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SEPTEMBER 2009 • $5.00

The Jazz educaTor's Magazine

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JAZZed in the Classroom Bobby McFerrin Focus Session Notation The Official Publication of


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preparing for a life in music






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 วจ ยยŽย‘ย…ย ย–ยŠย‡ ยย›ย•ย–ย‡ย”ย‹ย‡ย• ย‘ยˆ ยŒยƒยœยœ ย‹ยย’ย”ย‘ย˜ ย™ย‹ย–ยŠ ย…ย‘ยย’ย‡ย–ย‡ยย– ย”ยŠย›ย–ยŠย ย•ย‡ย…ย–ย‹ย‘ยย• ยƒยย† ยƒย…ย…ย—ย”ยƒย–ย‡ย‹ยย•ย–ย”ย—ย…ย–ย‹ย‘ยวคยŽยƒย›วฆวฆย‘ยย‰ย–ย”ยƒย…ยย• ฦฌ ย†ย‡ยย‘ ย–ย”ยƒย…ยย• ย‘ยˆ ยƒยย‡ย› ย’ยŽยƒย›ย‹ยย‰ ย–ยŠย‡ ย‡ยšย‡ย”ย…ย‹ย•ย‡ย•ยƒยย†ย•ย‘ยŽย‘ย‹ยย‰วค วควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควค อดอถฦฌอดวฆย•


ยŠย‹ย• ย„ย‡ย‰ย‹ยยย‹ยย‰ ยŽย‡ย˜ย‡ยŽ ยŽยƒย›วฆวฆย‘ยย‰ ยƒยŽยŽย‘ย™ย• ย›ย‘ย— ย–ย‘ ย’ย”ยƒย…ย–ย‹ย…ย‡ ย‹ยย’ย”ย‘ย˜ ย•ยย‹ยŽยŽย• ย‹ย ย‡ย˜ย‡ย”ย› ยยƒยŒย‘ย” ยƒยย† ยย‹ยย‘ย” ยย‡ย›วจ ย’ย‡ย…ย‹ยƒยŽ ย†ย‡ยย‘ ย–ย”ยƒย…ยย• ย‹ยย…ยŽย—ย†ย‡ ยƒยย‡ย› ย’ยŽยƒย›ย‹ยย‰ ย–ยŠย‡ ย‡ยšย‡ย”ย…ย‹ย•ย‡ย• ยˆย”ย‘ย ย–ยŠย‡ ย„ย‘ย‘ย ยƒยย† ย…ย‘ยย•ย–ย”ย—ย…ย–ย‹ยย‰ ย‹ยย’ย”ย‘ย˜ย‹ย•ย‡ย† ย•ย‘ยŽย‘ย•วค ย‘ยŽย‘ย• ยƒย”ย‡ย–ย”ยƒยย•ย’ย‘ย•ย‡ย†ยˆย‘ย”ยƒยŽยŽย‹ยย•ย–ย”ย—ยย‡ยย–ย•วค วควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควค อทอถฦฌ


ยŽย—ย‡ย• ยƒยย† ย•ย–ยƒยย†ยƒย”ย†ย• ยƒย– ย…ย‘ยยˆย‘ย”ย–ยƒย„ยŽย‡ ยย‡ย›ย•ยƒยย†ย–ย‡ยย’ย‘ย•วจ ยย…ยŽย—ย†ย‡ย•วฃ Summertime โ€ข Bb Shufฯ”le Blues โ€ข Impressions โ€ข Maiden Voyage โ€ข Watermelon Man โ€ข Doxy โ€ข Autumn Leaves โ€ข Solar Flair โ€ข Song For My Father โ€ข Cantaloupe Island โ€ข Satin Doll โ€ข Blues In F โ€ข Footprints วควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควค


  วจ ยŠย‹ย• อดวฆยŠย‘ย—ย” ย’ย”ย‡ย•ย‡ยย–ยƒย–ย‹ย‘ยยˆย‡ยƒย–ย—ย”ย‡ย• ยƒยย‡ย›ยƒย–ย–ยŠย‡ย’ย‹ยƒยย‘ ย‹ยยƒวฒย’ย”ย‹ย˜ยƒย–ย‡ยŽย‡ย•ย•ย‘ยวณยˆย‘ย”ยยƒย–ย‡ยšย’ยŽยƒย‹ยย‹ยย‰ฦฌ ย†ย‡ยย‘ยย•ย–ย”ยƒย–ย‹ยย‰ยˆย—ยย†ยƒยย‡ยย–ยƒยŽย–ย‡ย…ยŠยย‹ย“ย—ย‡ย• ย—ย•ย‡ย†ย„ย›ยƒยŽยŽยŒยƒยœยœย‰ย”ย‡ยƒย–ย•วค ยย…ยŽย—ย†ย‡ย•ย…ยŠย‘ย”ย†ศ€ ย•ย…ยƒยŽย‡ย”ย‡ยŽยƒย–ย‹ย‘ยย•ยŠย‹ย’ย•ยƒยย†ย–ยŠย‡ย‘ย”ย›วกย’ยƒย–ย–ย‡ย”ยย•วก ย’ย”ยƒย…ย–ย‹ย…ย‡ ย”ย‘ย—ย–ย‹ยย‡ย•ศ€ย–ย‡ย…ยŠยย‹ย“ย—ย‡ย•วก ย„ยŽย—ย‡ย•วก ย—ย•ย‹ยย‰ยŽยƒย›วฆวฆย‘ยย‰ย•ยƒยย†ยย—ย…ยŠยย‘ย”ย‡วจ วควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควค

โ€œOne, two,

One, two, three, four ... โ€


Jazz L


That disฦŸncฦŸve, iconic โ€˜count-oฤซโ€™ has introduced thousands of musicians to the world of jazz improvisaฦŸon. Jameyโ€™s familiar voice is a reassuring reminder that the rhythm secฦŸon is ฦŸght, the changes are correct, and the experience will be as โ€œrealโ€ as it gets! You simply canโ€™t go wrong with the legendary rhythm secฦŸons on Jameyโ€™s Play-A-Longs. โ€œIโ€™ve found the best way to improve your musical skills is to be prepared. My Play-A-Long book and CD sets provide everything you need to learn jazz. From a basic foundaฦŸon to all the great jazz standards. Iโ€™ve dedicated my life to helping you enjoy making โ€˜your own music.โ€™โ€ - Jamey Aebersold

JAMEY AEBERSOLD JAZZ w w w. j a z z b o o k s . c o m


John Scofield “This

phrase is probably not very popular, because it’s a little too cute, but I do like it: ‘Jazz can be learned, but it can’t be taught.’”




Earlier this year, Ohio’s Jazz Academy – a project of The Jazz Art Group – moved into a spacious, cutting-edge facility in Columbus, better suited to achieving the organization’s goal of, “getting students actively involved.” JAZZed recently spoke with the Jazz Art Group’s executive director, Bob Breithaupt, to get the skinny on the new developments, as well as plans for the future.


Performer, educator, and author David Demsey offers tips on how to best prepare for the college jazz program selection and audition process.


Inarguably one of the greatest jazz guitarists of his generation, John Scofield’s rock- and R&B- tinged approach to the instrument has influenced countless younger performers. JAZZed recently spoke with Scofield about his life as a player, student, and teacher of jazz.


Lee Evans, noted author of over 90 books and professor of Music at NYC’s Pace University, outlines some typical erroneous music notation practices.


Brad Howey sits down for a conversation with the legendary, multi-Grammy winning vocalist, classical conductor, and music education advocate. ™

2 JAZZed September 2009

SEPTEMBER 2009 Volume 4, Number 5

GROUP PUBLISHER Sidney L. Davis PUBLISHER Richard E. Kessel Editorial Staff EDITOR Christian Wissmuller







Business Staff CIRCULATION MANAGER Melanie A. Prescott ADMINISTRATIVE ASSISTANT Popi Galileos WEBMASTER Sanford Kearns Symphony Publishing, LLC CHAIRMAN Xen Zapis PRESIDENT Lee Zapis CHIEF FINANCIAL OFFICER Rich Bongorno Corporate Headquarters 26202 Detroit Road, Suite 300 Westlake, Ohio 44145 (440) 871-1300 Publishing, Sales, & Editorial Office


Cover photograph: Nick Suttle JAZZed™ is published six times annually by Symphony Publishing, LLC, 21 Highland Circle, Suite 1, Needham, MA 02494, (781) 453-9310. Publisher of Choral Director, School Band and Orchestra, Music Parents America, and Musical Merchandise Review. Subscription rates $30 one year; $60 two years. Rates outside U.S. available upon request. Single issues $5. Resource Guide $15. Standard postage paid at Boston, MA and additional mailing ofces. Postmaster: Please send address changes to JAZZed, 21 Highland Circle, Suite 1, Needham, MA 02494. The publishers of this magazine do not accept responsibility for statements made by their advertisers in business competition. No portion of this issue may be reproduced without the written permission of the publisher. © 2009 by Symphony Publishing, LLC. Printed in the U.S.A.

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

Member 2009


JAZZed July 2009 3

publisher’s letter


The Healing Powers of Music


uring the Great Depression of the 1930s, with mas- vessels’ walls, “producing a potentially unhealthy sive unemployment and deflation, many people response that reduces blood flow.” turned to music, and jazz in particular, in order to From a health perspective, any musician who feel better about their difficult circumstances. Com- plays a wind instrument knows that your heart posers and songwriters of all genres reached out to rate increases significantly during a performance, the masses with their music and lyrics which were and that one’s lungs are filled to a far greater caoften conceived to reflect the frustration, pain, suf- pacity than when at rest. Although I don’t know fering, and hope for millions of people at that time. of any specific studies that have tested this theory, Many musicians who performed live prior to the I do know from personal experience that I feel 1920s and 1930s were suddenly out of work with better after playing, even though it may not be the advent of radio which allowed as much of a “cardio” workout as live broadcasts to reach a wide audirunning several miles. There is no “We now have ence and helped to usher in a new doubt that percussionists benefit age of contemporary music. Howconfirmed scien- from an even greater workout, as ever, the great swing bands that were the physical demands of playing tific evidence of thriving at the time, including Louis a drum set are certain to keep the Armstrong, Duke Ellington, Count blood flowing. the benefits of Basie and others, helped people forIn another study back in 2005, playing as well get their hardships with up-tempo in the research journal Medical as listening to dance tunes that could be heard in Science Monitor, it showed that, homes, clubs, and other venues. “playing a musical instrument can music.” As it turns out, research has shown reverse multiple components of that it’s not only the lyrics that can the human stress response on the provide us with comfort, but that hearing your fa- genomic level.” This, according to Barry Bittman, vorite music, “may also be good for your cardio- “shed new light on the value of active music parvascular system,” according to recent studies at the ticipation.” Since we now have confirmed scientific School of Medicine at the University of Maryland in evidence of the benefits of playing as well as lisBaltimore. An article in Science Daily indicated that tening to music, perhaps our political leaders will the study actually showed that music that was se- consider this essential information when determinlected by participants that made them feel good ac- ing whether to maintain funding for our music and tually dilated blood vessels’ linings to allow blood to arts programs, as such pursuits are essential to not flow more easily. Conversely, the opposite reaction only the psychological health of our students, but occurred with music that was perceived as stressful; also their physical well-being, especially during there was a contraction of the lining of the blood these difficult economic times.

4 JAZZed September 2009

noteworthy Inner-City Youth Awarded Scholarships to Berklee


leven young musicians from urban Boston neighborhoods and City Music Network partner sites around the country accepted full scholarships to attend Berklee College of Music starting this fall at an emotional presentation at the Berklee Performance Center this past August. The students have all been participants in Berklee City Music, a scholarship, tutorial, and mentoring program that gives teens from Greater Boston and other urban areas access to music education at no cost to them or their families. If all 11 students complete four years of study at the college, the collective

amount of the scholarships awarded will be worth $1.3 million dollars. Individually, each scholarship is worth over $100,000. The 11 Continuing Scholarship recipients were among 72 young musicians ages 15 to 19 who were enrolled in Berklee’s Five Week Summer Performance Program on City Music Summer Scholarships. To learn more, visit

Jazz at Lincoln Center Orchestra on Tour Jazz at Lincoln Center Orchestra with Wynton Marsalis will travel through Canada and the Western U.S. on their fall tour. The Jazz at Lincoln Center Orchestra (JLCO), comprising 15 of the finest jazz soloists and ensemble players today, has been the Jazz at Lincoln Center resident orchestra since 1988. Featured in all aspects of Jazz at Lincoln Center’s programming, the orchestra performs and leads educational events in New York, across the U.S., and around the globe, in concert halls, dance venues, jazz clubs, public parks, and with symphony orchestras, ballet troupes, local students and an ever-expanding roster of guest artists. For more information and tour dates, visit

Say What? “When you get to the top, don’t forget to send the elevator down for the next guy.” ~ Stan Kenton

6 JAZZed September 2009

Brubeck to Receive Berklee Honorary Doctorate Dave Brubeck, designated a “Living Legend” by the Library of Congress, was be presented with an Honorary Doctorate from Berklee College of Music at the 52nd Monterey Jazz Festival, held on September 18 - 20, 2009. The Berklee Honorary Doctorate of Music was first presented in 1971 to Duke Ellington. In 2007, Clint Eastwood became an honorary doctor of music at Monterey for his efforts to popularize jazz through his films and film music. A longtime Brubeck admirer and friend, Eastwood is scheduled to be part of the Brubeck ceremony. With a career that spans over six decades, Dave Brubeck’s experiments with odd time signatures, improvised counterpoint, polyrhythm and polytonality remain hallmarks of innovation. For more information on Dave’s life and career, visit

Jazz Performance Education at this Country’s Premiere Conservatory

Jazz Bassist, alumnus, and Juilliard Jazz Artistin-Residence Christian McBride performs with student Eddie Barbash, on alto sax, at Juilliard jazz ensemble concert.

Juilliard Jazz

JUILLIARD JAZZ Carl Allen Artistic Director Laurie A. Carter Executive Director

Photo: Hiroyuki Ito

Artistic Advisor Benny Golson Artists-in-Residence Christian McBride Visiting Artists Benny Green Faculty Kenny Barron Ron Blake Kendall Durelle Briggs Ron Carter George Colligan Xavier Davis Richard DeRosa Billy Drummond Ray Drummond Mark Gould David Grossman Eddie Henderson Christian Jaudes Rodney Jones Frank Kimbrough Gregory Knowles Ted Nash Phil Schaap Bob Stewart Joe Temperley Steve Turre Kenny Washington Joseph Wilder Ben Wolfe

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

A curriculum tailored to the practical performance needs of its young artists at all levels

� Bachelor of Music high school diploma or equivalent required � Master of Music bachelor of music degree required � Artist Diploma college degree or extensive experience required for this post-graduate, tuition-free program All applicants must meet Juilliard’s jazz audition requirements. Auditions take place in New York, February 26 – March 5, 2010 Applications due December 1, 2009 Apply online at: Send Applications and Pre-Screen Recording to: Juilliard Admissions, 60 Lincoln Center Plaza, New York, NY 10023 (212) 799-5000 Joseph W. Polisi, President

noteworthy U.S. Secretary Of Education Reinforces Importance of the Arts in Schools


he NAMM Foundation hosted a live, public teleconference with U.S. Department of Education Secretary Arne Duncan to discuss his recent letter sent to school and education community leaders outlining the importance of the arts as a core academic subject in U.S. public schools. More than 1.75 million national music and arts education advocates were encouraged via a national network of coalitions to participate in the call to hear Duncan express his concerns about access to arts education in U.S. public schools, and how these programs can be supported in the future. The call was initiated after Duncan issued a letter to school and education community leaders stating, “At this time when you are making critical and far-reaching budget and program decisions for the upcoming school year, I write to bring to your attention the importance of the arts as a core academic subject and part of a complete education for all students. The Elementary and Secondary Education Act (ESEA) defines the arts as a core subject, and the arts play a significant role in children’s development and learning process…” “The arts can help students become tenacious, team-oriented problem solvers who are confident and able to think creatively,” he stated. “These qualities can be especially important in improving learning among students from eco-

8 JAZZed September 2009

nomically disadvantaged circumstances. However, recent National Assessment of Educational Progress (NAEP) results found that only 57 percent of eighth graders attended schools where music instruction was offered at least three or four times a week, and only 47 percent attended schools where visual arts were offered that often.” “Concerned citizens in cities, towns and communities should share this letter with state and local school leadership,” said Mary Luehrsen, NAMM’s director of public affairs and government relations and executive director of the NAMM Foundation, who moderated the call. “The Secretary has clearly stated that arts education is part of the core curriculum and is vital to a complete and quality education for all children.All of us need to work together to assure that all children have access to a complete education that includes high quality, standards-based learning in music and the arts.” The SupportMusic Coalition conference call also reiterated the points in Duncan’s letter about how state and local actions can be reinforced to assure access to arts education. Duncan reminded listeners that under the ESEA, states and local school districts have the flexibility to support the arts through Federal Title programs and U.S. Department of Education programs, including professional development of arts teachers as well as for strategic partnerships with

cultural, arts and other nonprofit organizations. In addition, Duncan stated that local school districts can use funds under the State Fiscal Stabilization Fund through the American Recovery and Reinvestment Act for the arts along with other district expenses. Surveying elementary classroom teachers next spring as well as music and visual arts specialists at the elementary and secondary levels about their programs and resources. Reporting findings from this comprehensive profile in early 2011, the first report like this since the 1999-2000 school year. The data is expected to help practitioners and policymakers make more informed decisions about arts education. During the call, Duncan highlighted the series of music events at the White House that demonstrates the administration’s ongoing efforts to stress the importance of arts education beginning with a Jazz Education workshop in June with 140 students from across the country. At the July White House event reinforcing the importance of arts education, he joined the President and First Lady in featuring country music artists Alison Krauss and Brad Paisley. To view Secretary Duncan’s letter, visit the U.S. Department of Education’s Web site at The letter is also available along with the full transcript of the teleconference at


5 CDs 99



Miles Davis: Seven Steps to Heaven #5190869 NEW!

Aretha Franklin: Sings the Blues #5169713

John Coltrane: My Favorite Things #5179837 NEW!

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Dave Brubeck: Time Out #5164423

Coltrane & Cherry: The Avant-Garde #5183939

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Preservation Hall Jazz Band: New Orleans, Vol. 1 #5170676

Jason Moran: Black Stars #5184143

Vince Guaraldi: Oh, Good Grief! #5189264 NEW!

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Stanley Turrentine: T Time #5139773

Cassandra Wilson: Traveling Miles #5165566 NEW!

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Weather Report #5183260

Count Basie Swings/Tony Bennett Sings #5145257

Cannonball Adderley: Domination #5183555

Ornette Coleman: The Shape of Jazz to Come #5182636 NEW!

The Best of Django Reinhardt #5168205 NEW!


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What’s on Your Playlist? Collaborations with the likes of Carlos Santana, Ray Charles, Sonny Rollins, John Lee Hooker, and Tito Puente, among many others, have established trombonist, composer/arranger, and producer Wayne Wallace as a powerful force in the world of jazz – and beyond. Recipient of a NEA grant for jazz composition and frequently singled out in critics’ and readers’ polls for his masterful trombone work, Wayne is also a dedicated educator who is currently teaching at San Jose State University and The Jazz School in Berkeley, California. 2008’s well-received Infinity (Patois) from the Wayne Wallace Latin Jazz Quintet was followed in the fall of 2009 by Bien Bien! (Patois). !

1. Louis Armstrong - Portrait of the Artist as a Young Man I listen to this a lot. “Pop’s” playing and singing during this period was the embodiment of jazz. There is a joy and spirit in the paying that always brings me back to listen to these recordings. Wish I could have seen and heard this era. 2. Ornette Coleman - Sound Grammar Still one of the most dynamic forces in modern music this recording absolutely knocks me out. Ornette constantly amazes me with his musical vocabulary, knowledge and iconoclastic style. 3. Yo-Yo Ma The Silk Road Ensemble - Beyond The Horizon I love this recording. No borders and no pre-conceived musical limitations, “World Classical music” performed beautifully with passion and tremendous musicianship. Really inspiring! 4. Duke Ellington - The Blanton/Webster Band This disc showcases perhaps Ellington’s best writing and his band at the height of its artistic powers. Hard to imagine a better group of musicians anywhere. I keep listening to this because I find something new in all the songs and arrangements each time. 5. Danilo Perez - Central Avenue In my opinion this is what contemporary jazz is about. Beautiful

solos, exploring tradition, embracing your roots and experimenting with new ideas that help you move the music forward. Check out “Panama Blues.” 6. Steely Dan - Gaucho Never really got the credit it deserved. Aja is a masterpiece but Gaucho has as much going on for it. For me “Time Out of Mind”, “Gaucho” and “Third World Man” sit right at the nexus of pop and jazz. 7. Gonzalo Rubacala - Live in Havana One of my all time favorite groups and live albums. I really dig the arrangements, very cool mixture of Cuban jazz with folkloric elements. Gonzalo hits hard from beginning to end as a leader and soloist. Great arrangement of “On Green Dolphin Street.” 8. Various Artists - The Soul of Black Peru This was my introduction to studying Afro-Peruvian music. I’ve never stop listening to this album. Subtle rhythmic stylings and it’s fun to sing and dance to! 9. Stevie Wonder - Fulfillingness First Finale Genius, pure genius!!! Nobody plays, sings and writes better. Thirty-three years and counting as one of the best pop records ever recorded!

The Wayne Wallace Jazz Quintet’s latest CD, Bien Bien! (Patois), was released on September 15, 2009. !

10 JAZZed September 2009





he Jazz Art Group was formed in Columbus, Ohio in 1973 and is America’s oldest not-for-profit arts organization dedicated to producing, performing, and promoting jazz. Within the organization is the Columbus Jazz Orchestra, boasting the largest subscriber base of any jazz orchestra in the country. In addition to the Orchestra, they have developed programs such as Musicians’ Services, helping jazz musicians find employment in the Columbus area. The other component of the organization is their Jazz Academy. Jazz Arts Group’s executive director, Bob Breithaupt, began laying out the groundwork for the Jazz Academy back in 2004. In 2006 they began to offer some pilot courses, mostly lecture and improve classes, at a local university. The Academy has two parts, as Bob explains: “One is jazz in schools, and two is jazz in the community. Jazz in schools provides teacher training, residencies, concerts for students, and integrated arts programs. The goal is to get students actively involved rather than just give students a jazz history presentation. Jazz in the community is the outreach segment of the Academy.” A few months ago, the Jazz Academy moved into a new home - the recently refurbished Lincoln Theatre in Columbus’ Near East neighborhood. The Academy occupies all 5,000 square feet on the third floor. The new space includes rehearsal rooms, a keyboard/media studio, recording lab, and multi-functional instructional classrooms. The theatre itself seats 570 people and houses a grand ballroom. In the new facility, the Jazz Academy has been able

12 JAZZed September 2009

Columbus Jazz Orchestra at the Lincoln Theatre.

Columbus Jazz Orchestra performs with Jazzoo Dancers.

to expand their program. This past summer they hosted a Rock Camp, Blues Camp, and Jump for Jazz Camp. With the exception of the Jazz Camp, which was specifically for kids between seven and 10 years old, the ages of the Rock and Blues Camp


students ranged from nine to 70. As Bob points out, “The Academy is for all ages, for the community.” They also offer lectures, playing lessons, and even a Pro Tools certification program. “Within the Academy we have a recording lab where we are able to teach recording technology. We had a Recording Camp this past summer. Also, every one of our Camps has a culminating recording experience.” In addition to the Camps, a preschool program and a wellness program are in the works. Behind all of this growth is a true passion for jazz. As Bob explains, “It is not and can’t be, in our case, a place where you have an Art Blakey ensemble and a Horace Silver ensemble. While that is great stuff, it wouldn’t fly in Columbus. This is also about pathways. For example, we have turntables in our recording lab, and we have hip-hop guys coming in and doing DJ stuff. That is an entry point. In hardly any U.S. city will you find a jazz infrastructure; there is usually a symphony orchestra, a community concert band, and choir, centered on classical or European music. Through our Academy we are trying to create that jazz infrastructure here in Columbus.” Bob would not only like to see this happen in Columbus, but every U.S. city. Ultimately it is the preservation of jazz, a true American art form, that guides the Academy. For Bob, keeping jazz alive is not going to happen by opening more jazz clubs. “Kids can’t go to bars, families won’t go. A lot of us do go to the clubs and play in them. Clubs are certainly a component, but it’s not the key.” Bob also realized early on in his work with the Jazz Art Group that just having a jazz orchestra isn’t enough either. “Most jazz orchestras are perceived by the public to be old people, playing old music. When we do concerts with our jazz orchestra, we don’t get too many young people coming to

are trying to make as strong of a connection as we can with the local music community. Whether it’s blues musicians or hip-hop guys, we are inviting them in to see what this is.” Bob is not looking to reach jazz audiences; as he says, “It’s like preaching to the converted. Why waste the time and energy? We are looking for an audience that is open to creative arts and music.” To find that audience and keep them requires hard work and money. Funding for the Jazz Arts Group comes from various sources including sponsorships, corporate donations, and individual donations. Some of the contributions have come in as specific funding for the Academy. They also received NEA funding for start up costs. Even with the endowments, it is still a challenge to keep things running, especially in a poor economy. “We couldn’t have picked a worse time to expand our offerings,” Bob admits. “But, we’re doing some great stuff, and the Lincoln Theatre is such an incredible facility. It

see it.” That is exactly what the Academy aims to change through education and community outreach. The Academy employs local musicians to teach the courses. They also get visiting musicians like Wes Anderson, who stopped by the “J is for Jazz” class and played with a group of 10 year old students and even recorded with them. Grammy Award winner Earl Klugh is planning a visit to the Academy this fall. Since expanding the Jazz Academy into the Lincoln Theatre, not only has enrollment rapidly increased, but 50 percent of the new students had never had any connection with the organization in the past. How did they get the word out? According to Bob, “We advertise to our existing audience base in print and e-blasts. We have col- Jumpin' Jaks Jazz for Preschoolers. laborated with other organizations that would be able to reach was closed for fifty years and it’s having folks. We don’t market in a demosuch a wonderful rebirth.” graphic way, but a psychographic way, The Lincoln Theatre is one of a few meaning we look at individuals who remaining African-American theatres would be interested in certain kinds of - designed and conceived distinctively programming. We look at parents and for the African-American community. go to, for instance, Columbus Parents The location of the theatre is very sigmagazine. It’s very targeted. Finally, we nificant as well, as it was once known as

JAZZed September 2009 13

report CJO Artistic Director Byron Stripling.

“The Cradle of Jazz,” during 1920s, ’30s, and ’40s. The streets were lined with jazz clubs, and the area was abuzz with activity. Directly across from the Lincoln Theatre once stood the hotel where all

14 JAZZed September 2009

Jazz Camp

of the black entertainers stayed because they were not welcomed downtown. During the 1960s, the East Side area began to decline, which was fast-forwarded by the construction of the freeway, further dissecting the city of Columbus. With the area sinking deeper into ruin, the Lincoln Theatre closed its doors. The rebirth of the theatre reflects the rebirth of a neighborhood, one

with a rich history, deeply rooted in jazz. Appreciation of history can sometimes elude young people, and changing a young person’s perception about things, particularly music, can be challenging and, at times, impossible. Even though hip-hop may be rooted in jazz, it may be difficult to convince a teenage hip-hop DJ to join a Jazz Academy. Yet, many have, which can be attributed to Bob’s and the Academy’s community outreach. “I contacted a DJ I knew and invited him to the Academy and, not long after that, we had a large crew of hip-hop guys wanting to come in. They are a very creative group of young people who now feel really connected to this space,” explains Bob. Part of the Academy’s lease agreement with the city is contingent upon the fact that they provide scholarships and educational experiences for Near East Side kids. As Bob says, “Via the nature of the deal, we are connected to the community, and we know that we are going to save some kids’ lives. And we won’t save lives if we bring kids in here and say, ‘Okay, now we are going to talk about Dizzy Gillespie and Charlie Parker; sit there and listen.’” Bob is a straight ahead jazz drummer and admits to not listening to very much hiphop. But he does recognize that if jazz is to continue to have a life, there must be a way to help people understand that jazz is their music too.

Win a Spot on the Stages of the 53rd Annual Monterey Jazz Festival! Enter the Next Generation Festival Jazz Competition! Open to Middle School, High School, Conglomerate High School, and College Big Bands; High School Combos; plus High School Vocal Ensembles, College Vocal Ensembles, and our new division, Open Combos, open to any combination of college and/or conglomerate high school ensembles. Individual musicians are invited to audition for our Next Generation Jazz Orchestra, performing at the Monterey Jazz Festival Presented by Verizon and on tour! Enter our Composition Competition and see your piece performed by the Next Generation Jazz Orchestra on the stages of the Monterey Jazz Festival! Win scholarships, trophies, cash prizes, and more! Enjoy performances, clinics, workshops, and more with 2010 MJF Artist-In-Residence, Diane Reeves!


April 9-11, 2010 Monterey Conference Center / Monterey, California Visit or call 831.373.3366 for applications and information. Entry deadline for all ensembles is January 22, 2010. Entry deadline for videotaped Next Generation Jazz Orchestra auditions and for the Composition Competition is March 5, 2010. Major funding comes from Surdna Foundation with additional support from Joseph Drown Foundation, D’Addario Music Foundation, Community Foundation for Monterey County, and individual donors. Thanks to our Partners: Best Buy, City of Monterey, and Yamaha Instruments! Discounts available on hotels, activities, and more! Visit for details.

Dianne Reeves 2010 Artist-In-Residence

Our network is growing

JAZZ EDUCATION NETWORK A MESSAGE FROM JEN PRESIDENT MARY JO PAPICH September, 2009 “A great teacher is one who realizes that he himself is also a student and whose goal is not to dictate the answers, but to stimulate his/her student’s creativity enough so that they can go out and find the answers themselves.” – Herbie Hancock Dear Readers, It was one year this summer that the Jazz Education Network was launched --- thanks to the members who believe in the future of jazz education and the dedicated volunteer leadership we celebrate one year of existence! HAPPY BIRTHDAY TO JEN! The newly elected JEN Board of Directors met August 2-5 in Columbus, Ohio at Capital University. The newly elected Executive Committee consists of Treasurer Andrew Surmani, Secretary Jackie Harris, Vice-President John Clayton, President-Elect Lou Fischer, and myself as President (until July 1st). The board is staggered with 1-3 year terms to maintain continuity in the organization. The Board you have elected is an outstanding one that is diverse in ethnicity and professional qualities. They worked very hard and are equally passionate about JEN’s mission of advancing education, promoting performance and developing new audiences. They will serve you well. Please visit our website at to view the Budget and Minutes of this meeting as well as JEN Executive committee meetings under the Members Only section. Please see my President’s Annual Report online (along with the Vice-President and Treasurer) for a broad overview of what my duties involved in serving as your President this past year. It has been my honor to serve you and now I look forward to putting our vision into reality as we work together to plan a future JEN Annual Conference …..visit that website often and stay tuned for the latest info! Special thanks to the new President’s Advisory Council who have been mentoring and supporting me since JEN’s inception: Geri Allen Bob Breithaupt Orbert Davis Antonio Garcia Sherrie Maricle David Baker Bob Curnow J. Richard Dunscomb Jon Faddis Ron Modell This summer JEN was featured on a South African radio show with Eric Alan’s RADIO 2000 show out of Capetown. Professor of Jazz studies at the University of Capetown, Dr. Mike Rossi and I talked about the future of jazz globally. The radio station features the best of South African and African music wireless at . UCT will be the home of the South African Jazz Conference the end of March and is an outstanding gathering featuring such fine talent. This past Labor Day weekend I had the opportunity to visit the great Chicago Jazz Festival and the Detroit Jazz Fest. Executive Director Terri Pontremoli invited John Clayton to be the artist in residence and it was a treat to hear the premier of his composition called “T.H.E. Family, Detroit” and is written to honor Detroit jazz history and influence, as well as the Jones family… Specifically, Thad, Hank, Elvin. I love Herbie Hancock’s quote on reminding us what a great teacher is….a lifelong learner who inspires those she works with to create their own solutions! These creative problem skills needed in the workplace today are learned in JAZZ more so than any other art classes! To you teachers…have a great school year! As you head into the fall and your schedule gets busy remember to take time to visit our JEN website ( and visit us often as we become your most valuable portal for jazz education information and news. New events are being planned for you! Although I thought I was retiring, I was called to step in part time to be the interim Fine Arts Director at Niles District #219 in Skokie. This fine district won the #1 Fine Arts Department in the U.S.A. in 2007 from the Kennedy Center and I am honored to be a part of this dynamic team. In the spirit of excellence and with the advancement of jazz education always in mind…I look forward to working with you and for you. OR Mary Jo Papich Interim Fine Arts Director President, Jazz Education Niles School District 219 Network Skokie, IL Highland Park High School 847-626-2050 Focus On the Arts 433 Vine Avenue Highland Park, IL 60035 Our goal is to be a vital resource for a constantly evolving global art form today and for JENerations to come.

networthynews This column highlights what’s happening in the jazz world and features news submitted specifically for this area of the magazine. Want your event and/or news published here? Send your info (150 words or less to

ORBERT DAVIS and MARK INGRAM (IL-Founding Members) have released Collective Creativity featuring the Chicago Jazz Philharmonic. Is it classical or is it jazz? You decide at www.chijazzphil. org... FRANK POTENZA (CA) has released a new CD entitled Old, New, Borrowed, & Blue on Capri Records Ltd., featuring organist JOE BAGG, drummer STEVE BARNES and special guest, flutist HOLLY HOFMANN. Check it out at The Kentucky Jazz Repertory Orchestra, led by saxophonist MILES OSLAND (KY) and pianist DOMEK, has released a new cd titled Flying Home on Sea Breeze Jazz SBJ-2151. DAVID BAKER (IN) writes in his liner notes: “ON Flying Home, the splendid KJRO fashions another genuine blue ribbon performance.”... Led by renowned drummer SHERRIE MARICLE (NY), you must check out the swinging new DIVA Big Band Live from Jazz at Lincoln Center’s Dizzy’s Club Coca-Cola featuring vocalist Carmen Bradford. Free preview at: www. GERALD CLAYTON, pianist and son of bassist JOHN CLAYTON (CA-Board), has released a new cd featuring his trio, JOE SANDERS on bass and JUSTIN BROWN on guitar, titled Two Shade. For more information, MAMA Records is proud to announce CHUCK OWEN (FL) & The Jazz Surge’s forthcoming release The Comet’s Tail: Playing The Compositions of Michael Brecker. The Comet’s Tail pays homage to the compositions of the late, great legendary saxophonist Michael Brecker. The album features the dynamic 17-piece Jazz Surge alongside collaborators such as: JOE LOVANO, MIKE STERN, MIKE MAINIERI, DAVE LIEBMAN, ADAM NUSSBAUM, DANNY GOTTLIEB, ROB THOMAS and RANDY BRECKER, and is the first CD release emanating from the University of South Florida’s Center for Jazz Composition. This release marks the culmination of a project that began in 2006 seeking to focus attention on the compositions of a great jazz artist while, at the same time, stimulating new works... JORIS TEEPE is proud to announce the release of the new big band CD We Take No Prisoners available on Challenge Records. For more info: Uniquely Rich! is now available in both CD and MP3 formats and features many never-before-heard recordings of jazz euphonist Rich Matteson in some of the most exciting performances every captured of this legendary jazz artist! The carefully selected live recordings cover a span of years throughout Rich’s career and feature performances with The Matteson/Phillips TubaJazz Consort, some of the top United States Military Jazz Bands, Red-Hot Las Vegas Dixieland, overseas Radio Shows, University Concerts and Rich’s own sextet. Learn more about “Uniquely Rich!” and other recordings by Rich Matteson at All net proceeds go to The Rich Matteson Foundation to help fund many programs for young musicians.


Kansas City jazz master AHMAD ALAADEEN (MO) has published a new book titled The Rest of the Story: Jazz Improvisation and History Manual. For information about or purchase of the user-friendly jazz improvisation manual and its methods to finding yourself as a soloist, visit www.Alaadeen. com... BRADLEY SOWASH (OH) publishes an enhanced version of his newsletter online at: news.htm The format is divided into sections so you can jump to the information that is most relevant to you: Fans; Music Students; Teachers; and Directors... BILL HARRISON (IL) offers downloadable playalong tracks at Tune in to JOHN LA BARBERA’s (IN) public radio show Best Coast Jazz 10:00 a.m. ET on Sunday mornings, a big band show streaming live at BOB BERNOTAS (NY) is streaming his 91.9 WNTI-FM Just Jazz Sunday night (10 p.m. ET) radio show at PAUL PEARCE (VA) has a new Jazz Show, The Cool Jazz Set, scheduled to air on Sundays at 7 PM beginning August 2nd. The show can be heard on 90.1 FM and on the web at

JEN Turns One.

JAZZed September 2009 17


Berklee College of Music (MA) announces that pianist DANILO PÉREZ has accepted a new position as the artistic director of the Berklee Global Jazz Institute, a new program designed to foster creativity and musicianship through a variety of musical disciplines. As artistic director, he will create and lead the BGJI as a center of musical creativity that will emphasize personalized goal-setting and directed study, experiential and service learning with a special emphasis on nature and the environment, business acumen, and intensive access to world-class visiting artists. Saxophonist MARCO PIGNATARO will act as managing director, charged with carrying out its vision. Marco has, until recently, been the director of the Jazz and Caribbean Music Department and Jazz Saxophone Chair at the Conservatory of Music of Puerto Rico. JEN salutes Berklee in their efforts of globalization... Jazz vocalists and recording artists JANICE BORLA (IL), JAY CLAYTON and CATHY SEGAL GARCIA (CA) combined talents for the “Hot Jazz - 6 Cool Nites” concert series at North Central College. The concert series was presented in conjunction with the Janice Borla Vocal Jazz Camp, and features the eight jazz artists who comprise its faculty roster for the weeklong educational workshop. In-Residence instrumentalists included trumpeter ART DAVIS (IL), guitarist JOHN MCLEAN, pianist DAN HAERLE, bassist BOB BOWMAN, and drummer JACK MOUSE... Information related to the multitude of annual jazz happenings at the University of Toledo can be accessed by contacting GUNNAR MOSSBLAD (OH), Director of Jazz Studies at: gmossbl@UTNet.UToledo.Edu

18 JAZZed July 2009

The 2009 All American College Jazz Band sponsored by Yamaha had a very successful 11 week run of performances and masterclasses at the Disneyland Resort. Twenty-one talented college students from around the country were selected via audition to participate in this work experience program. The band was directed by DR. RON MCCURDY (CA), Professor of Music at the University of Southern California. In addition to performances at Disneyland, the students took part in workshops addressing the business of music led by Professor Rick Schumk (University of Southern California) and arranging and composition led by Professor Matt Harris (CSU Northridge). The students also performed with a host of wonderful guest clinicians including, JOHN CLAYTON (CA-Board), GORDON GOODWIN (CA), WYCLIFF GORDON, JIGGS WIGHAM, GREGG FIELD, SAL LOZANO, RICK BAPTIST AND STEVE HOUGHTON (IN)... The PRESERVATION HALL JAZZ BAND has recently signed to Ted Kurland Associates. An exciting new slate of programs is planned for 2010, including a new collaboration with Bluegrass Legends The Del McCoury Band... NIC MEYER has recently been named the new Director of Jazz Ensembles at New Trier High School in Winetka, IL. The 2010 Frank Mantooth Jazz Festival will take place on Saturday, February 6th, 2010. Featured ensembles for the evening performance will be the Vanguard Jazz Orchestra, DePaul University Jazz Ensemble, and the John Wojciechowski Quintet... The Jazz Arts Group of Columbus (OH-Institutional Partner) turned up the volume on summer plans with the wild thrill of classical jazz, swing, blues & more as the Columbus Jazz Orchestra took center stage at the Columbus Zoo for

JEN BOARD of DIRECTORS - August 4, 2009 Back Row: John Wittmann John Clayton, Andrew Surmani, Paris Rutherford, Steve Crissinger, Middle Row: Jose Diaz, Bob Sinicrope, Ruben Alvarez, Jim Widner, Front Row: Jackie Harris, Mary Jo Papich, Lou Fischer, Rachel Kelly (Student Assistant)


the fourth annual JazZoo summer concert series. All concerts included FREE ZOO admission for the day!...btw, while meeting in Columbus this past August, the JEN Board toured the new JAG sponsored Jazz Academy at the fantastically beautiful Lincoln Theatre as mentioned in this column last issue... Riverwalk Jazz, Keeping It Hot - Celebrating 20 Years! The JIM CULLUM Jazz Band will be joined by New Orleans vocalist TOPSY CHAPMAN, piano virtuoso SHELLY BERG (FL), and Broadway’s VERNEL BAGNERIS for a memorable night of red hot jazz at the historic Pearl Stable in San Antonio, Wednesday, October 7, 2009.

You are invited to participate in the 8th Annual Daniel Pearl World Music Days, a global network of events to promote peace and understanding through the language of music. This year’s World Music Days will be held October 1 - 31, 2009, and we hope that you will be able to inspire your audiences through this opportunity. World Music Days, which coincides with Daniel’s October 10 birthday, is an awareness-raising initiative, not a fund-raising program. There is no fee to participate. A simple registration of your event(s) at will confirm your participation and promote your event(s) worldwide.

Upcoming Events

Mark your calendars and make your travel plans for these exciting JEN events: JEN Partnerships in Jazz Education: Quincy Jones Musiq Consortium November 4, 2009 New York, New York Midwest Clinic December 16-18, 2009 Come visit us at the Booth! Chicago, IL NAMM/Support Music Coalition January 14-17, 2010 Anaheim, CA Music For All National Festival MFA/JEdN Honors Jazz Band of America March 4-6, 2010 Indianapolis, IN 1st Annual JEN Conference: Shaping the Future of Jazz Education May 20-22, 2010 University of Missouri at St. Louis St. Louis, MO stay tuned for more details as they develop!

Music For All Summer Symposium Music For All/Jazz Education Network Jazz Camp June 21-26, 2010 Bloomington, IL JEN Endorsed Events: Puerto Vallarta Jazz Festival February 12-15, 2010 Puerto Vallarta, Jalisco, Mexico Details Coming Soon! JAMfest New Orleans Junior Arts & Music New Orleans, LA March 4-6, 2010 National Jazz Workshop July 11-16, 2010 Beginner to Professional Musicians Shenandoah University in cooperation with U.S. Army Blues & Smithsonian JazzMasters Winchester, Virginia

Visit regularly for details, click on Upcoming Events JAZZed September 2009 19


You made your desire for a CONFERENCE known and we listened! Announcing the…

1st Annual Jazz Education Network Conference • Shaping the future of Jazz Education


Save the Date:

Thursday, May 20th through Saturday, May 22nd, 2010 Featuring top quality professional musicians and clinicians…with many opportunities for student groups….


St. Louis, Missouri – Gateway city to the West St. Louis attractions offer many things to see and do when the conference is over that you’ll probably run out of time before you run out of options. Unique attractions, historic sites, charming neighborhoods and exciting entertainment options are all within reach! Presented in tandem with the University of Missouri - St. Louis Campus • UMSL is located on the rail line with direct link to downtown St. Louis • Easy accessibility to St. Louis International Airport • Ideal location with ample clinic rooms • Beautiful Performance Arts Center and Student Center Details to be outlined at as they materialize related to: • Performance & clinic submission materials • Earlybird Registration Advantages & Details • Participation is limited so register early! • Multi-tiered hotel options are being developed, watch website for details • Interested in performing or presenting? Downloadable Electronic Submission Details are being developed, check website for details often!



Welcome to our JEN members and future partners Introducing your new Jazz Education Network Executive committee:

Welcome New Members New Members since August 25th, 2009. Institutional Partner: VAIL JAZZ FOUNDATION


Mary Jo Papich, President (IL)

Dr. Lou Fischer, President elect (OH)

John Clayton Vice-president (CA)

Jackie Harris, Secretary (NY)

Andrew Surmani Treasurer (CA)

22 JAZZed September 2009


lessons learned




or many students, the college jazz program audition process can seem to be full of anxiety and stress. Although your audition is certainly a moment when you want to make the best possible impression (musically as well as personally), it’s best to think of this as a time when you can also learn which program is the best fit for you. In fact, you are auditioning the program as much as they are auditioning you. The Audition Recording Most programs require an audition recording; some schools use this as a first step to scheduling live auditions, and other programs have an option or requirement for recorded auditions only. Don’t toss this off as a “preliminary” recording – you’ll never have a chance to closely investigate any program if you don’t first grab their attention, and this is your chance. The major jazz studies programs have only a certain number of openings based upon available faculty teaching loads, rehearsal space, scheduling, et cetera, and there are many more applicants than the available openings. This recording is your chance to make the case that you are “a contender,” that you have musicality and potential that the faculty wants to help develop. Take full advantage of the opportunity. As you plan your recording, first read the school’s audition requirements carefully and follow them closely, in terms of required scales, repertoire, tempos, styles, and so on. Do exactly what they ask – and consider the reasons for these requirements; they tell you a lot about the school and what they expect of their students. If you are asked to select your own repertoire, your choices will speak as loudly to the audition-

24 JAZZed September 2009

ers as your performance itself. Although it’s great to showcase your ability as a composer with your original tunes or showcase the uniqueness of your working band, the core of your audition should be made up of popular song and jazz standards (some schools require this). Standard tunes are the common denominators of modern and older jazz alike, and have formed the basis of jazz for a century. Through your choices, you can demonstrate your understanding of that history, lineage and repertoire. Although much of your high school experience may have been in an 18-piece big band, any competitive college jazz program expects incoming students to have considerable improvisation experience and repertoire when they arrive. Some other CD tips: make your case succinctly by including no more than three or four selections. You should be the first improvising soloist after the initial melody statement; don’t make the auditioners fast-forward through other peoples’ solos to find you. Mix up the tempos of the selections; along with the medium- and up-tempo tunes that show your technical level, include a lyrical ballad that you truly “believe in,” with a melody that you can really sing with musicality. If possible, include

lessons learned at least one standard such as “All the Things You Are,” “Have You Met Miss Jones?” or “Body and Soul,” showing your ability to improvise over modulating chord progressions. Although tunes like “Impressions,” “Autumn Leaves,” “Song for My Father,” or a blues are certainly famous standards, an audition recording made up only of these modal or “one-key” tunes can imply that the applicant can handle nothing more than that. On the other hand, avoid including the most difficult tunes you know on your CD; for example, there are only two kinds of improvised solos on very challenging tunes like “Giant Steps,” “Countdown,” or “Moment’s Notice”: super strong with excellent command and deep knowledge, or not good. It’s better to

perform well on tunes that demonstrate your strengths. If you spend money on producing your CD, spend it on getting the best

perience is important, spending thousands of dollars on a big production is worthless if the playing is not strong. Of course it’s important to spend time jamming with your friends and peers, but if you are in the very common situation of being the best jazz player in your school, do not hesitate to ask your teacher for recommendations on pro players who will make you sound your best. Although the faculty focus on each applicant’s performance and try not to let the accompaniment affect their decision, many an audition has the added distraction of a bassist or pianist playing wrong changes, or a dragging/rushing drummer. If finding strong accompanists is impossible, a play-along recording from Jamey Aebersold or other sources is preferable.


JAZZed September 2009 25

lessons learned It’s always best to demonstrate your interaction with fellow humans (after all, that’s the basis of this music), but a well-balanced and well-recorded play-along audition is in my opinion far better than a distractingly poor live rhythm section.

The CD package is also important. Again, no need to spend lots of money – just make the CD cover neat, readable and attractive. Be sure to include your name and contact information (unless the school requires that this information be omitted on the CD),

s ’ t t i b b a B j It’s j y r a s r e v i n n 90th A he sound! Celebrate t


k Vintage the Otto Lin . .. g in c u elping you d o Intr 90 years of h g in at or em m Com by jj Babbitt. usic. m t make grea • E-mail: M O U T H P I E C E S


26 JAZZed September 2009




with the correct order of tracks listed. Check the disc on a standard home CD player before it goes in the mail to be sure that it burned correctly! A blank or unreadable CD means extra work for the school in contacting applicants to re-send their audition… or worse, rejecting them out-of-hand without their ever knowing what happened.

The Live Audition When you receive a call or letter inviting you to come to the campus for a live audition, that creates an important opportunity for you. Take advantage of your presence in the jazz program’s building to check out classes, ensemble rehearsals, even private lessons if possible, as well as the overall atmosphere in the corridors. Learn about the housing situation, and try to get a tour that includes a meal in the cafeteria and a dormitory visit. If the audition day schedule makes these visits impossible, make every attempt to come back another day when you can accomplish this. (Note: most programs will welcome you at any time for a daylong visit to sit in on classes if you make an appointment. These have an advantage because you’ll often get more personal attention than would be possible on a group audition date.) When you visit, ask yourself these questions: Will you be challenged by the classes and ensembles? Are you meeting students and faculty with whom you identify? Does the program repertoire reflect a broad focus from modernist to traditional, from small group to big band? How is the atmosphere: is it well organized and relaxed, or does it seem too rigid and regimented, or too loose and unfocused? Get to know the program’s statistics: some students do better in a larger, more competitive environment, while others thrive in a smaller, more intimate situation. Similarly, some students want big-city surroundings, others prefer a campus setting, and others a combination of those. The live audition session itself can be daunting, so the key is to be so well prepared that you are ready for practically anything. That confidence that “I’ll be

lessons learned fine no matter what” will minimize the factor of nerves. There may be required repertoire, so consider the reasons behind the faculty’s choice of requirements. For example, what are they looking for by asking everyone to play this same selection? Do your homework to understand the history of the tune through its famous recordings: important elements like introductions or endings, background or harmony parts often don’t appear in fake book lead sheets, so the recordings are the true source. Be aware of any harmonic pitfalls such as quick key changes, or places in the progression where there are alternate or substitute harmonies you should know. If there is a sight-reading requirement, there’s only one way to practice for that – read new music every day. Song melodies from fake book anthologies are good practice, but jazz etude books by such people as Bob Mintzer, Jim Snidero, and Greg Fishman provide more challenging experience at multiple levels of difficulty. Assuming you are allowed to pick a tune for the live audition, choose an “old friend” that is familiar and relaxing to play from memory – that hopefully did not appear on your audition CD. Have several possible backup selections along with your “Plan A” tunes, including a ballad as well as faster tempos, in case your choice is vetoed by the auditioners for any reason. Bring sheet music copies for your accompanists. Remember that you will usually be performing with faculty or advanced students that you are just meeting for the first time; they may play your selection using a different groove or tempo than you are accustomed to. To prepare, practice your tunes at widely varying speeds, all the way from walking ballad to up-tempo, and in a more traditional “swing” style as well as with a more modernist approach. If you are fully ready, you can “go with the flow” and really interact with your fellow musicians in the moment, rather than being flustered by unexpected elements they may add.

Either before you begin or when you finish playing, have some questions ready for the faculty, and be ready to briefly tell them about yourself. Use these few minutes as a chance to let them quickly get to know you personally as well as musically. Remember, it is not enough to be a great performer; they’re looking for great people as well, ready to interact and fit into a variety of musically and culturally diverse situations. A final live-audition note: don’t be distracted by the apparent mood in the room as you enter; remember, that mood is a factor of the previous applicants, not you. The auditioners may be upbeat or businesslike, may be talkative or nearly silent and procedural, even a bit punchy and silly after sitting in that room for eight straight hours. Just go with it, as you would any situation meeting new people, remember that they’re human too. Be ready to do your thing at the downbeat, and create your own mood! Many of our William Paterson University jazz majors and alumni have told

me that they look back on their audition and program selection process as a very positive time when they made important career decisions that have affected their lives. This advice on CD preparation and live auditions will hopefully help you gain awareness of the central issues, so that you are equipped to make these decisions. Good luck! David Demsey is a saxophonist, and is professor of Music, coordinator of Jazz Studies and curator of the Living Jazz Archives at William Paterson University in Wayne, N.J., co-leading that program with pianist Mulgrew Miller. His transcription book, John Coltrane Plays Giant Steps (Hal Leonard), is widely used, and his essay “Jazz Improvisation and Concepts of Virtuosity” is the final chapter in the Oxford Jazz Companion. He has been a Selmer Saxophone clinician for over 20 years, and has appeared as a featured performer, guest artist, and clinician at nearly 100 schools, colleges, and jazz festivals.

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28 JAZZed July 2009

Jazz Can be Learned, but it Can’t be Taught Christian W issmuller


ohn Scoeld’s rock- and R&B-infused approach to jazz guitar has made him one of the most prominent voices on the instrument for decades. Along with Bill Frissell and Pat Metheny (the “big three” of contemporary jazz guitar), Scoeld has exerted an immeasurable inuence on generations of musicians who’ve followed.

“I don’t have a ‘method’ for teaching; I don’t believe in that.” Early collaborations in the ‘70s with the likes of Gerry Mulligan, Chet Baker, Billy Cobham, Gary Burton, Dave Liebman, and Charles Mingus led to a successful solo career both as a recording and touring artist. A notable stint with Miles Davis in the early ‘80s further cemented Scoeld’s reputation as a master axeman. Subsequent solo work has yielded two number-one albums on the Billboard Jazz Charts, continued collaborations with fellow greats, and an acclaimed tribute to Ray Charles (That’s What I Say) in 2005.

John Scoeld All photos by Naoki Iwane.

JAZZed March 2009 29

JAZZed recently spoke with Scofield about his life in music and his thoughts on how to effectively teach, and learn, the language of jazz. JAZZed: First off – thanks for taking the time to talk; this is a real honor. John Scofield: Not at all! My pleasure.

JAZZed: Let’s start off at the very beginning – when did you first pick up the guitar?

JAZZed: When did your interests begin to go beyond pop music?

JS: I began when I was 11. My mother instigated it, actually. She said, “Well, why don’t you play guitar?” So we went and rented one from the local music shop. I got this little student guitar and started to learn chords. What motivated me was rock n roll and pop music of the day.

JS: Well, it’s important to note that the rock and pop music of the day was pretty damn cool, really. The Beatles were the big deal. Also folk music and soul music were huge then – the real Golden Age of soul music in the mid ‘60s was happening and all of this led me to blues guitar and I became a big B.B. King fanatic. I was taking lessons with this local guy who really turned me on to jazz guitar: Barney Kessel, Wes Montgomery, Tal Farlow – he played me all the greats. JAZZed: Can you talk more about those early learning experiences? Who were some teachers who had the greatest impact on you?

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w w w. m u s i c . m i a m i . e d u 30 JAZZed September 2009

JS: Well, I took those guitar lessons when I was a kid with the local guitar teacher in my small town in Connecticut. Then, of course, I went to Berklee. I never had any formal instruction before I went to there in 1970, really. The first year in Boston I got to study with John LaPorta and some of the great older teachers there – Herb Pomeroy and all these other guys. They were all very inspiring musicians to be around. Then, in my second year, Gary Burton came to teach at Berklee and he really was a mentor. I lived with a bassist at the time, Chip Jackson, and a drummer named Ted Siebs. We had a little rhythm section at our apartment and Gary used to come over and jam with us – we had a set of vibes there. So I was very lucky in my sophomore year, because Gary hung out with us at our apartment all the time and we got to jam with him and spend time together. He really got me started; he was the first great jazz musician that I ever got to really know. JAZZed: Regularly jamming with someone like Burton in your college apartment – that’s a pretty enviable position to have been in at that age. JS: You’re telling me. [laughs]

JAZZed: Was it while you were at Berklee that you developed an interest in teaching, yourself?

MSMW: Medeski, Scofield, Martin, & Wood.

JS: To be completely honest, I didn’t really have any true interest in teaching at the time. I had an interest in playing and learning music. I always did give guitar lessons for extra money, though. JAZZed: So, no burning passion to teach. JS: No, absolutely not. Not at that age. [laughs] I had a burning passion to play, but not to teach. JAZZed: How did you wind up at Berklee, anyway? JS: I knew about Berklee from some of the older musicians in my area, growing up. At that time, in the early ‘70s, Berklee was still really one of the only places

you could go to study jazz full-time. There were a couple of guys from my town who had gone before me. My gui-

tar teacher was really into it. He had always wanted to go there and, as a matter of fact, after I started attending

JAZZed September 2009 31

me to move to New York, so I left in January of 1975.

JAZZed: And a little while after that you hooked up with Miles?

JAZZed: Let’s talk about your career after college.

JAZZed: It was after the move to NYC that you began to actively do a lot of solo stuff.

JS: Well, I left Berklee after two and half years to hang out in Boston and just play gigs. There was a local jazz scene that I was part of and I was giving lessons between playing gigs. I was also doing what they call “GB” gigs – general business gigs, gigs for money. I was just on the scene up there and I met [Gerry] Mulligan. Alan Dawson recommended me and that led to playing with the Mulligan/Baker reunion which was the first record I was on. Right after that, I got the gig with Billy Cobham’s band and that allowed

JS: The funny thing is, people always ask, “When did you start your solo stuff?” I’d been doing my own gigs before I did anything else – just stuff that I could hustle up, myself, because there wasn’t much else happening. So I’ve always had gigs of my own, but, yeah, primarily it started in the second half of the ‘70s around New York. After I played with Cobham and Burton, I started getting my own group together and making records. The first album I released was in 1977.

JS: I joined Miles in 1982, so I had had a few years on the scene there in New York. I made a lot of recordings of my own, played on a number of records for other people – I was sort of a sideman for hire.


I really believe that we learn by playing with people who are better than us.

32 JAZZed September 2009

JAZZed: What kind of knowledge do you walk away with after getting to play with those kinds of guys – Miles, Mulligan, Burton, and the rest?


Berklee, he’d come up and visit me and look at the textbooks and absorb the atmosphere.

JS: Those guys are the real teachers. I really believe that we learn by playing with people who are better than us. Anyone like Gerry Mulligan and Miles and any of the well-known players or unsung heroes who I got to play with and, later on, Joe Lovano and Michael Brecker – these people that I got to play with night after night… that’s how I learned. Going up against them with my solos, too.

They take their solos and I take mine and then you listen back to recordings, hone your stuff, and talk about the music with all the great players. That’s how you learn, how you improve, how you evolve. JAZZed: You’re currently on staff at NYU. How do you like it there? What’s your schedule like? JS: It’s been great because Dr. Dave Schroeder has made it possible for some people like myself who are on the road all the time to have kind of a limited schedule over there. I teach seven days a semester. In each day, I teach one guitar group comprised of five or six players for two hours and then I do a two-hour combo. I’ve been there for about four years. JAZZed: Prior to NYU, had you been teaching actively? JS: I hadn’t taught for years – only the occasional master class. JAZZed: What are you finding that you like best about being an instructor, these days? JS: I like the people. It’s funny – when I was younger and giving lessons for a living I think I was more selfish, really, and concerned with myself. I just kind of jammed through the lessons. Now I really appreciate the young people and it’s a very personal thing of helping people and maybe giving a little insight into what it is that I do. I don’t have a “method” for teaching; I don’t believe in that. Whatever method I have is very much kind of… organic. I’ve come up with little tidbits of knowledge that I can patch together and share with others. JAZZed: Flipside of the same question: what do you find to be most frustrating or un-enjoyable about teaching? JS: Unfortunately, it’s teaching people who are not very talented. That’s always going to be a problem for any instructor – students who really want JAZZed September 2009 33

John Scofield with George Porter Jr., Jon Cleary, and Ricky Fataar.


cal theory. That may seem obvious, but that’s basically it and it all starts with getting them to love jazz. JAZZed: Well, here’s a question – you mentioned that players learn by playing with those who are better than them. What if you’re a teacher and you have a student who’s far better than the rest of the kids in that school’s jazz combo, far better than any other kids in the area? How do you help that student to have that type of valuable learning experience – playing with and against musicians who are superior – in that scenario?


to get it, but just don’t have what it takes to play at an advanced level. Then it gets very difficult, trying to explain to someone how to play jazz. What is it that makes jazz good? Because it’s way too intangible to try and explain. This phrase is probably not very popular, because it’s a little too cute, but I do like it: “Jazz can be learned, but it can’t be taught.” I think when you have a talented student, it’s a pleasure and a very, very wonderful experience for a teacher. But when you have someone who really wants

I’ve come up with little tidbits of knowledge that I can patch together and share with others.

to know, but just doesn’t have the skills… it’s sad in a way, because you can’t help that person much past a certain point. JAZZed: What would you suggest to, say, a middle- or high-school music teacher who’s trying to get a jazz program started at his or her school? JS: The primary goal would be to get some people excited about jazz music. If you can kindle a real interest, that’s what you want to do. Once there is an interest, help them learn about the music through appreciating recordings, through learning the music, technically, on their instrument, and through the explanation of musi-

34 JAZZed September 2009

JS: Well that’s who I was. I became the best guitarist in my high school pretty easily. From there, it took Berklee to kick my ass around and that’s what did it for me. If you’re teaching a student who’s one of those types of players, maybe help them meet others outside of their universe to work with other, better, older players and then, beyond that, help them decide if they want to study jazz full time at a music university or conservatory situation and help them find a school. JAZZed: Yourself, Bill Frissell, and Pat Metheny are commonly regarded as the three most significant guitarists of your

era – how do you, personally, view your place in today’s jazz scene? JS: I think that the three of us and others my age are lucky because we were there at a time in the ‘70s when jazz and rock were mixing. New things were happening with the guitar – technological advances as well as changes in the musical climate. We just happened to be in the right place at the right time. JAZZed: What are your thoughts on upand-coming jazz guitarists? JS: Man, they talk about our generation – there’s a whole bunch of really good younger players, far younger than I am. There are some other guys in their 30s right now who are bringing the guitar to new levels. Too many to name just a few, really. JAZZed: What do you think are some common snags for teaching jazz guitar to younger students and what suggestions would you offer to teachers in terms of overcoming those hurdles? JS: I think you have to really slow everything down for younger students. Most guitar players start out by playing simple blues lines in the pentatonic shape. If you can, somehow, show somebody that improvising over a jazz tune at a medium tempo in a lyrical way can be almost the same as playing blues in that you get the lines in your ear and you can sing them – they can be lyrical and not just technical. If you can show somebody that and how that can be done and maybe get them to listen to Grant Green, Jim Hall, and other people like that rather than only the flashy fast guys, then maybe they can start to get a sense for the architecture of the music and the shape and form, so that improvisation is not such an incredible mystery. JAZZed: That leads nicely into my next question – how do you approach helping younger players begin to understand improv? JS: I try to make an analogy between verbal conversation and imJAZZed September 2009 35

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provising. When I’m talking to you, I’m talking in sentences, but I’m trying to express a larger idea that may ultimately be a couple paragraphs long or something. I go from one idea to another. Improvising with melodic phrases is the exact same thing. I’d start to explain it like that – you develop a vocabulary and then you start to form sentences and paragraphs and, on a good day, maybe you can conceive of a whole page of ideas in a larger musical conversation. JAZZed: What do you consider to be some of the highlights of your professional career? JS: I think getting to play jazz professionally at least 150 nights a year for 30 or so years has been the high point for me. I’ve been blessed that I’ve been able to consistently do that with great players. And making 38 records as a leader and getting to write tunes and be on all the records as a sideman – there really have been too many things to think what the high

points truly are. Getting to play with so many of my idols, people whose records I listened to over and over and analyzed and dreamed of playing with… getting to do that has just been incredible. JAZZed: What advice would you impart to today’s jazz instructors – our readership? JS: I think there’s a lot of jazz related music that’s very valid and a lot of high school or college aged kids that you run into will be into other things that are not just straight ahead be-bop, you know? I think that jazz educators should really encourage that type of interest on the part of their students. It’s a big world out there and a lot of the kids will be into different forms that you may not be into, yourself, but it’s still challenging music and they should really be allowed to pursue those passions, as well, and not feel that jazz is an elite old boy network and club that only certain people can be in.

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focus session


Common Errors in Jazz Music Notation BY LEE EVANS


hen, in their music notation, jazz musicians violate fundamental rules of music theory, jazz is made less accessible to the classical music community, not to mention the promotion of inaccurate musicianship

it that says C7#9. He or she looks for the D# indicated by the #9, can’t find it in the chord, and rightly says “I’ll never understand this crazy jazz language.” Example 1


standards to jazz students. By contrast, jazz writers’ adherence to correct theory would benefit everyone, jazz and classical musicians alike. In this article I’ll discuss several dubious music notational practices engaged in by jazz and pop musicians, especially composers and arrangers.

Sharp Nine/Flat Ten Jazz musicians think of chords as being stacked in intervals of thirds – 3, 5, 7, 9, 11, 13. When a tone foreign to the chord is included, such as Eb in a chord consisting of C E G Bb Eb, they are likely to change that tone enharmonically in their mind to D# in order to suit that mode of thinking, and then call the chord C7#9 instead of C7b10. However, it’s not the 9th that has been raised but the 10th lowered. (I personally think of the b10 as a blue note anyway, which is a lowered rather than a raised tone.) A classical musician picks up that music sheet and sees C E G Bb Eb with a chord symbol above

38 JAZZed September 2009

I have no objection to the chord being called C7#9, provided that the underlying notes of the chord are spelled that way… with a D# rather than an Eb. But if the chord tones are spelled with an Eb (as I tend to do in my own original music and solo piano arrangements), then I feel strongly that the chord symbol should say C7b10. It is simply wrong theory and confusing to classical musicians to spell the notes of a chord one way but then identify the symbol above it another way. Please note the correct chord spelling in the examples below.

focus session Dominant 7th (b9)


Example 2

Speaking of enharmonic changes and correct theory, if one were to want to write an Ab7b9 chord, the chord tones should consist of Ab C Eb Gb Bbb, not Ab C Eb Gb A. The 9th degree of an Ab chord or scale is Bb; thus the lowered 9th is Bbb, not A. Example 3



It’s that inconsistency with respect to chord spelling that jazz writers frequently engage in, and by so doing make the language of jazz unfriendly and difficult to comprehend. I may be in the minority with respect to my views in this matter, but I feel justified in adhering to classical theory when writing jazz, instead of going along with incorrect and sloppy jazz custom and practice.

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focus session Diminished 7th Again, if correct theory is to be observed, a C diminished 7th chord should ideally be spelled C Eb Gb Bbb, not C Eb F# A. After all, C up to A is a major 6th, not a diminished 7th that C to Bbb is. The definition of a diminished 7th chord says that it must consist of a diminished triad plus a diminished 7th above the chord root. That being the case, why write F# in that C diminished 7th chord instead of Gb? In a diminished 7th chord there must be a diminished 5th, not an augmented 4th. (C up to Gb is a diminished 5th, whereas C up to F# is an augmented 4th.) Example 4



Enharmonic note changes employed by jazz writers ostensibly to make music reading easier actually often make it more complex and difficult, especially for classically trained musicians.

Minor 6th Additionally, I have an objection to a Cm6 chord being spelled C Eb G A, when according to correct classical theory the Cm6 chord should be spelled C Eb G Ab. Remember, the C natural minor scale’s 6th degree is Ab, not A. But unfortunately, in jazz chord notation, a Cm6 chord always translates to a minor triad with a major 6th above the chord root. Why a major 6th? Shouldn’t the interval of a 6th up from the root of a Cm6 chord be a minor 6th - Ab not A? A minor 6th chord with a major 6th can just as easily be spelled correctly in terms of classical theory as CmĆ?6, not Cm6. Similarly, an Am6 chord in jazz (a minor triad with a major 6th above the chord root) should ideally be spelled Am#6, not Am6.

Fake Book Chord Symbols Many of the earliest fake books in pop music history derived their chord symbols from published piano-vocal sheet music. I have sometimes seen incorrect chord sym-

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SJW’S PAST FACULTY HAS INCLUDED: Geri Allen Kenny Barron Ray Brown Geri Allen Jimmy Cobb Kenny Barron Stan RayGetz Brown Dizzy Gillespie Jimmy Cobb Slide Hampton Stan Getz Barry Harris Dizzy Gillespie 3UMMER%DUCATION0ROGRAMS Heath Bros. Slide Hampton Joe Henderson s0ERSONALIZED#URRICULA Barry Harris Sheila Jordan Heath Bros. Lee Konitz s/NEONONEINSTRUCTIONBYWORLDCLASSFACULTY Joe Henderson Branford Marsalis sYEARSOFQUALITYJAZZEDUCATIONSECONDTO Mulgrew Miller Sheila Jordan NONE Jason Moran Lee Konitz *AZZ#AMP*AZZ2ESIDENCY Joshua Redman Branford Marsalis (youth 12-17) (adults, advanced youth) Rufus Reid Miller Week 1: July 18-23 August 1-6 Mulgrew John Scoďƒželd Week 2: July 25-30 Jason Moran McCoy Tyner Joshua Redman VISITWWWSTANFORDJAZZORGOR Phil Woods CALLFORAFREEBROCHURE Rufus Reid John Scoďƒželd STUDY & PLAY WITH THE BEST IN JAZZ McCoy Tyner

focus session bols in these books that resulted from writers ignoring the left hand notes of the original sheet music chord. An example of this would be the left hand playing a bass clef low D while the right hand plays a treble clef F A C E above it. That chord in its totality is Dm9, not FMA7, a symbol I have at times encountered for this chord. While many of the notes in both of these chords are identical, the omission of left hand notes from the chord symbol could likely result in compromised voice leading at the very least. Example 5



Conclusion I’m realistic enough to understand that I’m not going to single-handedly change the jazz world with the above observations, but I do hope with this article to plant seeds of doubt in the mind of jazz musicians about some of their questionable musical practices, and thus influence their musical thinking. In the meantime, until such time as the above musical practices have been modified or changed, it is imperative that musical purists learn to function within these broken rules of theory, if they are to participate successfully in the jazz world.

Lee Evans is Professor of Music at NYC’s Pace University. He is the author/composer/arranger of over 90 books, plus numerous articles. Among his most widely used books is How To Play Chord Symbols In Jazz & Popular Music (Hal Leonard), co-authored with Dr. Martha Baker.

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Art Taylor


n keeping with its mission, the AAJC presents in this issue of JAZZed a transcript of a 1994 videotaped interview of the late master drummer Art Taylor by fellow master drummer Warren Smith. The interview is available as one of the components of the Louis Armstrong Oral History Project conducted and housed at the Schomburg Center for Research in Black Culture of the New York Public Library located in Harlem. Further inquiry should be made by contacting the Schomburg (212) 491-2200. Future AAJC Jazz Forums will periodically feature musician-to-musician interviews conducted and published by Art Taylor in his book, Notes and Tones. The interviews by Mr. Taylor will include such greats as Miles Davis, Randy Weston, Carmen McRae, Elvin Jones, Ornette Coleman, Sonny Rollins and others.

Schomburg Transcript, Compiled and Edited by Dr. Larry Ridley, AAJC Executive Director Arthur Taylor was born April 6, 1929 at 145th Street and St. Nicholas Avenue to parents of Jamaican origin, his one sister became a classical pianist. The oral history interview with this jazz percussionist, author and publisher, begins with his teenage years when he was growing up in Harlem and playing with local musicians. Art recalls his father taking him to hear Chick Webb, Jo Jones and J. C. Heard. He was very impressed. Another memorable event was at age 17 or 18 when he went to a jam session; this was the point at which he decided to become a drummer. That Christmas his mother gave him a drum set. The following January, he was working as a drummer. He had a neighborhood group that played at dances, parties and the Audubon Ballroom which Art Taylor included Sonny Rollins, Jackie McLean, Kenny Drew and Andy Kirk Jr. Taylor talks about some popular Harlem spots at that time: Small’s Paradise, Connie’s Inn, Club Baron, Bowman’s and a place for barbecue owned by Sidney Poitier. In 1950, he began playing with Oscar Pettiford’s trio, which included Wynton Kelly on piano. He made his first recording session with Pettiford. After which they drove to Chicago to open at the Blue Note where Duke Ellington was closing. He recalls staying in the South Central Hotel on 63rd Street with Dizzy Gillespie, John Coltrane, Jimmy and Percy Heath, Specs Wright, and Milt Jackson. That was an experience he treasured. After one year with Pettiford, Taylor joined Coleman Hawkins’ band with Kenny Drew, Sweets Edison and Tommy Potter. His big break came when he was recommended by Max Roach to Bud Powell. While playing with Powell, they would perform an average of 16 weeks a year in Berlin, and also opened for big names such as Duke Ellington, Dinah Washington

42 JAZZed September 2009

and Count Basie. His affiliation with Powell helped him to get more work with other musicians. Taylor then elaborates on a recording session and concert, Thelonious Monk Orchestra at Town Hall, and how it was the most difficult session work he ever did. All of the arrangements were by Hall Overton. Taylor made numerous recordings with Jackie McLean, Red Garland, John Coltrane and describes what he liked about recording at that time when sessions were held with the band together in the studio, compared to the recording scene today which he says is lacking. He recalls learning a lot from working with Miles Davis and Kenny Dorham, and explains that he had become only interested in playing with the very best musicians. Taylor’s greatest challenge was playing with Charlie Parker. Parker advised him to learn the lyrics to all the standard songs. He said being able to sing along with them in time would help him as a drummer. Taylor expresses his admiration for Charlie Parker for his intelligence and the positive regard he always had for other musicians. He tells how Philly Joe Jones tutored him an entire day with piano and drums at Minton’s Playhouse and this helped him tremendously. Miles’ advice: “don’t hold back, clean up later.” Taylor recalls an incident in which he played the sock cymbal too loudly and what the consequences were. He tells how Thelonious Monk knew all the chord changes to all the songs. He knew Monk as a youngster. They had a band together with Charlie Rouse and Sam Jones. Taylor explains how he came to live overseas for nearly two decades (1963-80). Initially he went to Paris to play with Johnny Griffin and Kenny Drew at the Blue Note on a

jazz jazzforum three-month contract, seven nights a week. Three months turned into six months. He then took over the band as leader and stayed six more months. He recalls having a great time in Paris. The United States was looking too grim to elicit a return. He finally returned permanently in the early 1980s when his mother became ill. While in Paris, he studied formally for the first time, for three years with Kenny Clarke at a school Clarke opened. Taylor also enjoyed working with the kids there but declined Clarke’s offer to become a formal teacher at the school. American drummers and saxophone players would stop by the school when in town to play for the students. Art expresses his feelings on integration, and talks about having lived in Liege, Belgium; Paris; the Riviera; Switzerland; and, compares Europeans with Americans. He compares universal health coverage in Europe with the lack of equal healthcare in the United States. Art describes the United States as being in a state of demise in contrast to his pre-European years. On a more positive note Taylor says he still loves playing drums, loves the music and has friends all over the world. He mentions his daughter, a doctor of psychology at UCLA, as being his crowning achievement. His opinion on music today is that it has become too controlled and subject to economics. It is much less sensitive. He now prefers playing and performing for students rather than in the clubs. Other work Taylor has gone into: modeling in Europe and the U.S. (he appeared in Ebony magazine for TWA Airlines), writing and publishing. He explains how his interviews with Miles Davis and other musicians culminated in his publishing of the book Notes and Tones and remarks it will soon be published in Japanese. He concludes the interview by commenting on Louis Armstrong’s talent and image; he became inter-

ested in Armstrong while in his 30’s in France (1963-64) and explains how he was too shallow in his youth

to have appreciated Armstrong then. Arthur Taylor passed away in 1995, a year after this interview.



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JAZZed September 2009 43

in the classroom


Bobby McFerrin: “In the Moment” BY BRAD HOWEY


obby McFerrin is one of the natural wonders of the music world. A tentime Grammy Award winner, he is one of the best-known vocal innovators and improvisers, a world-renowned classical conductor, the singer/ creator of “Don’t Worry Be Happy,” and a passionate spokesman for music education. His recordings have sold over 20 million copies, and his collaborations – including those with Yo-Yo Ma, Chick Corea, the Vienna Philharmonic, and Herbie Hancock – have established him as an ambassador for both jazz and classical music. McFerrin is a true Renaissance man: as a vocal explorer he is known for his ability to combine jazz, folk, and a multitude of world music influences with his own creative genius; and as a conductor, has worked with such orchestras as the New York Philharmonic, the Cleveland Orchestra, the Chicago Symphony, the Philadelphia Orchestra, and the Vienna Philharmonic. Those familiar with McFerrin’s shows, whether as a conductor or a vocalist, know that each one is a unique event that resonates with the unexpected. He is has the ability to reach beyond musical genres and stereotypes for a sound that is uniquely, entirely, his own. JAZZed: Mr. McFerrin, it is an honor: we are so grateful for your time. BM: Thank you. I am happy to be here. JAZZed: Your high school councilor once called you into his office to ask you what you were planning to do after graduation, and you answered: “”

44 JAZZed September 2009

What is it that attracted you to music in those days – I mean, why music? BM: Well, I grew up surrounded by music of all kinds. Both my parents were classically trained singers (my father was the first African American to sign a contract with the Metropolitan Opera), and being a ‘60s child, we listened to everything: Janis Joplin, Jimi Hendrix, Marvin Gaye, Stevie Wonder, Eric Clapton – you name it. Top–40 radio was very, very different at that time because it included all kinds of music. In the course of an hour you could hear anything from James Brown to Sergio Mendez. That’s the environment I grew up in. So, when he asked me that question, I realized that music was something I really wanted to pursue. I mean, I had a jazz group at the time and was playing some gigs around town, but I didn’t really consider music as a profession until that question, and I thought: Well, I guess that’s what I am – I guess I’m a musician.

in the classroom JAZZed: You have said that the idea of singing just kind of “fell upon you” one day you when were walking home from accompanying a college dance class, and that you went home and immediately started calling hotels in town looking for work. It seems that your ability to put fear aside and follow your inspiration has been a big part of your success. What would say to young performers about following their inspiration – even when it’s kind of scary? BM: There were moments in my career when I was really unsure about what I was doing, and I certainly had my doubts about pursuing a solo career. I mean, being a musician was one thing; that wasn’t scary at all. But being a singer on stage without a band? Now that was scary. But solo singing became a kind of persistent vision. When I first started thinking about it, I soundly rejected the idea because I hadn’t ever seen or heard anything like it before. And though I could imagine myself on stage a little, I couldn’t actually hear it, you know? So for a good year I kept pushing the thought out of my mind. And then one day I finally just gave into it. I decided to take a good look at this solo singing idea and see what it was about. I worked on my technique for about six years before I could do a full night of solo work. But there were some scary moments. I thought: What if I’m following my dream, but it’s not really my dream, and I’m gonna fall flat on my face? What if it doesn’t work – then what am I gonna do? But it did work! Solo voice became the foundation of everything else that I do. So when it comes to following your inspiration, you have to throw your net into the deep end. You really have to take that chance. If you know that your dream is truly yours-it’s something that you came up with and that you deeply, profoundly believe in it-I believe you are going to be a success because that means that you have decided to be what God made you to be. It’s got be successful.

my solo voice dream. Listening is extremely important because it informs you: it gives you a lot of musical knowledge and information. To listen to different musicians and their styles-the way they play, and how they approach a particular piece-presents you with a variety of signposts that can inform your quest to find out who you really are. “ “Now what’s funny, is that at the beginning of my singing career, I intentionally didn’t listen to a single singer for two full years because I was afraid that I would copy someone else’s style. I thought that I would find someone that I really liked and lose myself in their sound and delay my own dream. So instead I would listen to instrumentalists: I listened to piano players, and horn players, and all kinds of music from different countries and cultures-but not to one single singer. “ JAZZed: You spent a couple of years in your room practicing because of feeling uncomfortable singing in front of other people. I know our readers can definitely identify with that. What was it

JAZZed: Listening to Keith Jarrett’s solo piano work was an important influence on you at one time. How important has listening to recordings of great musicians been to you, and what encouragement can you give to our readers about the importance of listening? BM: Well you see, Keith Jarrett gave me the courage to pursue my solo dream because he really just sat down at the piano and played it. I thought that was a really cool idea: simply open yourself to the music and the moment. That’s really what I wanted to do. So in a way, Keith was a catalyst for

Photo by Stewart Cohen

JAZZed September 2009 45

In the Classroom… Activity

1) Mr. McFerrin said that he grew up surrounded by music of all kinds. Clearly, his musical environment had a strong influence on who he has turned out to be as an adult. If you were the one being interviewed – say, for a national magazine, in twenty years or so – what would you credit for being your greatest influences? What things are you “surrounded” by today that you will credit for shaping who you’ll turn out to be? 2) It was very inspirational to hear Bobby talk about how he overcame his fear of failure to become one of the world’s great musicians. He said that solo singing became a kind of “persistent vision” – an idea that he kept rejecting, but that he finally just “gave in to,” even though it was scary. And he talked about knowing that a dream is your dream; something you “deeply, profoundly believe in.” Back to that same interview-the one with you in twenty years or so-only, for this question: tell the story of your dream. You’ll have to write, of course, what your dream was, and how it came to be your dream. And then there’ll be the part about how you were afraid because you thought you might fail, and why. But then there’ll be the best part: the part about how you managed to overcome all of that, to make your dream come true. How did you do it? How did you make your dream come true? 3) McFerrin said “... when it comes to following your inspiration, you have to throw your net into the deep end. You really have to take that chance.” What do you think he meant? 4) “Listening is extremely important because it informs you: it gives you a lot of musical knowledge and information. To listen to different musicians and their styles-the way they play, and how they approach a particular piece-presents you with a variety of signposts that can inform your quest to find out who you really are.” What do you think Bobby meant when he said that listening “informs you” – and how could listening to someone else help you to know who you are? 5) McFerrin said that: “If you love music... you’ll work at it.” And that “You know the stuff you need to work on.” So, how about it! Write down three music-related things you know you need to work on. Answers to this and future JAZZed In the Classroom activities will be posted on the JAZZed In the Classroom bulletin board, fill ‘em out and encourage your teacher to turn them in! Your answer may just be posted in the next issue of JAZZed In the Classroom!

In the Classroom… Follow-up Activities For Directors

• It will come as no surprise to many teachers to find out that there are many students who have no idea who Bobby McFerrin is. Consider bringing a favorite recording to school for them to enjoy. Visit McFerrin’s Web site for a discography ( • Mr. McFerrin said that “Motion is the foundation of improvisation.” To introduce this concept to your students, consider the following simple exercise: * choose a medium-slow tempo, and ask your piano player and bass player to play and hold the root of a scale that is familiar to the band or choir for 8 beats, and then repeat the pattern, resulting in a simple drone * give each student the opportunity to solo over the drone using the simple notes of the familiar scale; ask each student to begin their solo simply, but to use motion to build their solo to a high point or climax and then to relax it again * ask your percussionists to accompany each soloist in a way that is responsive the motion in each solo • On a bit of a personal note, I have to say that interviewing Bobby McFerrin was truly inspiring. Not just because he is, well, who he is; but because his story is a truly inspiring story – complete with music, an impossible dream, and a happy ending. Chances are that you are a teacher because someone inspired you once. Consider sharing that very inspiring story with your students: the truly inspiring story of why you came to be a teacher. That story, at least to your students, may well be the most inspiring story of all.

46 JAZZed September 2009

in the classroom

BM: At the beginning of my career I was extremely nervous about the idea of walking out on stage all by myself. To begin with, I was aware that people were going to be hearing music in a way that they hadn’t ever heard it before – I mean, it wasn’t something that was familiar to them. It was very unfamiliar. Even when I was doing interviews, I had to explain to every interviewer that: No, I didn’t have a band, and: No, I didn’t have a prepared tape. They didn’t understand what solo voice was all about, and I could understand that because they hadn’t seen it before – I hadn’t even seen it before! So I was extremely nervous that I was just gonna be sort of like, shunned. As it turned out, my first album was an album with musicians. So, I was afraid my fans would reject me because they were expecting to hear my album – with a band. But instead, I didn’t sing anything from my album: I just walked out on stage all by myself and began to sing. It was scary, but I did it anyway because I really believed in it. It took some time, but now I have the adequate amount of nervousness before I go on – the kind of adrenaline that everyone needs to have because they care so deeply about what they do, and they’re entering into a brand new moment. There’s always that little bit of nervousness, but the moment I sit down and open up my mouth to sing, I’m no longer nervous. JAZZed: You’ve said that improvisation is a fearful kind-of-thing, but that it’s a wonderful kind of fearful kind-of-thing. What did you mean by that, and why is improvisation and creativity so important? BM: To me, improvisation is the number one way of knowing who you really, really are. And the foundation of improvisation is motion (as when you open up your mouth to sing and

you just keep going; you don’t stop). I recommend that people set a timer for about ten minutes and then just sing or play their instrument freely for that time. Playing or singing familiar tunes is not allowed, because the sole

purpose of this exercise is to discover who you are. You don’t have to be theoretically informed, and you don’t have to have any kind of formal musical knowledge. You just start playing or singing and you just keep going.

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JAZZed September 2009 47

in the classroom Motion is the foundation of improvisation. Once you get over that hurdle-of just keeping on-then you can start thinking about the music that you know. Youâ&#x20AC;&#x2122;ll begin to figure out who you are, and how you approach the music. I mean, you canâ&#x20AC;&#x2122;t do it by copying somebody elseâ&#x20AC;&#x2122;s style. This is the thing that drives me crazy about a lot of todayâ&#x20AC;&#x2122;s young artists. They sound like everybody else. Theyâ&#x20AC;&#x2122;ve got the same kind of approach and everything, â&#x20AC;&#x2DC;cause they think thatâ&#x20AC;&#x2122;s what it takes to be successful. But Iâ&#x20AC;&#x2122;m kind of like a living example of being a success by doing something that I hadnâ&#x20AC;&#x2122;t seen anyone else do. I think people are attracted to musical integrity, and honesty, and to uniqueness. People want to hear something unique! Thereâ&#x20AC;&#x2122;s such a glut of homogeneous sound out

there that when someone comes up with something really different, itâ&#x20AC;&#x2122;s going to get peopleâ&#x20AC;&#x2122;s attention. JAZZed: Young people are so often told to follow their dreams. I wonder... would you be willing to share a story with our readers â&#x20AC;&#x201C; a favorite moment â&#x20AC;&#x201C; when you were living your dream? BM: My dream was to be a solo vocalist. The hardest part was imagining what it sounded like â&#x20AC;&#x201C; that was the hardest hurdle for me. It was easy for me to see myself standing on stage, but I had no idea what it sounded like. So living my dream was discovering one day that I could actually do it: that I could be on stage, by myself, for ninety minutes, singing anything that came up, in the moment.

I can remember when I finally got to that day: when I did my first solo concert. It was an evening in Ashland, Oregon in March, 1983. I was so excited! I called my wife, and I called my manager, and I said: â&#x20AC;&#x153;Iâ&#x20AC;&#x2122;ve done it! I did it!â&#x20AC;? It was my dream. I had already lined up a summer tour of jazz festivals with a band, and the first thing I told my manager was: â&#x20AC;&#x153;Cancel the band. Iâ&#x20AC;&#x2122;m doing this solo.â&#x20AC;? She called all of the promoters, and half of them canceled â&#x20AC;&#x201C; they werenâ&#x20AC;&#x2122;t going to take the chance. But the other half thought the idea sounded interesting. So I lost half my gigs, and I lost half of the money that I was expecting that summer, but it was worth it because it was my first summer doing solo gigs and it was really fulfilling.


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48 JAZZed September 2009

JAZZed: Any final advice for JAZZed readers? BM: Yeah. If you love music – if you’re really passionate about it – you’ll work at it. You’ll stick with it, regardless of what kind of hurdles you might face. If you really, really love it, you’ll devote your time to it. You’ll be fully attentive to what needs to be done. You know the stuff you need to work on. And remember: if you want to make things interesting, every time you perform a piece, do it differently. Try something new. You know, make it challenging. I had a band once, back in San Francisco. I had all the charts, because I did all of the arranging. The bass player and I were halfway to a gig when I realized that I had left all our music at home! He asked me if I wanted to turn around, and I said, “No, let’s just play without music tonight.” We’d been presented with an unexpected challenge to really just do a lot of improvising and approaching pieces in a whole different way because we weren’t glued to the page. Believe it or not, it was one of my most exciting musical moments because I had nothing to fall back on. We just went out there and played two sets of music that were half- made-up while we tried to remember how the pieces went. But we got through them, and it was a really scary moment, but I loved it! That day changed the band. From then on we didn’t rely on charts any more. So try something new once in a while – you never know what you’re gonna discover.

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crossword 1









Crossword by Myles Mellor 6





34 38


17 21 25


35 39















55 59

62 63


1. George ___, jazz guitarist who uses a rest-stroke technique similar to Django Reinhardt 6. ___ Lips Page, aka Oran Thaddeus Page 9. Joe ___, 12-String Guitar artist 12. Authentic 13. “__ tu, Brute?” 15. “I Surrender ___,” song composed by Harry Barris with lyrics by Gordon Clifford 17. Des Moines locale 18. Against 19. Guitar pedal 20. This type of jazz doesn’t use chord progressions as its harmonic framework 22. Jimmy ___, Kind of Blue drummer 23. Wassup 25. Sedimentary material 26. Firehouse ___ Plus Two, 1950’s Dixieland jazz band consisting of the Walt Disney Studios animation department 29. Shamu, for example 31. Joe Henderson’s burger joint? 33. Bono’s mate 35. Red ___, one of jazz’s early vibraphonists, known as “Mr. Swing” 37. Network node, for short 38. Weight measurement 40. They have more fun?

50 JAZZed September 2009














16 20






22 26


64 66

42. Internet address 44. Tiny ___, member of Art Tatum Trio from 1943-1944 46. It borders Fla. 47. In the direction of 48. Tubby ___, British jazz multi-instrumentalist best known for his tenor saxophone 50. Thing, in law 53. Turkey seasoning 55. Important leader in the movement of genre-bending music that has its roots in post-bop free jazz, avant rock, and 20th century new music 57. When a jazz singer sings words to a famous instrumental solo 60. Paul McCartney title 61. Type of race 62. African antelope 63. Church music 65. “One for ___,” laid-back blues song performed by five jazz legends 66. ___ Scott, English jazz tenor saxophonist who played on The Beatles “Lady Madonna”


1. Ruby ___, You Bought a New Kind of Love bandleader 2. Even, for short

3. A King Cole 4. Pie portion 5. Phineas ___, jazz pianist who was influenced by Art Tatum, Oscar Peterson and Bud Powell 7. Anita ___, jazz singer who was admired for her sense of rhythm and dynamics 8. Test engineer, for short 9. Expert musicians 10. Rock formation 11. “___ Peanuts,” bebop tune composed by Dizzy Gillespie in 1942, credited “with the collaboration of” Kenny Clarke 14. Items purchased 16. Early Morning Show time 21. Bill ___, composer, artist, and educator who founded the Jazz Composers Guild 24. Teary ingredient? 27. Peter ___, Looking Out artist 28. ___ Bostic, jazz saxophonist and pioneer of the post-war American Rhythm and Blues style 30. Corn holder 32. Single thing 33. ___ Hayes, jazz pianist and bandleader whose most popular recording was a version of the song “Stardust” 34. Shady tree 36. “Maiden ___,” Herbie Hancock standard 39. Deceive 41. Common John 43. King ___, jazz vocalist and early master of vocalese 45. ___ Station, Hank Mobley Album 49. ___ Lanka 51. Preceding period 52. Reliable 54. Exist 56. Jimmy Smith instrument 58. Golden state 59. Talk back 60. Musical passage that highlights one instrument 61. ___ Prysock, top tenor saxman 63. “Ready, set, ___!” 64. Hospital room

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

Gearcheck New Saxophones from PJLA & Sax Dakota

Sax Dakota, the newest product line entry from PJLA Music Sales is offering a matching pair of Straight Alto and Tenor Saxophones. Both the Alto and Tenor have solid stainless steel internal arm rods for minimal torque for all long/extended hinge rods connecting to key cups. All key cup connections have tapered double arms for tactile closure. Bell tone holes have been repositioned for maximum sound projection, and all key cups are custom designed to be low profile so the designed steel booster pads have minimum travel and positive/fast sealing action. The new left hand plateau design is said to provide fluid speed and ease of reach for the most complex passages. Tapered oversize bells are standard on both instruments: Alto has a 5.32” bell opening and the Tenor has a 6.26” flair. Both bells are graduated from the bow for sound projection. All Sax Dakota Saxophones are fabricated from a 77 percent copper content brass formula. The Straight Alto, Tenor, and Soprano come standard in a matte gray onyx metallic finish with all keys/key guards and trim in satin silver finish. Cases are all wood with brass latching and covered with our exclusive beige tweed fabric. Straight Soprano retails for $2,450, Straight Alto for $3,700, and the Straight Tenor for $3,950.

Meisel’s MST-10 Tuner

Meisel Accessories has added the new MST-10 chromatic clip-on tuner to their product line. The tuner is small enough to fit in most instrument cases, and offers the option of built-in microphone or clip tuning. Using the clip, no background noises are picked up, only the instrument. The microphone can be used for acoustic instruments. It’s calibrated for guitar, bass, and chromatic. It will tune low-B and high C bass notes.

52 JAZZed September 2009

The Beamz Professional

The Beamz Professional is a new packaged product which bundles the Beamz musical instrument with the new Beamz Studio software. Used as a MIDI player and controller, Beamz Professional adds a new visual impact to musical performances by playing music clips and MIDI instruments assigned to the Beamz lasers instead of pushing buttons or turning knobs to trigger sounds and effects. The Beamz Professional product consists of the actual unit, which is a “W-shaped” controller that features six laser beams, a USB cord linking the unit to a computer, and the Beamz Studio software combined with a DLS collection of Beamz-composed music clips. Players also receive two music CDs with the purchase of the system, featuring 30 original songs from a variety of music categories or genres including rock, jazz, blues, reggae, country, hip hop, Latin, and classical. Beamz Studio software lets musicians and DJs compose their own interactive music to play on the Beamz using their own MIDI, WAV, and MP3 libraries. In addition, players also receive five additional free songs of their choice after they register the product on the Beamz Web site. The Web site offers a music library with over a hundred different songs, including original, top hits, and kids songs for purchase. With Beamz Studio software users may edit any of the Beamz songs included with the product and the additional songs available on the Beamz Web site. The product also comes with a Quick Start guide and instructional DVD. The Beamz Professional retails for $299.95.

Gearcheck Jazz Releases from Hal Leonard

Hal Leonard’s Jazz Jam Session book by, Ed Friedland, comes with accompanying CD, featuring 15 tracks which include, ballads, bebop, blues, bossa nova, cool jazz styles, with improv guidelines for each track. Jazz Jam Session can be used for guitar, harmonica, keyboard, saxophone, and trumpet. A Modern Method for Guitar – Jazz Songbook, Vol. 1 book with CD features solos and duets that map directly to the lessons in William Leavitt’s Modern Method for Guitar, Volume 1, the basic guitar text at Berklee College of Music. Overseen by Larry Baione, chair of Berklee’s guitar department (and a former student of William Leavitt), these arrangements are crafted to Leavitt’s time-proven approach, featuring music by Miles Davis, Duke Ellington, Sonny Rollins, Django Reinhardt, and other jazz greats. The accompanying CD demonstrates all the tunes and offers play-along tracks for practicing the duets. Kenny Burrell: A Step-By-Step Breakdown of the Guitar Styles and Techniques of a Jazz Legend takes an in-depth look at Kenny Burrell’s jazz guitar mastery with Wolf Marshall, who will teach you how to play some of his best licks. Wolf covers 14 tunes in all. The accompanying CD features a demo of each track. In Giant Steps for Guitar, Wolf Marshall takes an in-depth look at a Coltrane classic from a guitarist’s point of view. Topics covered include a comprehensive harmonic analysis and informative history of “Giant Steps” melodic patterns in linear and positional form, rhyth-

mic patterns, and variations, ii-V and turnaround ideas, chordal studies, and model solos. The accompanying CD includes audio demonstrations of

most figures as well as accompanying tracks in various tempos over which to practice.

Ja z z S t u d i e s

at Indiana

A comprehensive program

in performance, improvisation, composition & arranging, jazz history, pedagogy, styles & analysis. Large and small ensemble playing in a thriving cultural community.

Jeremy Allen

Steve Houghton

AUDITION DATES January 15 & 16, 2010 February 5 & 6, 2010 March 5 & 6, 2010 For a complete list of Jacobs School faculty, please visit us at

David N. Baker (Chair) Corey Christiansen

Michael Spiro

Joey Tartell

L i v i n g Mu s i c

Luke Gillespie

Pat Harbison

Brent Wallarab

Thomas Walsh

JAZZed September 2009 53

Gearcheck New Elson’s Pocket Music Dictionary from Theodore Presser Theodore Presser’s New Elson’s Pocket Music Dictionary was edited by com-

poser and educator Matthew Herman and updated to reflect the technologies

New York is JAZZ

and theories of 20th- and 21st-century music, along with an augmented composer list and the inclusion of jazz and contemporary music definitions. The New Elson’s Pocket Music Dictionary provides more than double the number of definitions than any other pocket dictionary, and at a lower price.


is New York



Learn jazz by living it in the heart of Greenwich Village—the center of New York’s rich jazz history. At The New School for Jazz and Contemporary Music, your mentors are legendary artists from New York City’s renowned jazz community and your classmates are talented musicians from around the globe. ‡ Gig in world-famous venues throughout New York City ‡ Train with outstanding artist-faculty and your choice of more than 100 affiliated musicians—check them out at ‡ Intern and develop direct contacts in the music industry ‡ Pursue a BFA or combined BA/BFA For application and audition information, call 212.229.5896 x4589 or visit us online at

The New School is a leading university in New York City offering some of the nation’s most distinguished degree, certificate, and continuing education programs in art and design, liberal arts, management and policy, and the performing arts. An Affirmative Action/Equal Opportunity Institution

54 JAZZed September 2009

Wind Talk from Oxford University Press

Wind Talk for Brass and Wind Talk for Woodwinds provide instrumental music teachers, practitioners, and students with a pedagogical resource for brass and woodwind instruments found in school instrumental programs. With thorough coverage of the most common brass and woodwind instruments, the books offer topical information for effective teaching. This includes terminology, topics, and concepts associated with each specific instrument, along with teaching suggestions that can be applied in the classroom. The books also feature “Practical Tips” sections, which discuss common technical faults and corrections, common problems with sound (as well as their causes and solutions to them), fingering charts,

Gearcheck Created with specially designed microfiber pads that remove and hold debris without cleaning solution, The String Cleaner for bass guitar was cre-

ated for long-term, low- maintenance usage. Users simply open the tool, slide it underneath the strings, close and secure the latches, and then slide the


OPEN HOUSE 10.24.09

don’t copy

literature lists (study materials, method books, and solos), as well as a list of additional resources relevant to teaching brass and woodwind instruments (articles, websites, audio recordings).

ToneGear’s String Cleaner for Bass

Music can sound like thunder or just a whisper. Hot or cool, intense or relaxed, loud or soft. A unique musical voice can change the way we think and feel. At UArts, you can perform in one of our three Big Bands, thirty-five small jazz, or ten traditional ensembles. The UArts School of Music provides an innovative environment that develops, refines, and shapes your individual musical voice and purpose. Create, discover, improvise—and become a unique voice at UArts.


ToneGear’s String Cleaner for bass guitar utilizes a 360-degree cleaning process to preserve and maintain the tone and integrity of guitar strings. This year’s introduction features an advanced design that additionally and simultaneously cleans the fret board. The String Cleaner for bass guitar is said to extend the life and preserve the tone of bass strings by up to four times more than untreated strings while cleaning and protecting the fret board.

Justin Binek Jimmy Bruno Marc Dicciani Chris Farr John Fedchock Matt Gallagher Tom Giacabetti

Don Glanden Erik Johnson Micah Jones Randy Kapralick Ron Kerber Jeff Kern Rick Lawn

Jimmy Paxson Trudy Pitts George Rabbai Tom Rudolph Ben Schachter John Swana Gerald Veasley Dennis Wasko

Graduate and Undergraduate Programs available. Ask about scholarships and financial aid.

Snap this code with your camera phone & go to UArts. Text messsage “SCAN” to 43588 and download ScanLife for free.

Philadelphia, PA • 1.800.616.ARTS • JED0909

JAZZed September 2009 55

Gearcheck device back and forth along the full length of the strings and fret board. The String Cleaner should be used after each play to ensure optimum perfor-

mance; to clean the device, simply hand-wash with warm water and a drop of liquid soap. The String Cleaner has one US

patent, two patents pending and is distributed in 45 countries; The String Cleaner for bass guitar has one patent pending and will be available where The String Cleaner is sold with a list price of $19.99.

Alfred’s Jazz Play-Along Series

Alfred’s Jazz Play-Along Series was created for instrumentalists who want to develop their improvisation skills while playing classic jazz standards. Volume 1: Strayhorn & More and Vol-

ume 2: Swingin’ Now are written at the medium to medium-advanced level. Each book contains nine popular jazz tunes, arranged for C, B-flat, E-flat, and Bass Clef instruments. Additional features include multiple jazz choruses for soloing opportunities, and demo tracks with horn players, and a pro rhythm section to demonstrate the melodies, style, interpretation, and sample solos. In addition, the play-along tracks allows for a soloist or group to learn and perform with the rhythm section only. Split tracks also offer piano, guitar, and bass players the opportunity to perform with the track by dialing in/out left or right stereo channels.

56 JAZZed September 2009

Gearcheck Casio Adds to Privia Line

Casio has added two new additions to the Privia line of digital pianos - the PX130 and PX-330. When integrated with Casio’s Linear Morphing System, the PX-130 and PX-330 are said to deliver a more realistic sound with seamless tran-

sitions and dynamic range. Tri-sensor 88-note scaled hammer action keyboard provides users with the weight, feel, and resistance of a grand piano. Both pianos have the ability to handle demanding musical passages, layer sounds, and use the damper pedal without dropping notes. The acoustic resonance effect simulates the sound of dampers released off the strings with the sustain pedal. The duet mode allows for students and teachers to work in equal ranges simultaneously. The PX-130 and PX330 work with computer applications, making each a dual purpose instrument for performance and the home studio. The USB port also allows the user to move music files between the keyboard and their computer.

Dizzy Gillespie Memoir Back in Print To Be, Or Not…To Bop the memoir of jazz genius Dizzy Gillespie, written along with longtime friend Al Fraser, has been put back in print by Minnesota University Press. The book tells the story of black American music during one of its greatest periods. You don’t have to know John Birks “Dizzy” Gillespie’s songs to feel his influence. The


Uʘ>̈œ˜>ÞÊ>˜`ʈ˜ÌiÀ˜>̈œ˜>ÞÊÊ Ê Ê Ài˜œÜ˜i`Êv>VՏÌÞ

UÊ£nÊ՘`iÀ}À>`Õ>Ìiʓ>œÀÃÊÊ Ê ˆ˜VÕ`ˆ˜}ʍ>ââÊÃÌÕ`ˆiÃ

UÊ̅iÊvˆ˜iÃÌÊi`ÕV>̈œ˜Ê>˜`ÊÊ Ê Ê ÌÀ>ˆ˜ˆ˜}ʈ˜Ê“ÕÈVÊVœÕ«i`Ê܈̅Ê>ÊÊ Ê ˆLiÀ>‡>ÀÌÃÊi`ÕV>̈œ˜ÊÌ>Õ}…Ìʈ˜Ê>ÊÊ Ê V>Àˆ˜}Êi˜ÛˆÀœ˜“i˜ÌÊ

UÊ̅ÀiiÊ}À>`Õ>ÌiʓÕÈVÊi`ÕV>̈œ˜ÊÊ Ê `i}ÀiiÃʈ˜Ê>ÊÃՓ“iÀǜ˜ÞÊÊ Ê vœÀ“>Ìʈ˜VÕ`ˆ˜}ʜ˜iÊ܈̅Ê>ʍ>ââÊ Ê «i`>}œ}ÞÊi“«…>ÈÃ

œÀʜÀiʈ˜vœÀ“>̈œ˜Ê>LœÕÌÊ >«ˆÌ>½ÃÊ՘`iÀ}À>`Õ>ÌiÊ “ÕÈVÊ«Àœ}À>“Ã]ÊVœ˜Ì>VÌÊi>}>˜Ê7iLLʭ̜ÊvÀii®Ê>ÌÊ ­nÈÈ®Êx{{‡È£ÇxÊʜÀʓÜiLLJV>«ˆÌ>°i`Õ° œÀÊ>˜Ê>««ˆV>̈œ˜ÊœÀÊvœÀʓœÀiʈ˜vœÀ“>̈œ˜Êœ˜Ê̅iÊ }À>`Õ>ÌiÊ«Àœ}À>“ʈ˜Ê>ââ]ÊVœ˜Ì>VÌÊ À°ÊœÕʈÃV…iÀÊ >ÌÊ­È£{®ÊÓÎȇÈÓnxÊ Ý̰ʣʜÀʏwÃV…iÀJV>«ˆÌ>°i`Õ°Ê


JAZZed September 2009 57

Gearcheck self-taught trumpet player rose from a poor but musically driven upbringing to become a jazz mastermind, founding the bebop movement and giving rise to Afro-Cuban music. This biography

is intertwined with reflections from famous Gillespie associates Cab Calloway, Count Basie, Miles Davis, Thelonious Monk, Mary Lou Williams, Ella Fitzgerald, and many others. They provide

numerous perspectives of Gillespie’s early start on the road to fame and the spirited times that would follow.

Finale 2010

Finale 2010 music notation software has been updated for 2010. From Percussion Notation and Chord Entry, to Rehearsal Marks and Measure Numbering, common tasks have been automated and simplified to be more user-friendly and save time. Finale 2010 features a streamlined user interface; a Setup Wizard to instantly

configure scores; Band-in-a-Box AutoHarmonizing; and Exercise Wizard, which generates practice pieces for an entire band, orchestra, or choir. Users can import video plus send and display SMPTE.

On-Stage Stands’ Tiltback Amplifier Stand On-Stage Stands’ RS7500 Tiltback amplifier stand features five tilt positions allowing the amplifier to be aimed up towards the player, sharp angles for shallow stages, and gentle angles for deep stages. With the speakers directed at their ears, rather than their ankles, players and band mates can hear an accurate tone without missing highs and mids. The integrated threaded shaft end eliminates the need for additional mic stands. It accepts all standard boom

58 JAZZed September 2009

Gearcheck arms and goosenecks, allowing the amplifier to be miked directly from the RS7500. Its wide 28” stance provides stability for 1x10, 2x10, 4x10, 1x12, 2x12, 1x15, and other speaker configurations. All contact points, including the adjustable sleeve on the upper shaft, are padded with black velveteen rubber. Angle adjustments of 10-20 degrees are made via a telescoping rear leg. Other features include non-slip rubber feet and a black powder coat finish. As with all On-Stage Stands tripod designs, the RS7500 Tiltback folds for transport and storage.

New from Kendor Music

How To Play Bass In a Big Band, by soloist Jeff Campbell, offers tips, suggestions, examples, and a play along CD to help put it all together. The repertoire covers many jazz styles from Basie to Latin and African-influenced music to ECM and contemporary jazz. Improvisation is at the heart of jazz, but knowing how to play stylistically correct in a large jazz ensemble is also a necessity. Playing Through the Blues Alto Sax Edition (Eb,) by alto soloist Fred Lipsius, is an intermediate-level reading book with accompanying CD (12 listening tracks and 12 playalong tracks) containing melodic, fun to play blues lines and riffs in various styles. In addition to reading, players can improvise over the playalong tracks using the chords for the tracks shown in the book.

Intellitouch PT10 TM Guitar Tuner

The new Intellitouch PT10 TM tuner from OnBoard Research features a needle display, calibration from 430Hz to 450Hz, simple controls, aggressive pricing levels and a multicolor backlight that makes tuning easier by showing red when out of tune and green when in tune. Intellitouch PT10 TM comes with OnBoard Research’s “No Questions Asked” limited lifetime warranty. Intellitouch PT10 TM carries an MSRP of $39.95.

www.Smart Chart Music .com 57 Quality Jazz Ensemble Charts --- Grades 2 - 4 +

(15 )“Thad Jones Classics”

Re-Scored for your High School and College Bands Plus: 42 Quality “Originals” in all styles - Jazz, Funk, Latin etc.. View and li sten to all chart s on our website. Contact your local dealer or the Website for more information. Owner : M ike Carubia / Writers: Thad Jones, Ca rl St rommen, Dave La Lama , Richard De Rosa , David Be rger , A ndy Fa rbe r , Rich Iacona

Jazz à Juan Pinède Main Stage


Wish YOU Were Here? Take Your Students to the French Riviera! Your student group can be part of Europe’s oldest jazz festival at the 50th Anniversary of Jazz à Juan in 2010.




JAZZed September 2009 59

Pedulla Guitars’ Nuance Bass

M.V. Pedulla Guitars’ Nuance is the new addition to their line of bass guitars and are handmade by Michael Pedulla.

The Nuance was designed as a responsive extension for the player’s artistic and tonal subtleties and techniques. It has been field tested with a number of Pedulla artists, including Tim Landers, Mark Egan, and David Buda. The Nuance features a bolt-on-neck

design, a soft maple back with maple burl, Arbutis Burl, and Red Heart Quilted Maple tops that add to the distinctive high end; a hard maple two-piece quartersawn neck, and ebony for the 22 fret fingerboard, which adds a midrange that contributes to the glassy high end. The brass bridge is fully adjustable and the standard Pedulla tuning gears round out the hardware. The electronics are powered by two custom-voiced Bartolini humbuckers, complimented by an on-board active tone system which includes controls for volume, pickup pan, bass boost and cut, treble boost and cut, and a midrange boost and cut switch, all powered by a single 9 volt battery. Other features include an ebony backplate, easy access battery box, and the truss rod/stiffening bar design that is used in all Pedulla basses. A Pedulla oil/urethane finish tops it off. The Nuance is available as 4-string or 5-string (5-string with 17.5mm or 19mm string spacing). Options include choice of maple burl, arbutis burl, or red heart quilted maple top and choice of black, chrome, or gold color hardware. It is also available fretted or fretless. The Nuance bass retails for $4995.

Rovner Products Star Series

Rovner Products Star Series of saxophone and clarinet ligatures are said to offer accurate intonation and are suitable for both beginning and advanced students. This new line of ligatures is available at a lower cost.

60 JAZZed September 2009

Gearcheck PRS’ New 305 Model

Based on the PRS 513 model platform, the new Paul Reed Smith 305 model features three proprietary PRS single-coil pickups offering five classic sounds and is said to offer a warm, clear bite. The 305 features a carved alder body, 22-fret rock maple neck, 25 ½” scale length, banded melon “513” bird inlays. Additional appoint-

Zuni Guitars’ Birdseye Maple Series

Zuni Custom Guitars’ Birdseye Maple Series feature Birdseye Maple tops, necks, and fingerboards. These guitars are constructed out of high grade North American hardwoods with no imported woods or plastic. Zuni cuts all their own woods from the forest of North America with their own sawmill. In addition custom guitars Zuni will return to selling instrument wood to the music industry, which will include, Hard Maple, Curly, Birdseye, Spalted, and Quilted Maple tops, necks, and fingerboards, as well as body woods such as Black Cherry, Cyprus, Sycamore, Basswood, Black, Green, and White Ash. Zuni will also be introducing limited editions of the Robin Egg Blue collection in Quilted, Birdseye and Curly.

ments include rosewood fretboard, “513” neck shape, tremolo bridge, PRS phase II low mass locking tuners, nickel hardware with gold option, and volume and tone control with a five-way blade pickup selector.


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

”Chip” McNeill saxophone


Ron Bridgewater saxophone

Tito Carrillo trumpet

Larry Gray bass

Dana Hall drums

• Consistently ranked among the best American music schools Joan Hickey piano

• Internationally renowned faculty • Excellent facilities • Numerous financial awards

Jim Pugh trombone

• Thousands of successful alumni VA R I E T Y O F A C A D E M I C P R O G R A M S

Chip Stephens piano

Glenn Wilson saxophone

Bachelor’s, Master’s, and Doctoral degrees For more information, contact: Music Admissions Office Phone: 217-244-7899 E-mail:

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

JAZZed September 2009 61

HotWax August 4

Jessy J – True Love [Peak Records] Medeski, Martin & Wood – Radio-

larians III [Indirecto]

New & Notable Music Releases All dates are subject to change

McCoy Tyner – Today and Tomorrow [Impulse]

August 18

Herb Albert & Lani Hall – Anything

John Patitucci – Remembrance

Goes (Live) [Concord Jazz]

John Surman – Brewster’s Rooster

Thinking [Gold Strike]

Lester Young – Centennial Celebra-

cord Jazz]



tion [Concord Music Group]

August 11 Heath Brothers – Endurance [Jazz Legacy]

Joe Henderson – Porgy and Bess


Hot Club of Cowtown – Wishful Terence Blanchard – Choices [Con-

Joe Henry – Blood from Stars [Anti] John Hollenbeck – Eternal Interlude [Sunny Side]

Ledisi – Turn Me Loose [Verve] Jackie Ryan – Doozy [Openart] Dan Siegel – Sphere [DSM]

Quincy Jones – Smackwater Jack [A&M]

August 25

Donny McCaslin – Declaration

George Benson – Songs and Stories

[Sunny Side]

Roberta Gambarini – So in Love


[Concord Music]

Tessa Souter – Obsession [Motema]

Robert Glasper – Double Booked [Blue Note]

Jeff Golub – Blues For You [Koch Records]

Stefon Harris & Blackout – Urba-

nus [Concord Jazz]

Najee – Mind Over Matter [Heads Up] Eldar – Virtue [Sony Masterworks] Mike Stern – Big Neighborhood [Heads Up]

Joel Frahm & Bruce Katz – Project

A [Anzic Records]

62 JAZZed September 2009

Gretchen Parlato – In a Dream



Joe Martin – Not By Chance


Ben Neill – Night Science [Thirsty


Ear Recordings]

Peter White – Good Day [Peak


September 1 Eddie Benitez – Visions of Angels


Wayne Wallace – Bien Bien

Buck Clayton – Legendary Swing

September 15

Seth James – That Kind of Man [Underground Sound/Thirty Tigers Records]

Michael Bellar – Turned Up

Sessions [Jasmine Music]


September 22

Turned On [Left Three Lanes]

Anne Drummond – Like Water [ObliqSound]

Mark Levine and the Latin Tinge – Off & On [Left Coast Clave Records]

Seamus Blake – Bellweather

[Criss Cross]

Jeff Hamilton Trio – Symbiosis


Hiroshima – Legacy [Heads Up]

Sierra Music Publications Presents

Andre Popp – Popp & Delirium in HiFi [Jasmine Music]

Charlie Shoemake & Terry Trotter – Inside [Chase] Marlene VerPlanck – Once There Was a Moon [Audiophile Music]

September 8

John Abercrombie Quartet – Wait Till You See Her [ECM]

Steve Davis – Eloquence [JLP] Spencer Day – Vagabond [Concord Jazz]

John Hicks – Passion Flower [Mapleshade]

J.J. Johnson – First Place [Ais] Scott Lafaro – Pieces of Jade

EASY-TO-PLAY BIG BAND CHARTS 210 charts graded from 2 to 4

Others sell charts like this, but ours are written by Benny Carter, Bill Holman, Marty Paich, Bob Curnow, Oliver Nelson, Benny Golson, Les Hooper, Shorty Rogers, Geoff Keezer, Ellen Rowe and Dan Haerle.


where there are 560 charts from which to choose, with over 430 audio excerpts available to hear. JAZZed September 2009 63

HotWax Diana Krall – Quiet Nights [Verve] Lonnie Liston Smith – The Art Of

Organizing [Criss Cross]

Method of Defiance – Nihon

[RareNoise Records]

Marcus Strickland – Idiosyncra-

sies [Strick Muzik]

Cedar Walton – Voices Deep Within [Highnote]

September 29 Jason Adaisewicz – Varmint [Cuneiform]

Alain Apaloo – Flood Gate [Stunt] Eric Alexander – Revival of the

Fittest [Highnote]

Bebel Gilberto – All In One [Verve]

Pamela Luss – Sweet and Saxy [Savant Records]

JAZZ AT TEMPLE UNIVERSITY PROGRAMS OF STUDY Bachelor of Music > Jazz Performance (Instrumental and Voice) > Jazz Arranging/Composition > Music Education with Jazz > Music Therapy with Jazz

Ron McClure – New Moon [Steeplechase]

Poncho Sanchez – Psychedelic Blues [Concord Records] Jay Soto – Long Time Coming [NuGroove]

Gerald Wilson – Detroit [Mack

Avenue Records] For more information, please contact: 215-204-6810 or 64 JAZZed September 2009

Keep Music Education Strong Learning to play music is so much more than memorizing notes and scales. It helps a child develop creativity and instills self-discipline, commitment and confidence. Your leadership in the community assures that music is a part of quality education for every child. Keep music education strong—go to

believe in music 5790 Armada Drive • Carlsbad, CA 92008 • 760.438.8001 •


Mike Bogle

Eternal Family


JAZZ ORCHESTRA Presenting the debut release by the newest group in the DIVA family

AXqq8iiXe^\d\ekj f]K`d\c\jj ?fc`[XpDlj`Z]fi Kildg\kXe[G`Xef Announcing Holiday News for Jazz Students and Teachers





Tom Burchill • guitar Lou Harlas • bass Harrell Bosarge • drums Performer, Arranger, Clinician CD’s, Jazz Arrangements, Books

DIVA, Five Play, and DIVA Jazz Trio recordings available at, CDBaby, iTunes, & Amazon Currently booking concerts and educational programs through 2010 Recording Artist

The Dana Legg Stage Band


Grammy Nominated Pianist Leonard McDonald and Trumpeter Averil Taylor have compiled a group of Xmas tunes in the jazz idiom. Tunes include such standards as “Winter Wonderland,” “This Christmas,” and Santa Claus is Coming to Town.” Each song is uniquely arranged for Trumpet and Piano. For more details, visit by Leonard McDonald and Averil Taylor


Feature Your CD on CD Showcase For Maximum Exposure!





Phil Morrison and Keith Williams'** wonderfully crafted creative tool for Jazz Educators featuring Barry Greene, world class guitarist and educator

Call: 1800-964-5150

Dana Legg is a Martin Trombone Artist “The crisp work by the horn section and the burning rhythm section combine to grab your attention right away. “ – Doug Beach Director of Jazz Studies, Elmhurst College featuring Selmer Artist Mark Colby Information on Dana Legg and The Dana Legg Stage Band @ CD available on

66 JAZZed September 2009

Jazz! BeBop! - more precious than gold Taste it! enjoy! - it's food for the soul... Miles, Sarah, Bird & Diz Respect it people...tradition lives!

Sidney Davis x13 Richard E. Kessel x14 Maureen Johan x34 Iris Fox 954-973-3555

CDShowcase David Chevan YIZKOR

DENIS JULES GRAY Author/Playwright

Gregory Joseph Foster, Jr., Creative Producer

Jay-Oh Jazz Recordings

“Original, resonantly melodic jazz settings of Jewish prayers and psalms... never before have I heard this lyrically powerful a fusion of Jewish and jazz souls on fire. . . " – Nat Hentoff, The Wall Street Journal

Jimmy Owens Trumpeter, Educator, Composer, Arranger

Available at, and John Wojciechowski


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

This terrific CD is a platform for Jimmy Owens to display his writing, arranging, and playing prowess – which he does with precision. – Jazz Improv

Available for download at iTunes,,, Management/booking

Cover Photograph: Stephanie Myers

THE TONY WHITE PROJECT As a Jazz radio announcer, DJ and aficionado I have the distinct pleasure of being associated with some of the finest musical minds to have ever played, composed, arranged and produced this music. In 2006, Tony White – a fine saxophone player and musical educator of young minds, was introduced to Billy Mitchell. Billy just happens to be one the premier musical educators, arrangers, producers and stellar pianists in Southern California or anywhere else. It was truly serendipitous. Tony had been talking about stepping outside of just teaching music and doing more playing of his instrument. Thus as providence would have it, the two men just happened to be in the same general area at the same time when a chance introduction brought them together. Little did they know that The Tony White Project would be the result of that introduction.

Q John Wojciechowski, Saxophones Q Dave Miller, Guitar Q Ron Perrillo, Piano Q Dennis Carroll, Bass Q Dana Hall, Drums

Available on CDbaby & iTunes

Tony’s saxophone work is simply sublime. This is a magnificent collection that I would recommend to every Jazz fan to have in their collection. I fell I love with it when Tony and Billy sent me the first preliminary copy of t he session. James Janisse – 89.9 FM KCRW Santa Monica KLASFM.COM - Hollywood Continental & Copa Airlines – The World of Jazz & The Jazz Beat

Contact: Website: CD available at

JAZZed September 2009 67


Paul Contos matt niess Saxophonist/Flutist Performer/Clinician/Workshops

• • • • • • • • y

artist clinician

Monterey Jazz Festival Saxophone Clinician for over 20 years MJF Next Generation Jazz Orchestra Director SFJAZZ High School All-Stars Director Faculty: Univ. of Calif. Santa Cruz Works with ALL levels of saxophone sections and bands Gearing Workshops for individual needs and goals International Performer and Clinician annually: U.S., Japan, Brazil, Europe, Canada Bringing expertise, experience, and proven jazz concepts in a positive way to young musicians for years

Contact Now To Arrange a Workshop for the 2009/2010 School Year

Contact 831.251.8576

Grace Testani

Special Spring Discount at Grace Notes Music

VOCALIST - CLINICIAN Arranger, Composer, Keyboardist

Faculty: NYU SCPS Director: The Singers Center Co-writer with Chick Corea & Kenny Barron  All Music Guide "...If

you like your singers bold and sassy, Grace Testani delivers on both counts!” ~ Jazz Times

68 JAZZed September 2009

Lead Trombone, US Army Blues Jazz Ensemble Leader, The Capitol Bones Director, The National Jazz Workshop Master Lecturer in Trombone and Jazz Studies, University of The Arts, Philadelphia Jazz Coordinator, Eastern Trombone Workshop Courtois Trombone Artist

Call: 1-800-964-5150

Feature Your CD on CD Showcase For Maximum Exposure!

Sidney Davis x13 Richard E. Kessel x14 Maureen Johan x34 Iris Fox 954-973-3555 Call:

1800-964-5150 Sidney Davis x13 Richard E. Kessel x14 Maureen Johan x34 Iris Fox 954-973-3555

The Jazz Player’s Connection

Classifieds Books


JAZZ SAXOPHONE ETUDES & DUETS BOOK & CD PLAY-ALONG SETS BY GREG FISHMAN Endorsed by Michael Brecker, Dave Liebman, Jerry Coker, James Moody, Mark Colby, Bob Sheppard, & Jamey Aebersold. Visit: WWW.GREGFISHMANJAZZSTUDIOS.COM for free sample etudes and duets.

Instruction Need some expert Advise? Guitar & Bass EncycloMedia 13 years of Fretboard Excellence. 1-937-256-9344

Instruction Need some expert Advise? Guitar & Bass EncycloMedia 13 years of Fretboard Excellence. 1-937-256-9344



MUSICAL INSTRUMENT-N-MORE Grand Opening!!! Quality new and Used instruments for the student or professional. Highland Park, NJ 732 227-0776

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Classifieds Merchandise

Introducing The First Annual

JEN Conference Save the Date!

May 20-22, 2010

University of Missouri-St. Louis Check our site for upcoming details: 70 JAZZed September 2009

Print Media New Jazz Band Charts! for 17 piece big bands Check out my website



Saxophones, Clarinets, Flutes, Oboes, Bassoons, etc. Serving the Music Community for 37 years.

Advertise in the ClassiďŹ eds! Call Maureen 1-800-964-5150 ext. 34

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Les Paul 1915 - 2009

Given the wide-reaching influence of the iconic guitar that bears his name, as well as his significant contributions as a technical innovator within the recording studio, it’s sometimes easy to overlook that Les Paul (born Lester William Polsfuss) first made his mark in the ‘30s and ‘40s as a stellar jazz guitarist. With a rhythmically fluid, lyrical approach heavily influenced by Django Reinahrdt and punctuated by crowd pleasing sonic effects and country & western flourishes, many of Paul’s early performances and recordings were straight-up jazz (though “The Wizard of Waukesha,” as he later came to be known, was always too restless to remain confined to just one style and frequently dabbled in country, Hawaiian, and pop, as well.). His playing would come to have significant influence on many who followed, including Pat Martino, George Benson, and Stanley Jordan. By the mid ‘40s, Paul was dabbling in multi-track recording – a technique he’s largely responsible for pioneering – in his own garage studio. After a serious car crash in early 1948 (Les Paul famously had his damaged right arm permanently set at a right angle, to better facilitate playing – beat that for dedication) those studio experiments would play a greater role in his career and he and his future wife, Mary Ford, released a number of distinctive

72 JAZZed September 2009

multi-tracked hit singles. Aside from his contributions as a player and recording pioneer, Les Paul also stands out one of the key architects of the modern electric guitar. Embraced by musicians from all genres – ranging from heavy metal to country, bluegrass to punk – the Gibson Les Paul is, along with the Fender Stratocaster, one of the two most recognizable and beloved solid-body guitars on earth. Paul’s frustrations with electric guitars available in his early career led him to craft “The Log” – a four-by-four slab of solid pine with two pickups, a Gibson neck, and two “wings” fashioned from an Epiphone guitar for appearance’s sake. Gibson Guitars (who were disinterested in the instrument when first approached by Paul) ultimately recognized the sonic benefits of the design and signed Les Paul to an endorsement deal – the rest, as we all know, is history. Les Paul’s later life continued to be distinguished by innumerable awards, acclaimed recordings, and spirited live performances. In recent years, Paul still continued to play every Monday night at the Iridium Jazz Club in New York City. Les Paul passed away on August 13th of this year of complications from pneumonia at the age of 94.

Jazz Education Network


is dedicated to building the jazz arts community by advancing education, promoting performance, and developing new audiences. The Jazz Education Network was founded in the spirit of collaboration and excellence. Our goal is to be a vital resource for a constantly evolving art form that lives globally.

Who we are: students, teachers, directors, musicians, composers, authors, fans, media, industry...WE are YOU!

Full Individual Membership (18 and up) - $50

lead the transformation of the jazz education culture

eJEN Membership Levels: (18 and up) - ($35/25)

Partner Membership Levels:

Festival/Event- $100 Institutional - $300 • Corporate - $500

Affiliate - $25 Annual Fee + $10 per person/member 17 and under categories to be launched soon! Please check the web site for updates.


For complete membership information/benefits please visit us at:

The Best $1600 a Student Will Ever Spend. I]ZVaacZl6YVbhHdad^hi(dXiVkZbVg^bWV!l]ZgZkVajZVcYeZg[dgbVcXZh]VgZi]ZhiV\Z#


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JazzEd September 2009