2007 Thelonious Monk International Jazz Trumpet Competition by Herbie Hancock Institute of Jazz

One note at a time. One night at a time. Music can move the world. United is proud to be the official airline of the Thelonius Monk Institute of Jazz. united.com

C H A I R M A N

HERBIE HANCOCK

Tonight we celebrate the 20th Thelonious Monk International Jazz Competition. You will enjoy performances from some of the most gifted young jazz trumpeters on the scene today. These trumpeters were selected yesterday at the semifinals from a group of 10 incredibly talented artists who traveled to Los Angeles from around the world to participate in the competition. Over the years, the competition has offered hundreds of musicians from more than 30 countries an opportunity to interact with the jazz masters, meet and develop working relationships with other aspiring artists, and launch successful careers in jazz performance and education. On behalf of the entire Thelonious Monk Institute of Jazz organization, we thank you for your support over the past two decades. We look forward to continuing our work to identify and train the most promising young jazz musicians who will preserve the traditions of jazz while expanding the music in new directions.

H O N O R A R Y

C H A I R M A N

BILL COSBY

Since 1989, the Thelonious Monk Institute has presented its free Jazz in the Classroom education program in public schools throughout the United States, as well as overseas. The key element of Jazz in the Classroom is bringing the architects of the music – the jazz masters themselves – together with the young students. Renowned jazz performers and composers, including Wayne Shorter, Dianne Reeves, Clark Terry, Chick Corea, Pat Metheny, and Ron Carter have gone into the public schools to teach students about the truly American music of jazz and pass on their extensive knowledge of the art form. As a part of the Jazz in the Classroom program, we are pleased to offer exciting afterschool music training and performance opportunities for public school students in towns and cities throughout the United States. The Institute has also been able to provide college scholarships to the brightest graduating high school seniors, ensuring that these talented students pursue their jazz studies and perpetuate this art form. Internationally, the Institute has presented Jazz in the Classroom programs throughout Africa, Asia, Europe, and South America, as well as the Caribbean.

H O N O R A R Y

C H A I R M A N

BILLY DEE WILLIAMS

Jazz has been an integral part of my life and inspires my work as an actor and a painter. Just as jazz has encouraged my artistic endeavors, it is also serving to educate millions of students across the United States through the Institute’s National Jazz Curriculum. This free, Internet-based program, located at www.jazzinamerica. org, is teaching multitudes of 5th, 8th, and 11th grade public school students about the truly American art form of jazz and its reflection of America’s history over the last century. In schools across the nation, the curriculum is being taught as an integral part of students’ American history and social studies classes. In the coming years, the curriculum will provide millions of students with an understanding of the history and importance of jazz. By the time these students graduate from high school, they will have studied jazz at three different grade levels, which will greatly increase the listening audience for the music. The Institute has introduced the Curriculum to school districts across the United States through a series of school assemblies, jazz clinics, and teacher training workshops. This program has served hundreds of thousands of students in Alaska, California, Connecticut, the District of Columbia, Florida, Idaho, Illinois, Kentucky, Louisiana, Mississippi, Montana, New York, North Carolina, Ohio, Oregon, Texas, and Washington. In our continuing effort to expand the reach of the Curriculum, in 2008 the Institute plans to present special jazz education programs in Missouri, Tennessee, and Utah

CHAIRMAN, BOARD OF TRUSTEES

THELONIOUS MONK, JR.

Since 1986, the Institute has honored the memory of my father, Thelonious Sphere Monk, through its innovative jazz education programs around the world. He would be extremely proud to see that we are making a difference in the lives of people of all ages and backgrounds and preserving America’s legacy of jazz. I know he would be especially pleased that the Institute, established in his name, has become a major force in jazz education throughout the United States and abroad. This past August, a seventh class of gifted young jazz musicians began studying at the Thelonious Monk Institute of Jazz Performance, our twoyear college program at Loyola University New Orleans. During their time in the program, these students will have the rare opportunity to learn from the greatest living jazz legends, including Artistic Director Terence Blanchard, along with a number of artists-in-residence such as Wayne Shorter, Herbie Hancock, Jack DeJohnette, Jimmy Heath, Lewis Nash, Kenny Barron, and Charlie Haden. When the students complete the program in May 2009, they will join the growing list of our graduates who have embarked on successful careers in jazz performance and education. Moreover, they will help carry the treasured art form of jazz throughout this century. PRESIDENT

THOMAS R. CARTER

The tremendous success of the Thelonious Monk Institute of Jazz is due to the support from the jazz community and our sponsors. They recognize the significance of our many education programs and are committed to our mission to introduce people of all ages throughout the world to the importance of jazz. Musicians, jazz educators, corporations, foundations, government arts agencies, business leaders, and individuals have provided their financial support, along with their creative genius, time, and inspiration over the last 20 years. They have helped us expand the Institute’s vision, enabling us to become a world-class jazz education organization. The support of these communities also ensures that the Institute continues to present its annual jazz competition as well as a series of jazz education programs that supplement music education programs in the public schools. Additionally, we have been able to travel throughout the United States and abroad bringing jazz — America’s greatest musical contribution to the world — to millions of people. We are most grateful to everyone who has supported the Institute and look forward to continuing our work to serve future generations of jazz students and fans in the years to come. CHAIRMAN OF THE ACADEMIC COUNCIL, THELONIOUS MONK INSTITUTE OF JAZZ

CLARK TERRY

More than 20 years ago, I assumed the responsibilities of serving as Chairman of the Institute’s Academic Council. I am pleased to report that the Institute has far surpassed its initial goals and is now recognized as the premier jazz education organization. This ambitious endeavor has been made possible by the involvement of the entire jazz community. The jazz masters have given generously of their time, energy, and knowledge to make the Institute’s education programs the finest in the world. The Thelonious Monk Institute of Jazz continues to expand its many education programs for people of all ages around the world. From Africa to Europe, Asia, North and South America, the Institute offers music lovers of all ages and backgrounds an opportunity to learn about the rich cultural history of jazz. 3

is proud to sponsor the

2007 Thelonious Monk International Jazz Trumpet Competition and tribute to

Herbie Hancock

BET J is available on DIRECTV Channel 330 and cable systems nationwide. betj.com

BENEFIT COMMITTEE & BOARDS

H O N O R A R Y

C O - C H A I R S

Governor Arnold Schwarzenegger and Maria Shriver

Mayor Antonio Villaraigosa

C O - C H A I R S

Herb & Lani Alpert

Abbott & Linda Brown

Lou & Kelly Gonda

Quincy Jones

V I C E

Debra L. Lee

Bill & Carolyn Powers

Ronald & Valerie Sugar

C H A I R S

Lou & Page Adler

Paxton & Rachel Baker

B O A R D

O F

Herbie Hancock

T R U S T E E S

CHAIRMAN

Billy Dee Williams

Thelonious Monk, Jr. Paxton Baker

HONORARY CHAIRMEN

CHAIRMAN, BOARD OF TRUSTEES

Jimmy Heath

Sonya Jackson

Thomas R. Carter

PRESIDENT

A D V I S O R Y

B O A R D

Kareem Abdul-Jabbar

Frank Alkyer

Dee Dee Bridgewater

Dave Brubeck

Quincy Jones

Wayne Shorter

Clark Terry

Stuart Subotnick

Clint Eastwood

Ken & Elaine Cole

Joseph E. Robert, Jr.

Frank Marshall & Kathleen Kennedy

Bill Cosby

Representative John Dingell & Debbie Dingell

Michael Fagien

Debbie Allen Kenny Burrell

James E. Farmer

Martin Luther King, III

Ellis L. Marsalis

Wynton Marsalis

Ahmad Rashad

Glenn Sabin

Herb Alpert

David Baker

Ron Carter

Nathan Davis

Charlie Haden

Jeff Levenson

Bruce Lundvall

Marian McPartland

Barry Harris Branford Marsalis

Carolyn Peachey

Sigmund Shapiro

A B O U T

T H E

T H E L O N I O U S I N S T I T U T E

M O N K

O F

J A Z Z

The Thelonious Monk Institute of Jazz, a nonprofit education organization, was founded in 1986 in memory of the legendary jazz pianist and composer. The Institute fosters the next generation of jazz greats by offering the world’s most promising young musicians college-level training by America’s jazz masters, educating young people around the world about jazz through innovative public school initiatives, and presenting a wide range of programs that help to expand and perpetuate America’s indigenous musical art form. 5

BELOW: Dianne Reeves works with students at the Institute’s summer program. RIGHT: Arturo Sandoval leads a class discussion about jazz history.

THELONIOUS MONK BY BOB BLUMENTHAL

amed for pianist/composer Thelonious Monk (1917-1982), the Thelonious Monk Institute of Jazz was created four years after his death through the efforts of the Monk family and the late Maria Fisher, a musical philanthropist and moving force behind the Beethoven Society of America who felt that jazz deserved nothing less than its own organization dedicated to nurturing and acknowledging musical greatness. From its base in Washington, D.C., the Institute has grown from a good idea to an essential forum for identifying the music’s new voices, honoring its present and past masters, and making the jazz aesthetic available and comprehensible in concert halls and classrooms around the world. This achievement bespeaks an organization that both understands its mission and has generated an array of effective initiatives that work together, with the ongoing health of the music as the overriding goal. The Institute’s best-known and most longstanding initiative has been its International Jazz Competition, an annual event that bestows laurels among a field of talented young artists. With its shifting focus among instruments and voice, the Competition has in the course of its history brought important new creators including pianists Marcus Roberts and Jacky Terrasson, tenor saxophonist Joshua Redman, and vocalist Jane Monheit to the public’s attention, while simultaneously revealing dozens of other promising performers. The Competition itself is one of the most intriguing and widely covered events on the annual jazz calendar; but it would be far less effective had the Institute not also realized that these young players require training and performing opportunities in order to maximize their potential. As a result, in 1995 the Institute created a two-year program in Jazz Performance, currently housed at Loyola University New Orleans. The college program is the centerpiece of the Institute’s new Commitment to New Orleans initiative, which is helping to revitalize the city in the aftermath of Hurricane Katrina through an impressive array of jazz education programs for public school and college students as well as New Orleans residents of all ages. Under the artistic directorship of trumpet great Terence Blanchard, the college program allows an ensemble of gifted young players to study and interact with an array of visiting artists on a tuition-free basis. These students have served as ambassadors, often under the sponsorship of the U.S. Department of State and the United Nations, through their participation in the Institute’s international tours to more than 30 countries in Africa, Europe, Asia, South America, and the Caribbean. As an essential complement to its efforts in expanding the community of jazz performers, the Institute has given similar attention to the needs of the jazz audience. Initial efforts include the Jazz Sports program, which links music and basketball through partnerships in Los Angeles, New Orleans, and Washington, D.C. between inner-city high schools and NBA teams. Jazz in the Classroom brings the architects of the music — the jazz masters themselves — together with young musicians to share their vast experiences and serve as mentors. These programs have had a tremendous impact upon the students’ grade point averages and 6

BELOW: Chick Corea leads a master class for DC public school students BOTTOM OF PAGE: Ali Jackson, Zachary Mathews and Jamal Haynes jamming with Branford Marsalis and Monk Competition winner Jacky Terrasson

INSTITUTE OF

JAZZ

graduation rates. Of even greater potential significance is Jazz in America, a national jazz curriculum that the Institute created as an adjunct to American history and social studies curricula at the 5th, 8th and 11th grade levels. Available free of charge at www.jazzinamerica.org, this curriculum offers eight 50-minute lesson plans at each grade level that integrate jazz, its history and major figures into the social, political and economic context of American history. The Instituteâ&#x20AC;&#x2122;s newest online curriculum is The Blues and Jazz: Two American Classics, which traces the development of the blues and its influence on jazz. These and other Institute programs, including satellite instructional sessions, the first network television specials devoted exclusively to jazz in a quarter century, and peer-to-peer jazz education programs for high school students, are the result of a dedicated Board of Trustees, Advisory Board, staff, and the overwhelming support of the entire jazz community. Each deserves our praise for helping the Institute not only fulfill its initial mission, but also sustain and expand its efforts. As jazz continues to reflect the best in our creative life, expect the Thelonious Monk Institute of Jazz to continue making the point known and ensuring that the music is heard.

The Instituteâ&#x20AC;&#x2122;s best-known and most longstanding initiative has been its International Jazz Competition, an annual event that bestows laurels among a field of talented young artists.

RIGHT: Tigran Hamasyan performs with Rodney Whitaker and Carl Allen during the 2006 Semifinals BELOW: Tom Carter and Thelonious Monk, Jr. with the 12 Semifinalists of the 2006 Piano Competition

Thelonious Monk International

ince 1987, the Thelonious Monk Institute of Jazz has presented the Thelonious Monk International Jazz Competition, which is widely regarded as the most prestigious jazz competition in the world. Each year, major scholarships and prizes are awarded to talented young musicians. The scholarships help pay tuition for collegelevel jazz education studies and provide funds for private, specialized instruction. Originally established as an annual piano competition to honor the legacy of Thelonious Monk, three years later the Thelonious Monk International Jazz Competition began to shine a spotlight on other instruments. A 1990 trumpet competition was soon followed by competitions for bass, drums, hand drums, saxophone, guitar, trombone, and vocals. With each changing competition, the Institute has assembled a consistently outstanding all-star judging panel. Branford Marsalis, Pat Metheny, Wayne Shorter, Clark Terry, Dave Brubeck, Marian McPartland, Quincy Jones, and Diana Krall have all served as judges at past competitions. At last Septemberâ&#x20AC;&#x2122;s piano competition, the judging panel featured a number of distinguished jazz artists, including Herbie Hancock, Andrew Hill, Danilo PĂŠrez, Renee Rosnes, Billy Taylor, and Randy Weston. The competition is internationally recognized as the most significant event for identifying and launching the careers of young aspiring jazz artists. The accomplishments of Joshua Redman, winner of the 1991 saxophone competition, are unprecedented in the jazz world. Josh signed with Warner Bros. Records, released a series of #1 Billboard albums, and was named Downbeat Artist of the Year in 1994. Pianist Marcus Roberts, winner of the very first competition in 1987, has released numerous #1 albums on the jazz charts and served as Artistic Director of the Lincoln Center Jazz Orchestra. Ryan Kisor, winner of the 1990 trumpet competition, and Joey DeFrancesco, a

LEFT, FROM TOP: 2006 Third Place winner Aaron Parks; 2006 Second Place winner Gerald Clayton; 2006 First Place winner Tigran Hamasyan. BELOW: George Duke and Stevie Wonder join Tigran Hamasyan in Competition finale

Jazz Competition finalist in the 1987 piano competition, signed with major labels and both have released a number of Billboard chart-topping recordings. The 1993 piano competition winner, Jacky Terrasson, signed with Blue Note Records and has released numerous CDs to immense critical acclaim. The late Teri Thornton, winner of the 1998 vocals competition, signed with Verve; second place winner Jane Monheit has become a fixture on the jazz scene and has produced several best-selling CDs, most recently on Sony Records; and semifinalist Tierney Sutton signed with Telarc. Lage Lund, winner of the 2005 guitar competition, has gone on to perform with the David Sanchez Quartet, Carmen Lundy, and the Mingus Band and has appeared at Jazz at Lincoln Center. Tigran Hamasyan, winner of the 2006 piano competition, has performed at The Jazz Bakery, The Kennedy Center, and the Paris Jazz Festival. Dozens of other semifinalists have forged successful careers as jazz performers and educators and are making a lasting impact on jazz. Representatives from major jazz labels attend the competition each year because it is one of the most highly respected events in the worldwide music community and the place to discover the rising stars of tomorrow. Additionally, prominent members of the business, entertainment, and political communities are on hand to support the Instituteâ&#x20AC;&#x2122;s mission and the future of jazz. Each year, the competition receives an extraordinary amount of publicity and press coverage in a variety of publications from The New York Times and The Washington Post to People magazine. The competition is covered by the major networks, as well as radio and interactive media. In addition, National Public Radio has presented one-hour specials on past competitions that have reached more than 20 million listeners. Hosts of these special programs have included Bill Cosby, Kareem Abdul-Jabbar, Branford Marsalis, Thelonious Monk, Jr., and Dee Dee Bridgewater. Each year since 1999, Black Entertainment Television has produced and broadcast a documentary about the competition, featuring performance clips and interviews with the contestants and judges. The Washington Post said, â&#x20AC;&#x153;The Monk jazz competition, which each year focuses on a single instrument, has become the most prestigious of its type in the world, with the ability to jump-start careers.â&#x20AC;?

CLOCKWISE, FROM TOP RIGHT: Jonathan Bloom gives a helping hand on percussion with public school students in New Orleans. • Jake Saslow and Joe Johnson perform with Wayne Shorter, Thelonious Monk, Jr., and Terence Blanchard • Terence Blanchard, Wayne Shorter, Herbie Hancock, and Kevin Wildes, President of Loyola University, backstage before making major announcement about New Orleans Initiative.

Thelonious Monk Institute of Jazz

The Commitment to

n August 2007, the Thelonious Monk Institute embarked on a major initiative to help revitalize the city of New Orleans through jazz. A century ago, jazz was created in New Orleans. This revered American art form is synonymous with New Orleans and has been a unifying force in the city and an integral part of everyday life. With the effects of Hurricane Katrina still impacting hundreds of thousands of New Orleanians, the Institute is playing a leading role in the city’s rebirth, using jazz as the catalyst to help rebuild the city. The Thelonious Monk Institute of Jazz Performance, the Institute’s prestigious college program, has relocated to the campus of Loyola University New Orleans and is now affiliated with the New Orleans Consortium, which includes Tulane University, the University of New Orleans, Delgado Community College, and three Historically Black Colleges and Universities: Dillard, Southern, and Xavier. The Institute has also begun offering public school and community jazz education programs to help strengthen the struggling school system, provide employment for New Orleans musicians, and attract New Orleans musicians now living in other areas of the country back to their hometown. Throughout the academic year, internationally renowned jazz masters will spend one week per month in residence at the Institute of Jazz Performance. In addition to teaching the Institute students, jazz masters will be welcomed into classrooms at all of the New Orleans Consortium universities. This will give music students throughout the city opportunities to study with some of the greatest jazz musicians and composers the world has known. Jazz masters will also conduct master classes in the public schools, interacting with and inspiring a younger generation of jazz musicians. To reach audiences of all ages, jazz masters will present community performances in jazz clubs, community centers, and other venues. The Institute’s Jazz in the Classroom program is being offered throughout the school year for middle and high school students. Dozens of New Orleans jazz musicians and educators are providing daily in-school and after-school instrument training sessions as well as presenting jazz band clinics and master classes. Of special note, the talented musicians who attend the Thelonious Monk Institute of Jazz Performance are working with the public school students each week and serving as mentors, passing on the knowledge they are gaining by studying with the living legends of jazz. The public school students will be performing their jazz repertoire for tens of thousands of New Orleans residents at high-profile community functions and

LEFT: David Mooney, guitarist of the new class, rehearses with the Lusher School Jazz Band under the direction of Kent Jordan. BELOW: The current class of the Thelonious Monk Institute of Jazz Performance makes its debut

New Orleans Initiative special events, filling auditoriums and clubs with the sounds of jazz. With the Thelonious Monk Institute of Jazz Performance located in New Orleans, the Institute now has many opportunities to showcase the talents of these emerging artists. Throughout the year, the Institute of Jazz Performance students will perform free of charge at community events so that New Orleans residents and visitors alike can enjoy a true jazz experience. The performances will include educational components, such as question and answer sessions and musical demonstrations. The Commitment to New Orleans Initiative offers an extraordinary opportunity for the Institute to revitalize New Orleans, its educational system, and its beloved music. Equally important, it is an opportunity to play a major role in raising awareness of the importance of jazz to the American people and expanding the listening audience that will support this music for years to come.

ABOVE: Jazz violinist Regina Carter and vocalist Lisa Henry join the Martin Luther King, Jr., High School big band onstage at the Institute’s jazz curriculum assembly program in Cleveland. BELOW LEFT: Bobby Watson gives pointers to a high school student from Hattiesburg, Mississippi

Thelonious Monk Institute of Jazz

JAZZ IN

azz is recognized around the world for its rich cultural heritage rooted in the African-American experience. Since its inception in the early 20th century, jazz has contributed to and been a reflection of American culture – it is widely considered to be the only truly original American art form. Yet, most Americans graduate from high school with little knowledge of the history or importance of jazz. In order to provide an ongoing education about jazz for our nation’s students, the Institute has developed Jazz in America: The National Jazz Curriculum. Located on the Web at www. jazzinamerica.org, this Internet-based jazz curriculum has been made available to every 5th, 8th, and 11th grade public school social studies and American history classroom in the United States. This was the first jazz curriculum to use current Internet technology and be offered free of charge on a national basis. It also represents the most significant and potentially wide-reaching jazz/social studies education program ever undertaken by an arts organization. The 5th, 8th, and 11th grade curricula each feature eight 50-minute lesson plans to be taught as an integral part of each school’s regular social studies and American history classes. The lesson plans present a historical overview, examine characteristics of various jazz styles, highlight contributions of important performers and composers, and, most importantly, explore the social, economic, and political contexts within which jazz evolved. The study of jazz helps students develop a better understanding of and respect for this country’s diverse cultural heritage. And, perhaps, there is no better example of democracy than a jazz ensemble – individual freedom but with responsibility to the group. In addition to the lesson plans, the curriculum Web site includes downloadable student handouts, a teacher’s manual, and assessments. The site also includes a comprehensive 10-part Jazz Resource Library containing audio tune snippets, visual jazz images, a timeline of important jazz events, a glossary of jazz terms, style sheets, links to other jazz Web sites, a complete listing of U.S. college and university jazz programs, and more. Of particular importance, the curriculum is aligned with national, state, and district student learning standards in the areas of American History and Arts Education, and relevant standards are specified at the beginning of each lesson plan. The Institute piloted the 11th grade curriculum in Cleveland, Hartford, Los Angeles, Miami, and Washington, DC, and subsequently made the program available on a national basis. The 8th

LEFT: Herbie Hancock, Lisa Henry, Darren Barrett, Derek Nievergelt, Bobby Watson, and Otis Brown present a Jazz in America informance at Corliss High School in Chicago. BELOW: Bobby Watson coaches a master class for students at Barrow High School in Alaska. BOTTOM: A student drummer from Pascagoula, Mississippi receives coaching from Thelonious Monk, Jr.

AMERICA: The National Jazz Curriculum grade curriculum was first introduced throughout the state of Alaska. The 5th grade curriculum was launched in Mississippi as a part of Black History Month. The Institute is now developing a series of interactive video lesson plans for the 5th grade curriculum featuring state-of-the-art animation. Now that all three grade levels of the curriculum are available, students are able to receive instruction in jazz history three different times before graduating from high school. The curriculum has the potential to reach as many as 12 million students annually. As a part of the program, the Institute presents professional jazz concerts in public schools in selected U.S. cities. Each concert features a major jazz artist and educator accompanied by a four- to five-piece jazz combo. These musicians serve as artistsin-residence in each city, performing and conducting master classes and assembly programs. The Institute also presents a series of teacher training workshops in selected cities to familiarize teachers and administrators with the curriculum Web site and demonstrate effective ways of teaching the material. Over the past several years, the Institute has presented National Jazz Curriculum education tours for tens of thousands of public school students in Chicago, New Orleans, Portland, and Seattle and throughout Alaska, Idaho, Kentucky, Mississippi, North Carolina, Montana, and Texas. Upcoming tours are planned for Chicago, Memphis, and New Orleans.

BELOW: Bill and Carolyn Powers and Kay Dockery Clark (front row, far left) welcome the Blues and Jazz ensemble and friends to Dockery Farms in the heart of the Mississippi Delta. RIGHT: Richard Johnson, Reginald Veal, Antonio Hart, Otis Brown, Lisa Henry, and Alvin “Youngblood” Hart perform during a Blues and Jazz assembly program in Mississippi.

Thelonious Monk Institute of Jazz

The Blues and

hanks to the generous support of Bill and Carolyn Powers, the Institute has developed The Blues and Jazz: Two American Classics (www.thebluesandjazz.org), a free Internet-based blues and social studies curriculum for 5th, 8th, and 11th grade public school students that traces the blues and its vital importance to American history and culture. Located in the heart of the Mississippi Delta, Dockery Farms, which was established by Carolyn Powers’ great-grandfather, is considered by many, including blues legend B.B. King, to be the birthplace of the blues. Guitarist Charley Patton’s father was employed at Dockery Farms, and it was here that the younger Patton began creating the innovative sound that would influence many other musicians and later be referred to as the blues. Other bluesmen who worked at or visited Dockery Farms to play the blues included Robert Johnson, Son House, and Howlin’ Wolf. At this same time about 300 miles away in New Orleans, a different music — jazz — was being played. The Blues and Jazz curriculum shows how the blues, perhaps more than any other music, is jazz’s greatest influence. From the creation of jazz a century ago to the modern jazz of today, the blues has been a benchmark for jazz musicians. As the blues and jazz continue to evolve, the connection remains unbroken. The Institute introduced the Blues and Jazz curriculum in April 2007 by presenting a two-week Blues and Jazz educational tour for more than 5,000 Mississippi public school students. The tour was headlined by internationally renowned saxophonists Bobby Watson and Antonio Hart and featured blues guitarist Alvin “Youngblood” Hart and jazz vocalist Lisa Henry. Through visits to public schools in Cleveland, Jackson, Natchez, Oxford, Rosedale, and Ruleville, the musicians presented schoolwide assembly programs along with jazz band and vocal jazz clinics and master classes for advanced high school student musicians. In the coming school year, the Institute will present the Blues and Jazz tour for thousands more public school students in cities where the blues developed, including Chicago, Memphis, and New Orleans. Also this year, the Institute is offering blues and jazz in-school and after-school

BELOW: Alvin “Youngblood” Hart discusses the influence of blues on jazz at East Side High School in Cleveland, Mississippi. BOTTOM: Otis Brown demonstrates during a master class at Oxford High School in Oxford, Mississippi

Jazz: Two

American Classics

instrument training sessions and master classes for public school students throughout the Mississippi Delta. The Blues and Jazz curriculum is the latest addition to the Institute’s popular Jazz in America curriculum, available free of charge at www.jazzinamerica.org. Led by Dr. J.B. Dyas, the Institute’s Vice President for Education and Curriculum Development, the Blues and Jazz curriculum writing team includes Bob Blumenthal, an executive at Marsalis Music and former jazz critic for The Boston Globe; Howard Mandel, an award-winning journalist and author who served as editor of The Billboard Illustrated Encyclopedia of Jazz and Blues; and David Vigilante, Associate Director of the National Center for History in the Schools. Phil Coady of Microgroove, which specializes in music education technology, is the Web site designer.

BELOW: Kenny Barron performs with Institute graduates Massimo Biolcati and Ferenc Nemeth. RIGHT: Barry Harris coaches 1997 Institute graduate Jamal Haynes. BOTTOM: Artistic Director Terence Blanchard leads a film scoring class.

Thelonious Monk Institute

ne of the Institute’s earliest goals was to create a unique college-level jazz education program where the masters of jazz could pass on their expertise to the next generation of jazz musicians the way Thelonious Monk had done in his Manhattan apartment throughout the ’40s and ’50s. In September 1995, the Thelonious Monk Institute of Jazz Performance was launched and the first class of seven students began their intensive training with some of the world’s greatest jazz musicians. The Institute of Jazz Performance is a tuition-free two-year program that accepts one ensemble of musicians for each class. Internationally acclaimed trumpeter and film composer Terence Blanchard serves as Artistic Director. The students study both individually and as a small group, receiving personal mentoring and ensemble coaching. They are also encouraged to experiment in expanding jazz in new directions through their compositions and performances. In addition, the students and instructors present a number of major concerts and community outreach programs throughout the United States and internationally. Since the program’s inception, students have studied with jazz legends Clark Terry, Barry Harris, Jimmy Heath, Wayne Shorter, Dianne Reeves, Roy Haynes, Dave Holland, Wynton Marsalis, Herbie Hancock, Ron Carter, Jack DeJohnette, John Scofield, Dee Dee Bridgewater, Danilo Pérez, Kenny Barron, Horace Silver, and many others. During their time in the program, the students have a number of opportunities to become involved in a variety of learning situations. In 1996, the students traveled with Herbie Hancock and Wayne Shorter to India and Thailand where they presented a series of master classes and performances. In 1998, the students traveled to Chile, Argentina and Peru, where they performed before 34 heads of state at the Summit of the Americas, and conducted master classes. In 2001, the students traveled with Herbie Hancock and Vanessa Rubin to Egypt, where they taught and performed in Cairo and Alexandria, representing the U.S. Department of State. In 2002 and again in

CLOCKWISE, FROM TOP LEFT: Dave Holland leads the college ensemble during his residency. • Ron Carter coaches the current Institute rhythm section • Current Institute students (l to r): Jake Saslow, Gordon Au, Colin Stranahan, Vadim Neselovskyi, David Mooney, Johnaye Kendrick, and Joe Johnson. BOTTOM OF PAGE: John Scofield illustrates his chordal approach to 2003 graduate Lionel Loueke.

Jazz Performance

2003 and 2004, the students traveled with Dianne Reeves, Dee Dee Bridgewater, Herbie Hancock, Wayne Shorter, and T.S. Monk to Paris, where they performed at a United Nations “International Day of Philosophy” event presented by UNESCO. In 2005, the students accompanied Herbie Hancock, Wayne Shorter, and Nnenna Freelon on a State Departmentsponsored tour of Vietnam commemorating the 10th anniversary of the United States and Vietnam resuming diplomatic relations. In 2007, the students traveled with Herbie Hancock and Wayne Shorter on a State Department-sponsored tour of India. The group performed in Calcutta, Delhi, and Mumbai in commemoration of the 100th anniversary of Mahatma Gandhi’s nonviolence movement. The current class is a dynamic mix of seven students from the United States and abroad. The ensemble is comprised of Gordon Au, trumpet (Carmichael, California); Joe Johnson, bass (Kansas City, Missouri); Johnaye Kendrick, vocals (San Diego, California); David Mooney, guitar (New Orleans, Louisiana); Vadim Neselovskyi, piano (Odessa, Ukraine); Jake Saslow, tenor saxophone (Northport, New York); and Colin Stranahan, drums (Denver, Colorado).

CLOCKWISE, FROM TOP RIGHT: Pat Metheny leads a master class for satellite television broadcast • McCoy Tyner with DC public school students following a master class at Blues Alley • Ron Carter talks with students during a residency in Los Angeles

Thelonious Monk Institute of Jazz

Jazz

he Institute has responded to drastic reductions in public funding for music education by developing Jazz in the Classroom, a national and international series of innovative jazz education programs for students. The goal is to help children develop imaginative thinking, creativity, curiosity, a positive self image and a respect for their own and others’ cultural heritage. Through these programs, the Institute has reached millions of students, teachers, and families, many of whom are experiencing jazz for the first time. The Institute presents a number of programs for inner-city youth that encourage young musicians to develop an appreciation for the multitude of jazz musicians and composers who have advanced this American art form. Through teaching and mentoring, jazz masters such as Jimmy Heath, Wayne Shorter, and Terence Blanchard play a major role in the continued evolution of the music, the development of new artists, and the expansion of a broad listening audience to support the music. Since 1989, the Thelonious Monk Institute has been presenting educational programs for young people throughout the United States and abroad. The series began with Clark Terry, who took a group of gifted American and European music students to Dolo, Italy as part of an intensive educational summer program. Other noteworthy programs have included a jazz studies program for more than 11,000 public school students in North Carolina, and a With Strings Attached guitar series in the Washington, DC public schools. In addition, the Institute has presented a wide range of assembly programs, master classes, and workshops led by jazz masters for young people in Alaska, Arizona, California, Connecticut, the District of Columbia, Florida, Idaho, Illinois, Kentucky, Louisiana, Maine, Massachusetts, Mississippi, Montana, New York, North Carolina, Ohio, Oregon, Texas, Washington, and on the islands of St. Lucia and Jamaica. The Institute was one of the first organizations to use interactive satellite television for music education as a part of its Jazz in the Classroom series. These programs have featured Herbie Hancock, Clark Terry, Joshua Redman, Christian McBride, Terri Lyne Carrington, Wah Wah Watson, and Pat Metheny. In recent years, the Institute has presented public school master classes and assembly programs featuring some of the greatest names in jazz, including McCoy Tyner, Branford Marsalis, Danilo Pérez, Stanley Jordan, John Patitucci, Bobby Watson, George Duke, Kenny Garrett, and Chick Corea. These programs have been presented in public schools across America, ranging from the La Guardia High School for the Performing Arts in New York City and Roosevelt High School in Seattle to the Paseo Academy of Fine and Performing Arts in Kansas City and Woodrow Wilson High School in Washington, DC.

CLOCKWISE, FROM BELOW: Charlie Haden leads a master class at Locke High School in Los Angeles. • Stanley Jordan takes questions from public school students at Institute master class • Lisa Henry and Bobby Watson lead a Peer-to-Peer education program in Minneapolis with students from the Los Angeles County High School for the Arts. BOTTOM: Students from Washington Preparatory High School in Los Angeles perform at a culminating concert at the Jazz Bakery.

In The

Classroom

The Institute’s new Peer-to-Peer Jazz Education Tour initiative brings gifted jazz students from leading performing arts high schools and nationally renowned jazz musicians into underserved public high schools throughout the nation. The musicians present informances for each school’s entire student body and perform for adult audiences at jazz clubs and other venues. During master classes with each high school’s jazz band, the visiting student performers play alongside their like-instrument counterparts, providing hands-on tutelage peer-to-peer. As Thelonious Monk, Jr., Chairman of the Institute’s Board of Trustees, remarked, “As young people are so influenced by kids their own age, who better to expose them to this great American art form than those of their own generation?” The Peer-to-Peer program began in 2006, when students from the Los Angeles County High School for the Arts traveled with saxophonist Bobby Watson to the Minneapolis and St. Paul public schools. In 2007, students from the Booker T. Washington High School for Performing and Visual Arts in Dallas performed for Los Angeles public school students. In 2008, talented students from performing arts high schools in Chicago, Los Angeles, and Washington, DC will travel to Salt Lake City, Anchorage, and Miami, respectively.

CLOCKWISE FROM TOP RIGHT: BeBop to Hip-Hop students perform at the 2006 culminating concert • Student musicians and dancers perform Herbie Hancock’s “Rockit” • Terence Blanchard, Herbie Hancock, Thelonious Monk, Jr., Jackson Browne, and Frank Cooper at the BeBop to Hip-Hop culminating concert. BOTTOM: BeBop to Hip-Hop horn section jams during a 2007 performance

Thelonious Monk Institute of Jazz

eBop to Hip-Hop is one of the most innovative new public school music education programs in America. The program was piloted in the 2004-2005 school year at Washington Preparatory High School in South Central Los Angeles and is now in its fourth year. By bringing together jazz and hip-hop students under the direction of professional jazz musicians and hip-hop artists, the Thelonious Monk Institute is providing an educational experience that inspires young artists to create a new art form demonstrating the genius of both musical genres.

LEFT: BeBop to Hip-Hop students, instructors, and guest musicians pose for a group photo

BeBop to

Hip-Hop

Every weekday, aspiring young jazz and hip-hop artists study the musical dynamics of both jazz and hiphop and learn about the historical influence of jazz on hip-hop. The class is fully accredited and endorsed by the Los Angeles Unified School District. Each year, 25 high school students work together to compose experimental pieces combining the best of both art forms. Jazz and hip-hop instructors introduce the students to the latest recording technologies and software. The jazz students learn to produce more cutting-edge sounds, construct beats, and incorporate the hip-hop groove into jazz, while the hip-hop students learn how to create and record in a live environment and gain technical skills in music. All of the participants learn skills needed in the jazz world, such as composition, music theory, arranging, and improvisation, along with skills associated with hip-hop, such as lyric writing, turntable scratching, and sampling. As a group, the students develop a series of tunes, demonstrating elements of both jazz and hip-hop; rehearse them in a live context, allowing for improvisation; and record many of these works. An annual culminating concert highlights the original and spontaneous work that results from this groundbreaking collaboration. The students perform with jazz greats including Herbie Hancock and Terence Blanchard as well as hip-hop innovators such as DJ Spark and YoYo. The 2005 concert was broadcast as a one-hour documentary by Black Entertainment Television. In 2007, with support from the National Endowment for the Arts, the BeBop to Hip-Hop students presented a series of community outreach concerts throughout Los Angeles, introducing thousands of residents of all ages to hip-hop and jazz. By all accounts, the BeBop to Hip-Hop program has been an unqualified success, greatly influencing the musical skills of the students. Shadae Adem remarked, “I loved this class so much. I loved creating the tracks and doing drum beats over the computer. Before I came to this school, I never in my wildest dreams thought I would have these kinds of opportunities, so I am very grateful.” Bryan Tate said, “I enjoyed the entire class, but I think that the performance was the most important part because millions of people are going to be able to see our final product.” Analisia Young commented, “My lyric writing was not as great as it should have been. But after YoYo came and worked with me, I felt confident in my writing skills. I can create my own audio tracks now using the equipment. I am still learning how to write horn parts, but I am getting good with my ears and figuring out the beats just by listening to what I already have on a track. This program made me realize I can do more than I give myself credit for.” In the 2007-2008 school year, the Washington Preparatory High School students participating in the program will continue to study on a daily basis and will perform with leading jazz and hip-hop artists in assembly programs for students from other public schools.

“Before I came to this school, I never in my wildest dreams thought I would have these kinds of opportunties...”

BELOW: Jazz Sports LA students Terrance Martin and Lorenzo Armstrong perform with Stevie Wonder at the Los Angeles Music Center. RIGHT: Gerald Albright performs with Jazz Sports LA students during half-time at a Los Angeles Clippers game

Thelonious Monk Institute of Jazz

he similarities between jazz and basketball have been noted by many fans of both institutions. Basketball legend Kareem Abdul-Jabbar observed, “Jazz players pass the solo spotlight amongst themselves the way basketball players pass the ball; and in both cases, it only works when it’s about teamwork...Jazz and basketball both say something about America. We’re a group of individuals, but we’re still a team.” Jazz Sports perfectly combines these two classic American traditions. Jazz Sports, which received its initial funding from the National Endowment for the Arts, was established in Los Angeles in 1995 and in Washington, DC a year later. The program, which has been overwhelmingly successful in creating invaluable learning experiences for young people on both coasts, will be introduced in the New Orleans public schools in the coming months. A kickoff concert will take place in February 2008 at an NBA All-Star basketball game in New Orleans. In Los Angeles, participants in the program include Eagle Rock High, the Los Angeles County High School for the Arts, North Hollywood High, Pacoima Middle, Reed Middle, Roosevelt High, and Washington Preparatory High. In Washington DC, Jazz Sports participants include the Duke Ellington School of the Arts, the Fillmore Arts Center, Jefferson Junior High, Shaw Junior High, and Wilson High. The first of Jazz Sports’ three components is professional instruction by musicians and educators, which is provided to students on a daily basis in Los Angeles and twice a week in Washington, DC. Instructors give individual lessons and organize sectional clinics that focus on brass, woodwinds and the rhythm section. Topics such as theory, improvisation, composition, and technique are covered in these lessons. The second component is a series of master classes, which take place approximately twice a month and are conducted by such legendary jazz musicians as Jimmy Heath, Chick Corea, Stanley Jordan, Branford Marsalis, McCoy Tyner, Dianne Reeves, Kenny Garrett, Charlie Haden, George Duke, Kevin Eubanks, Danilo Pérez, and Terence Blanchard. The master classes create an environment in which young jazz musicians can learn from the masters of the

LEFT: Kevin Eubanks, band leader for the “Tonight Show with Jay Leno,” performs with a Jazz Sports LA student BELOW: (l to r): Herbie Hancock, Billy Dee Williams, Thelonious Monk, Jr., and Kareem Abdul-Jabbar at a Los Angeles Lakers Jazz Sports LA event. BOTTOM: The Washington Prep High School jazz ensemble performs for thousands of basketball fans at “Jazz Sports LA Night”

Jazz

Sports

music all the vital elements that will allow them to uphold the tradition and continue to create new innovations in jazz. Lastly, the students who participate in Jazz Sports have an opportunity to perform at major sports events including Los Angeles Clippers, Los Angeles Lakers and Washington Wizards basketball games. A recent highlight was a halftime performance by Jazz Sports DC students and Institute Chairman Herbie Hancock at a Washington Wizards “Jazz Night” basketball game at the Verizon Center. The students also appear at high-profile community functions and at local venues, where they can hone their craft and gain valuable professional experience before tens of thousands of people each year. In the 2006-2007 school year, Jazz Sports LA students were invited to perform at the Monterey Jazz Festival and at the Hollywood Bowl. Jazz Sports has helped thousands of students to pursue their creative dreams. Many have continued on to higher education, where they obtain music degrees. Of special note, more than 90% of the seniors who have participated in Jazz Sports have maintained a grade point average of 3.2 or above and have gone on to attend college.

“Jazz players pass the solo spotlight amongst themselves the way basketball players pass the ball”

BELOW: (l to r): Ofer Ganor, Herbie Hancock, Wayne Shorter, Thelonious Monk, Jr., and Carl Atkins lead a master class in Bangkok, Thailand. RIGHT Danny Grissett, Jason Goldman, Gigi Hancock, Robert Perkins, Bryan Lipps, John Roche, Herbie Hancock, Vanessa Rubin, and Tom Carter on a 2001 State Department tour of Egypt

Thelonious Monk Institute of Jazz

ABOVE: Saxophone students play a few bars for Bobby Watson during a St. Lucia master class.

he Institute’s goal of preserving and promoting jazz includes exposing people outside the United States to this truly American music. In the Institute’s early years, Clark Terry and Paul Jeffrey led an Institute summer program in Dolo, Italy. Since then, education programs have been conducted in more than 30 countries throughout Africa, Asia, Europe, and South America, as well as the Caribbean. The most successful and far reaching international programs have been the many Institute tours sponsored by the U.S. Department of State and the United Nations. The Thelonious Monk Institute Jazz Ambassadors, an ensemble of previous Competition winners, was organized in 1995 for a six-week State Department tour of seven African nations. Pianist Ted Rosenthal, bassist Matt Garrison, drummer Harold Summey, vocalist Lisa Henry, and Composers Competition winner Patrick Zimmerli were among the artists who presented workshops and concerts to audiences in Eritrea, Ethiopia, Madagascar, Mauritius, Mozambique, South Africa, and Swaziland under the leadership of T.S. Monk. In 1996, a second State Department tour was assembled, this time featuring the members of the first class of students at the Thelonious Monk Institute of Jazz Performance along with T.S. Monk and jazz legends Herbie Hancock and Wayne Shorter. The group traveled to India and Thailand, performing and teaching to thrilled audiences who were receiving their first hands-on jazz experience. During the course of the tour, the Institute students performed at the celebration of the 40th anniversary of the coronation of the King of Thailand. The Institute forged an alliance with seven Caribbean nations (St. Lucia, Jamaica, Puerto Rico, Cayman Islands, Barbados, Grenada, and Trinidad) in 1997, establishing educational outreach programs that bring jazz masters and educators to the people of the Caribbean. Several times a year, internationally renowned jazz artists and educators such as Bobby Watson, Ellis Marsalis, and Arturo Sandoval present master classes, workshops and concerts with artists and educators from the islands. In 1998, the second class of the Thelonious Monk Institute of Jazz Performance toured Argentina, Chile, and Peru with Herbie Hancock. Highlights of the tour included a performance at the Summit of the Americas attended by heads of state from 34 countries in North America, South America, and Central America. These students also traveled to Jamaica in 1999 to present educational programs and perform. In 2000, the third class of students attending the Thelonious Monk Institute of Jazz Performance appeared at the 2000 North Sea Jazz Festival in the Netherlands, and traveled to Egypt in 2001, where they performed and led master classes with Herbie Hancock and Vanessa Rubin. A highlight was a performance at the grand reopening of the historic library in Alexandria. In 2002 and again in 2003 and 2004, the United Nations sponsored a tour of Paris, where the Institute’s fourth and fifth classes of college students performed with Dee Dee Bridgewater, Herbie Hancock, T.S. Monk, Dianne Reeves, and Wayne Shorter at “International Day of Philosophy” events presented by UNESCO. In 2004, the Institute’s fifth class of college students performed at the Tokyo Jazz Festival with 24

CLOCKWISE FROM TOP: Lisa Henry and The Jazz Ambassadors teach a class in Daveytown, South Africa • Herbie Hancock and Nnenna Freelon work with students in Vietnam • Jimmy Heath performs at the Blue Note with Russian jazz musicians participating in the Institute and Library of Congress’ Open World cultural exchange program. BELOW: Institute of Jazz Performance 2007 class celebrates the conclusion of their tour of India with Herbie Hancock and Wayne Shorter

International Programs Herbie Hancock. In 2005, these students had the opportunity to study and perform with eight Russian delegates who participated in a two-week cultural exchange program in New York City that was hosted by the Institute and the Library of Congress’ Open World Leadership Center. The sixth class of college students accompanied Herbie Hancock, Wayne Shorter, and Nnenna Freelon on a 2005 State Department sponsored tour of Vietnam commemorating the 10th anniversary of the United States and Vietnam resuming diplomatic relations. In 2006, Kenny Garrett and Lisa Henry traveled to Mumbai, India with former Institute students on a State Department tour. Most recently in 2007, the Institute’s college students traveled with Herbie Hancock and Wayne Shorter on a State Department-sponsored tour of India. The group performed in Calcutta, Delhi, and Mumbai in commemoration of the 100th anniversary of Mahatma Gandhi’s nonviolence movement. In the coming years, the Institute will continue to produce international tours, bringing jazz to all parts of the world and using jazz as a diplomatic tool to bring people and cultures together.

The most successful and far reaching international programs have been the many Institute tours sponsored by the U.S. Department of State and the United Nations.

THELONIOUS MONK INSTITUTE O F JA Z Z

Anniversary Celebration

Clockwise from second row: Jazz All-Stars ensemble comprised of former Institute students and Competition winners: (l to r) Richard Johnson, Gretchen Parlato, Lionel Loueke, Ben Williams, Wayne Escoffery, Seamus Blake, Chris Potter and Ronald Bruner. Jr. • Quincy Jones, Madeleine Albright, and Colin Powell look on as Herbie Hancock presents Stevie Wonder with the 2006 Maria Fisher Founder’s Award • Congressman John Conyers talks at the U.S. Capitol about the importance of the Institute’s education programs 26

he Thelonious Monk Institute marked its 20th Anniversary in 2006 with a weekend of festivities surrounding its Thelonious Monk International Jazz Piano Competition. The celebration kicked off with President and Mrs. Bush hosting a dinner and concert at The White House. The East Room concert, hosted by Barbara Walters, was broadcast this past April as an “In Performance at The White House” PBS special. The White House event was followed by a luncheon in the United States Capitol hosted by Senators Ted Stevens and Thad Cochran and Congressman John Conyers, all of whom are major advocates for the Institute and have Institute public school programs in their states and district. A 20th Anniversary Gala Concert featured the three piano competition finalists. Each finalist performed for a packed house at The Kennedy Center. Following the finalists’ performances, the evening shifted to an All-Star concert featuring a series of historic performances. These and other renowned jazz musicians joined a group of young artists who have emerged from the Institute’s numerous education programs. Madeleine Albright and Colin Powell, Honorary Co-Chairs of the 20th Anniversary Celebration, shared with the audience their love of jazz and support of the Institute’s global programs that range from Calcutta, India to Lima, Peru to Cairo, Egypt.  Albright and Powell presented the Institute’s Maria Fisher Founder’s Award to Stevie Wonder for his longtime support of the Institute and jazz education.  They were joined onstage for the presentation by Quincy Jones and Herbie Hancock. The concert was recorded for broadcast on BET, NPR, PBS, and Voice of America. Clockwise from top left: Ron Carter, Danilo Pérez, Wayne Shorter, Roy Hargrove, and Terri Lyne Carrington perform “Rhythm-A-Ning” in the East Room of The White House • Anita Baker, Wayne Shorter, Bobby Watson, Roy Hargrove, and Greg Diaz perform • Nnenna Freelon and Clark Terry enjoy a moment during “I Won’t Dance” • Barbara Walters hosts the “In Performance at the White House” PBS special honoring the Thelonious Monk Institute of Jazz • President George W. Bush stands with performers on stage in the East Room of The White House as he offers closing remarks to guests at the taping of “In Performance at the White House” PBS special • First Lady Laura Bush discusses the importance of jazz in America • Lisa Henry, Anita Baker and Nnenna Freelon perform together at the White House

THELONIOUS MONK INTERNATIONAL JAZZ COMPETITION

years of

competitions

(Clockwise from top left) • 1995 guitar competition judges (l to r): Jim Hall, John Scofield, Pat Metheny, Pat Martino, Mark Whitfield • Joshua Redman (center) winner of the 1991 saxophone competition, with Thelonious Monk, Jr., Benny Carter, Jimmy Heath, Jackie McLean, and Clark Terry • 1987 piano competition finalists (l to r): Rob van Bavel, Marcus Roberts (first place), Joey DeFrancesco, John Colianni, Harry Appelman • Judges listening to competitors at 1991 saxophone competition (l to r): Branford Marsalis, Jackie McLean, Jimmy Heath, Frank Wess, and Benny Carter • Institute Honorary Chairman Bill Cosby jokes with 1992 drums competition winner Harold Summey by giving him only half his prize check • Ryan Kisor (center), first place winner of 1990 trumpet competition, joined by judges (l to r): Clark Terry, Nat Adderley, Red Rodney, Snookie Young • 1993 piano competition finalists (l to r): Jacky Terrasson, first place; Ed Simon; Peter Martin • 1995 competition finalists (seated): bassist Darryl Hall, first place; guitarist Jesse van Ruler, first place; (standing): Paul Piper and Sheryl Bailey, guitarists; Martin Wind and Tom Baldwin, bassists; Billy Dee Williams • Nellie Monk joins first place winner Bill Cunliffe onstage at 1989 piano competition • 1995 bass competition judges: (back row) Christian McBride, Percy Heath, Charlie Haden, (front row) Ron Carter, Milt Hinton • 1993 piano competition judges (l to r): Marian McPartland, Herbie Hancock, Muhal Richard Abrams, Marcus Roberts, Dave Brubeck, Dorothy Donegan • 1994 vocals competition finalists Sarah Lazarus, first place; Carolyn Leonhart; Lisa Henry • 1994 vocals competition judges (seated): Abbey Lincoln, Shirley Horn; (standing): Jon Hendricks, Dianne Reeves, Jimmy Scott, Cleo Laine • Thelonious Monk, Jr. joins 1992 drums competition judges Jack DeJohnette, Dave Weckl, Roy Haynes, Alan Dawson, Ed Shaughnessy, Jeff Watts • Maria Fisher and Thelonious Monk, Jr. congratulate first place winner Ted Rosenthal at 1988 piano competition

(Clockwise from top left) • 1999 piano competition winners (l to r): Jacob Sacks (third place), Eric Lewis (first place), Sam Yahel (fourth place), Orrin Evans (second place) after the finals • 2003 trombone competition winner Andre Hayward performs the finale with Herbie Hancock, Robert Hurst, Darren Barrett, Jimmy Greene, and Carl Allen • 2006 guitar competition winner Lage Lund performs accompanied by Bob James on piano • (l to r): 1998 vocals competition finalists Jane Monheit (second place), Cynthia Scott, Roberta Gambarini (third place), Shelby Fischer, Executive Producer, Teri Thornton (first place), Everett Greene • 2004 vocals competition winners Charenee Wade (fourth place), Robin McKelle (third place), Gretchen Parlato (first place), Kellylee Evans (second place) • 2003 trombone competition judges Steve Davis, Grachan Moncur, Julian Priester, Curtis Fuller, and Steve Turre (front) • Winners of the 2000 hand drum competition (l to r): Pedro Martinez, first place; Camilo Molina Gaetan, third place; Samuel Torres, second place; Ramses Araya and Cristian Rivera, finalists • 1998 vocals competition judges Dee Dee Bridgewater, Nnenna Freelon, Dianne Reeves, Diana Krall, and Joe Williams at semifinals held at Blues Alley • 2000 hand drum competition judges (clockwise from front middle): Giovanni Hidalgo, Candido, Babatunde Olatunji, Big Black, Ray Barretto, and Milton Cardona. • 1997 trumpet competition judges Arturo Sandoval, Clark Terry, Randy Brecker, Jon Faddis, Art Farmer and Wallace Roney before deliberations • Winners of the 2002 saxophone competition (l to r): Jaleel Shaw, finalist; Marcus Strickland, third place; John Ellis, second place; Seamus Blake, first place; Aaron Fletcher, finalist • Darren Barrett, winner of the 1997 trumpet competition, performs at the finals • Judges and finalists in the 1996 saxophone competition (l to r): Joshua Redman, Joe Lovano, John Wojciechowski (third place), Jimmy Greene (second place), Jon Gordon (first place), Jackie McLean, Wayne Shorter, Jimmy Heath • 1999 piano competition judges (l to r): Cedar Walton, Herbie Hancock, Geri Allen, Danilo Pérez, Eric Reed, and Randy Weston take their seats in the audience to see the finalists perform

Thelonious Monk International Jazz Trumpet Competition

Herb Alpert

As a trumpeter, vocalist, arranger, composer, producer, entrepreneur, and philanthropist, Herb Alpert’s influence and success spans every facet of the music world. Alpert grew up in Los Angeles and began playing the trumpet at age eight. After graduating from high school, he joined the U.S. Army. In the early ’50s, Alpert attended the University of Southern California and played with the school’s marching band. Later that decade, he teamed up with fellow musician Lou Adler. The two up-andcoming songwriters found quick success as they produced such hits as Jan and Dean’s “Baby Talk,” Lou Rawls’s “Love Love Love,” and Sam Cooke’s “Wonderful World.” In 1962, Alpert partnered with Jerry Moss to form A&M Records, which became the largest independently owned record company in the world. A&M represented artists as diverse as Carole King, Cat Stevens, Styx, Supertramp, The Carpenters, Sting, and Janet Jackson. As a trumpet player, Alpert is most well known as the leader of Herb Alpert and the Tijuana Brass. The group released 22 albums between 1962 and 1987, helping to propel Latino music into the pop music limelight. Alpert’s trumpet playing earned him five number one hits, eight GRAMMY® awards, 15 gold albums and 14 platinum albums. In 2005, Alpert helped oversee the reissue of the Tijuana Brass albums. Additionally, he revamped his highly successful album, Whipped Cream and Other Delights, with a group of remixers and electronica artists. Alpert is also known as a leading philanthropist, having established The Herb Alpert Foundation, which supports educational, arts, and environmental programs for young people.

Terence Blanchard

Trumpeter Terence Blanchard has attained a unique position in the world of music as an accomplished jazz artist, a successful film composer, and a respected educator. Blanchard grew up in New Orleans, began playing piano at age four, and picked up the trumpet in the third grade. As a teenager, he studied with legendary pianist Ellis Marsalis at the New Orleans Center for the Creative Arts. Blanchard attended Rutgers University, where he studied with Kenny Barron and Paul Jeffrey. While at Rutgers, he had the opportunity to play with Lionel Hampton and was later offered a position in Art Blakey’s Jazz Messengers, where he served as musical director.  Following several successful recordings with saxophonist Donald Harrison, Blanchard continued on to play and record with Diana Krall, Jane Monheit, Dianne Reeves, Cassandra Wilson, Herbie Hancock, McCoy Tyner, Gary Bartz, Christian McBride, and Lewis Nash. In 2000, Blanchard had a landmark year.  He received Downbeat awards for Album of the Year, Artist of the Year and Trumpeter of the Year and was appointed Artistic Director of the Thelonious Monk Institute of Jazz Performance. In 2005, he won a GRAMMY® for Best Instrumental Jazz Album for his participation on McCoy Tyner’s album, Illuminations. In addition to creating a name for himself as a trumpet player, Blanchard has gained wide respect as a film composer. He has composed music for every Spike Lee film since Mo’ Better Blues and has scored dozens of other films and television shows. Most recently, Blanchard appeared in and composed for Lee’s documentary, “When the Levees Broke: A Requiem in Four Acts.” Blanchard’s most recent project is his 2007 tribute to post-hurricane New Orleans, A Tale of God’s Will (A Requiem for Katrina). The recording is a powerful and emotional song cycle that tells the story of Katrina’s destruction of New Orleans and its devastating aftermath. 31

Thank you Herbie Your music and vision continue to delight us... Frank Marshall & Kathleen Kennedy

Thelonious Monk International Jazz Trumpet Competition

Roy Hargrove

As a “young lion” in jazz, Roy Hargrove has made a name for himself as one of the most influential artists of his generation. Hargrove grew up in Texas and showed musical promise from a very young age. He credits his band director, Dean Hill, for sparking his interest in a career as a jazz performer. When Hargrove was just 18, Wynton Marsalis made an unexpected visit to the Dallas arts magnet school that Hargrove attended. Marsalis was so impressed with young Hargrove that he arranged a series of educational and performing opportunities for Hargrove that quickly propelled him into the contemporary jazz scene. Hargrove studied at both the Berklee School of Music and the Manhattan School of Music. By age 25, he was already signed to Verve Records, for which he recorded the landmark Tenors of Our Time album featuring Johnny Griffin, Stanley Turrentine, Joe Henderson, and Joshua Redman. Hargrove has shared the stage with a myriad of jazz musicians, including Herbie Hancock, Sonny Rollins, Michael Brecker, Jackie McLean, Slide Hampton, Natalie Cole, Diana Krall, Abbey Lincoln, Diana Ross, Carmen McRae, and Shirley Horn. In 2003, Hargrove proved that his talent expanded beyond his success as a straight-ahead jazz musician with the introduction of his hip-hop/jazz fusion group, The RH Factor. The group, which featured artists such as Q-Tip, Erykah Badu, Meshell Ndegeocello, and Common, became quickly successful with the release of its first album, Hard Groove. In 1997, Hargrove won the Best Latin Jazz Performance GRAMMY® for the album Habana and in 2002, Hargrove, Herbie Hancock and Michael Brecker took home the GRAMMY for Best Instrumental Jazz Album for their Directions in Music collaboration. Hargrove’s most recent projects include the recording Nothing Serious with his quintet, and the 2006 RH Factor album, Distractions. With his continual desire to expand the possibilities of his art and explore new ideas and sounds, Hargrove has become an inspiration and role model for musicians of all genres.

Quincy Jones

After five decades in the music business, Quincy Jones has attained legendary status, crossing all stylistic borders as a musician and producer. From jazz to hip-hop and theater to film, Jones has done it all. Born in Chicago and raised in Seattle, Jones had befriended a young Ray Charles by age 13 and the two performed together in area clubs. Trumpet legend Clark Terry, who would pass through Seattle with Count Basie’s band, mentored Jones on the trumpet as well as arranging and composing music. At 18, Jones received a scholarship to attend Schillinger House, now the Berklee College of Music, but soon left to perform with Lionel Hampton’s band and later work with Count Basie, Dinah Washington, Cannonball Adderley, and others. In the late 1950s, he toured South America as musical director for the Dizzy Gillespie Big Band and led his own all-star big band on a tour of Europe. In the 1960s, Jones became a vice president at Mercury Records, producing pop hits while maintaining his connections to jazz and big band arranging through his work with Frank Sinatra and Billy Eckstine. Jones began writing music for films and soon became a force in the world of film scoring, creating music for In Cold Blood, The Wiz, and the television series “Roots.” Throughout the 1970s, he recorded a series of albums that fused jazz, funk and soul, and he helped to craft the careers of Chaka Khan and Michael Jackson. Jones has pulled off several amazing feats, including the coordination of “We Are the World,” the comeback of Frank Sinatra, and a concert featuring Miles Davis presenting his classic works. He has received 27 GRAMMY® Awards, an Emmy® Award, seven Oscar® nominations, and the Academy of Motion Picture Arts and Sciences® Jean Hersholt Humanitarian Award. In 1990, a documentary about Jones’ life was released and in 2001, Jones published Q: The Autobiography of Quincy Jones. In addition to his musical and business pursuits, Jones is a dedicated social activist. He is the founder of the Quincy Jones Listen Up Foundation, which supports youth education in culture, music, and technology. 33

Thelonious Monk International Jazz Trumpet Competition

Hugh Masekela

South African jazz legend Hugh Masekela has been recognized as one of the major leaders in world fusion music. For decades, Masekela’s music has bridged cultural and musical gaps, earning him recognition as a “trumpeter for justice.” Masekela grew up in Witbank, South Africa. He became interested in playing the trumpet after seeing the 1949 film Young Man With A Horn, the story of Bix Beiderbecke. As a teenager, Masekela toured and performed with South African dance bands before he went on to form his own group, the Jazz Epistles. He later attended both London’s Guildhall School of Music and the Manhattan School of Music in New York. In the early ’60s, Masekela’s career took off and he began recording for MGM, Mercury, Verve, and Chisa, his own record label. His “Grazing in the Grass” sold four million copies worldwide and put him at the top of the American pop charts. Masekela has performed with a diverse group of artists, including Dizzy Gillespie, The Crusaders, Harry Belafonte, Bill Cosby, Sarah Vaughan, Ella Fitzgerald, Santana, Paul Simon, Stan Getz, and Herb Alpert. In addition to his success in mainstream American music, Masekela has drawn on his ethnic background in collaborations with such artists as Fela Kuti, Abdullah Ibrahim, Makaya Ntshoko, Gwanga, and Kippie Moekets. Along with his musical pursuits, Masekela acted as one of the leading crusaders against apartheid in South Africa. His latest CD, Revival, features the musical style of Kwaito, which emerged following the end of the apartheid in the early 1990s. This new style, representing freedom without fear of imprisonment, has become the voice of urban youth in South Africa. Additionally, Masekela recently released his autobiography, Still Grazing: The Musical Journey of Hugh Masekela.

Clark Terry

Clark Terry’s most memorable feature, beyond his superlative skill on the trumpet and greater than his tremendous tone on the flugelhorn, is his warm-hearted spirit. The legendary musician and educator is an inspiration in presence alone. A native of St. Louis, Terry made his first trumpet out of a garden hose. He played in St. Louis clubs before joining the Navy during World War II. Terry began his jazz career fresh out of the Navy, performing in bands led by Charlie Barnet, Charlie Ventura, Eddie Vinson, and Count Basie. His playing during this time had a profound effect on the styles of both Miles Davis and Quincy Jones. In 1951, Terry joined the Duke Ellington Orchestra, where he remained for eight years and shone as a featured soloist. Upon leaving Ellington’s orchestra, Terry became the first African-American staff musician at NBC, where he performed with the Tonight Show Band led by Doc Severinsen for more than 10 years. His character “Mumbles” became a hit during his association with the show. Terry’s more than 300 credits include recordings with Duke Ellington, Count Basie, Quincy Jones, Ella Fitzgerald, Oscar Peterson, Dizzy Gillespie, Dinah Washington, Ben Webster, Ray Charles, Billy Strayhorn, Dexter Gordon, Thelonious Monk, Billie Holiday, Sarah Vaughan, Coleman Hawkins, Zoot Sims, Wes Montgomery, Milt Jackson, Cecil Taylor, and Dianne Reeves. Terry has performed for seven U.S. Presidents and was a Jazz Ambassador for State Department tours in the Middle East and Africa. He has received a GRAMMY® award, 13 honorary doctorates, and numerous lifetime achievement and hall of fame awards. Terry was knighted in Germany and is the recipient of the French Order of Arts and Letters. Since 2000, he has hosted the Clark Terry Jazz Festival and held Clark Terry’s Big B-A-D Summer Jazz Camps. At age 87, Terry’s infectious humor and swinging melodies still thrill audiences worldwide and have earned him a permanent place in the hearts of all jazz fans.

Congratulations To

The Thelonious Monk Institute of Jazz

Honoree

Herbie Hancock And A Special Note of Thanks To

Bill & Carolyn Powers “For the things that you do and how well you do it”

The ARTISTS WHO APPEARED THERE JUNE 16, 17 AND 18, 1967 The ASSOCIATION BEVERLY BIG BROTHER & The HOLDING COMPANY The BLUES PROJECT The ELECTRIC FLAG BOOKER T. and The M.G's. with The BAR-KAYS BUFFALO SPRINGFIELD ERIC BURDON and The ANIMALS The BUTTERFIELD BLUES BAND The BYRDS CANNED HEAT COUNTRY JOE and The FISH The GRATEFUL DEAD The GROUP with NO NAME The JIMI HENDRIX EXPERIENCE JEFFERSON AIRPLANE AL KOOPER The MAMAS and The PAPAS HUGH MASAKELA The STEVE MILLER BLUES BAND SCOTT McKENZIE MOBY GRAPE LAURA NYRO The PAUPERS QUICKSILVER MESSENGER SERVICE LOU RAWLS OTIS REDDING JOHNNY RIVERS RAVI SHANKAR SIMON and GARFUNKEL The WHO

Thelonious Monk International Jazz Trumpet Competition

Maurice Brown

Ambrose Akinmusire

grew up in Oakland, California. He began playing piano at age four, drums at age 11, and trumpet at age 12. Akinmusire attended Berkeley High School and then moved to New York to attend the Manhattan School of Music. At the Manhattan School, he studied with Steve Coleman and in 2001 began touring and recording with him. In 2005, Akinmusire was selected to study at the Thelonious Monk Institute of Jazz Performance. Through the program, he toured with Herbie Hancock and Wayne Shorter throughout Vietnam and India. Akinmusire has performed and recorded with artists such as Joe Henderson, Christian McBride, Aaron Parks, Joshua Redman, and the San Francisco Jazz Collective.

was born in Chicago and grew up in a music loving family. While still in high school, Brown performed with pianist Ramsey Lewis at Chicago’s Symphony Hall. Following graduation, he was awarded a full scholarship at Northern Illinois University. Brown continued his studies at Southern University in Baton Rouge and then relocated to New Orleans. After Hurricane Katrina, he moved to New York City, where he has performed at the Jazz Standard, Iridium, and Dizzy’s Club CocaCola. In 2001, Brown won first place in the National Miles Davis Trumpet Competition. He performs regularly with the Maurice Brown Quintet and his hip-hop/ funk combo Soul’d Out. Brown’s self-produced debut album is titled Hip to Bop.

Jean Caze was born

in Haiti and began playing the trumpet at age nine. While in high school, he was selected for the GRAMMY® Jazz Ensembles. Caze attended the Juilliard’s Music Advancement Program and studied at Queens College. He earned his bachelor’s degree from the Manhattan School of Music and his master’s degree from Florida International University. Caze was the winner of the 2006 International Trumpet Guild Jazz Competition and the 2004 National Jazz Competition. He has played with Herbie Hancock, Arturo Sandoval, Bob Mintzer, and Chicago. In 2006, Caze released his selfproduced album, Miami Jazz Scene.

Philip Dizack is a native of Milwaukee, Wisconsin who began playing music at the age of 10. Dizack attended the Milwaukee High School of the Arts. During his senior year, he was selected for IAJE’s Stan Getz and Clifford Brown All Stars, a group that performed throughout the United States, Canada, and Japan. Dizack was awarded first place in the International Trumpet Guild Competition in

2005 and first place in the 2005 Carmine Caruso International Jazz Trumpet Solo Competition. He released his debut recording, Beyond the Dream, on the Fresh Sound label in 2005. Dizack currently attends Manhattan School of Music, where he is pursuing his bachelor’s degree in jazz trumpet performance.

Josh Evans was born and raised in Hartford, Connecticut and started playing the trumpet when he was 10. Beginning at age 13, Evans was mentored by the late Jackie McLean. Evans performed with McLean at venues including the Blue Note, Iridium, Regattabar, and Bushnell Theatre. While attending the Greater Hartford Academy of the Performing Arts High School, Evans was selected for the GRAMMY® Jazz Ensembles. He was also named an “Outstanding Soloist” by Downbeat magazine. Evans has performed with Cedar Walton, Rashied Ali, Benny Golson, Mickey Bass, Terell Stafford, Winard Harper, Wycliffe Gordon, Russell Malone, and Valery Ponomarev.

Whoâ&#x20AC;&#x2122;s Got Next? S

DownBeatâ&#x20AC;&#x2122;s been covering the next big name in trumpet since 1934 and the Thelonious Monk Institute of Jazz since its inception in 1986. Good luck to the trumpeters! And congratulations to the Monk Institute for its continued dedication to jazz, jazz education and discovering the next generation of great jazz talent! Your friends at DownBeat doWNbeat.com

Thelonious Monk International Jazz Trumpet Competition

Nadje Noordhuis Tobias Kaemmerer

Vitaly Golovnev

grew up in Russia. He attended the College of Modern and Improvisational Music as well as the Russian Academy of Music. While in Russia, Golovnev performed with the Oleg Lundstrem Orchestra and appeared at the Triumph Jazz Festival. He was awarded first place in both the National Jazz Competition in Rostov, Russia and the Moscow Small Jazz Group Competition. Since moving to New York, Golovnev has performed with the Mingus Big Band and the Lincoln Center Jazz Orchestra. He has recorded with Igor Butman and Alex Rostosky and has performed on the soundtracks of many Russian films.

grew up in Milwaukee, Wisconsin and attended the Milwaukee High School of the Arts. While in high school, Kaemmerer was recognized as an “Outstanding Soloist” by Downbeat magazine. In 2001, he was selected for the 2001 GRAMMY® Jazz Ensemble. Kaemmerer received a bachelor of music degree from DePaul University in Chicago. While at DePaul, he performed and recorded with artists including Jim McNeely, Wynton Marsalis, and Randy

Brecker. Kaemmerer has performed at the North Sea Jazz Festival, the Montreux Jazz Festival, and the IAJE conference. He currently lives in Chicago, where he performs regularly with his quintet.

grew up in Australia and received a bachelor’s degree in musical performance from the Victorian College of the Arts in Melbourne. Soon after moving to New York in 2003, she joined Sherrie Maricle and the

DIVA Jazz Orchestra and performed with the group throughout the United States and Europe. Noordhuis attended the Manhattan School of Music, where she earned a master’s degree in 2005. She played with the school’s Afro-Cuban Jazz Orchestra and performed at Birdland and Dizzy’s Club CocaCola in New York. Noordhuis leads her own quintet and runs a small business that offers improvisation workshops for high school students.

Charlie Porter

was raised in Florida. In 1996, he moved to New York to attend The Juilliard School, where he studied with Wynton Marsalis. As a freshman, Porter won first place in Juilliard’s Quadrennial Trumpet Concerto Competition. While at Juilliard, he was selected to attend the Thelonious Monk Institute Summer Jazz Colony and was later featured on the BET Jazz cable network. After completing his degree at Juilliard, Porter studied for one year at the Paris Conservatory as a Fulbright Scholar. He was the first person ever to be awarded first prize in both the jazz and classical divisions of the National Trumpet Competition. Porter is currently pursuing a master’s degree at the Manhattan School of Music.

Michael Rodriguez

was born in Queens, New York, and was inspired by his father to pursue music. Rodriguez studied at the New World School of the Arts in Miami and continued his studies at the University of Miami. He transferred to New School University in New York, where he received his bachelor’s degree. Rodriguez has performed with artists including Eric Reed, the Carnegie Hall Jazz Band, the Carla Bley Band, Harry Connick, Jr., the Smithsonian Jazz Masterworks Orchestra, and Bob Minzter. He has performed on Charlie Haden’s 2004 album, Land of the Sun, and on the Charlie Haden Liberation Music Orchestra’s 2005 album, Not in Our Name. Rodriguez lives in New York, where he plays regularly with the Rodriguez Brothers.

Thelonious Monk International Jazz Trumpet Competition

Carl Allen Carl Allen is one of the most accomplished drummers in the world of jazz. His dedication to upholding and furthering the jazz drum tradition of Art Blakey, Elvin Jones, and Billy Higgins is apparent in all of the music he plays. As a teenager in Milwaukee, Allen performed with such greats as Sonny Stitt and James Moody.  After attending the University of Wisconsin at Green Bay and William Paterson University, he achieved one of his lifelong goals to play drums for Freddie Hubbard.  Allen played with Hubbard for eight years, also serving as the trumpeter’s musical director and road manager.  During the same period, Allen toured and recorded with the Terence Blanchard/Donald Harrison Quintet. In 1988, Allen co-founded Big Apple Productions, which produced several albums for labels in Japan, introduced rising stars Roy Hargrove, Nicholas Payton, and Cyrus Chestnut.  He has released seven albums under his own name and played on dozens of others alongside musicians such as Rickie Lee Jones and Dr. John. Allen, whose drumming has been called “equal parts firepower and finesse,” maintains an exhaustive schedule of recording and touring.  He is active as a leader as well as a sideman, playing with Benny Golson’s band and recording with Terence Blanchard, Vincent Herring, Eric Reed, and many others. Allen was also recently appointed Artistic Director of Jazz Studies at The Juilliard School.

Geoffrey Keezer Pianist Geoffrey Keezer has gained recognition for combining technical virtuosity with wit, intelligence, and creativity. Keezer grew up in a musical family and played piano from the age of three. At age 18, Keezer became the last pianist to join Art Blakey and the Jazz Messengers. He has toured and performed with such jazz luminaries as Diana Krall, Joshua Redman, Christian McBride, Art Farmer, Jim Hall, Scott Colley, Ray Brown, and Tim Garland. Keezer has also collaborated with musicians from other genres, including renowned classical artist Barbara Hendricks. In addition to his success as a pianist, Keezer is a sought-after composer. He has been commissioned to write pieces for the Carnegie Hall Jazz Band, the Saint Joseph Ballet, and the Scottish National Jazz Orchestra. Keezer currently tours and performs with the Christian McBride Band and Tim Garland’s Storms/Nocturnes project. His latest release as a leader, Wildcrafted, features Matt Clohesy on bass and Terreon Gully on drums.

Reginald Veal Reginald Veal is one of the world’s most versatile bass players. Whether playing straightahead jazz on an acoustic bass or fusion and funk on electric, Veal’s mastery of the instrument makes him one of the most sought after musicians on the scene today. Born in Chicago and raised in New Orleans, Veal began his musical studies on piano and switched to electric bass at age eight to play with his father’s gospel group. Veal developed a close friendship with the Marsalis family, and it was Wynton and Branford that encouraged Veal to learn the upright bass. He studied bass trombone at Southern University in Baton Rouge and played trombone in the school’s marching band. After college, Veal’s collaboration with the Marsalis family continued as he toured Southeast Asia with Ellis Marsalis. Veal has shared the stage with musicians such as Eric Reed, Wycliffe Gordon, Marcus Roberts, Harry Connick, Jr., and Dianne Reeves. He has also toured and recorded as a member of the Lincoln Center Jazz Orchestra and performed in several premieres of pieces including “In This House,” “On This Morning,” “Jazz: Six Syncopated Movements,” and “Blood on the Fields.”

Thelonious Monk International Jazz

S P O N S O R E D

Del Bryant President and CEO BMI

BMI Senior Vice President for Writer/Publisher Relations, Phil Graham, presents the grand prize award to Kalman Olah, winner of the 2006 Composers Competition

B Y

B M I

ncouragement and support for the composition of new jazz works has been high on the agenda at BMI, the performing rights organization, since its founding in 1940. BMI proudly represents the works of Thelonious Sphere Monk and more than 350,000 composers, songwriters and music publishers. The roster includes outstanding creators in every style of musical composition, ranging from John Lennon and Aretha Franklin to Antonio Carlos Jobim and Willie Nelson. This year, BMI will mark the 15th anniversary of its sponsorship of the Thelonious Monk International Jazz Composers Competition. Each year, the Composers Competition awards a $10,000 grand prize to the young composer who best demonstrates originality, creativity and excellence in jazz composition. BMI royalty payments provide financial support for the careers of many of America’s celebrated jazz composers, including Monk awardwinners Seamus Blake, Joshua Redman, and Jacky Terrasson. Its educational programs, including the BMI Jazz Composers Workshop, play an important role in ensuring the vitality of the next generation of jazz composers. BMI’s underwriting of the Composers Competition forms an integral part of that ongoing tradition of support for the jazz community. The Thelonious Monk Institute of Jazz would like to express its deep appreciation to BMI, its President and CEO, Del Bryant, its Vice President of Corporate Relations, Robbin Ahrold, and its Senior Director of Musical Theatre & Jazz, Jean Banks. Their enthusiasm and continued support for this special award bring much-needed encouragement and acknowledgment to the work of young jazz composers.

Petros Sakelliou C O M P O S I T I O N

W I N N E R

Petros Sakelliou was born in 1977 in Athens, Greece. He attended the National Conservatory of Music in Athens for 17 years, beginning at the age of five, and graduated with excellence, receiving a conservatory diploma in classical piano performance. Sakelliou went on to receive a bachelor’s degree in architectural engineering from Aristotle University of Thessaloniki in Greece. In 2003, Sakelliou moved to the United States, where he attended the California Institute of the Arts and received an MFA in music composition. He currently attends Boston University, where he is pursuing a doctorate in music composition and is the recipient of the Eleni Gatzoyiannis scholarship for graduate studies. In 2006, Sakelliou performed in the Beantown Swing Orchestra and formed the BandA ecLectics, a nine- to 12-piece group for which he serves as band leader and composer. Sakelliou has also composed numerous works for animation and for the Biennale Athens. In addition to offering private lessons in piano and composition, he has taught film scoring and sequencing classes at the GRAMMY Camp and harmony and ear training classes at the California Institute of the Arts. Tonight, Petros Sakelliou will perform his winning composition, “Swingalong.”

magine a jazz musician with a highly influential instrumental conception and a gift for composition. An innovator who balances his thorough knowledge of the music’s history with an insatiable curiosity about new sounds and new technologies. A nonpareil accompanist who is also a visionary bandleader. Someone versatile enough to operate at the frontiers of abstraction who also expands the boundaries of the popular with chart-topping recordings. A winning personality who can score films and also charm in front of the camera. A committed role model who nurtures the musicians of the future. This is no imaginary superstar, or supergroup of stars; it is Herbie Hancock, tonight’s honoree. Hancock’s career stands in many ways as a summary of jazz history of the past five decades. He was impressive from the moment he entered the national scene with Donald Byrd’s group in 1961 and displayed what was already his singular combination of soul, lyricism, harmonic curiosity, and rhythmic snap. Hancock wasted no time in attracting the attention of the jazz world, and the wider world as well, when his early composition “Watermelon Man” became a hit record. Success only encouraged Hancock to challenge himself and his listeners further, and to pursue the full range of his talents. He joined the Miles Davis quintet in 1963, forming one of the immortal rhythm sections with bassist Ron Carter and drummer Tony Williams, and within a year beginning a collaboration with saxophonist Wayne Shorter that continues to this day. As these musicians extended the discoveries of earlier Davis bands and gained recognition as a seminal ensemble of the 1960s under the trumpeter’s leadership, Hancock also created masterpieces under his own name such as the classic albums Empyrean Isles and Maiden Voyage. When Hancock began to employ the electric piano with Miles Davis in 1968, a major shift in keyboard playing and jazz in general was launched. This new tingling, switched-on sound pointed in the direction of rock and pop, an avenue Hancock explored with characteristic daring after he formed his own working band in 1968. Bracing, experimental new sounds emerged on such Hancock albums as Mwandishi, and the more funk-oriented Headhunters band that followed in 1973 became one of the era’s most influential and commercially successful instrumental units. Turning back to acoustic music, Hancock introduced the all-star V.S.O.P. quintet in 1976 at a concert celebrating the numerous yet equally style-setting achievements of this young giant. Having accomplished so much in the early phase of his career, it would have been easy for Hancock to simply take a deep breath and rest on his laurels. Instead, he has preferred to continue exploring new paths while simultaneously nurturing cherished relationships. Constantly attuned to new technology, he ushered in both the hip-hop and the music video eras with his state-of-the-art Future Shock album and its mega-hit single “Rockit” in the ’80s; became one of the world’s most sampled artists a decade later, most visibly in US3’s “Cantaloop” (drawn from samples of “Cantaloupe Island”); and incorporated the techno approach in the new century with FUTURE2FUTURE. During these same years, Hancock also explored the conversational intimacy of the acoustic duo setting in a series of two-piano concerts with Chick Corea and what remains an ongoing dialogue with his dearest friend, Wayne Shorter. The film ’Round Midnight, where Hancock appeared on screen and composed the score, yielded an Oscar for best soundtrack, while television audiences got to know the pianist through his hosting duties on both public and commercial channels. Hancock also

became the rare jazz artist whose presence as well as his music began to appear in commercials. None of these efforts were at the expense of his music, which refused to hew to a single course. While continuing to honor his past through the occasional regrouping of V.S.O.P., its successor Directions in Music, and Headhunters, Hancock also broke new ground by exploring the contemporary popular music songbook on his New Standards album and bringing the jazz and classical realms into creative alignment via Gershwin’s World. Hancock’s recent projects celebrate his growing fascination with song, through collaboration with a number of star vocalists on Possibilities and a most personal exploration of the music of Joni Mitchell on the recently issued River: The Joni Letters. Over the course of his career, Hancock has been honored with 11 GRAMMY® Awards, five MTV Video Awards and, in 2001, “Rockit” was named tenth greatest video of all time on VH1’s One Hundred Greatest Videos. For all the diversity of these efforts, Hancock never spreads himself too thin. With each new project, he confirms his status as a complete musician.

ver the past two decades, Herbie Hancock has worked tirelessly on behalf of the Thelonious Monk Institute of Jazz and has given an enormous amount of his time each year to traveling throughout the United States and around the world, sharing his love for jazz and teaching young people about the uniting force of this musical art form.  From the inner city schools of Miami and Chicago to the schools in New Orleans in the aftermath of Katrina, Hancock has introduced jazz to students who might ordinarily never be exposed to this vital music. He has shared jazz and hip-hop music with students in South Central Los Angeles, which led to classes and community performances that encouraged intergenerational bonding between students, parents and grandparents and brought young people of varied ethnic backgrounds closer together.  On the international front, Hancock has led numerous U.S. Department of State educational and performance tours with the Institute’s college students to India for the 100 anniversary of Mahatma Gandhi’s non-violence movement; Thailand for the 40th anniversary of the coronation of the King; Vietnam for the 10th anniversary of resuming diplomatic relations with the United States; Egypt for the reopening of the historic Alexandria Library after almost 2,000 years; and Chile for the Summit of Americas for 34 world leaders, to name just a few.  Additionally, Hancock was instrumental in the creation of the “International Day of Philosophy” with the United Nations Educational, Scientific and Cultural Organization in Paris.  For the first three years of its existence, he was a leading force in bringing diplomats and leading philosophers together to discuss major issues facing mankind, traveling with a group of Institute students who participated in the forums and performed for the group, demonstrating firsthand the role of jazz as a diplomatic tool in uniting people around the world.  For these deeds and so many others that Hancock has performed over the years, the Thelonious Monk Institute of Jazz has established the Herbie Hancock Humanitarian Award, which will be presented each year to an individual who has made extraordinary contributions for the betterment of mankind.  Tonight, Herbie Hancock will be the first recipient of the Herbie Hancock Humanitarian Award and in turn will participate in the selection of future recipients and present the award established in his name.  —Bob Blumenthal

Clockwise from top left: Herbie Hancock leads a master class at the International School in Delhi, India, 1996 • During a 2007 Institute tour to India, Herbie Hancock and Wayne Shorter pay their respects to Mahatma Ghandi at Raj Ghat, a memorial to Mahatma Gandhi that marks the spot of his cremation • Herbie Hancock instructs a group of Jazz Sports L.A. students, 1997 • Herbie Hancock works with students in Vietnam, 2005

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Herbie Hancock is a jazz icon who has been an integral part of every jazz movement since his arrival on the scene in the 1960’s. Tonight, the Thelonious Monk Institute of Jazz and The Recording Academy® Los Angeles Chapter have assembled a group of some of the most accomplished artists of our time to pay tribute to Herbie Hancock the musician, composer, and humanitarian.

George Benson George Benson is one of the most popular musicians and greatest entertainers of the past 40 years. As both a jazz guitarist and a pop and R&B singer, he continues to dazzle his fans worldwide, proving that his talent has no boundaries. An eight-time GRAMMY® winner, Benson grew up in Pittsburgh and began his musical journey at the age of 10.  In 1961, organist Jack McDuff heard a teenage Benson and hired him for his touring group. Benson quickly became the most well-known jazz guitarist since Wes Montgomery. In 1964, Benson released his first album and in 1966 started his own band. He performed and recorded with some of the most respected jazz artists of the time, including Miles Davis, Stanley Turrentine, Ron Carter, and Freddie Hubbard. Benson also became known as a crossover artist, incorporating Beatles and Jefferson Airplane tunes into his jazz repertoire. In the mid ’70s, Benson changed up his signature sound by adding vocals. His 1976 album Breezin’ became the first jazz record ever to attain platinum sales, as the tune “This Masquerade” became an instant smash hit. The success of Breezin’ led to a string of popular albums, including the Quincy Jones-produced Give Me the Night. Throughout the ’80s and ’90s, Benson recorded with a wide array of artists, including Stevie Wonder, Kenny G, Chaka Khan, and Mary J. Blige. His most recent album, Givin’ It Up, is a collaboration with Al Jarreau.

Chris Botti Chris Botti’s jazz chops, pop sensibility, and engaging stage presence have made him one of the world’s most popular artists in any genre. A native of Oregon, Botti attended Indiana University, where he studied with Bill Adam and David Baker. In 1987, Botti moved to New York, where he studied with the late trumpet master Woody Shaw. He quickly gained worldwide recognition when he joined Sting on his Brand New Day tour in 1999. Botti has also performed and recorded with Paul Simon, Joni Mitchell, Jill Scott, Paula Cole, Gladys Knight, and Burt Bacharach. Botti earned RIAA gold-certification for his performance on Sting’s albums When I Fall in Love and To Love Again, and received a GRAMMY® for his arrangement of “What Are You Doing the Rest of Your Life.” In 2005, Botti recorded the critically acclaimed PBS special, “Chris Botti Live With Orchestra and Special Guests.” Botti maintains one of the busiest touring schedules in the industry. This past year, he toured and performed with Diana Krall and Andrea Bocelli. Botti’s most recent release, Italia, features music inspired by the romance of Italy.

HERBIE, W E S A L U T E YO U R M U S I C A L G E N I U S . YO U A R E A N I N S P I R AT I O N T O A L L O F U S . C O N G R AT U L AT I O N S A N D B E S T W I S H E S , F R O M YO U R V E R V E FA M I LY

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2007 The Verve Music Group, a Division of UMG Recordings, Inc.

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George Duke Pianist and producer George Duke has enjoyed an astounding career, taking part in hundreds of projects that cross every musical genre and receiving numerous GRAMMY® nominations and awards.  Duke, whose love of jazz music began at age four when he attended a Duke Ellington concert, earned his bachelor’s degree in trombone from the San Francisco Conservatory of Music and his master’s degree in composition from the University of San Francisco.  In the late ’60s, Duke formed a group with singer Al Jarreau that became the house band for San Francisco’s Half Note Club.  He also performed locally with Sonny Rollins, Dexter Gordon, and other figures in jazz.  Duke soon connected with jazz violinist Jean-Luc Ponty and began creating the West Coast response to the fusion coming out of the East Coast music scene.  In the following years, Duke joined Frank Zappa’s band and Cannonball Adderley’s group.  Through Adderley, he performed with Nancy Wilson and Dizzy Gillespie.  During this same period, Duke began working with Stanley Clarke and Airto and Flora Purim, forming what would become his musical family for the next several decades.  By 1976, Duke’s career as a solo artist began to flourish and he released a series of fusion-oriented LPs, including his now-classic debut for CBS records, From Me to You.  Duke has continued to expand his career as a recording artist, composer and producer, working with artists including Natalie Cole, Smokey Robinson, Dianne Reeves, The Pointer Sisters, Gladys Knight, and Miles Davis.  Duke’s latest CD, In a Mellow Tone, features his unique approach to classic jazz material.

Jamie Foxx Actor, singer, and comic Jamie Foxx is one of the most beloved figures in American culture. Foxx was born and raised in Terrell, Texas. After a small acting role on the TV show “Roc,” he was selected to join the cast of “In Living Color” and quickly won over fans for his ability to do impressions and create unusual characters. He became a favorite cast member on “Saturday Night Live” and soon had his own WB TV show, “The Jamie Foxx Show.” Foxx played his first major film roles in Any Given Sunday and Collateral. In 2004, he received critical acclaim for his portrayal of Ray Charles in the film Ray, for which he received an Academy Award for Best Actor. Some of Foxx’s other recent films include Jarhead, Miami Vice and Dreamgirls. In addition to his talents as an actor and comedian, Foxx is an awardwinning musician. He studied piano from the age of three and attended The Juilliard School. As a vocalist, he released his first album, Peep This, in 1994. In 2004, Foxx was a featured rapper on the Twista song, “Slow Jamz.” Foxx continued on to collaborate with Kanye West, Ludacris, and Field Mob, and released his second album, Unpredictable. In 2006, Foxx received four GRAMMY® nominations for both his collaborations and his own release. His list of awards also includes two Academy Awards, two American Music Awards, and multiple Golden Globes, BET Awards, Image Awards, and MTV Music Awards. Last month, Foxx was given a star on the Hollywood Walk of Fame.

Lou Gossett, Jr. The recipient of every known acting accolade, including multiple Golden Globes, Emmys, and People’s Choice Awards, Lou Gossett Jr. has gained fans worldwide and received praise for his work on stage, film and televsion. Gossett grew up in Brooklyn and made his acting debut in high school. He attended New York University, where he excelled on the university’s basketball team. Later, Gossett was chosen to play for the New York Knicks, but decided to pursue a career in acting instead. His acting career soon flourished after his work in the stage and film versions of “A Raisin in the Sun.” This led to numerous appearances on network series in the 1960s and ’70s. In 1977, Gossett received an Emmy for his portrayal of Fiddler in the landmark miniseries “Roots.” Since then, he has starred in many films including The Deep, The Punisher, Toy Soldiers, and An Officer and a Gentleman, for which he won an Academy Award for Best Supporting Actor. Gossett plays the voice of Vortigaunts in the video game “Half-Life 2.” He also recorded the voice of Lucius Fox in “The Batman.”  Recently, Gossett enjoyed a role on the popular science fiction series “Stargate SG-1” introducing him to a new generation of fans worldwide.  Gossett developed the nonprofit foundation Eracism, aimed at creating socially conscious entertainment. 49

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Al Jarreau Al Jarreau has created his own style with a blend of jazz and soul music, captivating an enormous worldwide audience with his amazing vocal skills and scat techniques. With five GRAMMY®s and scores of international jazz and pop music awards, he has established himself as a legend in the music industry. After earning an undergraduate degree in psychology from Ripon College and a master’s degree in vocal rehabilitation from the University of Iowa, Jarreau began practicing as a rehabilitation counselor in San Francisco. Although he had been singing since the age of four, it wasn’t until his early 20s, while in San Francisco, that he began singing in local jazz clubs and soon realized that music would become his career. After relocating to Los Angeles in 1975, Jarreau was signed to the Warner Bros. label, where he recorded his first album, We Got By. In 1977, he toured the world and released the live concert album Look To The Rainbow. That same year, he won his first GRAMMY for Best Jazz Vocal Performance and topped many readers and critics polls. With his fourth album, All Fly Home, he won yet another GRAMMY for Best Jazz Vocalist. During the 1980s, Jarreau continued to tour and record, amazing his audiences with his innovative vocal style. It was during this time that his album Breakin’ Away sold a million copies and brought him a broader audience. Recently, Jarreau was awarded a Hollywood Walk of Fame Star, commemorating his spectacular career.

Joni Mitchell A true “musician’s musician,” vocalist, guitarist, and songwriter Joni Mitchell has been widely recognized as one of the brightest musical lights of the last 40 years. Her ever-evolving musical journey has been a true inspiration to musicians of all genres. Mitchell spent most of her childhood in Saskatchewan, Canada. At the age of nine, she contracted polio during a Canadian epidemic. During her long stay at the hospital, she first became interested in singing, belting out Christmas carols from her hospital bed. From a young age, Mitchell would write and perform her own music. In the early ’60s, Mitchell performed in the folk club circuit throughout the U.S. and Canada. While performing at the Gas Light in Florida, she was discovered by David Crosby, who took her back to Los Angeles. Mitchell became an instant hit in California, and many of her songs were recorded by other artists, the most well known being Judy Collins’ top 10 hit of Mitchell’s “Both Sides Now.” Throughout the ’70s, Mitchell’s success continued, as her albums took on a rock influence. She also crossed into the jazz realm, recording a tribute to Charles Mingus featuring Herbie Hancock, Jaco Pastorious, and Wayne Shorter. Mitchell’s songs have been recorded by artists including Crosby, Stills, Nash and Young, the Indigo Girls, Sarah McLachlan, Dianne Reeves, James Taylor, Janet Jackson, Diana Krall, and Prince. She has received five GRAMMYs, a Recording Academy Lifetime Achievement Award, and a place in the Rock and Roll Hall of Fame. Shine, Mitchell’s first album of original songs in a decade, was released on the Starbucks Hear Music label in September. On the very same day, Herbie Hancock released River: The Joni Letters, a tribute album to Mitchell.

Thelonious Monk, Jr. Thelonious Monk, Jr. had an extraordinary childhood.  As the son of jazz composer and pianist Thelonious Monk, his home was the gathering place for Art Blakey, John Coltrane, Miles Davis, Dizzy Gillespie, Max Roach, and other musicians who created some of the greatest jazz music of all time.  As a child, Monk began playing drums after receiving encouragement and his first pair of drum sticks from Max Roach and his first full drum set from Art Blakey.  He was then on his way toward becoming an accomplished jazz and R&B drummer.  Monk played for two years with his father’s band and was a member of Atlantic Records’ nine-piece fusion band Natural Essence.  He then formed the group “T.S. Monk” with his sister Barbara Monk and vocalist Yvonne Fletcher.  The group recorded three albums for Mirage Records and charted a top 20 hit with its single “Bon Bon Vie” followed by “Too Much Too Soon.”  In 1992, Monk formed a straight ahead septet and released Take One on Blue Note Records, which was followed by Changing of the Guard and the critically acclaimed The Charm. Monk’s most recent release, Higher Ground, ventures into the realms of smooth jazz and funk.  In addition to being a musician, Monk is Chairman of the Board of Trustees of the Thelonious Monk Institute of Jazz. 51

Chris Botti, featured in the February 2005 issue.

www.jazziz.com

Wayne Shorter Wayne Shorter is one of the greatest jazz artists of all time. Besides being a highly influential and unique saxophonist, he is one of the most significant composers in jazz since the 1960s. Dozens of Shorter’s more than 200 compositions are modern standards that are performed by young artists around the world. In 1964, the same year Shorter recorded Speak No Evil, his first record as a leader for Blue Note, Miles Davis invited him to join a quartet that included Herbie Hancock, Ron Carter, and Tony Williams. Shorter was the composer who provided much of the material for the group’s musical explorations, which would become an inspiration for many jazz artists that followed.  He recorded 12 albums with Miles Davis, including Bitches Brew, which sparked the fusion movement of the next decade.  In 1970, Shorter joined keyboardist Joe Zawinul to form Weather Report, which combined jazz harmonies with rock and funk rhythms.  The group became one of the most important musical forces of the post-jazz era.  Shorter has continued to serve as a leading figure in the evolution of the music.  In 2003, he won two GRAMMY®s, taking his total to eight over the past 25 years.  His latest CD, Beyond the Sound Barrier, features his groundbreaking quartet with Brian Blade, John Patitucci, and Danilo Pérez.

Sting Composer, singer, author, actor, activist — Sting has won universal acclaim in all of these roles yet he continues to defy easy labeling. Born and raised in Newcastle, UK, Sting moved to London in 1977 and joined Stewart Copeland and Andy Summers to form The Police. Between 1978 and 1983, the group released five albums and won six GRAMMY awards. Soon after the band parted ways, Sting released his first solo album, The Dream of the Blue Turtles, featuring an all-star cast of jazz musicians, including Branford Marsalis and Kenny Kirkland.  Sting’s success continued with the release of nine additional solo albums, including his latest endeavor, Songs from the Labyrinth, a personal tribute to 16th century composer John Dowland, which topped classical charts worldwide and was the best-selling classical album of 2006. In early 2007, The Police reunited for a performance at the 49th annual GRAMMY Awards and subsequently announced a worldwide reunion tour.  For nearly four decades, Sting has remained at the forefront of the public consciousness and has been widely recognized for his musical contributions, collecting as a solo artist an additional 11 GRAMMYs, 2 Brits, a Golden Globe, an Emmy, three Oscar nominations, Billboard magazine’s Century Award, and MusiCares 2004 Person of the Year. He has also appeared in more than 10 films and in 1989, starred in the Broadway play “The Threepenny Opera.” In 2003, Sting published a memoir entitled Broken Music and most recently released Lyrics, a comprehensive collection of lyrics with personal commentary spanning his career. Sting’s support for human rights organizations such as Amnesty International, Live Aid, and the Rainforest Foundation, which he co-founded with his wife, Trudie Styler, in 1989, also mirrors his art in universal outreach.

Nancy Wilson Embodying the nuances of gospel, jazz, and blues, vocalist Nancy Wilson’s musical style is so diverse, it is hard to classify. For the last 50 years, Wilson has recorded and toured with many of the world’s most influential musicians. Wilson grew up in Columbus, Ohio and began her professional singing career at the age of 15. In 1959, Wilson moved to New York City and within six weeks of her arrival was signed to Capitol Records. Her debut single, “Guess Who I Saw Today,” was so successful that Capitol Records released five more of her albums in the next two years. Wilson has performed on many television shows, and had her own Emmy award-winning television program, “The Nancy Wilson Show,” on NBC. She later served as host of National Public Radio’s “Jazz Profiles” series. In the late 1990s, Wilson teamed up with MCG Jazz to record Turned to Blue, which won a GRAMMY for Best Jazz Vocal Album. Wilson has been awarded two additional GRAMMYs and has received 20 GRAMMY nominations, a star on the Hollywood Walk of Fame, a UNCF Trumpet Award celebrating African-American achievement, a Lifetime Achievement Award from the NAACP in Chicago, and Oprah Winfrey’s Legends Award. She recently celebrated her 70th birthday at the Hollywood Bowl, where an all-star lineup of musicians honored Wilson for her countless accomplishments as a musician and humanitarian. 53

Rickey Minor,

PRODUCER AND MUSIC DIRECTOR

The networks and the stars come to Rickey Minor for good reason. He invariably pushes already-proven talent to the next level with a manner that’s simultaneously supportive and unfiltered. Minor was born in Louisiana and raised in Los Angeles. As a teenager, he toured with Gladys Knight and the Pips and Lou Rawls. Minor later served as musical director for Whitney Houston. Since then, he has worked with a diverse range of artists including Christina Aguilera, Sting, Marc Anthony, Justin Timberlake, Mary J. Blige, Aretha Franklin, Stevie Wonder, Herbie Hancock, Carlos Santana, Garth Brooks, Usher, Alicia Keys, the Dixie Chicks, Aerosmith, and Jamie Foxx. Minor is the music director for the GRAMMY® Awards Ceremony, and received an Emmy nomination for outstanding music direction for “Genius: A Night for Ray Charles,” a CBS special that brought together Elton John, Kenny Chesney, and Norah Jones. As the musical director for “American Idol,” Minor is credited with converting the program’s original karaoke style format to one with a live band. In addition to working with a staff of more than 45 musicians, arrangers, and copyists each week, Minor has helped to shape the careers of performers such as Carrie Underwood, Chris Daughtry and Kelly Clarkson.

Teddy Campbell

Drummer Teddy Campbell has made a name for himself as one of the top musicians on the gospel, jazz, pop, and rock scene. As a drummer, singer, and musical director, he has developed a résumé so impressive, it’s hard to believe he’s only 30 years old. Campbell grew up in Chicago and by the age of four, he was performing as part of a gospel group at his church. After high school, Campbell began touring with a gospelbased stage show and quickly became the musical director. He moved to Los Angeles in the late ’90s and has since performed and recorded with hundreds of artists including Christina Aguilera, The Backstreet Boys, Kelly Clarkson, Herbie Hancock, Al Jarreau, Rod Stewart, and Stevie Wonder. Campbell has been the in-house drummer at the Image Awards, Essence Awards, Billboard Awards, BET Awards, BET’s Celebration of Gospel, and VH1 Save the Music concert. Campbell is the lead singer of his own gospel group, The Soul Seekers. The group released its self-titled album in 2005 and received a Stellar Award for Quartet Group of the Year — the highest achievement award in gospel music — in 2006.

Vinnie Colaiuta

As a master of all genres, drummer Vinnie Colaiuta continues to prove that his talent has no boundaries. He has been the drummer of choice for hundreds of artists and continues to turn heads with his technical virtuosity mixed with musical sensitivity. Originally from Pennsylvania, Colaiuta began playing drums as a child and was given his first drum set at the age of 14. After attending the Berklee College of Music in Boston for one year, he relocated to Los Angeles. Colaiuta got his big break in 1978 when he auditioned for Frank Zappa and was selected to record and perform with him. Colaiuta’s performances with Zappa are regarded as some of the best drum performances ever. Colaiuta went on to work with artists including Joni Mitchell, Barbra Streisand, Chaka Khan, Chick Corea, Herbie Hancock, Quincy Jones, and the Buddy Rich Big Band. In 1990, he began a collaboration with Sting and has since performed on five of his albums. One of the most on-demand studio musicians, Colaiuta has played on thousands of recordings with artists such as Steely Dan, Chris Botti, John McLaughlin, Michael Bublé, Josh Groban, and Faith Hill. He has been touring with Herbie Hancock and appears on Hancock’s most recent release, River: The Joni Letters.

Luis Conte

Luis Conte’s genius stems from his ability to integrate the powerful rhythms of his native Cuba with American popular music. His long and varied career has included numerous Hollywood film scores and mega-successful albums. Born in Santiago, Cuba, Conte spent the first 15 years of his life soaking up the rich musical heritage of “El Son” and Carnival. At 15, he emigrated to Madrid, Spain. Conte soon had another opportunity to travel, this time to California. Conte attended Hollywood High School, playing guitar in numerous rock bands throughout his teens. He later met John Monteallegre, who reunited him with Cuban drums at LA City College. Since then, Conte has become one of the most respected and recorded percussionists in the world, performing with such artists as Madonna, Ray Charles, Phil Collins, Santana, Shakira, Jackson Browne, and Sergio Mendes. His latest CD is titled Marimbula.

David Delhomme

David Delhomme is the keyboardist of choice for some of today’s most successful recording artists. Delhomme was born in southern Maryland and attended the Berklee College of Music. Since his graduation, he has recorded and toured constantly. Delhomme has worked with artists including Eric Clapton, Whitney Houston, Michael Bolton, Britney Spears, The Backstreet Boys, Stevie Wonder, and Chaka Khan. He also appears weekly on “American Idol,” “Don’t Forget the Lyrics,” and “America’s Got Talent.” Currently, Delhomme works with the band Sneaky Jones.

Nathan East

Nathan East’s rock solid feel and flawless precision have earned him a reputation as the bassist of choice for artists in all genres. Raised in San Diego, East played the piano and cello before picking up the bass at age 14. As a teenager, East played with a band called Power. His big break came when Barry White hired the band for a national tour. After earning a bachelor’s degree from the University of California at San Diego, East moved to Los Angeles and quickly became a top call bassist, working with Lionel Richie, Kenny Loggins, Eric Clapton, and Johnny Mathis. In 1990, he joined up with Bob James, Lee Ritenour, and Harvey Mason to form Fourplay. Their first record remained at the number one spot on the Billboard contemporary jazz charts for 33 weeks. Since then, Fourplay has released another nine albums. The group’s most recent CD, X, debuted at number one on the contemporary music charts. East has received an ASCAP Award for songwriting and an Ivor Novello Award. He dedicates his time and performs in support of the Andre Agassi Foundation for Children, Sting’s Rainforest Foundation, the Children’s Diabetes Foundation and Muhammad Ali’s Celebrity Fight Night.

GrandMixer DXT

Recognized as the first turntablist, GrandMixer DXT has been credited with helping establish the turntable as an improvisational instrument and has remained a role model to disc jockeys and turntablists for the last 20 years.  DXT began as a drummer, but was influenced early on by DJ Kool Herc, the father of hip-hop culture.  Using what he had learned as a drummer, DXT began to use the turntable as an instrument, controlling both rhythm and pitch.  DXT had his big break when he performed on the track “Rockit” off of Herbie Hancock’s album, Future Shock.  This GRAMMY®-winning track is regarded as the first to use a turntablist as a soloist within a band, and led to the popularity of hip-hop in the mainstream media.  DXT went on to tour with Hancock’s Rockit and Headhunters groups, as well as perform on Hancock’s 2001 release, Future to Future.  DXT has led a parallel career as a recording engineer and producer and has worked with such artists as Bootsy Collins, The Last Poets, Sly and Robbie, and Manu Dibango, among others.  When the 1957 Thelonious Monk Quartet with John Coltrane at Carnegie Hall concert tapes were recently discovered by the Library of Congress, T.S. Monk chose DXT to restore the nearly 50-year-old tapes for a release on Blue Note records.  Using a process he created called Forensic Editing, DXT was able to restore the tapes to modern day standards.  DXT’s work has stunned jazz audiences and he has since become the top call engineer to bring older jazz recordings to the modern age.

Dorian Holley

With 20 years of experience in the music business, vocalist Dorian Holley’s credits include film, television, recording, and live performance. His resume reads like a who’s who in popular music. Holley has been a vocalist for tours with Queen Latifah, Michael Jackson, Rod Stewart, James Taylor, and Lionel Richie. He has also performed live with such artists as Al Jarreau, Celine Dion, Randy Newman, Brandy, Natalie Cole, and Barbra Streisand. Holley appears regularly on television. He has performed on “Dancing With the Stars,” “Don’t Forget the Lyrics,” “The Wayne Brady Show,” and “Oprah.” Holley is also an experienced educator, having worked as a vocal coach for “American Idol” and “America’s Got Talent.” 55

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Paul Jackson, Jr.

With more than 1,000 credits as a leader and sideman, Paul Jackson may be the most recorded and requested guitarist in the world. A master of all genres, he has performed and recorded with musicians ranging from Stan Getz to Aretha Franklin. Jackson’s professional career began as a child actor, but he switched his focus to the guitar at age 12. As a child, Jackson performed regularly in a band with his mother and sisters. As a teenager, he toured with Patrice Rushen, Gerald Albright, and Freddie Washington, Jr. Jackson has appeared at numerous jazz festivals including Montreux, Capital Jazz, JVC, Hollywood Bowl, and Playboy. Since breaking into the Los Angeles studio scene at age 16, he has performed and recorded with Whitney Houston, Michael Jackson, Patti LaBelle, Gladys Knight, Ramsey Lewis, Dave Koz, David Benoit, Luther Vandross, Steely Dan, Chicago, The Temptations, Anita Baker, Lionel Richie, Barbra Streisand, Elton John, Al Jarreau, George Duke, Johnny Mathis, Kenny Rogers, and many others. Jackson’s solo career includes six CDs, the first of which received a GRAMMY® nomination. He will soon release his seventh CD titled Lay It Back.

Hubert Laws

Internationally renowned flutist Hubert Laws is one of the few classical artists who has also mastered jazz, pop, and R&B genres, moving effortlessly from one to the next. Laws grew up in Houston in a very musical family. He played rhythm and blues and gospel music at neighborhood dances and picked up the flute during high school. Laws attended Texas Southern University and The Juilliard School in New York City. As a renowned classical artist, Laws has appeared as a soloist with the New York Philharmonic under Zubin Mehta, and with the orchestras of Los Angeles, Dallas, Chicago, Cleveland, Amsterdam, and Japan. He has also performed at the Montreux, Playboy, and Kool jazz festivals. Laws has collaborated with Quincy Jones, Miles Davis, Herbie Hancock, Chick Corea, Ella Fitzgerald, Sarah Vaughan, Freddie Hubbard, Paul McCartney, Paul Simon, Aretha Franklin, Lena Horne, Sergio Mendes, Bob James, Carly Simon, and Clark Terry. He was selected the number one flutist in the Downbeat readers’ polls 10 years in a row and was the critic’s choice for seven consecutive years.

Lionel Loueke

One of the most unique voices in music, Lionel Loueke combines the sounds of his native culture with his unique approach to jazz, making him a guitarist like no other. Born in Benin, West Africa, Loueke played percussion instruments as a child before picking up the guitar at age 17. He began his formal music training in 1990, when he moved to the Ivory Coast to study at the National Institute of Art. Loueke continued on to study at the American School of Modern Music in Paris. In 1999, he received a scholarship to study at the Berklee College of Music. After two years at Berklee, Loueke was selected to participate in the Thelonious Monk Institute of Jazz Performance. Loueke has recorded two albums with Terence Blanchard and performed with him throughout the world. In 2005, he toured with Herbie Hancock’s Headhunters group. Hancock also recruited Loueke to arrange Sting’s “Sister Moon” for his Possibilities album. Loueke has performed and recorded with such artists as Wayne Shorter, Bob Hurst, Angelique Kidjo, Dianne Reeves, Cassandra Wilson, Jeff “Tain Watts, Charlie Haden, Nathan East, Marcus Miller, Brian Blade, John Patitucci, Terri Lyne Carrington, Kenny Garrett, Roy Hargrove, and Santana. Loueke performs regularly with his trio, Gilfema. His most recent CD, Virgin Forest, features a wide array of musicians, including Gretchen Parlato, Herbie Hancock, and The West African Percussion Ensemble. Loueke’s upcoming album for Blue Note Records will feature Herbie Hancock and Wayne Shorter.

Harvey Mason

Turn on your radio to any station, and you are bound to hear Harvey Mason. As a drummer, composer, and producer, he has worked with everyone from Barbra Streisand to James Brown to the London Symphony Orchestra. Mason was born in Atlantic City and began taking drum lessons at the age of seven. He attended the Berklee College of Music and continued his education at the New England Conservatory of Music. While in Boston, Mason began his career as a studio musician, recording everything from jingles to religious albums. He performed with Herbie Hancock as a member of the groundbreaking Headhunters band and has played on more than 1,000 recordings with artists including Ron Carter, Ray Charles, Henry Mancini, and Earth Wind & Fire. He has also performed on hundreds of film scores. Mason has been awarded four first place plaques from Modern Drummer magazine’s annual studio poll and has been the first call drummer for the Academy Awards ceremonies 16 times. As a composer and producer, he has worked with Donald Byrd, the Brothers Johnson, Quincy Jones, and the Christian jazz septet, Seawind. Mason was a founding member of the contemporary jazz group, Fourplay. The group has released a platinum album and three gold discs. Their latest release, X, was released in 2006. 57

Bennie Maupin

Best known for his atmospheric bass clarinet playing on the Miles Davis classic Bitches Brew, woodwind player Bennie Maupin has added his unique musical approach to many of the most influential jazz albums for the last 50 years. Born in 1940, Maupin started playing clarinet, later adding saxophone, flute and, most notably, the bass clarinet to his arsenal of woodwind instruments. Upon moving to New York in 1962, he freelanced with groups led by Marion Brown, Pharoah Sanders, and Chick Corea, and played regularly with Roy Haynes and Horace Silver. He also recorded with McCoy Tyner, Lee Morgan, Freddie Hubbard, Jack DeJohnette, Andrew Hill, Eddie Henderson, and Woody Shaw. In addition to Bitches Brew, Maupin performed on Davis’ Jack Johnson and On the Corner albums. He was a founding member of Herbie Hancock’s seminal band The Headhunters, as well as a performer and composer in Hancock’s influential Mwandishi band. As a leader, Maupin has released albums on the ECM and Mercury labels. Most recently, he has been performing with the Bennie Maupin Ensemble. Their latest album, Penumbra, was released last year on the Cryptogramophone label.

John Patitucci

John Patitucci is one of the true modern masters of the bass.  On electric and acoustic, his amazing technique and musicality is always apparent.  Patitucci was born in Brooklyn and began playing bass at the age of 10.  He attended San Francisco State University and Long Beach State University, where he studied classical bass.  Patitucci got his professional start with Chick Corea’s band, displaying his virtuosity with Corea’s Elektrik Band and later, his Akoustic Band.  Patitucci’s self-titled debut recording went to number one on the Billboard charts.  He has since performed with Freddie Hubbard, Tony Williams, Herbie Hancock, and Wynton Marsalis. Patitucci has received two GRAMMY® awards and 15 nominations.  He has led clinics and master classes around the world and served as Artistic Director of the Bass Collective in New York City.  Over the last decade, Patitucci has been involved in some of the most significant jazz being performed and recorded.  In 2000, he joined the Wayne Shorter Quartet, a group that also includes Danilo Pérez and Brian Blade.  This critically acclaimed group has released three CDs, one of which received a GRAMMY.  In 2001, Patitucci toured with Directions in Music along with Herbie Hancock, Michael Brecker, and Roy Hargrove.  In 2003, he was named Associate Professor of Jazz Studies at City College, a position formerly held by Ron Carter. Patitucci’s latest release, Line By Line, features Adam Rogers and Brian Blade.

Greg Phillinganes

As one of the music world’s top keyboard players, Greg Phillinganes has toured and recorded with many of the most influential artists in jazz and popular music. A native of Detroit, Phillinganes was discovered by Stevie Wonder, who heard a cassette of instrumental renditions that Phillinganes had recorded of Wonder’s songs. Subsequently, Wonder recruited Phillinganes for his Wonderlove band from 1976 to 1981. Later, Phillinganes joined forces with Michael Jackson. He was featured on every one of Jackson’s Epic sessions and served as musical director for Jackson’s Bad and Dangerous tours. Phillinganes has also toured with George Benson, Aretha Franklin, Toto, and Paul McCartney, and recorded with Herbie Hancock, Donald Byrd, Patti Austin, Diana Ross, and Patti LaBelle. As a songwriter, he has written for Eric Clapton, the Brothers Johnson, and Lionel Richie. Phillinganes has released two albums as a leader including Significant Gains, which produced the UK hit, “I Don’t Want to Be The One,” and Pulse, which included the smash single, “Behind The Mask.”

Kevin Ricard

Whether it is rock, jazz, R&B or Latin music, percussionist Kevin Ricard can supply the groove. It is no surprise that artists such as Wayne Shorter, Herb Alpert, and Sergio Mendez have depended on Ricard for his versatility and musicality. Ricard grew up in Santa Monica, California and was influenced early on by musicians such as Tito Puente and Don Alias. His long list of credits includes Patti LaBelle, Gladys Knight, Joss Stone, Cyndi Lauper, Jessica Simpson Joe Zawinul, B.B. King, Wayne Shorter, and numerous others. He has also performed on many film scores including Speed, The Addams Family Values, A Bug’s Life and My Favorite Martian. Ricard performed with the house band for the Fourth Annual “BET Celebration of Gospel” and played on the pre-record for Beyoncé’s GRAMMY Award performance of “Dangerously in Love.” Ricard has performed on “The Tonight Show” with Shelby Lynne, in the house orchestra for “The TV Land Awards,” and with vocalist Rhian Benson, for whom he serves as musical director. He has also played on the underscore of all four seasons of “The King of Queens.”

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Patrice Rushen

Multi-GRAMMY®-nominated artist Patrice Rushen is fashioning her career after her longtime friend and mentor, Quincy Jones. As a jazz pianist, composer, producer, and recording artist, she has earned the respect of her peers in the music industry. Rushen has performed with and produced for artists such as Stevie Wonder, Herbie Hancock, Prince, Lionel Hampton, Carlos Santana, Boys II Men, George Benson, Nancy Wilson, Michael Jackson, Stanley Turrentine, and Joshua Redman. In 1998, her Signature release received a GRAMMY nomination as well as an NAACP Image Award nomination and landed in the top 10 of the adult contemporary jazz charts. Rushen was the first woman in 43 years to serve as head composer/musical director for the Emmy Awards and the first to serve as musical director for the NAACP Image Awards and the People’s Choice Awards. She has also served as musical director for the American Achievement Awards and for Janet Jackson. Rushen is an accomplished film and television composer who has written the scores for “The Steve Harvey Show,” Men in Black, Waiting to Exhale, and Hollywood Shuffle.

Sy Smith

Vocalist Sy Smith has turned heads with her unique ability to unite hip-hop, jazz, funk, and R&B. Born in New York, Smith grew up in Washington, DC. She studied classical piano as a child and later joined her school’s choir. Smith received a B.S. in Psychology from Howard University and moved to Los Angeles after graduation. Shortly after, Smith was discovered by producer/songwriter Sauce. She has since sung background vocals for Whitney Houston, Jamie Foxx, and Brandy. Smith has performed for television shows including “Ally McBeal” and “Soul Food” and for numerous commercials including The Gap, Chevrolet, and Coca-Cola. An accomplished songwriter, Smith was nominated for an Emmy Award for writing and performing for the HBO original movie Dancing in September. Her debut CD is titled The Syberspace Social.

Bill Summers

Playing everything from pop bottles to traditional African instruments, percussionist Bill Summers has found a musical path to connect Africa, the Caribbean, and the Americas. For more than 30 years, Summers has recorded with an unending list of artists. He appears on more than 10 Herbie Hancock albums, including performances with the Headhunters group. His discography also includes collaborations with Joe Henderson, Quincy Jones, Patrice Rushen, Sonny Rollins, Kenny Loggins, McCoy Tyner, Sting, Stevie Wonder, and Ahmad Jamal. Summers performed on the soundtracks for “Roots” and The Color Purple. In 1998, he and trumpeter/ keyboardist Irvin Mayfield co-founded the group Los Hombres Calientes, which became an overnight international sensation. The group has released five albums, the most recent of which is titled Carnival. Summers founded the Summers MultiEthnic Institute of the Arts, which takes students to Cuba to study Afro-Cuban music. In 1999, he and several of his students were initiated into the prestigious Yoruba order of sacred drummers by Estaban “Cha Cha” Vega, the most revered drummer in Cuba.

Wah Wah Watson

As a guitarist, writer, and producer, Wah Wah Watson has shared his talent on many of the greatest classics of our time. His signature guitar sound has made him one of the pioneers of the Motown sound. Watson’s first major record date was with renowned Motown producer Norman Whitfield, who hired Watson to play on Edwin Starr’s “Stop the War Now,” released by Motown in 1971. Watson went on to play and record with The Four Tops, Martha Reeves, The Supremes, The Jackson 5, The Temptations, Jr. Walker & The All Stars, Gladys Knight & The Pips, and many others. In 1973, Watson met Herbie Hancock at Marvin Gaye’s “Let’s Get It On” recording session. He later co-wrote and co-produced several of Hancock’s albums, including Man-Child, Secrets, V.S.O.P., Feets Don’t Fail Me Now, and Mr. Hands. A dedicated educator, Watson has worked with the Thelonious Monk Institute’s Jazz in the Classroom program. He continues to work on several studio projects of his own, including his latest album, After the Fact.

Thelonious Monk (1917-1982)

we celebrate

the of

90th

year

Thelonious

Monk’s

birth,

the ever-widening celebration of his genius as pianist, composer and bandleader continues to unfold.

A 2006

Pulitzer Prize

music, awarded

years after

Monk’s

death, is

the latest sign that this once most iconoclastic of

American

artists may have been as central as anyone to the immortal music of both his country and his time.

onk was born on October 10, 1917 in Rocky Mount, North Carolina and several years later his family moved to West 63rd Street in Manhattan, where he would live for much of the rest of his life. Once piano lessons began at age 11 Monk moved swiftly into public view at church services, house parties and Apollo Theater amateur contests, winning enough of the last to be told not to reenter. An excellent math and science student, Monk dropped out of high school to accompany a touring evangelist, then returned home for a few classes at Julliard and the beginning of a longtime association with Harlem’s Minton’s Playhouse. A regular at Minton’s from 1940, Monk’s encounters there with Dizzy Gillespie, Charlie Christian, Kenny Clarke and others are viewed as the incubator of what would come to be known as the modern jazz idiom. Yet by 1947, when he made his first recordings as a leader shortly after his 30th birthday, Monk sounded like the most atypical of modernists, since his aesthetic did not dwell on the rapid tempos and arpeggiated melodies of the so-called beboppers. Monk’s best music, like his 1948 recordings with vibist Milt Jackson, presented a distinct yet integral world view in which simplicity plus angularity yielded a different kind of virtuosity, where silence and dissonance added new dimensions to each cogent melodic notion, where surprise — in instrument and ensemble sound, as much as accent — made the feeling of the ensuing swing so much more complete. People heard Monk — primarily on a brilliant series of early recordings — but at first most did not digest his message. When his unwillingness to give testimony against another led to the loss of the cabaret license then required to perform in New York’s jazz clubs, he grew if anything more dedicated to his music. Much of his playing in these years was confined to the kitchen of the home he now shared with his lifelong love Nellie and their children T.S. and Barbara, with frequent visits from young and inquisitive musicians such as Sonny Rollins and Randy Weston. Monk was a few months shy of 40 when his cabaret card was reinstated in 1957. The rich and challenging albums he had recently created under a new contract with Riverside Records indicated that his command had grown even more complete; the Thelonious Monk Quartet that appeared at lower Manhattan’s Five Spot Café during the summer of ’57, with John Coltrane as the tenor saxophone soloist, became not only a benchmark of the musical possibilities jazz offered at the moment but the template for what remains a definitive jazz configuration. The saxophone/piano/bass/drums quartet is arguably the most balanced and iconic of all jazz groups, jazz’s string quartet, if you will; the music he made in his units with Rollins, Coltrane, Johnny Griffin and Charlie Rouse make the case that Monk should be considered the Beethoven of the genre. Monk’s output in the 15 years that separate his triumphs with Coltrane and his final documented work includes solo and orchestral projects, but concentrated upon the small-group performances that exemplified the musical values he established and adhered to when work and listeners were scarce. An ever-growing audience now recognized that Monk the bandleader, who often left the keyboard and danced while his group played on, had tapped into a rhythmic core that allowed his ensembles to define the pinnacle of swing as surely as the bands of Count Basie. It also became accepted fact that, in roughly six dozen compositions, Monk’s melodies were as moving as they were audacious, while his structures managed to be both rigorously concentrated and joyously unpredictable. If Monk’s singular approach to the piano continued to draw controversy, the musical and emotional brilliance of his playing begged the question of technical sufficiency. On this last point, let the record show that Mary Lou Williams, who heard Monk when he visited the Midwest as a teenager, confirmed his ability to play with the fluency of such contemporary innovators as Teddy Williams. Monk’s decision to appear less obviously virtuosic in pursuit of his muse produced definitive examples of jazz piano, be the context solo, trio, or accompanying other voices in a band. The public caught up to Monk in his lifetime, as his 1964 appearance on the cover of Time magazine made clear, and his stature has only grown since his death in 1982. The establishment of the Thelonious Monk Institute of Jazz in 1986, his appearance on a U.S. postage stamp in 1995, and the Pulitzer Prize in 2006 collectively suggest that further honors will continue to accumulate in the ensuing decades. It is hardly presumptuous to acknowledge Monk as one of the 20th Century’s signature voices, even if past history leads us to conclude that we still do not appreciate the half of his achievement. — Bob Blumenthal 63

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