expect your students to master intonation, dynamics, articulation, and style on their individual instrument, a director needs to be able to do the same at the ensemble level. This will only happen if you diligently listen to the music!Learn more about Performance Preparation and Educational Preparation in the upcoming issues.

Caleb Chapman is a saxophonist, educator, author, and JEN Board Member currently residing in Utah. In 2011, he was named the John LaPorta Jazz Educator of the Year.

Caleb Chapman’s groups have won numerous awards and performed in venues of all sizes. They will be performing in

Carnegie Hall next Spring.


Rufus Reid’s Quiet Pride

Bria Skonberg Ensemble


JEN Announces the Spectacular Evening Concert Lineup at the 2013 Conference

WEDNESDAY, JANUARY 2

THURSDAY, JANUARY 3

2013 CONFERENCE EVENING CONCERTS

Kris Berg & The Metroplexity Big Band with Chris Vadala, Wayne Bergeron, and Clay Jenkins

Clark Atlanta University

Jazz Orchestra

Freddy Cole Quartet

Emory Faculty Jazz Quintet

Christian Howes Group

Booker T. Washington HSPVA Jazz Combo I



University of Miami Frost Concert Jazz Band featuring NEA Jazz Master Dave Liebman

Kobie Watkins Group with Bobby Broom

The University of Manitoba Northern Alternative Jazz Faculty Ensemble featuring

Steve & Anna-Lisa Kirby & Derrick Gardner

For more information about these artists, visit JazzEdNet.org.Artists and programming subject to change.

2013 CONFERENCE EVENING CONCERTS

FRIDAY, JANUARY 4

SATURDAY, JANUARY 5

Berklee Global Jazz Institute

with Joe Lovano

The U.S. Army Blues Jazz Ensemble with Wycliffe GordonCentral Washington

University VJE

University of North Texas Jazz Singers

Karachacha featuring Freddy

“Huevito” Lobatón



New Conference SponsorsJEN welcomes the following sponsors of the 2013 Conference. There is still time to sponsor additional stages at the event. Visit JazzEdNet.org for more information.

Berklee College of Music is sponsoring the Visions Stage.

Emory University is sponsoring the Conservatory Stage.

Jupiter, Mapex, and XO are sponsoring the LeJENds Stage.

New Member Benefit AddedJEN members will be able to sell their music and merchandise commission-free at the onsite 2013 Conference JENeral store. Artists keep all their revenue and will expose their music to the thousands of attendees at the event!

New Dates & Locations Announced for Future Conferences

January 2–5, 2013Hyatt RegencyAtlanta, GA

January 8–11, 2014Hyatt Regency Dallas, TX

January 7–10, 2015Manchester Grand Hyatt San Diego, CA

January 6–9, 2016Galt HouseLouisville, KY

January 4–7, 2017Hyatt RegencyNew Orleans, LA

NEWS

Connect with Us OnlineJoin JEN’s social media community of teachers, artists, industry professionals, and more!

youtube.com/JazzEdNet

twitter.com/JazzEdNet LinkedIN Group: Jazz Education Network

facebook.com/jazzeducationnetworkfacebook.com/groups/jazzeducators


Networking the Jazz Arts Community …… Local to Global!

Become a member and register for the conference today at

JazzEdNet.org

ATTEND OUR

4TH ANNUAL CONFERENCEJAN 2–5, 2013 ATLANTA, GA

DIRECTORS ZSubmit your group to the JENerations Jazz Festival. Deadline: September 30, 2012

STUDENTS ZApply for one of our many educational, composition, and design scholarships. Deadline: September 30, 2012

VOLUNTEERS Z Apply online now (first-come, first-served). Deadline: December 15, 2012


www.jazzednet.org


basic training T E A C H I N G C O M P O S I T I O N

W

Helping Students Find Their Voice as a ComposerBY EZRA WEISS

hen I was a student at the Oberlin Conservatory, I had the privilege of studying com-

position with the now late Dr. Wendell Logan. Even though Dr. Logan was a great

composer, he did not try to make me (or any of his students) into a clone of himself.

Rather, he helped me find my own voice as a composer. To me, that means having

a personal and recognizable compositional sound, and having the skills necessary to

craft the desired composition. This guidance from Dr. Logan was one of the greatest

gifts I received from any teacher, providing the foundation for my musical career. As

I teach composition students today, I strive to help them find their own voices, much

as Dr. Logan helped me find mine.

My students generally spend their first year writing lead sheets before moving on to writing for jazz combo, then big band, and then studio orchestra and traditional chamber en-sembles. This initial emphasis on lead sheets allows us to fo-cus on melody, harmonic motion, and form. These elements provide the foundation of a composition, so they must be strong before we build an arrangement on top of them. Oth-erwise, we are likely to end up hiding behind big-sounding arrangements that don’t “say” anything.

The lead sheets also allow us to write many different types of tunes very quickly. I suggest students attempt to write a tune every day. While actually doing this for an entire year is nearly impossible, the goal is still worthwhile. It helps us develop the habit of always thinking about writing music. It also helps us learn to write without creative inhibitions, as composing becomes not some special event requiring per-fection, but rather a simple daily practice like brushing our teeth. Further, it helps us get used to throwing away the 90 percent of our music that is not good (which in turn helps us feel grateful for the 10 percent that is).

Most importantly, writing a lead sheet every day allows us to experiment with writing many different types of tunes. Students often find it helpful to keep a list of ways to write tunes. While this list initially may seem creatively limiting,

Basic Training.indd 28 9/13/12 10:27 AM


basic trainingour most creative ideas are often born out of these limitations. Here is a sam-ple list:

Some Ways to Write Tunes:1. Sing a melody2. Feel a groove3. Come up with the rhythm first, then hear the pitches4. Based on a musical concept: polytonality, set theory, mixed meter, etc.5. Inspired by a mood6. Inspired by a place7. Inspired by an emotion8. Programmatic music9. Use words: text-painting, lyrics10. Traditional forms: AABA, ABAC, Blues11. Come up with the chord changes first12. Bass Line13. Use a phrase from the “stream of consciousness” exercise (see below)14. Use elements of music from a different culture15. Write for a specific performance space (concert hall, night club, football game, Broadway show, circus, recording studio, etc.)16. Write with someone else’s band in mind17. Imitate someone else’s style18. Ask yourself, “What do I want to hear?”19. Ask yourself, “What do I want to say?”20. Ask yourself, “What do I want to play?”

As students seek inspiration for new tunes, they may also find it useful to keep a notebook filled with other lists:

1. Musical ideas: melodic phrases, rhythms, chord progressions, etc.

2. List of words to look at while composing: melody, harmony, rhythm, dynamics, space, range, color, timbre, structure, form, etc.

3. Listening log: include title, com-poser, performers, year, personal observations about the piece.

4. List of “Moving Musical Mo-ments”: specific points in a piece of music that the student finds per-sonally moving. These are powerful moments that strike a nerve, give chills, or cause a sudden smile. For me, an example would be “The Bea-tles – ‘Golden Slumbers’ (0:32) – drums enter going into the chorus.”

5. List of titles for pieces to write someday

In addition to writing tunes, other daily activities can help students find their compositional voice. Taking a few minutes each day for free improvi-sation can help us to find new sounds for our creations. Similarly, we can also practice a “stream of conscious-ness” composition exercise, where we write spontaneous musical phrase af-ter phrase for about 10 minutes, filling several pages of staff paper. This exer-cise both leads us to new musical ideas and helps us to hear which direction the music wants to go.

Studying the works of other compos-ers also plays an important role in a stu-dent’s development. Listening to music

will likely occupy several hours each day, probably the equivalent of time spent practicing an instrument. That said, this is not about the quantity of pieces heard. Rather, we are listening to find pieces that move us, and then to get to know those pieces as intimately as possible. (For instance, I listened to Joni Mitch-ell’s Travelogue every day for a year.) We will probably end up listening to a single piece multiple times, taking notes on the compositional elements: structure and form, melodic and rhythmic develop-ment, harmonic motion, counterpoint, and orchestration.

Students may also choose to study musical scores and fake books (avail-able at most music libraries). When examining music, students ideally will first make discoveries for themselves before seeking analysis by others. This initial individual thoughtfulness will help foster the student’s unique com-positional voice. Of course, reading books about music is also essential to obtaining necessary compositional skills. For example, Rayburn Wright’s Inside the Score and Samuel Adler’s The Study of Orchestration make ex-

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basic training cellent reading for any composer.

As we help students to find their compositional voice, certain practical tips will prove invaluable:

1. Go for walks. Get out of the prac-tice room and walk around some-where that inspires the music in your head. Once you hear it in your head, then you can go back to the practice room, figure out what it is, and write it down. As Wendell Lo-gan often said, “Music is not about music.”

2. Don’t push the music around. Rather than trying to force the mu-sic to fit our preconceptions, we will find much more success in try-ing to hear what direction the music wants to go.

3. Take risks. You will either discov-er a new musical possibility, or you will learn of something to avoid in

the future. Either way, trial and er-ror is a valid approach to composi-tion and learning.

4. Set specific goals with dead-lines. Composition requires time, and time management skills will help give you that.

5. Have lots of staff paper handy. As you throw away 90 percent of your writing, you do not want to be worrying about running out of pa-per. Think bulk quantities.

Finally, we as teachers can directly help students find their own composi-tional voice by asking what they think about their music. Ideally, we want our questions to help students steer themselves towards stronger writing. This means that we must pinpoint the specific aspects of a composition that need more attention, and focus our questions on those aspects. As we

listen to their responses, we generally want to follow up with objective ques-tions, such as:

-“What effect does this have?”-“Is that the effect you were hoping

to create?”-“How could we create more ten-

sion/surprise/continuity/etc.?”We want to avoid telling the stu-

dent what we personally like or dislike about their piece, as the focus for the student should not be in gaining our approval. Instead, we can talk about a student’s piece in terms of “effective-ness.” (Similarly, we want to avoid the temptation to write the student’s piec-es for them, although the occasional compositional example can prove use-ful.) By seeking students’ thoughts, we directly help them find their composi-tional voice.

As I look back to my time as a mu-sic student, I am filled with gratitude for the help Dr. Logan gave me in finding my voice as a composer. My voice has evolved and changed in the years since that time, but the foundation for my ap-proach to composition was laid then. In fact, I often still hear Dr. Logan’s voice in my head, asking me questions while I compose, and reminding me that “mu-sic is not about music.” Thinking of him, I feel honored and inspired to continue this tradition, and to help my own stu-dents in the search for their voices.

Composer/pianist Ezra Weiss holds a Bachelors in Jazz Composition from the Oberlin Conservatory and a Masters in Jazz Piano from Queens College. His recordings include The Five A.M. Strut, Persephone, Get Happy, The Shirley Horn Suite, and most recently Our Path To This Moment featuring Greg Gisbert and the Rob Scheps Big Band. He has won the ASCAP Young Jazz Composer Award three times, and currently teaches at Portland State University. www.ezraweiss.com

Photo by Vanished Twin.

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ne of the truly iconic guitarists (of any genre) in the past century, an (unintentional) pioneer of what came to be

known as “fusion,” and an enduring innovator and musical ambassador, John McLaughlin is… well, John McLaughlin.

John McLaughlin

Become Who You AreBy Christian Wissmuller

ONo less than Jeff Beck has described McLaughlin as “the best guitarist alive,”

and throughout the course of his five-decade-spanning career John’s services have been enlisted by the likes of Miles Davis, Alexis Corner, Georgie Fame, Brian Auger, Wayne Shorter, Carla Bley, the Rolling Stones, Carlos Santana (you’re getting the point, right?)…

McLaughlin’s own work as a solo artist and as a band leader – most notably with Mahavishnu Orchestra and Shakti – has continually broken and redefined stylistic boundaries, seamlessly blending Indian, Flamenco, rock, traditional jazz, funk, R&B, (and many other) influences. As his ambitious upcoming album, Now Here This (Abstract Logix, October 16, 2012) amply demonstrates, at the age of 70 the man isn’t yet content to sit on his considerable laurels.

JAZZed recently had the pleasure of speaking with Mr. McLaughlin about his own scholarship of music, how he approaches “teaching” (though he doesn’t consider himself to be much of a formal educator), as well his thoughts on life, jazz, “fusion” and music, in general.

Spotlight.indd 32 9/13/12 10:29 AM

“Upon taking it into my arms, I fell in love with the guitar, which endures to this day.”



JAZZed: Let’s start with your own early years as a musician. Growing up in a musical family no doubt had significant early influence – can you discuss?

John McLaughlin: Without doubt, a profound influence. My mother be-ing an amateur violinist had the radio tuned to mainly classical music, and our recordings were primarily of the same [genre]. I would say that my ear-liest experience in music was due to her and her affection for Beethoven. It was on hearing the final [movement] of his 9th Symphony that I experi-enced what music could do to me. I must have been five or six years old. I would say that this was a determining factor in me becoming a musician.

JAZZed: You initially studied violin and piano. What prompted your shift to the guitar? Was there a particular artist or individual – or more than one – who served as the primary catalyst to take up the instrument?

JM: Having three elder brothers who were at university around the

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time the “Blues Boom” hit the UK, the guitar was part of their life, particu-larly the eldest. However, he became sidetracked by his academic stud-ies, and the guitar began its descent through the younger [siblings] till it arrived to me. Until then, the gui-tar was just another instrument, but upon taking it into my arms, I fell in love with the guitar, which endures to this day. Who knows why we love a particular instrument? It’s a mystery to me. You could also say that the gui-tar found me!

JAZZed: Who were your teachers in your childhood years?

JM: As I mentioned, I was fortunate to have a mother who was a musician, and her influence was fundamental to me. Later, when I began piano lessons, my piano teacher was definitely “old school,” [and] used to rap my fingers with a ruler when I missed the notes or fingering. But I stuck to it for about three years until the guitar arrived and I dropped playing piano immediately.

From that point I didn’t have a teacher. What I did have were the Mississippi blues players on the re-cord player thanks to my elder broth-ers. This music blew my young mind: Muddy Waters, Bill Broonzy, Huddy Leadbetter, Robert Johnson. It was a revelation to me, and it happened at the same time I began playing guitar. I would say that for the next few years the record player was my teacher.

I should mention that at 13 years old I was exposed to Flamenco mu-sic. This was another revelation to me since, for some reason, I was less in-terested in classical guitar music than classical piano music, and the Fla-menco guitar players have done won-ders in the evolution of guitar playing.

JAZZed: Did you take any actual les-sons at any point?

JM: I was 15 when I began taking guitar lessons from a teacher, but actu-ally he was more interested in listen-ing to me play my imitations of Muddy Waters and Bill Broonzy than teaching me! However, he did instill in me a certain discipline which has continued

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to this day. In high school, I kind of lost interest in my aca-demic studies, and this was accentuated by the majority of the teachers who were somewhat cynical. Fortunately, our music teacher was of the enlightened kind, and convinced me to play in front of the class with whatever formation I could round up among my fellow students. This was a great experience for me and I thank him to this day.

JAZZed: Early in your professional career you collaborated with some pretty iconic figures: Korner, Georgie Fame, Auger, Davis, et cetera. Can you talk about how you managed to connect with these folks and, also, the differences between “formal” learning as opposed to gaining an education through actually playing out?

JM: In those days there were no jazz schools, particular-ly where I lived, which was a small town in North East Eng-land, not far from the Scottish border. Fortunately, by the time I was 15, I’d found friends who were as crazy about jazz as I’d become, so we basically listened to records of the greats, and tried to imitate what they were playing.

It was later on in London that I got to play with Georgie Fame, Alexis Korner, and the “London scene” which was very active in those days. Even though I wanted to be a jazz musician, the groups I played with were primarily R & B bands. This was just fine for me since on any Miles or Coltrane recording, the blues is always there. In addition, at that time I was listening to Mingus, who for me had a strong rhythm and blues aspect to his music. I would not recommend a jazz player to take the R & B influence out of jazz...

JAZZed: As one of the primary architects of what came to be called “fusion,” can you discuss your motivations behind combining elements of jazz and rock and other styles?

JM: I should clarify that I never ever had an inten-tion of making or creating “fusion” jazz. My heroes were Miles, Coltrane, Bill Evans, and all the musicians who were around them. My goal was to get to the point where I could actually play with them – even though I never imagined that I ever would.

That said, I grew up in the 1960s, and a lot of social upheaval was going on at that time, particularly in the USA. As an avid jazz fan, I became acutely aware of the racial situation in the US with the Panthers, the civil rights movement, the assassination of Martin Luther King, and many other events. In the UK, it was the time of LSD, and its implications. By the mid-’60s, I was listening to the Beatles, from the time they also became under the same influences, as well as Indian music, Flamenco music (in-cidentally, I would remind you that Miles had already in-troduced elements of Flamenco into his recordings with arranger Gil Evans in the late 1950s. Just listen to Miles Ahead and Sketches of Spain). In my opinion, my music “fused” itself through my love and affection for the par-ticular styles you’ll find in my music. There was no con-scious intention on my part.

When I arrived in New York in early January 1969 to play with Tony Williams and Larry Young (Khalid Yassin) to form Lifetime, most musicians were undergoing a certain evolution. Lifetime was more radical, but the fact that Miles invited me to play on In a Silent Way, and even had me de-termine the musical direction that particular piece took on the recording, was, and is, indicative of the mood at that time. The decade of the 1960s was in many ways revolu-tionary. The music coming from Coltrane, (and his true in-tegration of the spiritual dimension of the human being into jazz), Miles, Monk, Mingus, Rollins, Evans, “Cannonball,” the group of great Hammond Organists, like Jimmie Smith, Richard Holmes, Jack McDuff. And, from the funk/pop side, Sly and the Family Stone, Jimi Hendrix, B.B King, and the Beatles, of course. They all played a significant role in the general music scene. Already around eight months after In a Silent Way, being in the studio with Miles recording Bitches Brew is another indication of the upheaval in music that was really an upheaval in society as well, and the coming together of various influences in jazz music, mainly funk and rock.

Photo credit: Thierry Campico.



JAZZed: What types of “formal” teach-ing have you done, yourself?

JM: Since the mid 1970s, I’ve done occasional master classes. Basically I felt that I was not really qualified to teach. It was only from 2004 that I had the idea to formulate what I’d learned over the years into a kind of coherent system that might be useful for today’s guitarist. This was a big

work for me, and the result of 18 months of videotaping arrived in the form of a 3 DVD box set (This is the Way

I Do It) that shows how I see music and how I work at it.

JAZZed: What’s your favorite aspect of teaching?

JM: That’s the strange part, I still don’t see myself as a “teacher.” How-ever, the fact that many people have written thanking me for the box set

is, itself, very satisfying in a global sense. What I really want is for peo-ple to become who they really are. It is my conviction that to improvise, you need to know to a certain degree who you are. When we improvise, what are we saying without words? We are singing about our inner life, which is not separate from our outer life, and our relationships with the people we play with, and ultimately, our relationship with the Universe or God, if you will. Of course, this implies asking the great questions in

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life, and searching for answers, but to me, this is why we are here: To dis-cover who we are.

JAZZed: Part two of the same ques-tion: What’s the most frustrating part of teaching? What do you like least?

JM: Probably running into musi-cians who know a bit, but believe they know much...

JAZZed: What challenges do you feel that “jazz” – in the broadest possible definition – presents to scholars or teachers, which other styles of music perhaps do not.

JM: I mentioned that jazz inte-grates in the most dynamic manner, improvisation. Improvisation is the art of spontaneity, and being spontaneous is the way of being our true selves. I would say, further, that improvisa-tion in jazz is a way of liberation and even emancipation. These are ideals,

but they are real. It took notoriously many years (for me) to realize that I know very little about almost nothing, but this is the real beginning of dis-covery about yourself, about playing

and about improvising. That said, to be spontaneous in music is not that easy. First we need to learn and master as much as possible, the many aspects of music. Then we go to the stage and we need to forget everything we’ve learned, and be ourselves individually, and collectively with the other musi-cians. This is a pretty tall order...

JAZZed: Any words of advice or obser-vations to pass along to our readers?

JM: I think we’ve covered most things, but the young musician will need to discover how much he or she loves and cares about music, and the necessity of perseverance and pa-tience. I think it could be summed up in a sentence once told to me by Alice Coltrane, which goes: “How much are you ready to suffer for love?”

I could say that this is one of the most fundamental questions of life that we all have to address sooner or later.

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guest editorial

In a protesting editorial, the Boston Globe (“Hot Air, Not Cool Jazz”), quoted Wynton Marsalis that jazz, “is music that really deals with what it means to be American” to justify the Globe’s stinging conclu-sion: “WGBH diminished its soul” (June 30, 2012).

What made this so shocking a decision to the jazz community in Boston and its environs is – as I docu-mented in “Make Room for Boston in Jazz History” (JAZZed, July 2012) – the vigorously growing jazz interest throughout the city in its cultural and educa-tional institutions.

WGBH’s management axed jazz to make more space for news and public affairs programming in its competition with Boston’s WBUR FM’s abundant fo-cus on that fare.

As John Poses warned in “Crying the Blues” over cutbacks to jazz radio (the Columbia Daily Tribune, July 15, 2012): “in herd-like manner, (this move) could give license to smaller-market stations from around the country to do the same; ‘If WGBH is do-ing it, maybe we should, too.’”

A very early sign of the re-actions ahead in the ancestral home of Samuel Adams and Paul Revere was a jazz funeral held outside the Boston Studios of WGBH by jazz musician and

bandleader Ken Field.With only a week’s advance notice of the funeral

he had posted on Facebook, “there was,” he told me, “a lot of press, a lot of instruments, a lot of people. Passing drivers honked their support.”

Making this Boston boy, who grew up on Boston jazz many decades ago, envious I wasn’t there now, Field added that he began the funeral with “a slow dirge-like performance of ‘Just a Closer Walk With Thee,’ featuring solos by local jazz luminaries and ending, as in New Orleans, with a rousing up-tempo finale of the same piece with a little hope for [these musicians’] work continuing somewhere, somehow, into the future.”

There’s a lot more than little hope for this Boston jazz rebellion to gain momentum while acting as an inspiration for jazz families in other cities where public and other radio stations will have stopped or greatly reduced swinging.

Heralding a powerful force for the continuation of this rebellion, on June 20, at Wally’s Jazz Café in Boston’s South End, the national Jazz Journalists Association named “JazzBoston jazz hero,” execu-tive director of JazzBoston, Pau-line Bilski for her leadership – as

Jazz Revolution Vs. Radio Station Slashing JazzBY NAT HENTOFF

n the history of jazz, as far as I’m aware, there’s never before been a sizable jazz

community in an American city waging war against a public radio station gravely

slashing its jazz program. On July 2, Boston’s prestigious WGBH FM, a co-creator

of a number of national NPR programs, entirely removed Steve Schwartz’s show

(on the air for nearly 27 years) and cut the Dean of New England jazz radio, Eric

Jackson - a major WGBH asset for more than 30 years - from 8 PM to midnight

Monday through Thursday, and 9 PM to midnight, Friday through Sunday.

“YOU CAN’T KEEP THIS MUSIC DOWN AS LONG AS PEOPLE ARE

ABLE TO HEAR IT.”

Guest Edit.indd 40 9/13/12 10:31 AM


I reported here – “in shaping JazzBos-ton into a unifying force and powerful advocate for greater Boston’s entire jazz scene.”

I was among those who nominated her for the award.

She had already scheduled an open meeting on July 31 at the prestigious Boston Public Library, already involved with JazzBoston, “to bring together” not only the city’s jazz family, but also “our national allies in the broader arts com-munity, and potential allies outside the arts world,” as well as “potential allies in Boston’s academic, business, and city and state government sector.”

What actually happened at that July 31 super jam session wasn’t just jive. A Boston Jazz Radio Master Plan came into being with the infectious thrust of a Dizzy Gillespie solo.

My source for this news of that his-toric jazz regeneration is Richard Vacca, author of the first ever history of Bos-ton jazz which I reviewed in my debut column for JAZZed. First, dig who was there:

“The room was crowded with musi-cians, educators, writers, broadcasters and representatives of cultural organi-zations, including the Massachusetts Office of Travel and Tourism, Harvard’s Office of the Arts, The Arts and Busi-ness Council of Greater Boston, the Boston Music Coalition, Boston Free Radio, and others with a stake in the health of Boston jazz.” (news.jazzjour-nalists.org August 2, 2012).

I expect the management of WGBH was somewhat disturbed at the range of such multidimensional concern over what was “just jazz.”

My sense, however, is there isn’t too much optimism that WGBH will change its mind. I’ve had extensive experience in and about the radio business, in-cluding public stations, to expect that the anticipated higher ratings for more news and public affairs programming will prevail at WGBH. But what was vital about this planning session were such longer-range goals as: “bringing live music into the schools, and sup-

porting the music teachers working there (including JAZZed readers).”

There was a generational divide, with older members there wanting one or more radio stations taking the place of WGBH, while “some in the crowd spoke to the need of having music, and the jazz talks the go with it, streaming to their digital devices.”

After all, even this 87-year-old re-porter who still writes on a typewriter realized that, as Dick Vacca reported, most of the attendees probably heard “about the meeting in a blog post, or on Facebook, or by e-mail.”

So, “if JazzBoston or anywhere else, wants to identify and mobilize support-ers for events such as this, they’d best do it through social media.”

No, through any and all media. If I had carrier pigeons, I’d use them, too.

Vacca ended the report: “The Boston jazz community – there is no doubting there is one – has the right to be proud” of this jazz rally.

“Now the work starts, and people in other cities where music programs are under fire will be watching the Hub’s progress.”

A blogger, John Carroll (“Campaign Outsider”) focused on what he called “threads in the room” during what was also a tribute to those present, Eric Jackson and Steve Schwartz: “One thread was the sheer love of jazz in the room. As one audience member said, talk radio (now increasing at WGBH) focuses the day-to-day and makes us all live inside our own heads. Music makes our life different, humanizing and connecting us.”

Later, jazz musician and bandleader Ken Field observed: “I don’t see the logic in having two NPR stations here in Boston both broadcasting primarily news and talk. There’s an opportunity here for one of these stations – or an-other – “to take on the arts and culture part and really focus on it… The com-munity is not served by having two stations doing the exact same thing, leaving huge gap when it comes to jazz music, which is, after all, a uniquely American art form.”

Interestingly, in an indication of the intensity rife in the room, Vacca recalled that “Tom Lucci, president of the Board of Directors at WICN-FM in

guest editorial


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guest editorial Worcester (a National Public Radio sta-tion) noted he’d bring his station signal into Boston if the FCC permitted it, and

he’d be open to finding ways to bring some programming in via some other arrangement.”

What struck me as I dug into this story is the contrast between the mem-bers and supporters of the continually growing and multidimensional Bos-ton jazz community with the looming obituaries of the jazz scene, not only in Boston, that I continue to hear and see. Such regrets as: “The audience is diminishing, evidenced by the decrease of sales of jazz recordings.” (Check Am-azon and other websites for contrary results). Also, complaints that, “there are fewer and fewer of the young in-terested in jazz.” How, then, do we ac-count for the large and rising numbers of high school, college, and university jazz courses and bands and such nu-merous student ensembles are across the nation competing in Jazz at Lincoln Center’s annual Essentially Ellington contest and the similarly enthusiastic national student involvement in the Charles Mingus jazz rivalry sponsored by the Manhattan School of Music?

As Sidney Bechet told me many years ago, “You can’t keep this music down as long as people are able to hear it.”

Certainly WGBH unintentionally is proving just that. Through the years, wherever I was invited to talk about jazz and bring some recordings into schools – including elementary schools – the kids, though the music was new to most of them, got excited. Some got up to dance. In one 2nd grade New York classroom, so did the teacher.

I‘ll be very interested in hearing about the reactions of jazz communities in other cities to how their sisters and brothers in Boston are refusing to allow jazz just fade away from the air there.

Nat Hentoff is one of the foremost authori-ties on jazz culture and history. He joined Down Beat magazine as a columnist in 1952 and served as that publication’s associate edi-tor from 1953-57. Hentoff was a columnist and staff writer with The Village Voice for 51 years, from 1957 until 2008, and has written for The Wall Street Journal, Jazz Times, The Atlantic, and The New Yorker, among many other outlets.SCHOOL OF MUSIC

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crossword Crossword by Myles Mellor

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


1 2 3 4 5 6 7 8

9 10 11

12

13 14 15 16

17

18 19 20 21

22 23 24 25 26 27 28 29

30 31 32

33 34 35

36 37 38 39

40

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

Across1. Slow tune4. Bose equipment9. Jazz player’s instrument10. Creator of Time of the Sun (2 words)13. Slow tempo15. It was blue in a John Coltrane album16. “....___ Blackbird”17. Ultimate18. “What I ___” by Miles Davis20. Short composition21. “Tea for ___” by Ella Fitzgerald22. Character of a chord given by its third, fifth or seventh26. Hearing distance30. Roman 5132. Old music box33. Jazz standard written by Earl Brent and Matt Dennis (2 words)34. Jazz Count36. Live at The It Club performer, first name39. Jazz band of three40. Michigan lake

41. Roy Eldridge’s nickname (2 words)42. Grief

Down1. “Massive Transit” jazz top 20 number, by Cindy ____2. The Sidewinder performer, first name3. _____ Branker & Word Play’s Dialogic5. Produce a melody (3 words)6. Adapt musically7. Snakelike fish8. For that reason11. Bright Size Life creator12. “Botswana Bossa Nova” player14. Discouraging words16. Sessions from Miles Davis (2 words)19. ___ that jazz!22. Based on fourths23. Larger by a semitone than the cor-responding major or perfect interval, ______ed24. “___ Remember April” jazz standard25. Link (2 words)

27. Afro-Jazz, for short28. The name for a Rolling Stones Tuesday29. Calypso alternative31. ____/Signora by Acker Bilk35. Arouse37. Painter’s medium38. “___ who?”39. Musical scale note

Crossword.indd 43 9/13/12 10:32 AM


sound advice J A Z Z V O C A L S

JAZZed: Kim, you have an extensive background as a vocal soloist, voice teacher, and as the soprano with New York Voices, the internationally acclaimed vocal jazz quartet. In your experience, what are the basics of healthy singing?

Kim Nazarian: I believe healthy singing is based on the sound being connected to the body and supported by the breath. That is the mantra that I have adopted in our work with the young singers of the Pittsburg Children’s Choir and the participants at the Bowling Green State Univer-sity New York Voices Vocal Jazz Camp.

JAZZed: Please share your exercises for develop-ing a core sound.

KN: First, we need to allow the larynx to re-lax to its lowest position, and then we can build the head voice on a straight tone through the use of “hoot” exercises. Put your hand on your

Adam’s apple or larynx. When you inhale, it should relax down. Now, yawn and feel it go to its lowest position. The back of the tongue and the soft palate will separate, creating space. Keeping the larynx in the low yawn position, take a breath through the yawn and exhale on a vertical, spoken “AH” vowel. Allow the vocal cords to massage each other as you reference the vocal fry register, which is the lowest register in the voice. It sounds like a rattle.

When we reference the vocal fry, it is evident that our larynx is in its lowest position, creat-ing the most space for sound. When the larynx is high, we hear the breaks between vocal reg-isters rather than one continuous sound, top to bottom and bottom to top. We want to smooth over the registration and create a seamless sound by pulling the head voice down on the “OO” vowel. We are working to build a sound that moves through an unobstructed column. To create the hoot, form the “OO” vowel and

make the sound associat-ed with blowing air across the opening of a bottle. The “OO” vowel is the healthiest vowel, the most closed vowel sound, and the easiest vowel upon which to make a vertical sound. Imagine now that the “OO” shape you are forming with your lips extends through the back of your head creating the “OO” tube. The resultant sound is similar to the horn of a big ship coming into dock.

Sound Advice for the Jazz Vocalist:An Interview with Kim Nazarian of New York Voices

BY JENNIFER SCOTT MICELI, PH.D.

“SINGERS NEED TO LEARN TO LISTEN

WHILE THEY SING.”

Sounds Advice.indd 44 9/13/12 10:33 AM


JAZZed: When is it important for you to use straight tone when you perform with the New York Voices?

KN: When the arrange-ment calls for me to sing a dissonant chord voicing such as a major or minor second, seventh, or ninth, it is im-perative that I sing with a straight tone in order for the chord to tune and ring. The use of straight tone also allows us the opportunity to explore harmonic overtones. Unless there is a written shake, I also need to sing with a straight tone when I am emulating a first trumpet sound, which is a common role for the so-prano in a vocal jazz ensemble.

JAZZed: What is the best way for a singer in a vocal jazz ensemble to sing in a vocally healthy manner when using a microphone?

KN: The idea is for the singer to sing with the same healthy vocal tech-nique whether they are singing acous-tically or with amplification. Here are

three tips to remember: 1) When a singer is performing on microphone, they need to hold the microphone two inches away from the mouth in order to get the full color of the voice and properly utilize the diaphragm of the microphone. If the microphone is too far away, the tone gets thin, and if it is too close, the sound gets muddled. Both of these situations cause the singer to manipulate their vocal technique in an unhealthy man-ner; 2) The singer or director needs to make sure that the monitors are not too loud, which causes the sing-er to back off from the microphone and sing without engaging the whole body; and 3) The singer or director needs to make sure the rhythm sec-tion is not playing too loudly causing the singer(s) to over sing.

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JAZZed: Sometimes we see singers pull the microphone away from their mouth when they sing a high note. Is this a good idea?

KN: Singers need to learn to control dynamics in all parts of their range. In other words, we should not have to sing loudly simply because we are singing in a higher range. In some re-cording instances, however, it may be necessary to back away from the micro-phone so as not to distort or over load the recorded sound.

JAZZed: What are your favorite tech-niques for achieving a beautiful blend and appropriate tone colors in a vocal jazz ensemble?

KN: First off, singers need to learn

to listen while they sing. I recommend breaking down the larger ensemble into quartet and sectional rehearsals so that vocal colors may be identified. After the quartet and sectional rehearsals, the full group should come together with a new appreciation for careful listening and blending. Once the singers are achiev-ing a blend through careful listen-ing and adjusting, it is a good time to add the sound system, and finally, the rhythm section. This layered approach to rehearsing is an effective process. The result will be a genderless sound and the group will eventually identify its own unique vocal quality.

Tone color should change accord-ing to the style of music the group is performing. If the group is perform-ing a blues or gospel chart, the tone has more edge and more vibrato. If the

group is performing a Latin chart, the tone should be straighter and lighter. Another important consideration is the imitation of instruments. Vocal jazz charts are often arranged like a big band chart such that the vocal parts are intended to portray the saxophone section, trombone section, trumpet section, or individual rhythm section members. In these instances it is im-portant for singers to know which in-dividual rhythm section instrument or horn section they are trying to emulate, and how to go about reproducing that particular color with their voices.

JAZZed: What are your steps for learning and memorizing a new song?

KN: First I decide whether or not I like the song and/or arrangement. I won’t be motivated to learn it if I don’t like it. Next, I read the text and learn how the text fits with the rhythms. For example, in a swing arrangement, if it is good lyric writing, the lyric will swing with the rhythmic setting. It is also im-portant at this stage to make connec-tions to the instrumental function of the rhythmic text setting of the part. In other words, I determine whether my part is simulating a piano comp fig-ure, a drum kit figure, a bass figure, a trumpet figure, and so on. Next, I learn the pitches and also mark my chart ac-cording to voicings. I determine where, for example, I am singing a minor sec-ond with alto, Lauren Kinhan; a sev-enth with tenor, Darmon Meader; or an octave with bass, Peter Eldridge. I also teach this way. I tell my students at Bowling Green State University to “learn the chart, not just your part!” You want to sing your part like a mel-ody without losing sight of your har-monic relationship with the other parts. Learning the written instrumental bass part is important as well because it pro-vides an understanding of the chord changes, which the singer must antici-pate in rehearsal and in performance.

roosevelt.edu/CCPA(312) [email protected] CCPA to 57711

Study with accomplished faculty, who include Chicago Symphony and Lyric Opera orchestra members, Metropolitan and Lyric opera sensations, renowned soloists, Grammy-winning jazz musicians, and award-winning composers. Enjoy opportunities to perform in professional venues. Live, learn, and perform in downtown Chicago.

CHICAGO PERFORMS. SO WILL YOU.

Bachelor of Music in Jazz and Contemporary Music with concentrations in vocal or instrumental performance

MAX BENSON(B.M., 2012)Bassist with Jamie Lono from The Voice

AYLIN BAYRAMOGLU(2010-2012)Cast member, Glee Project II

MAX BENSON AYLIN BAYRAMOGLU


www.roosevelt.edu


sound advice

The harmony can be a surprise for the audience, but should never be a sur-prise for the singers in the ensemble.

JAZZed: How do you feel about part learning tracks for singers?

KN: Ensemble singers are different from instrumentalists in that we memo-rize all the music we perform. The New York Voices work with part learning tracks, which have the rhythm sec-tion parts recorded with each member’s part, as well as without. This gives us an opportunity to memorize our part with harmonic support, away from the piano. It would be very difficult to memorize and bring to performance level a 90-minute program of new mu-sic without the benefit of part learning tracks. Part learning tracks make learn-ing more efficient. Then you must con-tinue to bring the music to life as you create the musical environment with your live band.

JAZZed: With regard to vocal health, please share the personal practices you have adopted in the thirty years you have been singing jazz.

KN: I eat papaya and take papaya tablets to avoid acid reflux, and I’m Armenian so I drink plain yogurt with water–a drink called “tahn.” I treat my instrument with care. When I am on the road I avoid alcohol, stay out of air conditioning and smoky rooms, and prevent over singing by keeping the band volume, monitor, and stage vol-ume to a minimum.

For more information on vocal health, readers are invited to visit Kim Nazarian at http://www.myspace.com/kimnazarian.

Jennifer Scott Miceli, Ph.D. is director of Music Education and Vocal Jazz at Long Island University, C. W. Post Campus.

Eastman plays to your strengths as a jazz musician. Our degree programs in performance and composition, concerts and master classes by top jazz artists, and infinite opportunities to play and network give you solid experience and great professional advantages.

esm.rochester.edu/apply

EASTMAN JAZZ and CONTEMPORARY MEDIA FACULTY Jeff Campbell, department

chair, double bassHarold Danko, piano Bill Dobbins,

composition/arrangingClay Jenkins, trumpetMark Kellogg, tromboneCharles Pillow, saxophoneDave Rivello, ensemblesBob Sneider, guitarDariusz Terefenko, theory Rich Thompson, drumset

12Eastman_JazzEd.indd 1 8/6/12 8:36 AM


www.bobsheppard.net

www.esm.rochester.edu


focus session G U I TA R T R A N S C R I P T I O N

Jimmy Raney’s Solo on ‘Double Image’BY SCOTT MERCER

The solo break opens with an AbM7 arpeggio and immediately moves into a whole-tone pattern suitable for a II augmented dominant (V7+/V) that Raney moves down by a half step which establishes the sound of the V+ chord. The first time I heard this brief statement, I was hooked. Simplicity defines the material that is heard in the first four bars of the form, with its short ideas and space concluding with the tasteful B natural to identify the G7 chord. Raney elects to not address the Cm7 in the fifth bar of the form, in-stead superimposing a B minor scale passage in bar six that serves as a nice chromatic link to the B♭mM7 arpeggio in bar seven. Over the E♭7 in measure eight, Raney uses chromaticism in an

“Double Image,” which was recorded in 1954 and released on the Jimmy Raney A album

features the very familiar changes from the standard, “There Will Never Be Another You.”

From the opening passage played over the break, Raney clearly demonstrates his stunning

technical and musical mastery. The solo has a nice balance of inside and outside sounds

that gracefully weave their way through the changes, and the inclusion of varied phrasing

and effective use of rests provides a great deal of interest and really propels the solo. Dia-

tonic material manifests itself in the form of scalar and arpeggiated passages, and the use

of superimposed triads and other well-placed chromaticism create a nice sense of tension

and release. Raney had a knack for mixing simple motivic development with complex and

almost dangerous lines into one well-crafted solo.

Focus Session.indd 48 9/13/12 10:35 AM

focus session


enclosure figure resolving to the 3rd of the chord followed by the ♭9 and bebop ♭7-7 figure targeting the chord root. Bars nine through 12 feature arpeggiated and scalar passages with chromatic passing tones. The B natural #7 used over the Cm chord in bar 12 anticipates a series of chromati-cally ascending major triad arpeggios (G, Ab, and A), which creates tension that builds throughout the phrase and con-cludes on the 9 of the I chord. In Bars 19 and 20, Raney introduces a simple idea that launches a longer phrase in mm. 23-24, which adheres to the tonal center of

Ab major. When the A♭ (IV) chord arrives in m. 25 the Raney very quickly switches tonality from A♭ major to A♭ minor in anticipation of the minor iv chord in the following bar. Finally, Raney’s good use of space and interesting phrasing of diatonic material brings us to the end on the first chorus.

The I chord in m. 33 gets a Lydian treatment through the use of arpeggiated F major and G minor triads, and Raney again uses a raised 4 in the form of an F# over the C minor chord in bars 37-38 and A natural over the E♭7 in m. 40. Bars 39-

40 provides a clear example of the use of chromatic passing and neighbor tones. Over the IV-♭VII-I progression in mm. 41-44, the arpeggios A♭ major, A♭ minor, and Gm7 do a nice job of outlining guide tones, and the line C–C♭-B♭ creates a cleverly imbedded melodic step progres-sion of chord tones. Bars 45-48 give us a very brief glimpse of the Lydian concept with the B natural over the F7, and the chromatic passing tone that leads to the third of the B♭7 chord is another common use of the language. For three measures beginning in m. 49, Raney creates a very

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Double ImageGuitar Solo by Jimmy Raney Transcribed by Scott Mercer


focus session


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Double Image p.2

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Double Image p.2

nice 3 against 4 feel using a simple mo-tive which also outlines a melodic step progression from E♭ up to the A♭ in bar 51. The chromatic passing tone Fb at the end of bar 52 leads to a beautiful idea the repeats the respective 3rds of the chords for three measures using the simplest of rhythms. The six note figure used over the E♭7 chord in m. 56 includes a ♭13, #9 and ♭9 and the E♭ quarter notes in m. 57 are a nice nod to the one note mo-tive that began the 5 measure phrase. In m. 58, Raney again finds the C♭ that so clearly defines the sound of the harmony, and in the following measure, he revisits the chromatic passing tone up to the 3rd of the I chord. Measure 61 has a simple, diatonic passage that seems to imply that the solo is winding down. After a final descending passage in m. 64, which in-cludes chromatic passing tones and a ♭9 over the B♭7, Raney comes to rest on the 5 of the I chord.

While the note choices in this exam-ple are excellent, some of the larger scale ideas are also of great interest. It is most important to recognize that the solo is still greater that the sum of its parts. It is mu-sic! When the great artists play something like this, it is instinctive. Studying the work for analytical purposes is a valuable learning tool, but when you pick up the instrument, just make music.

Scott Mercer is an associate professor of Music in his 23rd year at Vincennes University, where he teaches Music Theory/Skills, Music Technology, and Audio Recording. Mercer holds a Master of Music in Jazz Studies from Indiana University and a B.S. in Music: Concentration in Merchan-dising from Indiana State University.

Since 1984, Mercer has performed as a guitarist professionally and semi-professionally in the Midwest. He has performed as a guitarist with jazz greats J.J. Johnson and Frank Vignola, and comedian, Rich Little. Currently, he performs jazz and popular styles with the Two Tone Express and the Steve Greenwell trio, both based in the southern Indiana area.

“STUDYING THE WORK FOR ANALYTICAL PURPOSES IS A VALUABLE LEARNING TOOL, BUT WHEN YOU PICK UP THE

INSTRUMENT, JUST MAKE MUSIC.”



survey COLLEGE & UNIVERSITY JAZZ EDUCATION

Jazz Education at the Highest LevelsAZZed recently polled over 150 instructors and

faculty members at university and college jazz

programs from around the country to find out

about current trends, challenges, and methods.

Compared to previous years, enrollment in jazz-specific courses is…

JThe results are, for the most part (and quite literally), all over

the place. While there are certain areas which seem to yield similar replies from all participants (most feel that enrollment in jazz courses is up or, at worst, level, when compared to previ-ous years), other questions got responses from some educators that were fundamentally contrary to those supplied by others. “Students are better prepared than they have ever been, especially guitarists,” enthused Keven Johansen of University of Utah in Salt Lake City. However, Peter L. Cho of Delgado Community Col-lege in New Orleans declared that, “[the] level of musicianship of incoming students has declined drastically in the last 10 years.” Well, that clears things up...

There may be few absolute “truths” to be gleaned from these survey results, but read on for a brief overview of the current cli-mate of jazz education at the highest levels…

“The administration is pouring money into gov-ernment funded programs that will result in jobs. Traditional music is not one of them. [This] city and county lead the nation in unemployment. En-rollment is down 15 percent across the college.”

Charles IwanusaCS Mott Community College

Flint, Mich.

“Last year the Music Department changed some of the theory courses to be jazz-specific, added small combos which are credit/non, created a path for a jazz minor (working towards getting the jazz major), and added more jazz instrumental instruc-tors.”

Paula ZeitlinWellesley College

Wellesley, Mass.

Level 36%

Down 17%

Up 47%

Survey.indd 51 9/13/12 10:36 AM

52 JAZZed July 2012

survey“We are in the process of initiating a jazz guitar specialization

in our school of music. Currently we offer jazz classes as an elective and included in our primary instrument requirements.”

Vince LewisLiberty University

Lynchburg, Va.

How do you/how does your program approach recruitment?

“Talking with students who are interested in jazz. The repu-tation of our program within our state generates a good number of interested students to recruit.”

Barry McGinnisNewberry College

Newberry, S.C.

“We recruit through several means. Among them, Office of Admissions plays a large part. They use print ads, attend conferences, et cetera. Our performances and recordings [also play a large part]. So does ‘word of mouth.’ Many additional factors are involved here.”

Chris RosenbergManhattan School of Music

New York, N.Y.

“We hold a jazz festival each year, and we perform in vari-ous high schools. I personally take a combo to do performances each year. I also clinic quite a bit throughout the year at a num-ber of high schools.”

Dr. Craig TreinenWashburn University

Topeka, Kan.

“We host a festival, we visit schools with student and faculty ensembles, visit schools to give clinics, release recordings, use our website, send out posters and flyers – you name it!”

Greg YasinitskyWashington State University

Pullman, Wash.

“We have a full staff that is centralized, focusing on recruit-ment for all of the arts. They travel, as do faculty and adminis-tration, representing the school in various settings. The school has cut down on costly print ads because of increasingly tight budgets. They continue to pursue other electronic ad possibili-ties and employ an external branding and messaging company.”

Richard Lawn University of the Arts

Philadelphia, Pa.

“Advertisements, participation at jazz festivals, workshops and clinics by faculty members, and scholarships.”

Keven JohansenUniversity of Utah

Salt Lake City, UtahAre there any student-organized/student-run jazz ensembles at your school?

“Several jazz small groups organized by students plus a weekly student-run jazz jam session in the student union. Our new ‘Jazz Workshop Ensemble’ will serve as an outlet for music education majors seeking conducting and peda-gogical experience.”

Fred SturmLawrence University Conservatory of Music

Appleton, Wis.

“There are some student organized groups, but they are not specifically jazz groups. They will usually combine jazz with rock songs in their programs.”

Barry McGinnisNewberry College

Newberry, S.C.

What initiatives have you taken – or do you plan to take – to generate increased interest in jazz at your college or university?

“Guest Artists performing with ensembles, and doing clinics, etc. Off campus concerts. Tours.”

Aaron LingtonSan Jose State University

San Jose, Calif.

“None now. All funding has been cut.”Charles Iwanusa

CS Mott Community CollegeFlint, Mich.

“MANY STUDENTS ARE ALSO INTERESTED IN HYBRIDS OF MUSIC: JAZZ AND R & B; JAZZ AND

GOSPEL; JAZZ AND POP ET CETERA...”

No 46%

Yes 54%

Survey.indd 52 9/13/12 10:37 AM

JAZZed July 2012 53

survey“[I] toured last year to Memphis, Chicago, and St. Lou-

is with the Jazz Band. The Brian Blade Fellowship Band will be the guests for the 2013 Loyola University Jazz En-semble Festival. The Student Jazz Club gets SGA funding to bring in guest artists. JEN application.”

John MahoneyLoyola UniversityNew Orleans, La.

“Primarily by performing concerts at local schools. We also do a big jazz festival in the spring, inviting bands to campus for a day of clinics and an evening concert.”

Dean SorensonUniversity of Minnesota

Minneapolis, Minn.

“Not much, so far, but something that should be consid-ered…”

Albert AlvaChapman Universty

Orange, Calif.

The number of jazz-specific faculty at your school is…

What other trends have you noticed lately with respect to jazz studies at the college level?

“It seems more difficult to recruit students to major in music. Not just jazz, but any music-related degree.”

Aaron LingtonSan Jose State University

San Jose, Calif.

“Prospective students and parents are ‘shopping’ even more than they used to.”

Chris BruyaCentral Washington University

Ellensburg, Wash.

“Many students are interested in technology. They want to produce. Many students are also interested in hybrids of music: jazz and R & B; jazz and gospel; jazz and pop et cetera...”

Connaitre MillerHoward UniversityWashington, D.C.

“Many more types of ensembles including pop, rock, world, roots music, et cetera – not just traditional jazz ensembles. More opportunity for collaboration.”

Paula ZeitlinWellesley College

Wellesley, Mass.

“There is little or no support from our department heads for growth within the jazz portion of our music department, but as more students enter in, there has been talk of adding a jazz concentration to our degrees to satisfy the desires of students.”

Stacey HoughtonClayton State University

Morrow, Ga.

“[The] level of musicianship of incoming students has de-clined drastically in the last 10 years.”

Peter L. ChoDelgado Community College

New Orleans, La.

“Poorer quality players coming to us. [There is a] smaller field of music students period.”

Joseph OttAugustana College

Rock Island, Ill.

“Students are better prepared than they have ever been, es-pecially guitarists.”

Keven JohansenUniversity of Utah

Salt Lake City, Utah

Declining 17%Growing 11%

Level 72%

Survey.indd 53 9/13/12 10:37 AM


jazzforumCelebrating Abbey LincolnAAJC Executive Director, Dr. Larry Ridley; AAJC President, Bill Myers

Reprinted by permission of Ms. Jo Ann Cheatham, publisher/editor in chief of PURE JAZZ Magazine, Spring 2011 Issue. Written by award-winning journalist, Mr. Playthell Benjamin.

From the first time I ever heard of Abbey Lincoln, she was associated with the struggle for the freedom and dignity of black folks. Since I was a boy, I had been a fanatic for her husband Max Roach’s drum-ming. Growing up in a community where mastering a musical instrument was considered a heroic deed, and playing the drums was a manifestation of manly prowess only slightly less masculine than playing football - which was a civic religion in Florida - Max Roach was both a manly role model and artistic icon, a God-like presence with mythical powers.

When Max married Abbey, she instantly became something of a Goddess in my mind. And since I had already rejected the God people around me worshipped, I was free to pick and choose my own Gods. So why not them? I had nev-er heard of Abbey before

she married Max, but they quickly became the “first couple” of the Black Arts Movement. Teasing brown and strikingly beautiful, she was well spoken, a talented singer and actress, who carried herself like an African warrior Queen prepared to do battle in defense of her own freedom and dignity, and by word and deed that of her people. Although her fame would have been restricted by white racism - a white girl with her attributes would have blown up as big as ice cream - she still could have found commercial success. But Abbey was committed to higher goals, like the liberation and elevation of her oppressed people; once you experience that “freedom high” nothing can compare with it. Many years later Ab-bey was still unrepentant about her decision. In a 1992 Essence Magazine interview she told Jill Nelson, “People make you over, they give you other songs to sing, you wear the clothes they choose, they find you a personality they think will sell. It’s all about prostitution, when you come down to it.”

Abbey was one of the first black female stars, following the great folk singer and freedom fighter Odetta, to wear her hair “au natural.” Unlike Odetta however, Abbey had the look that could have made her a famous glamour girl a la Lena Horne and Dorothy Dandridge. It is enough to see her in that red dress in the 1956 movie, “The Girl Can’t Help It” starring Jane Mansfield, to know that this is no exaggeration. This dress had been previously worn by Marilyn Monroe in “Gentlemen Prefer Blondes”, but I prefer Abbey, honey brown and gorgeous with more curves than a country road in the hills of Jamaica.

However, unlike Lena and Dorothy, who allowed their images and career paths to be molded by white producers and public relations experts, Abbey chose a different role for herself and rejected the superficiality of pop fame in favor of becoming a serious artist in the complex African American art music called Jazz. This was a risky business compared to the instant stardom and the spoils that come with it, if one achieves success in pop music or the movies.

When Abbey joined Max and the Braithwaite brothers, Kwame and Elombe, in creat-

ing the “African Jazz Art Society” in Harlem during 1958, it was the beginning of the “Black Arts Movement”. She caught the zeitgeist and moved with the spirit of the times. The result was one of the most in-teresting collaborations in Twentieth Cen-tury American Music. the apotheosis of that collaboration was the “Freedom Now Suite,” which was recorded as “We Insist: Freedom Now!” in 1960. It was a prophet-ic work of art that presaged the militant struggles that would mark the decade and scared a lot of the white cultural critics to death. With music by Max Roach, who had a degree in composition from the Manhat-tan School of Music, and lyrics by the great Chicago song poet and musical dramatist Oscar Brown Jr., the album was electrify-ing. Listening to it now, I hear echoes of the era, a sound portrait of one of the most dynamic periods in American history.

It is no exaggeration to say that the events of the 1960s reshaped the way millions of Americans view their country. Everything from the way we treat the envi-ronment to gender relations, and even the definition of gender itself, were called into question as a result of the African Ameri-can assault on the racial caste system and the cultural redefinition inspired by that movement. The Freedom Now Suite gave artistic expression to that ferment. On compositions like “Driva Man”, “Tears for Johannesburg” and “Triptych: Prayer / Pro-test / Peace”, the power of Abbey’s soulful contralto voice gives life to Max’s music, and power to Oscar’s poignant lyrics. The dramatic timbres and dark indigo colors of her voice embody all the pathos of the experience the compositions describe in words and music. Given her talents as an actress Abbey was the ideal artist for this project, which often required her to as-sume the dramatis personae suggested by the lyrics she sang. “Triptych”, which is just Max on drums and Abbey’s vocalese, is blood curdling; no one can listen to it and not be moved.

“Abbey was committed to higher goals, like the liberation and elevation of her

oppressed people.”

www.aajc.us

Jazz Forum.indd 54 9/13/12 10:37 AM


jazzforumThe testimony of the New Orleans

writer and college teacher Kalamu ya Sa-laam’s description of his response upon first hearing it when Max and Abbey came to New Orleans and performed at Dillard University - a black school - mirrors what many of us felt: “I just stood next to the stage, holding my camera in my hand but not raising it to shoot. I was mesmerized. Abbey Lincoln was riveting. I was stunned. I literally just stood there. I’m sure my mouth was hanging agape.” He goes on to explain, “Abbey and Max made me believe in time travel, believe in the power of a sec-ular Holy Ghost, a terrible Shiva-force that destroyed you to renew you. I was afraid for her – and for myself also. It seemed as though she might hurt herself. It seemed as if I should do something helpful and not just be a stationary stump while she was going through this. This was not just jazz. This was a religious experience. A new way to live.”

Max and Abbey split up after a decade of marriage and an even longer period of collaboration. Max never worked with a singer on a regular basis again and Abbey went her own way, but she has been clear about the role Max played in the artistic path she took. In a 1970 interview with Gallery 41, Abbey recalled, “I was in New York, miserable because I was working supper clubs but I wasn’t expressing my-self. I was really unhappy with my life. I saw Max again and he told me I didn’t have to do things like that. He made me an hon-est woman on the stage. I have been per-forming in that tradition since. I feel that I’m a serious performer now, whereas then, I wanted to be but, I didn’t know how.”

Abbey would appear in two memorable movies: “Nothing But A Man” with Ivan Dixon and “For the Love Of Ivy” with Sid-ney Poitier. Although these films did not lead to a rash of roles for Abbey – which is par for the course where black actresses are concerned, these performances do display her versatility as an actress. In the former film, she is a proper daughter of the mid-dle class, and in the latter she is a working class woman, and is quite convincing in both roles. She also became an essayist and a powerful lyricist.

Born in Chicago in 1930, during the Great Depression, Abbey Lincoln, whose

given name at birth was Anna Marie Wooldridge, was raised in rural Michigan as the tenth of twelve children. She was a woman who reinvented herself several times before she finally became Aminata Moseka. In an interview with Lara Pel-legrinelli, she explained her fantastic jour-ney from Anna Marie to Aminata. “I’m Aminata Moseka. I got a bunch of names. Anna Marie Wooldridge was the name I was born with. Then I took Gaby because the people at the Moulin Rouge in Los An-geles wanted me to have a French name. They didn’t know I already had one. I didn’t either. Anna Marie is as French as it gets, and Wooldridge is English. They gave me Gaby and kept Wooldridge so I had a German and an English name. It’s America! [laughs] And then Bob Russell named me Abbey Lincoln, because we used to sit and talk about life. He under-stood how I felt about my people because he felt the same way about his. He said to me, “Well, since Abraham Lincoln didn’t free the slaves, maybe you could handle it.” He named me Abbey Lincoln and I laughed, but that’s the name that I took. Abbey for Westminster Abbey he told me, and Lincoln for Abraham Lincoln. He was aware of himself and of his people – so-

cially aware. He’s the first socially aware person that I met, Bob Russell. Roach is socially aware. Duke Ellington, all of the great ones”.

It goes without saying that she too is one of the great ones. The marvelous saga of her life is evidence of it. It is not often that we witness a performer walk away from the glamorous life of fame and for-tune to stand on principle and devote her life to the service of others out of sheer love for her people. Aminata Moseka was a great lady and cultural warrior who used her art as a weapon for the oppressed. The last two times I saw her perform was at the funeral of Betty Carter, where she gave a soul stirring rendition of “Land of the Midnight Sun.” She healed the spirits of the refugees from the destruction of Ka-trina in the great celebration/fundraiser for the Crescent City at Jazz@Lincoln Center. I shall always remember her voice as a healing vibration - a salve for wound-ed spirits. There are not nearly enough of such generous people in this world. If there were, the world would be a better place. We shall miss her, for we shall not soon find her equal...if ever.

Aminata Moseka - A Cultural Warrior to the End!!!

Jazz Forum.indd 55 9/13/12 10:38 AM

www.johnfedchock.com

56 JAZZed Septmeber 2012

HotWax New & Notable Music ReleasesAll dates are subject to change

September 4Greg Lewis – Organ Monk: Uwo in the Black (Lewis)

Chick Corea & Gary Burton – Hot House (Concord)

Ezra Weiss – Our Path to this Mo-ment (Roark)

RJ & The Assignment – Deceiving Eyes (RJ)

Jaume Vilaseca & Ravi Chary – Coming Home (Discmedi)

September 11Michael Feinberg – The Elvin Jones Project (Sunnyside)

Pepper Adams – Joy Road (Motema)

Anat Cohen – Claroscuro (Anzic)

Paulette Dozier – In Walked You (PF&E)

Neil Cowley Trio – Face of Mount Molehill (Naim)

Brandi Disterheft – Second Side (Justin Time)

September 18Urban Renewal Project – Go Big or Go Home (URP)

Joe Fiedler – Big Sackbut (Yellow Sound)

Dan Block – Duality (Miles High)

Christ Bates’ Red 5 – New Hope (Technecore)

KLANG – Brooklyn Lines . . . Chicago Spaces (Allos Documents)

Graham Dechter – Takin’ It There (Capri)

September 25Kurt Elling – 1619 Broadway – The Brill Building Project (Concord)

Medeski Martin & Wood – Free Magic (Indirecto)

Jerome Covington – Shadows of the Fall (Covington)

Studintzky – KY Do Mar (Sonar Kollektiv)

Elizabeth Shepherd – Rewind (Linus)

Diana Krall – Glad Rag Doll (Verve)

October 2Sebastian Sternal – Sternal Sym-phonic Society (Traumton)Charlie Hunter and Scott Amen-dola – Not Getting Behind is the New Getting Ahead (Charlie Hunter)

Tangolando – Tangolando (Lilihouse)

October 9Nils Wogram – Complete Soul Sep-tet (1-2-3-4 Go)

Jeremie Ternoy Trio – Bill (Circum Disc)

Zodiac Trio – Acid (Traumton)

Toulouse Engelhardt – Martian Lust (Lost Grove)

Carol Vanwelden – Sings Shake-speare Sonnets (Jazz ‘n’ Arts)

October 16Polarity – King of Hearts (Tapestry)

Wadada Leo Smith & Louis Moholo-Moholo – Ancestors (TUM)

Bobby Hutcherson – Somewhere in the Night (Kind of Blue)

Hermine Deurloo – Glass Fish (Challenge)

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 associate editor

Matt Parish at: [email protected]

Hotwax.indd 56 9/13/12 10:38 AM

GearcheckThe Forgotten Chords from Advance Music

This book from German composer Peter Herborn delves into obscure chord constructions from harmonic minor and harmonic major, addressed to advanced musicians with a strong theoretical foundation. The book engages in a close examination of those scales and chords that precede “forgotten chords” – the church modes and the melodic mi-nor system. It’s a valuable resource for anyone interested in exploring the idea of jazz harmonic theory. As grounds for further theoretical discussion, the book also includes printed versions of nine compositions from Peter Herbon’s Music for Question Quartet.

www.kendormusic.com

The Last Balladeer: the Johnny Hartman Story from Scarecrow Press

This biography by Gregg Akkerman examines the life of baritone singer Johnny Hartman from his origins with Earl Hines and Dizzy Gillespie to his time as a featured soloist in prestigious supper clubs throughout the world. Through exclusive interviews with Hartman’s family and fellow musi-cians (including Tony Bennett, Billy Taylor, Kurt Elling and others), Akkerman expertly recollects the Hartman character as a gentleman, romantic, family man, and constant contributor to the jazz scene. For many, Hartman was the “last bal-ladeer” as his kind. This is the first full-length biography and discography to chronicle his life.

www.rowman.com

Denis Wick American Classic Trumpet Mouthpiece

The American Classic series is based on some of the most well known American style mouthpieces but modified to perform to the standards that all Denis Wick products achieve. Available models are the 1.25C, 1.5C, 1.5CH, 3C, 5C, and 7C. The num-bering system was designed to correspond with the standard American mouthpiece sizing established by Bach. Wick’s improved design includes a more comfortable rim and a unique throat and backbore design for each mouthpiece.

The American Classic mouthpieces undergo an extended CNC machining process, resulting in less polishing and metal removal after the initial cut. This refined process provides a very accurate and consistent mouthpiece that has a beautiful finish and is extremely comfortable to play.

ww.deniswickusca.com


GearCheck.indd 57 9/13/12 10:39 AM

GearcheckMeisel Accessories Chromatic Metrotuner

The Meisel COM-250 Metrotuner features a special clip designed to fit violin and viola scrolls. Because of the

clip’s unique design and extra wide opening, the COM-250 will fit virtually any musical instrument, including a violin or viola body.

The COM-250 has many fea-tures: color display; reference pitch adjustable from 410Hz to 490Hz; built-in mic or clip transducer; visual metronome, speed: 30-280 beats per minute; +/- 1 cent accuracy. The Meisel COM-250 weighs only 1.25 ounces and is powered by one 2032 3V coin battery.

www.meiselaccessories.com

Developing a Jazz Vocabulary from Jamey Aebersold

Author, musician, and educator Joe Riposo has devised an effective method of teaching the concept of jazz language over his long and successful career as an educator.

Developing a Jazz Vocabulary equates the art of proper note choice and phrase-building to the process of learn-

ing the alphabet for word-building. Chord tones and non-chord tones are assigned vowel and consonant status and, as in grammar, simple rules dictate which notes to use (and which to avoid) to develop effortless and flowing lines that make melodic sense. This book is for all musicians wishing to have a bet-ter understanding of connecting chords and developing phrases.

www.jazzbooks.com

Vandoren Hygro Reed Cases

The new Hygro Reed Cases are compact enough to fit in an instrument case and include a humidity control system to offer advanced performance. Each reed case offers space for six reeds, a sponge to maintain optimal humidity, and a disc that indicates when it is time to add water.

There are two models: the HRC10 which holds clarinet or alto sax reeds and the HRC20 which holds bass clari-net, tenor, or baritone sax reeds.

www.vandoren.com


GearCheck.indd 58 9/13/12 10:39 AM

www.saxzinc.com


The Publishers of School Band & Orchestra, JAZZed, Choral Director, and The College Search & Career Guide are proud to present a comprehensive website for music students and colleges to connect.

yopus.com will be a dynamic, up-to-date online music college research resource where prospective students and parents can find information about their own geographic, instrument and program preferences to learn more about the music programs that are most relevant to their individual needs and desires.

.com

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Exclusive Content and Tools - Get more out of yopus from exclusive scholarships to tools and tips to help you get into the school of your choice and succeed once you do

Go to yopus.com today to sign up to receive launch announcements and have your school listed.

Symphony Publishing | 21 Highland Circle, Suite 1 | Needham, MA 02494 | (781) 453-9310 | FAX (781) 453-9389 | 1-800-964-5150

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Email: [email protected] deadline: December 1

www.music.miami.edu

Outstanding

Jazz Scholarships

Available at the

Frost School

of Music.

Inquire Today.

The Colorado State University Jazz Studies Program develops the knowledge and skills required to excel in performance and educa-tion. Dynamic faculty are leading educators, maintaining national and international performance and recording schedules. Renowned international artists are regularly in residence, collaborating with faculty and students. Scholarships available.

Information/Visit & Audition Dates » music.colostate.edu» (970) 491-5529

CSU 2012.indd 1 8/22/2012 8:35:47 AM

Saxophonist and flutist Gary Thomaschairs Peabody’s Jazz Studies program

www.peabody.jhu.eduOffice of Admissions1 East Mount Vernon PlaceBaltimore, MD 21202800-368-2521

2.185” wide X 4.375

Spotlight On University Jazz Programs

CDshowcase.indd 59 9/13/12 10:51 AM

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Velvet-voiced Leslie Brown debuts on the Bmakin Music label with

Tenderly, a soulful, old-school quartet

performance of sparkling jazz, latin and blues featuring

Grammy nominated pianist Art Lande.

On sale now at CD Baby.

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CD, charts, solo transcriptions,digital downloads and more available at these sites:www.southfloridajazzorchestra.netwww.summitrecords.com

Featuring Trumpet Soloists:

Brian LynchWayne BergeronGreg GisbertJason CarderAlex Norris

Announcing the New Release byThe South Florida Jazz Orchestra

directed by Chuck Bergeron

University of Miami jazz studies professor Chuck Bergeron is available for concerts and clinics with this music. Contact Chuck at: www.southfloridajazzorchestra.net

[MAMA RECORDS 1043]“a masterpiece recording”Ed Blanco - All About Jazz

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Classifieds

[email protected]

Instruments

Advertise in the Classifieds! Call Steven

1-800-964-5150 ext. 34 [email protected]

Merchandise

Instruction Merchandise4000 Years

in the Making... Tone Note® Music Method for Guitar.

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www.JAZZedmagazine.com

April 28, 2013, 3-6pm - 3rd Anniversary Celebration/Open House with special tuition offer!

Lowell Jazz Day Camp

tel. 978.459.4755

July 15 - 26, 2013Monday-Friday

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150 Western Ave.Lowell, MA 01852

LEARN HOW TO PLAY BRAZILIANMUSIC WITH ANTONIO ADOLFO

Author of Brazilian Music Workshop andPhrasing in Brazilian Music, published

By Advance Music.

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Classifieds.indd 61 9/13/12 10:56 AM


Miscellaneous

Print Music

www.JAZZedmagazine.com

NATIONAL PRESS CAMPAIGNSDown Beat Voting Critics, Jazz Journalist Association, Bloggers and More.

EMAIL CAMPAIGNSPromote your gigs, live music events, festivals and newsletters.

MAILINGSSave yourself time, money and aggravation and let us do your fulfillment.

Jim Eigo, Jazz Promo Services 269 State Route 94 South. Warwick, NY 10990Ph:845-986-1677 • Fax: 845-986-1699 • Cell / text: 917-755-8960

Skype: jazzpromo • [email protected] • www.jazzpromoservices.com

Smart Chart Music: “ The Place ” for

19 Playable “ Thad Jones Classics ” New For 2012: Check out Scores & Mp3's on the Web

SCM – 1077 “What Is That? (Driving Funk Rock)

SCM – 1078 “Big Dipper” (Thad Jones- Blues)

SCM – 1079 “Mr. GK” (Gene Krupa Tribute)

SCM – 1080 “The Christmas Spirit” (Traditional- Jazz Style)

SCM – 1081 “At The Oasis”\ (Latin / Swing /Jazz)

SCM – 1082 “Space Junk “ (Modal / Rock / Latin)

SCM – 1083 “Reciprocity” (60's Blue Note Groove)

SCM – 1084 “Two As One” (Thad Jones - Ballad)

SCM – 1085 “Bad Ol' Blues” (Slow- then Med Tempo)

SCM – 1086 “New Mambo Loops” (Hot Jazz Mambo)

w w w . s m a r t c h a r t m u s I c & w w w . b a r n h o u s e . c o m

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.com

Attention Music Colleges: Set Up Your Free Listing On

Your Music. Your Education. Your Opus.Go to yopus.com today to sign up to receive launch announcements and have your school listed.

Symphony Publishing | 21 Highland Circle, Suite 1 | Needham, MA 02494 | (781) 453-9310 | FAX (781) 453-9389 | 1-800-964-5150

Reach Thousands of Music Students!

We Need Your Help!

The Publishers of School Band & Orchestra, JAZZed, Choral Director, and The College Search & Career Guide are proud to present a comprehensive new website for music students and colleges to connect.

yopus.com will be a dynamic, up-to-date online music college research resource where prospective students and parents can find informa-tion about their own geographic, instrument and program preferences to learn more about the music programs that are most relevant to their individual needs and goals. Please go to the site, request your log-in, and enter your school’s information.

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AdIndex Company Email/Web Page#

American Classic Festivals www.amclass.com 31

J.J. Babbitt Co. Inc. www.jjbabbitt.com 17

Bari Woodwinds www.bariwoodwinds.com 16

Ben Mackin (Bmakin Music) www.benmackinen.com 59

Berklee College of Music www.berklee.edu 1

Bob Sheppard www.bobsheppard.net 47

Cannonball Music Instruments www.cannonballmusic.com 13

Capital University www.music.capital.edu 30

Colorado State University www.CSUSchooloftheArts.com 59

Eastman School Of Music www.esm.rochester.edu 47

Five Towns College www.ftc.edu 29

Frost School of Music www.music.miami.edu 59

Frost School of Music www.music.miami.edu 5

Indiana University Jacobs School www.iu.edu 34

Jamey Aebersold Jazz Aids www.jazzbooks.com cov 2

Jazzheads www.randyklein.com 60

Jody Jazz www.jodyjazz.com 9

John Fedchock www.johnfedchock.com 55

Juilliard School of Music www.juilliard.edu 15

Lionel Hampton Jazz Festival www.jazz.uiidaho.edu 12

Longy School of Music www.longy.edu 45

Manhattan School of Music www.msmnyc.edu 39

Northwestern University www.music.northwestern.edu 18

Peabody Institute www.peabody.jhu.edu 59

Pearl Corp. www.pearldrum.com cov4

PJLA Music Products www.pjlamusc.com 8

Roosevelt University www.roosevelt.edu 46

RS Berkeley Musical Instruments www.rsberkeley.com 45

SaxQuest, Inc. www.saxquest.com 42

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South Florida Jazz Orchestra www.southfloridajazzorchestra.net 60

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University of the Arts - Communicatio www.uarts.edu 38

University of Tennessee,Knoxville [email protected] 41

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Classifieds.indd 63 9/13/12 10:58 AM


“Uncle” Lionel Batiste, 1931 - 2012

Legendary New Orleans jazz and blues personality Lionel Batiste passed away recently at Ochsner

Hospital in New Orleans. “Uncle Lionel,” as he was affectionately known, was the “face” of the

Tremé Bicentennial and an unavoidable personality in the New Orleans jazz scene.

Batiste “dedicated his life to entertaining locals and visitors alike,” said Toni Rice, president of the

New Orleans Multicultural Tourism Network. “Uncle Lionel was one of kind and represented the

very essence of New Orleans.”

Batiste grew up in Tremé across the street from Craig School. He began his music career at

the age of 11 playing bass drum with the Square Deal Social & Pleasure Club. Batiste went on to

become the drummer, singer, kazoo player, and assistant leader of the Treme Brass Band. Lionel

Batiste spent his career entertaining audiences and inspiring young musicians at home and around

the world.

Backbeat

BackBeat.indd 64 9/13/12 10:58 AM

Networking the Jazz Arts Community …… Local to Global!

Become a member and register for the conference today at JazzEdNet.org

ATTEND OUR

4TH ANNUALCONFERENCEJAN 2–5, 2013ATLANTA, GA

DIRECTORS ✺ Submit your group to the JENerations Jazz Festival. Deadline: September 30, 2012

STUDENTS ✺ Apply to one of our many educational, composition, and design scholarships. Deadline: September 30, 2012

VOLUNTEERS ✺ Apply online now (first-come, first-served). Deadline: December 15, 2012

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www.jazzednet.org

ACADEMY SERIES Academy Series brings the World renowned quality and

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3.0 octave marimba and a 3.5 octave xylophone for school

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jazzed september 2012

Documents

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