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JAZZ GOES TO COLLEGE...............................4

L E T T E R S .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 – 6

T H E B R U B E C K C O L L E C T I O N .. . . . . . . . . . . . . . . . . . . . . . . . . 8 – 9

S C H E D U L E O F E V E N T S . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 – 11

B I O G R A P H I E S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 – 2 0

A D E C A D E O F A C C O M P L I S H M E N T .. . . . . . . . . . . . . . . . . 21– 26

I N S T I T U T I O N S .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 7 – 2 8

H O N O R A R Y B O A R D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

F R I E N D S O F T H E B R U B E C K I N S T I T U T E . . . . . . . . . . . . . 30 – 31

C R E D I T S & A C K N O W L E D G M E N T S .. . . . . . . . . . . . . . . . . . . . . . 32


J A Z Z

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The terms “jazz studies” or “jazz education” were unknown when I graduated from College of the Pacific with a Bachelor’s degree in music in 1942. As a matter of fact, a student could be ejected from the Conservatory for even playing jazz in a practice room. Those of us who loved this music learned the fundamentals by listening to records and playing with other musicians who shared our “illicit” passion. When I returned from Europe after World War II to study composition on the G.I. bill, I chose to study with Darius Milhaud at Mills College, because he, unlike most classical composers, had embraced jazz as a new art form. He encouraged his students who were jazz musicians to incorporate classical elements into our jazz playing and jazz elements into our classical writing. With this in mind, we formed the Jazz Workshop Ensemble, later known as the Dave Brubeck Octet. We played our first concert at Mills College in 1947. It was so successful that we were invited to play at an assembly at the University of California. It soon became apparent that our most appreciative audiences were college students who were open to fresh ideas and willing to listen seriously to jazz in a concert setting. My wife, Iola, contacted all the colleges within driving distance, offering the services of the Octet or the Dave Brubeck Trio. We often played for little more than expenses, but we gained new friends for jazz and a following that lasted a lifetime. Within five years after the Octet played an historic concert at College of the Pacific, we had established a college concert circuit throughout the nation and opened the door for other jazz groups to follow. My first album for Columbia Records was Jazz Goes to College (1954) recorded live at campus concerts. Today, when my quartet and I participate in a jazz residency at various universities, my thoughts often go back to 1953. Over the protest of some faculty members, a student group from the prestigious music conservatory at Oberlin College in Ohio had daringly hired the Dave Brubeck Quartet to play a concert in Finney Chapel. When we arrived, I discovered that the good grand piano was locked and I was relegated to a beat-up piano that must have been requisitioned from a practice room. The concert hall was packed with eager students and some faculty. The campus radio station asked permission to

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broadcast the concert. I agreed with the stipulation that I would own the tape after one airing. From that tape Fantasy Records produced Jazz At Oberlin, the album many consider the “breakthrough” for the Dave Brubeck Quartet. On the 50th anniversary of that concert, we were invited back for a gala performance. What a contrast! The jazz studies program at Oberlin is now prominently advertised. I was even given the use of a beautiful concert grand and an honorary doctorate with a presentation speech by the great jazz trumpeter and composer Donald Byrd. The introduction of jazz as serious concert music had a farreaching effect in overcoming the prejudice toward jazz that was rampant throughout U.S. music schools. For example, in 1949 I was teaching jazz appreciation for a University of California extension course. One professor told my supervisor that she would “rather sleep with a dog” than have her name listed in the same brochure. Throughout the ‘20s and ‘30s and into the ‘40s there were articles in music magazines such as The Etude warning music teachers against the contaminating nature of jazz. In 1947 there was one brave lone beacon for jazz education at North Texas State University in Denton. That school’s One O’clock Lab Band became the “farm team” for big bands such as Stan Kenton’s and Woody Herman’s. What seemed an impossible dream 60 years ago when we and other like-minded lovers of jazz crusaded for jazz to be accepted as an art form has now become a reality. Even bastions of classical music like Juilliard offer degree programs in jazz studies. When I view with pride the accomplishments of the Brubeck Institute and the training that the Brubeck Fellows receive, I feel as if a lifetime of work has been validated. These young musicians will continue the legacy and determine the future of jazz, the ever-evolving contemporary art form. Dave Brubeck


April 8, 2010

Welcome to the 2010 Brubeck Festival, an annual event that explores the music and legacy of Pacific alumnus Dave Brubeck ’42. Over the past ten years, the Festival has explored Dave’s impact on diplomacy, civil rights, literature, poetry and multi-cultural understanding. This year, the Festival takes a more introspective look at the impact of the Brubeck Institute itself. We especially celebrate the Brubeck Fellowship Program, which brings some of the country’s top college-age jazz musicians to our campus for one- or two-year residencies at the Institute. For this year’s Brubeck Festival, we are excited to welcome back several former Brubeck Fellows as well as a number of professionals who have worked with the Institute over the past decade. The 2010 Brubeck Festival is part of the President’s Inaugural Series, which marks my first year as President of University of the Pacific with a year-long series of concerts, lectures, symposia and other events showcasing the great strengths of this University, its history and its people. Dave Brubeck and the Brubeck Institute represent core values of the University: celebrating talent, taking creative risks and sticking to principles. Dave Brubeck did all that and more, and he continues to inspire Pacificans today. I look forward to the academic discussions about Dave Brubeck and music education, as well as the three concerts featuring current and former Brubeck Fellows. And I hope to see you on the final day, when the Festival presents “Jazz on the Mile,” a day-long celebration of jazz in Stockton. Please join me at the Festival this year as we expand our knowledge and appreciation of music and all things Dave Brubeck. I congratulate the Brubeck Institute on ten years of important work celebrating the Brubeck legacy, and I anticipate many great things to come. Sincerely,

Pamela A. Eibeck, PhD, PE President

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8 April 2010

“You can’t understand America without understanding jazz. And you can’t understand jazz, without understanding Dave Brubeck.” The Brubeck Institute Dave Brubeck Chairman Steve Anderson Director

Honorary Board Clint Eastwood Chairman Herb Alpert David N.Baker James R. Bancroft David Benoit Ken Burns David Cerone John Dankworth Donald V. DeRosa Clive Gillinson Ralph Guild Tom Hall Al Jarreau Tim Jackson Quincy D. Jones Erich Kunzel, Jr. Cleo Laine Norman M. Lear Larry Leasure Ramsey E. Lewis, Jr. Dennis A. LeVett George Lucas Yo-Yo Ma Wynton Marsalis Christian McBride Marian McPartland Doug Ramsey Larry Rosen Billy Taylor A. Earle Weatherwax George T. Wein Gordon Zuckerman

–President Barack Obama December 6, 2009

This statement about Dave Brubeck by the President of the United States on the occasion of the 2009 Kennedy Center Honors underscores the reason the Brubeck Institute exists. Our mission is to build on and assure the legacy of Dave Brubeck, not just the person, but the extraordinary breadth and depth of his accomplishments, and the profound and lasting influence they will have on current and future generations of Americans, as well as the citizens of the world. The Brubeck Institute is celebrating a decade of accomplishment. This year’s Brubeck Festival is focusing on contemporary issues in jazz education, the Institute’s educational programs, and some of its many outstanding alumni. Dave Brubeck’s life, values, and influence can be heard through the vitality, creativity, and virtuosity of the young artists performing this week. They, along with scores of other outstanding young creative artists are the hope for our future. For a vivid picture of how far the country has come in the incorporation of jazz into our educational system, read Dave’s message entitled Jazz Goes to College in this program booklet. This, of course, was also the title of the famous 1954 album by the Dave Brubeck Quartet. The vision and hard work of Dave and Iola Brubeck in pioneering jazz concerts on college campuses brought this quintessential American art form to the public in new venues and created lifelong fans who then demanded that jazz be an essential component in our educational system at all levels, as well as in our cultural life. The academic symposium of the 2010 Brubeck Festival will feature presentations and discussions by six extraordinary jazz educators, each of whom is profoundly involved in the lives of young people in this country through jazz education. We urge you to participate in this forum. There are two pieces of poster art that are of great importance this year. First is the poster created to celebrate 10 Years of the Brubeck Institute. The image represents the breadth, depth, and extraordinary richness of the Institute’s activities and accomplishments through its first decade. The second is the poster created by the Smithsonian Institution to celebrate Jazz Appreciation Month that features a new portrait of Dave Brubeck by the brilliant American artist, Leroy Neiman. Dave is the first living artist to be featured on the JAM poster. Thanks to everyone who is participating in the 2010 Brubeck Festival . . . performers, presenters, and audiences alike. We hope you have a wonderful and meaningful experience. Best wishes!

3601 Pacific Avenue Stockton, CA 95211 Tel

209.946.3970

Fax 2 09.946.3972 www.brubeckinstitute.org

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The White House

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The Brubeck Collection is the keystone to the Brubeck legacy at the University of the Pacific. It consists of a broad range of materials created and accumulated by Dave and Iola Brubeck throughout their career. It includes thousands of letters, business records, photographs, concert reviews and programs, musical scores, and recordings that document their lives from Dave’s birth in 1920 to the present.

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The Collection is housed in the University of the Pacific Library’s Holt-Atherton Special Collections and is open to the public for research. A finding aid, digitized materials, and information on the Paul Desmond Papers and other Brubeck related collections can be found at http://library.pacific.edu/ha/brubeck/.

Holt-Atherton Special Collections offers an annual $1,500 research travel grant to students, professors, or independent researchers to come to the campus and use the Brubeck Collection. In addition, a traveling exhibit with audio about Brubeck and his music is available for venues to display. Visit the website for more information.

Dave Brubeck graduated from

The University Extension at the University of California Berkeley

Pacific in 1942. He served in

offered Lifelong Learning classes for the public. The music program

World War II before he began his

included “Nontechnical Classes” such as Brubeck’s jazz class in the

studies under classical composer

fall of 1949.

Darius Milhaud at Mills College in Oakland. He started The Jazz Workshop Ensemble with several like-minded students and premiered the band in Stockton in early 1949.

Iola Whitlock (left) came to

In 1954, Brubeck participated in the “Dave teaches teachers” program

the College of the Pacific in the

in Alameda County. Later that same year, he would appear on the

fall of 1940 to study radio and

cover of Time magazine as an icon of jazz music.

drama. She met Dave Brubeck through her work at the campus radio station and they married in September 1942.

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It was not uncommon for jazz bands to play for college dances and parties. In 1952, Iola Brubeck realized that college students would enjoy jazz concerts as well, and she began to book Dave’s band around the Bay Area and eventually throughout the country. Other bands soon followed the trend. The Dave Brubeck Quartet recorded five different albums with a college theme. Jazz at Oberlin is heralded as one of the early Quartet’s finest and lead to the signing of the band with Columbia Records.

The Brubeck Collection is used by students in a variety of courses at Pacific, as well as any interested researchers. Brubeck’s material reflects his devotion to civil rights and a desire to use jazz as a diplomatic tool for democracy world-wide.

THE BRUBECK COLLECTION

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U niversity of the P acific & T he B rubeck I nstitute proudly present T H E

T H U R S DAY,

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7: 30 P. M .

Taylor R oom in the University Library

Faye S panos C oncert H all

The Use of the Brubeck Collection and the Paul Desmond Papers in Scholarship & Teaching

2009 Brubeck Institute Jazz Quintet

Moderator: Shan Sutton, Associate Dean & Head of Special Collections Faculty presenter: Keith Hatschek, Director of Music Management Student presenters: Stephen Cross, Christopher Lopez, Bryce McLaughlin, Randy Sandoli

Ben Flocks, saxophone Chad Lefkowitz-Brown, saxophone Javier Santiago, piano Zach Brown, bass Adam Arruda, drums

Guest Artists 7: 3 0 P.M . Faye Spanos Concert Hall

2007 Brubeck Institute Jazz Quintet Brian Chahley, trumpet Lucas Pino, saxophone Glenn Zaleski, piano Chris Smith, bass Cory Cox, drums

Guest Artists Bob Mintzer, saxophone Joe Gilman, piano

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Gilbert Castellanos, trumpet Joe Gilman, piano

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Brubeck Festival Symposium – Jazz Goes to School! Jazz on the Mile! David Baker, Professor & Director of Jazz Studies – Indiana University JB Dyas, Vice President for Education and Curriculum Development – Thelonious Monk Institute for Jazz

Cesar Chavez High School Jazz Band San Joaquin Delta College Jazz Ensemble Delta College Monday Night Jazz Band

Bart Marantz, Director of Jazz Studies – Booker T. Washington High School for the Performing and Visual Arts in Dallas, TX

Brubeck Institute Jazz Quintet

Mary Jo Papich, President of the Jazz Education Network

Claudia Villela

Harry Schnipper, Owner of Blues Alley Jazz Club and Jazz Education Innovator in Washington D.C. Chuck Tumlinson, Director of Jazz Studies at California State University-Fullerton and President of the California Alliance for Jazz

7: 30 P.M . Faye Spanos Concert Hall

2010 Brubeck Institute Jazz Quintet Chad Lefkowitz-Brown, saxophone Nick Frenay, trumpet Noah Kellman, piano Zach Brown, bass Corey Fonville, drums

Guest Artist Christian McBride, bass

Yosvany Terry Quartet Yosvany Terry, saxophone Taylor Eigsti, piano Joe Sanders, bass Justin Brown, drums

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MUSICIANS GROUPS L ECT U R E R S PRESENTERS PA N E L I S T S


D A V E

B R U B E C K

Dave Brubeck, Chairman of the Brubeck Institute, received the prestigious Kennedy Center Honor on his birthday, December 6, 2009. In a career spanning more than six decades, his introduction of odd time signatures, improvised counterpoint, and distinctive harmonies has made him one of the defining voices of jazz. Approaching his 90th year, he continues to tour and record with the long-time members of his current quartet—Bobby Militello, Randy Jones and Michael Moore. Born in Concord, California in 1920, Brubeck started studying piano at the age of four with his mother, a classical pianist. His family moved to a 45,000-acre cattle ranch near Ione, CA, when he was twelve. Through his teens he worked as a cowboy with his father and played in local dance bands on weekends. He entered the College of the Pacific in 1938 intending to become a veterinarian. While in college, he became increasingly involved in jazz and switched his major to music. In WWII he served in the Army under General Patton, where he led an integrated GI jazz band. After his discharge, he studied composition at Mills College in Oakland, CA with French composer Darius Milhaud, who encouraged him to incorporate jazz in his classical compositions. In 1949, Brubeck formed the award-winning Dave Brubeck Trio from the rhythm section of an experimental Octet comprised of fellow Milhaud students. Two years later, after a near fatal swimming accident, he established the Dave Brubeck Quartet with alto saxophonist Paul Desmond, an historic collaboration that lasted 17 years. This Quartet toured campuses and clubs across the country, appearing with such artists as Duke Ellington, Ella Fitzgerald and Charlie Parker. Brubeck’s style of music was causing such a stir that in 1954 his portrait appeared on the cover of Time Magazine. The “classic quartet” with Desmond, Joe Morello and Eugene Wright made its first international tour in 1958, with performances throughout Europe, and under State Department sponsorship played in Poland, India, Turkey, Afghanistan, Iraq, Iran, Sri Lanka, East and West Pakistan. The following year, the historic Time Out album, featuring “Blue Rondo a la Turk” and “Take Five,” was released. It became the Quartet’s signature work and has a place in the Grammy Hall of Fame. After the original Brubeck Quartet disbanded, Brubeck led a group with Jack Six and Alan Dawson that featured Gerry Mulligan and in the late ‘70s he performed with his sons, Darius, Chris and Dan. Over the years he has performed before many Presidents, Heads of State, Queen Elizabeth, and Pope John Paul II. 16 14

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Brubeck’s compositional oeuvre extends far beyond the Quartet. In 1960, he composed Points on Jazz for the American Ballet Theatre; in 1962, he wrote a musical theater piece, The Real Ambassadors, starring Louis Armstrong and Carmen McRae, and Elementals, written for jazz combo and orchestra that was choreographed by Lar Lubovitch for the San Francisco Ballet in 2005. Other major works include his mass To Hope! A Celebration that has been performed throughout the English-speaking world and in Russia, Germany, Switzerland and Austria. He has written a string quartet, several oratorios and works for chorus and orchestra, ballet suites and chamber music in both jazz and classical styles. His most recent orchestral piece, the multi-media Ansel Adams: America, composed in collaboration with his son, Chris, received its world premier in 2009 with the Stockton Symphony, conducted by Peter Jaffe. Brubeck has received innumerable accolades. The Library of Congress designated him a “Living Legend” and the National Endowment for the Arts inducted him as a Jazz Master. In 1994 President Clinton presented him with the National Medal of the Arts, and in 2008 he became the first individual recipient of the State Department’s Benjamin Franklin Award for Public Diplomacy. Internationally, the Austrian, French and Italian governments have honored him, and he holds honorary degrees from universities around the world. Other awards include a Grammy Lifetime Achievement Award, the Smithsonian Medal and induction into the California Hall of Fame. In addition to the accolades received as a jazz artist, he also has a place in the American Classical Hall of Fame.


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2 0 0 7 B rubeck I nstitute J azz Q uintet

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2 010 B rubeck I nstitute J azz Q uintet

The Brubeck Institute Jazz Quintet was named by DownBeat Magazine as the best collegiate jazz group in the nation in 2007. The members of the group were Brian Chahley, trumpet, from Toronto, Canada; Lucas Pino, saxophone, from Phoenix, AZ; Glenn Zaleski, piano, from Boylston, MA; Cory Cox, drums, from Houston, TX; and Chris Smith, bass, from Minneapolis, MN. All finished the Brubeck Fellowship Program and went to New York. Lucas finished his degree at The New School for Jazz and Contemporary Music and is working on his master’s degree at Juilliard. Glenn also finished his undergraduate degree at the New School and is working on his master’s degree at NYU. Brian, Cory, and Chris are all working toward their undergraduate degrees at the New School. All five are also playing professionally in the New York area, doing tours with major jazz artists, and have been on numerous recording sessions. The picture above is of the members of the quintet in 2007. They are (back row) Glenn, Lucas, Cory, (front row) Brian and Chris, on the Pacific campus.

The Brubeck Institute Jazz Quintet was named by DownBeat Magazine as the best collegiate jazz group in the nation in 2009. The members of the group were Ben Flocks, saxophone, from Santa Cruz, CA; Javier Santiago, piano, from Minneapolis, MN; Adam Arruda, drums, from Toronto, Canada; Zach Brown, bass, from Columbia, MD; and Chad Lefkowitz-Brown, saxophone, from Horseheads, NY. Ben, Javier, and Adam finished the Brubeck Fellowship Program; Ben and Javier went to New York and Adam returned to Canada. Zach and Chad are in their second and final year in the Fellowship Program in the Institute. Javier is currently a student at the New School for Jazz and Contemporary Music in NYC, Adam is studying in Montreal and preparing to move to NYC, and Ben is also studying in NY. All are playing professionally and working regularly in the jazz and new music scene in their respective areas. Zach and Chad plan to move to the New York or Boston areas in the fall. The picture above is of the members of the quintet in 2009. They are (l-r) Javier, Dave Brubeck, Zach, Chad, Ben, and Adam after a performance at the Meridian International Center in Washington, DC.

The current Brubeck Institute Jazz Quintet members are Chad Lefkowitz-Brown, saxophone, from Horseheads, NY; Nick Frenay, trumpet, from Syracuse, NY; Noah Kellman, piano, from Fayetteville, NY; Zach Brown, bass, from Columbia, MD; and Corey Fonville, drums, from Virginia Beach, VA. Chad and Zach are second-year Fellows, and Nick, Noah, and Corey are all in their first year in the program. All aspire to professional careers in jazz performance and all plan to pursue degrees upon completion of their Brubeck Fellowship. This year’s BIJQ has appeared at the Detroit Jazz Festival, opened for the Dave Brubeck Quartet in Sacramento, played in New York, Southern California, at the California Music Educators Conference, and will be performing in Washington DC in April at the Blues Alley Jazz Club, Smithsonian American Art Museum, area high schools and universities, and in a feature concert on the 1st Annual Jazz Education Network convention in St. Louis in May. The picture above is of the members of the quintet this year. They are: back row (l-r) Nick, Chad, Noah, Corey, and Zach; front row: Dave Brubeck, after rehersal at the Detroit Jazz Festival.

BIOGRAPHIES

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B art M arantz

J B D yas

D avid B aker

Bart Marantz has been director of jazz studies at the Booker T. Washington High School for the Performing and Visual Arts since 1983. His program has garnered 207 DownBeat Student Awards – the most of any school in the competition’s history – and has graduated students such as Roy Hargrove and Norah Jones. He did academic work at Indiana University and University of Miami where he received a degree in Instrumental Jazz Studies/ Performance under the direction of Jamey Aebersold, David Baker, Jerry Coker, and Dan Haerle. He received his masters degree in Afro-American Jazz Music at the New England Conservatory of Music in Boston, where he studied and performed with Phil Wilson, Jaki Byard and George Russell. Bart has published articles in the Florida Music Director, Music Educators Journal, Jazz Educators Journal, DownBeat, and the Band Directors Guide magazines. He is co-author of Jazz Figure Reading Studies and a contributing author to Jazz: A Course of Study, released by MENC and IAJE. Bart is a Selmer Clinician and plays Bach/Selmer trumpets and flugelhorns exclusively.

Bassist JB Dyas has been involved in jazz education for the past three decades. Formerly the Director of Jazz Studies at New World School of the Arts and Executive Director of the Brubeck Institute, he currently oversees the Thelonious Monk Institute of Jazz education and outreach programs as Vice President for Education and Curriculum Development. He also serves as Project Director for the Institute’s Jazz In America initiative (www.jazzinamerica.org) one of the most significant and wide-reaching jazz education programs in the world. Throughout his career, Dyas has performed throughout the country, taught students at every level, directed large and small ensembles, developed and implemented new jazz curricula, and written for national music publications. He has presented numerous jazz clinics, teacher training seminars, and other jazz education events nationwide with such artists as Dave Brubeck, Terri Lynne Carrington, Regina Carter, Herbie Hancock, Ingrid Jensen, Christian McBride, Jackie McLean, and Bobby Watson, and is the recipient of the DownBeat Achievement Award for Jazz Education. He received his master’s degree in jazz pedagogy from the University of Miami and his PhD in music education from Indiana University.

David Baker is Distinguished Professor of Music and Chairman of the Jazz Department at the Indiana University School of Music, and is conductor and artistic director of the Smithsonian Jazz Masterworks Orchestra. He has been nominated for a Pulitzer Prize, a Grammy, and honored by DownBeat for lifetime achievement, and as a member of their Jazz Education Hall of Fame. He has received the National Association of Jazz Educators Hall of Fame Award, the James Smithson Medal from the Smithsonian Institution, the NEA American Jazz Masters Award, an Emmy for his score for a PBS documentary, and the Kennedy Center as a Living Jazz Legend. As a composer, Dr. Baker has been commissioned by over 500 entities, including Josef Gingold, Janos Starker, New York Philharmonic, St. Paul Chamber Orchestra, Beaux Arts Trio, and the Audubon String Quartet, and has written jazz and symphonic works, chamber music, and ballet and film scores. He is a member of the National Council on the Arts, on the board of The American Symphony Orchestra League, and the Afro-American Bicentennial Hall of Fame/Museum. He chaired the Jazz Advisory Panel of the Kennedy Center, the Jazz/Folk/Ethnic Panel of the NEA, was president of IAJE, and the National Jazz Service Organization. He is senior consultant for the music programs of the Smithsonian Institution, has served on the Pulitzer Prize Music Jury, and is chair of the jazz faculty of the Stearns Institute for Young Artists at the Ravinia Festival. He is a member of the Honorary Board of the Brubeck Institute.

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M ary J o P apich

C huck T umlinson

H arry S chnipper

Mary Jo Papich, currently President of the Jazz Education Network, is known for her support of arts education, specifically jazz – America’s art form. She has served as Fine Arts Chair at Highland Park High School in Chicago, where she coordinates the school’s award-winning biennial FOCUS ON THE ARTS festival. She served as Vice President on the Illinois Music Education Association Executive State Board, and for eight years on the Executive Board of the International Association for Jazz Education. As the district’s Fine Arts Coordinator in the Peoria public school system, she founded the Peoria Jazz AllStars, who performed at the Montreux Jazz Festival, North Sea Jazz Festival, the Umbria Jazz Festival, and many others. Ms. Papich has served on the Artistic Access to Excellence Commission for the National Endowment for the Arts in Washington DC. She has been a presenter at the Mid-West International Band and Orchestra Clinic in Chicago, numerous IAJE conferences, chaired the first National Jazz Band Advisory Council for Bands of America, and was recently the keynote speaker for the South African Jazz Conference in Cape Town.

Chuck Tumlinson is in his ninth year as director of Cal State Fullerton’s Jazz Program. As a jazz trumpeter he has performed at the Wichita, Reno and Kool jazz festivals, and has performed with the Count Basie Orchestra, Dizzy Gillespie, Terence Blanchard, Mark Murphy, Ray Charles, Lou Rawls, the Temptations, Al Jarreau, Rosemary Clooney, Danny Gottlieb, and Peter Erskine. Tumlinson has been featured soloist at national conventions and has appeared as soloist, clinician, and adjudicator throughout the country. His compositions and arrangements have been recorded by leading bands and performers such as Pete Christlieb, Eric Marienthal, the University of Northern Colorado Lab and the University of North Texas One O’clock Lab Band. Tumlinson has served as principal trumpet in the Wichita Falls (Texas) Symphony and has performed with the Wichita Symphony, Fort Worth Symphony/Opera and Sunflower Chamber orchestras. He currently serves as the Jazz Corner column editor for the International Trumpet Guild Journal, is a Yamaha Artist/ Clinician, and is President of the California Alliance for Jazz. He received his Ph.D. and masters degrees from the University of North Texas, and he holds a BME degree from Wichita State University.

Harry Schnipper is the owner of the Blues Alley Jazz club in Washington, DC. Blues Alley Jazz is America’s oldest, continuously operated jazz supper club, and is the Executive Director of the Blues Alley Jazz Society (BAJS). Blues Alley has hosted every musical genre from mainstream to the avant-garde for over half a century. Jazz artists have included Carmen McCrae, Count Basie, Ella Fitzgerald, Dizzy Gillespie, Mary Lou Williams, Miles Davis, Wynton Marsalis, Ahmad Jamal and many more. Dizzy Gillespie once remarked that, “if you do not cultivate your jazz audience then there will be no jazz”. Blues Alley is the only jazz club to offer and operate free, non-profit music education programming for children. For over 25 years Mr. Schnipper has expanded educational programming to produce a free “Summer Jazz Camp” for kids, the yearround Blues Alley Youth Orchestra, and the annual BIG BAND JAM! jazz festival on the National Mall. Principal partners include the Smithsonian Jazz Masterworks Orchestra, United States Army and the Brubeck Institute. BAJS, now in its third decade, has alumni at many major musical schools inAmerica.Through strategic partnerships, the BAJS has incorporated clinics, classes and workshops into its curriculum to give student musicians access to visiting artists and educators. This allows these aspiring student musicians to attend camp, graduate into orchestra, perform publicly at senior centers, festivals, cultural institutions, and at Blues Alley. Mr. Schnipper defines his approach as one that folds education into opportunity and opportunity into performance. BIOGRAPHIES

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Y osvany T erry

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Yosvany Terry,saxophone, was born in Cuba, received his early musical training from his father, Eladio Terry, violinist and Cuba’s leading player of the Chekere. He received his classical training and graduated from both the prestigious National School of Art and Amadeo Roldan Conservatory. While in Cuba, he was known for his musical innovation while performing with Cuban jazz legends, and then forming the influential group, Columna B, which represented the new voice of young players and became a limitless workshop where everything could be tried and experimented with. Yosvany came to NY in 1999 and was immediately recognized as a spectacular talent in the jazz scene as he played with the greatest names in jazz. Always growing, he has absorbed and incorporated American jazz traditions with his own Afro-Cuban roots to produce compositions and solo work that flow from the rhythmic and hard driving avant-garde to beautiful lyricism.

Taylor Eigsti, piano, grew up in Menlo Park, CA, and has rapidly become one of the brightest stars on the jazz scene. Mentored by David Benoit, he has shared the stage and recorded with artists such as Dianne Schuur, Diana Krall, Al Jarreau, Dave Brubeck, Bobby Hutcherson, James Moody, and many others. He has been featured on the covers of Jazziz and Keyboard Magazine, was recognized in the DownBeat critics poll for two years running, received two Grammy nominations for his CD, Lucky To Be Me, and is widely known both his solo and ensemble virtuosity and musicality.

Justin Brown, drums, is from Berkeley, CA, was the first drummer in the Brubeck Institute Fellowship Program (2002-2004) and has become one of the most versatile drummers on the New York jazz scene today. He plays with a wide variety of jazz artists, including Kenny Garrett, Gerald Clayton, Yosvany Terry, Nicholas Payton, and Christian McBride.

J oe S anders Joe Sanders, bass, is from Milwaukee, WI, was the first bassist in the Brubeck Institute Fellowship Program (2002-2004) and has become one of the most in-demand bassists on the New York jazz scene today. He plays with a wide range of contemporary jazz artists, including Gerald Clayton, Roy Hargrove, Wayne Shorter, and Yosvany Terry.

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B I O G R A P H I E S

G ilbert C astellanos

J oe G ilman

San Diego based trumpeter Gilbert Castellanos is a major force on the San Diego jazz scene and in Southern California. He is known both for his work as a leader and as a member of two top jazz ensembles in the Los Angeles area, guitarist Anthony Wilson’s Nonet, and one of today’s greatest big bands, the Clayton-Hamilton Jazz Orchestra. He follows in the footsteps of his father Gilbert B. Castellanos, who, with his own group, made popular records in Mexico in the late 1960’s. His recording career includes projects such as Jungle Music (Colombia Records) and Nothin’ But the Swing (Impulse Records) as a member of Black/Note. He has performed and recorded with Dizzy Gillespie, Wynton Marsalis, Charlie Hayden, Les McCann and Poncho Sanchez, and has played festivals in Montreal, New York, Japan, Holland, Italy, Spain, and Germany. Gilbert appears regularly in San Diego, leading bands in clubs and producing tribute concerts to Horace Silver, Lee Morgan, Miles Davis, Thelonious Monk, Clifford Brown and other jazz giants. His debut CD, The Gilbert Castellanos Hammond B3 Quartet, features standards by such great artists such as Joe Henderson, Sonny Rollins, Wayne Shorter and Lee Morgan, along with works of his own.

Joe Gilman is the music director of the Brubeck Institute’s Fellowship Program, artistic director of the Institute’s Summer Jazz Colony, professor of music at American River College in Sacramento, and music director of Capital Jazz Project. He has been the primary pianist with jazz vibraphonist Bobby Hutcherson since 2006, and has performed professionally with Eddie Harris, Woody Shaw, Marlena Shaw, Richie Cole, George Duke, Chris Botti, Eric Alexander, David ‘Fathead’ Newman, and Slide Hampton, and has recorded with Joe Henderson, Jeff ‘Tain’ Watts, and Robert Hurst. He was an International Jazz Ambassador through the Kennedy Center for the Performing Arts and USIA in West Africa in 1999, and East and Southern Africa in 2000. He was named the first Brubeck Scholar at the 2005 Brubeck Festival, and in 2004, he won the Great American Jazz Piano Competition in Florida. His work with students in the Brubeck Institute has produced several CDs – Brubeck Revisited, Vols. 1 & 2 (Sunnyside), and Wonder Revisited, Vols. 1 & 2 (Capri) all recorded with Brubeck Institute Fellows Joe Sanders and Justin Brown, the double CD of the 2006-2007 Brubeck Institute Jazz Quintet, and the 2007-2008 CD by the same group, and a double CD of the 2008-2009 group. His work with the 2006-2007 Fellowship students resulted in four 2007 DownBeat Magazine student awards, including the best collegiate jazz group in the country. The 2008-2009 BIJQ again won the best collegiate jazz group in DownBeat under his leadership.

BIOGRAPHIES

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B I O G R A P H I E S

C hristian M c B ride

B ob M intzer

J azz on the M ile !

A Philadelphia native, Grammy Award winning bassist Christian McBride served as the first Artistic Director of the Brubeck Institute. In that role he set both the educational and artistic standards for the Institute, and especially the Fellowship Program. He is a frequent visitor to campus and works with the BIJQ in private lessons, ensemble coaching, and advising about professional life as a jazz musician. Christian has played with countless artists across the musical spectrum, from McCoy Tyner and Sting to Diana Krall. His concert performances span the globe, and his recordings, both as a leader and member of other groups, are diverse in style and brilliant in execution. But his accomplishments as a player are only part of what makes him such a highly respected artist. In addition to his work at the Brubeck Institute, he has been artistic director at the Jazz Aspen Institute summer program, co-director of the Jazz Museum in Harlem, Creative Chair for Jazz for the Los Angeles Philharmonic, Artist in Residence for the Monterey Jazz Festival, and the Detroit Jazz Festival. As a composer, Christian was commissioned by Jazz at Lincoln Center to write Bluesin’ in Alphabet City, which was performed by Wynton Marsalis with the Lincoln Center Jazz Orchestra. The Portland Arts Society and the National Endowment for the Arts commissioned him to write The Movement, Revisited, a dramatic musical portrait of the civil rights struggle of the 1960s. Christian McBride is a member of the Honorary Board of the Friends of the Brubeck Institute, and he is the 2010 recipient of the Brubeck Institute Award for Distinguished Achievement.

Arranger and saxophonist Bob Mintzer has made his work merging a traditional jazz approach with an all encompassing modernism that embraces lyricism, a strong sense of swing, and arrangements that take the listener on an unpredictable and vibrant journey. Besides leading his own New York based big band since the early 1980s, Bob leads a jazz quartet, is a fifteen-year member of the Yellowjackets, and is active in music education. In addition to his playing schedule, Bob writes for the Yellowjackets, big bands, symphony orchestra, and etude books. Bob honed his skills playing and writing for Buddy Rich, Thad Jones, Mel Lewis, Art Blakey, Sam Jones, Jaco Pastorius, The GRP Big Band, Mike Manieri, Tito Puente, Eddie Palmieri, and the New York Philharmonic. He has also done session work for James Taylor, Queen, Steve Winwood, Aretha Franklin, and countless others. Bob has been nominated for thirteen Grammy Awards, both for his solo work and big band recordings, including Art of the Big Band, Departure, Homage to Count Basie, One Music, and Only in New York, and for his work with the Yellowjackets. Homage to Count Basie won the Grammy in the best large ensemble category for the 44th Annual Grammy Awards in 2001.

Cesar Chavez High School Jazz Band

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BIOGRAPHIES

San Joaquin Delta College Jazz Ensemble Delta College Monday Night Jazz Band Brubeck Institute Jazz Quintet Claudia Villela


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On the 10 t h anniversary of the Brubeck Institute, it is valuable to look back and see some of what the Institute has done during its first decade. While it’s not possible to list every performance, every tour, and every other detail of the Institute’s activities, it is important to recognize those who have participated in the Institute’s work as students, performers, and teachers, to recall Brubeck Festival presentations, and remember those who have been recognized for their distinguished achievement.


B rubeck I nstitute A ward for D istinguished A chievement

B rubeck S ummer J azz C olony C olonists

The Brubeck Institute Award for Distinguished Achievement was created to recognize an individual for his or her outstanding contribution to the world of music and ideas, in an area where Dave Brubeck has made significant impact upon the world. 2005 | Joe Gilman, pianist, composer, teacher – Brubeck Institute 2006 | John Salmon, pianist, scholar – University of North Carolina–Greensboro 2007 | Kevin Deas, world renowned singer 2008 | Penny Von Eschen, scholar – University of Michigan 2009 | Donald V. DeRosa, President – University of the Pacific 2010 | Christian McBride, jazz bassist

2002 | Kai Ando, bass, NY, NY; Pat Carroll, sax, Pleasanton, CA; Andrea Caruso, voice, Hartford, CT; Tobin Chodos, piano, LA, CA; Nick DePinna, trombone, Pleasanton, CA; Tlacael Esparza, drums, LA, CA; Marcus Gilmore, drums, NY, NY; Keith Karman, bass, LA, CA; Micah Ke-Renzvi, guitar, LA, CA; Matt Marantz, sax, Dallas, TX; Sean McCluskey, piano, Shrewsbury, MA; Scott McGinty, sax, Houston, TX; Shawn McGinty, trumpet, Houston, TX; Perry Morris, drums, Dallas, TX; Michael Palma, piano, Dallas, TX; Anja Parks, trumpet, NY, NY; Dominic Thiroux, bass, LA, CA 2003 | Kyle Athayde, trumpet, Lafayette, CA; Pat Carroll, sax, Pleasanton, CA; Rashann Carter, bass, Suitland, MD; Eldar Djangirov, piano, San Diego, CA; Tom Gardner, sax, Washington, DC; Hayden Hawkins, drums, Houston, TX; Dustin Kaufman, drums, Houston, TX; Corey King, trombone, Houston, TX; Pascal Le Boeuf, piano, Santa Cruz, CA; Matt Marantz, sax, Dallas, TX; Perry Morris, drums, Dallas, TX; Michael Palma, piano, Dallas, TX; Anja Parks, trumpet, NY, NY; Joe Sanders, bass, Milwaukee, WI; Jennifer Sanon, voice, Miami, FL; Dominic Thiroux, bass, LA, CA; Max Townsley, guitar, Dallas, TX 2004 | Kyle Athayde, trumpet, Lafayette, CA; Hans Bernhard, bass, Santa Cruz, CA; Brian Chahley, trumpet, Toronto, Canada; Cory Cox, drums, Houston, TX; Eldar Djangirov, piano, San Diego, CA; Victor Gould, piano, LA, CA; Nick Jozwiak, bass, Naperville, IL; Dustin Kaufman, drums, Houston, TX; Shaun Lowecki, drums, Libertyville, IL; Joe McDonough, trombone, Langhorne, PA; Matthew O’Grady, guitar, Green Bay, WI; David Palma, sax, Miami, FL; Lucas Pino, sax, Phoenix, AZ; Peter Reardon-Anderson, sax, Bethesda, MD; Earl Travis II, bass, Houston, TX; Nadia Washington, voice, Dallas, TX; Glenn Zaleski, piano, Boylston, MA 2005 | Kyle Athayde, trumpet, Lafayette, CA; Julian Bransby, piano, Bloomington, IN; Brian Crutchfield, sax, Houston, TX; Ismael Cuevas, trombone, LA, CA; Gregory Diaz, trumpet LA, CA; Woody Goss, piano, Skokie, IL; Nick Jozwiak, bass, Naperville, IL; Graham Keir, guitar Wyndmoor, PA; Noah Kellman, piano, DeWitt, NY; Isaiah Morfin, sax, Bakersield, CA; Harvel Nakundi, drums, Miami, FL; Steve Renko, drums, Cleveland, OH; Katie Thiroux, bass & voice, LA, CA; Ben van Gelder, sax, Netherlands; Nadia Washington, voice, Dallas, TX; Max Wrightson, drums, LA, CA; Charlie Zuckerman, bass, Miami, FL

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2006 | Adam Arruda, drums, Toronto, Canada; Aaron Bahr, trumpet, Moraga, CA; Edwin Barbash, sax, Winston-Salem, NC; Tim Carr, drums, Novato, CA; Ben Flocks, sax, Santa Cruz, CA; Adam Gertner, drums, Denver, CO; Grace Kelly, sax, Brookline, MA; Rustom Jehangir, trombone, Downers Grove, IL; Garret Lang, bass, LA, CA; Ivan Malespin, trombone, Miami, FL; Luke Marantz, voice, Dallas, TX; Jeff Picker, bass, Beaverton, OR; Sam Reider, piano, San Francisco, CA; Charlie Stanford, guitar, Portland, OR; Gary Thomas, bass, Gainesville, FL; Yuma Sung, piano, San Jose, CA; Sam Yulsman, piano, Niwot, CO 2007 | Travis Antoine, trumpet, NY, NY; Adam Arruda, drums, Toronto, Canada; Eliana Athayde, bass & voice, Lafayette, CA; Aaron Bahr, trumpet, Moraga, CA; Bryan Carter, drums, Sycamore, IL; Kate Davis, bass & voice, West Linn, OR; Maddie Deutch, voice, LA, CA; Noah Kellman, piano, DeWitt, NY; Grace Kelly, sax, Brookline, MA; Chad Lefkowitz-Brown, sax, Horseheads, NY; Christian Li, piano, Horseheads, NY; Luke Marantz, voice, Dallas, TX; David Meder, piano, Tampa, FL; Paul-Eirik Melhus, sax, Glendale, AZ; Daniel Nadeau, drums, Wayland, MA; Kale Scherler, trombone, Dallas, TX; Charlie Stanford, guitar, Portland, OR; Jonathan Stein, bass, Oakland, CA 2008 | Lauren Desberg, voice, Los Angeles, CA; Samara Oster, voice, Milton, MA; McKenna Whisler, voice, Pittsburgh, PA; Levon Henry, sax, LA, CA; Grace Kelly, sax, Brookline, MA; Paul-Eirik Melhus, sax, Glendale, AZ; Zachery Gillespie, trumpet, Glendale, AZ; Griffith Kazmierczak, trumpet, East Amherst, NY; Ivan Rosenberg, trumpet, NY, NY; Luke Celenza, piano, Bedford, NY; Gregory Chen, piano, San Jose, CA; Noah Kellman, piano, DeWitt, NY; Carlos Alabaci, bass, Miami, FL; Joshua Crumbly, bass, Quartz Hill, CA; Kate Davis, bass, West Linn, OR; Jimmy McBride, drums, West Hartford, CT; Colin McDaniel, drums, Davis, CA; Anthony Polson, drums, Portland, OR; Gabriel Condon, guitar, Penfield, NY 2009 | Ben Lusher, voice, Dobbs Ferry, NY; Michael Mayo, voice, LA, CA; Caitlin Quinlan, voice, NY, NY; Sam Crowe, sax, Denver, CO; Kevin Sun, sax, Skillman, NJ; Max Zooi, sax, LA, CA; Jon Hatamiya, trombone, Davis, CA; Tree Palmedo, trumpet, Portland, OR; Cody Rowlands, trumpet, Glendale, AZ; Luke Celenza, piano, Bedford, NY; Nicolas Hetko, piano, Cambridge, NY; Antonio Madruga, piano, Miami, FL; Giulio Cetto, bass, Stockton, CA; Jared Mulcahy, bass, Skaneateles, NY; Bill Vonderhaar, bass, Houston, TX; Hayden Hamilton, drums, Houston, TX; Colin McDaniel, drums, Davis, CA; Clint Mobley, drums, NY, NY; Gregory Uhlmann, guitar, Chicago, IL

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S ummer J azz C olony F aculty & G uest A rtists 2002-2009

Piano Joe Gilman Geoffrey Keezer Taylor Eigsti Mulgrew Miller Glenn Zaleski Trumpet Brian Lynch Gilbert Castellanos Marvin Stamm Ingrid Jensen Terence Blanchard Roy Hargrove Nicholas Payton Bart Marantz Guitar Mike DeMicco Mark Boling Steve Homan

Saxophone Andrew Speight Anton Schwartz Frank Morgan Steve Wilson Greg Tardy Jerry Bergonzi Chris Potter Patrick Langham Bass Christian McBride Jeff Chambers Essiet Essiet Ray Drummond

Drums Jeff ‘Tain’ Watts Dan Brubeck Ed Soph Willie Jones III Rick Lotter Brian Kendrick Akira Tana Trombone Steve Davis Paul McKee Rick Simerly Chris Brubeck Hal Crook

Voice Madeline Eastman Miles Griffith Diane Mower

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T H E S J C 0 9 A R T I S T S | J O E G I L M A N P I A N O | B R I A N LY N C H T R U M P E T ANDREW SPEIGHT SAXOPHONE | STEVE DAVIS TROMBONE | RAY DRUMMOND BASS AKIRA TANA DRUMS | MADELINE EASTMAN VOICE | BART MARANTZ TRUMPET S T E V E H O M A N G U I TA R | G L E N N Z A L E S K I P I A N O | R I C K L O T T E R D R U M S ZACH BROWN BASS | CHAD LEFKOWITZ-BROWN SAXOPHONE THE SJC 09 COLON ISTS | LUKE CELENZA PIANO | S A M C ROW E SAXOP HONE GILBERT FIX BASS | HAYDEN HAMILTON DRUMS | JON HATAMIYA TROMBONE NICHOLAS HETKO PIANO | BEN LUSHER VOICE | ANTONIO MADRUGA PIANO MI C H A EL MAYO V OICE | C OL I N MC DA N I EL DRUM S | C L I NT MOBL EY DRUMS JARED MULCAHY BASS | TREE PALMEDO TRUMPET | CODY ROWLANDS TRUMPET KEVIN SUN SAXOPHONE | CAITLIN QUINLIN VOICE | GREGORY UHLMANN GUITAR B I L L V O N D E R H A A R B A S S | M A X Z O O I S A X O P H O N E

THE SJC 09 ARTISTS CONCERT | FRIDAY, AUGUST 14, 7:30 P.M. UNIVERSITY OF THE PACIFIC | FAYE SPANOS CONCERT HALL | FREE ADMISSION THE SJC 09 COLONISTS CONCERT | SATURDAY, AUGUST 15, 3:00 P.M. UNIVERSITY OF THE PACIFIC | FAYE SPANOS CONCERT HALL | FREE ADMISSION B R U B E C K I N S T I T U T E | D AV E B R U B E C K C H A I R M A N CLINT EASTWOOD CHAIRMAN O F THE HONORA RY BOAR D S T E V E A N D E R S ON E X E C U T I V E D I R EC T O R | J O E G I L M A N M U S I C A L D I R E C TO R FELLOWSHIP PROGRAM & ARTISTIC DIRECTOR–SUMMER JAZZ COLONY | PAT ECKERT ADMINISTRATIVE ASSISTANT | GINA BROWN RISHWAIN NATIONAL DIRECTOR OF DEVELOPMENT

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Summer Jazz Colony Poster, 2009 A DECADE OF ACCOMPLISHMENT

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B rubeck F ellowship P rogram

B rubeck F ellowship F aculty & V isiting A rtists 2 0 0 2 – 2 0 10

F ellows

2002–2003 | Tommy Morimoto, sax, Winston-Salem, NC; Anthony Coleman II, trumpet, Sacramento, CA; Fabian Almazan, piano, Miami, FL; Joe Sanders, bass, Milwaukee, WI; Justin Brown, drums, Berkeley, CA 2003–2004 | Tobin Chodos, piano, LA, CA; Scott McGinty, sax, Houston, TX; Mark Zaleski, sax, Boylston, MA; Anthony Coleman II, trumpet, Sacramento, CA; Joe Sanders, bass, Milwaukee, WI; Justin Brown, drums, Berkeley, CA 2004–2005 | Scott McGinty, sax, Houston, TX; Mark Zaleski, sax, Boylston, MA; Dominic Thiroux, bass, LA, CA; Shawn McGinty, trumpet, Houston, TX; Joshua Gallagher, piano, Eau Claire, WI; Hayden Hawkins, drums, Houston, TX 2005–2006 | Brian Chahley, trumpet, Toronto, Canada; Lucas Pino, sax, Phoenix, AZ; Colin Stranahan, drums, Denver, CO; Peter Spear, bass, Littleton, CO; Glenn Zaleski, piano, Boylston, MA 2006–2007 | Brian Chahley, trumpet, Toronto, Canada; Lucas Pino, sax, Phoenix, AZ; Glenn Zaleski, piano, Boylston, MA; Cory Cox, drums, Houston, TX; Chris Smith, bass, Minneapolis, MN 2007–2008 | Ben Flocks, sax, Santa Cruz, CA; Javier Santiago, piano, Minneapolis, MN; Chris Smith, bass, Minneapolis, MN; Cory Cox, drums, Houston, TX; Brian Chahley, trumpet, Toronto, Canada 2008–2009 | Ben Flocks, sax, Santa Cruz, CA; Javier Santiago, piano, Minneapolis, MN; Adam Arruda, drums, Toronto, Canada; Zach Brown, bass, Columbia, MD; Chad Lefkowitz-Brown, sax, Horseheads, NY 2009–2010 | Chad Lefkowitz-Brown, sax, Horseheads, NY; Nick Frenay, trumpet, Syracuse, NY; Noah Kellman, piano, Fayetteville, NY; Zach Brown, bass, Columbia, MD; Corey Fonville, drums, Virginia Beach, VA

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Piano Dave Brubeck Joe Gilman Robert Glasper Kenny Werner Fred Hersch Darius Brubeck John Salmon Geoffrey Keezer Taylor Eigsti Peter Hovath Rebeca Mauleon Donald Brown Mark Levine Robert Rodriguez Orrin Evans Benny Green Saxophone Bobby Militello Jimmy Heath Joshua Redman Bob Mintzer Yosvany Terry Bobby Watson Bennie Maupin Michael Zilber Greg Tardy Jim Snidero Daniel Zinn Charles McNeal Anton Schwartz Vincent Herring Miguel Zenon Eric Marienthal John Dankworth Josh Allen Stacy Dillard Donny McCaslin

Trumpet Wynton Marsalis Nicholas Payton Ingrid Jensen Freddie Hubbard Ralph Alessi Brian Lynch Louis Fasman Gabriel Alegria Mic Gillette Marvin Stamm Mike Rodriguez Bass Christian McBride Michael Moore Robert Hurst Jeff Chambers Rufus Reid Marcus Shelby Glenn Richman Matt Penman Ray Drummond Larry Grenadier Drums Jeff Ballard Randy Jones Ndugu Chancler Jeff ‘Tain’ Watts Vince Lateano Joe Chambers Lewis Nash Dan Brubeck Eric Harland Peter Magadini

Trombone Chris Brubeck Conrad Herwig John Fedchock Guitar Mark Boling Steven Erquiaga John Stowell Steve Homan Vocal Cleo Laine Deana DeRose Violin Lesa Terry Clarinet Bill Smith


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B rubeck F estivals & A cademic S ymposia 2001 | Festival theme: The Music of Dave Brubeck Performers: Dave Brubeck Quartet, University Symphony Orchestra, Pacific Singers, Stockton Symphony Orchestra. Significant works performed: Hold Fast to Dreams, Pange Lingua Variations, Upon this Rock, and the premiere of Millennium Intervals. Symposium topics and presenters: Music Management & Business – Richard Etlinger, Thomas Brierton, Richard Jeweler; Sociology & Music – George Lewis, Howard Becker, Iola Brubeck

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2006 | Festival theme: The Times of Dave Brubeck Performers: David Grisman Quintet, Bobby Watson with the Pacific Jazz Ensemble, Clayton-Hamilton Jazz Orchestra, John Salmon, Poncho Sanchez Latin Jazz Band. Symposium topics and presenters: Film: The Piano Masters by Larry Rosen, featuring Dave Brubeck and Billy Taylor with Ramsey Lewis; Panel discussion: Influences and Social Implications of Jazz and the Music of Dave Brubeck with panelists Larry Rosen, Howard Becker, David Grisman, Russell Gloyd, Robert Benedetti, moderated by David Chase; Piano lecture & performance: An Afternoon of Dave Brubeck by John Salmon, featuring Brubeck’s classical piano music.

2002 | There was no festival in 2002. 2003 | Festival theme: Celebrating the Music of Dave Brubeck Performers: Stockton Symphony Orchestra, Stockton Chorale, Turtle Island String Quartet, Christian McBride Trio, Capital Jazz Project, and performers from the Conservatory of Music. Significant works performed: Earth is Our Mother and many other Brubeck works. Symposium: There was no symposium in 2003. 2004 | Festival theme: 40th Anniversary of the Civil Rights Act Performers: Dave Brubeck Quartet, Conservatory ensembles and soloists. Significant work performed: Gates of Justice. Symposium topics and presenters: Lecture on racial justice – Archbishop Desmond Tutu; Films: Amandla! A Revolution in Four-part Harmony by Lee Hirsch; Rediscovering Dave Brubeck by Hedrick Smith; Blacks & Jews by Snitow and Kaufman; Discussion: Q & A on the Civil Rights Era with Dave and Iola Brubeck, moderated by Robert Benedetti.

2007 | Festival theme: Words with Music Performers: Kevin Deas, Julia Dollison, Geoff Keezer, Dave Brubeck Quartet, Roberta Gambarini, Capital Jazz Project, Brubeck Institute Jazz Quintet, Triple Play, Daniel Ebbers, Jessica Siena, Stockton Symphony Orchestra, and students from the Conservatory of Music. Significant works performed: Prayer of St. Francis by Dave Brubeck (premiere), Fragile Horizon, a multi-media work by Robert Coburn, Music Is the Power by Chris Brubeck, Cannery Row Suite by Dave and Iola Brubeck, commissioned by the Monterey Jazz Festival. Symposium topics and presenters: Panel discussion: Words with Music with panelists Iola Brubeck, Russell Gloyd, Kevin Deas, Robert Coburn, Julia Dollison, Roberta Gambarini, Chris Brubeck, with moderator David Chase; Exhibition: A Script in Time: Iola Brubeck as Lyricist; Lecture/demonstration: The Sacred Music of Dave Brubeck by Russell Gloyd; Pre-concert lecture: John Steinbeck by Susan Shillinglaw.

2005 | Festival theme: Creativity & Composition Performers: Talujon Percussion Quartet, SF Jazz Collective, Christian McBride, Chris Brubeck, Joshua Redman, Bobby Hutcherson, Nicolas Payton, Renee Rosnes, Miguel Zenon, The New Brubeck Octet, Bill Smith, Ballet NY, Joe Gilman Trio, Dave Brubeck, Stockton Symphony Orchestra. Significant work performed: premiere of Chris Brubeck’s Mark Twain’s World: A Symphonic Journey with Genuine Thespians. Symposium topics and presenters: ‘The Interdependence of Composition and Improvisation in Dave Brubeck’s Creative Process’ by Stephen Crist; ‘Music and Perception’ by David Chase; ‘Creativity and Composition’ by Renee Rosnes and Matt Penman; ‘The Music of Dave Brubeck: An Analysis’ by Joe Gilman.

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B rubeck F estivals & A cademic S ymposia 2008 | Festival theme: The Real Ambassadors The festival focused on cultural diplomacy and celebrated the 50th anniversary of the Dave Brubeck Quartet’s 1958 U.S. State Department tour to Poland, Afghanistan, Pakistan, India, Sri Lanka, Iran, Iraq, and Turkey. Performers: Open World Jazz Octet, Brubeck Institute Jazz Quintet, Bob Mintzer, Deepak Ram Quartet, Hiromi’s Sonicbloom, Pete Escovedo Orchestra, Andrzej Jagodzinski Trio, Dave Brubeck Quartet, Ramsey Lewis Trio. Presenting partners: The George Washington University, Elliot School of International Affairs, Library of Congress, Meridian International Center, Open World Leadership Center, Smithsonian Associates, Kennedy Center for the Performing Arts, National Endowment for the Arts. Symposium topics and presenters: Lecture: The Voice of Freedom: Assessing the Impact of Dave Brubeck and Cultural Exchange During the Cold War by Keith Hatschek; Lecture: Some Thoughts on Arts Diplomacy During the Cold War by John H. Brown; Panel discussion: Cultural Diplomacy: Its Past and Its Future with John H. Brown, Keith Hatschek, Vladimir Tarasov, Russell Gloyd, and moderator Gene Bigler; Seminar: The Dave Brubeck Quartet’s 1958 State Department Tour by David Alan Grier, 1958: World Events That Shaped Diplomatic Activity by Hugh Agnew, India and Cultural Exchange by Ambassador Karl Inderfurth,

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Brubeck Festival Poster, 2008

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Cultural Exchange and Security Policy by Marc Lynch; Photographic exhibition: Jam Session: America’s Jazz Ambassadors Embrace the World by Curtis Sandberg; Panel discussion: The Future of Jazz As a Tool of Cultural Diplomacy with Ambassador Cynthia Schneider, Dr. John Hasse, Ambassador John O’Keefe, Dr. Charles Webb; Panel discussion: Take Two: Reflections on the 1958 Tour with Dave Brubeck, Dr. Penny Von Eschen, Ambassador Kenton Keith, Dan Morgenstern, Dr. John Brown; Panel discussion: The Real Ambassadors with Dave Brubeck, Billy Taylor, Ramsey Lewis, moderated by Gary Giddens. 2009 | Festival theme: The Revolution Continues The festival focused on the 50th anniversary of the historic revolutionary album by the Dave Brubeck Quartet, Time Out. Performers: Dave Brubeck Quartet with Darius Brubeck, Stockton Symphony Orchestra, Sacramento Master Singers, Pacific Orchestra, Paul Apodaca, Darius Brubeck with the Brubeck Institute Jazz Quintet, Gerald Clayton Trio. Significant works performed: Ansel Adams: America! by Dave and Chris Brubeck; Earth Is Our Mother by Dave and Iola Brubeck; Time Out by the Dave Brubeck Quartet. Symposium topics and presenters: Lecture & film: Russell Gloyd on the making of Time Out; Panel discussion: 1959: The Revolution Begins with Darius Brubeck, Chuck Berg, Joe Gilman, and Paul Conley, moderator.

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Brubeck Festival Poster, 2009

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I N S T I T U T I O N S

U niversity of the P acific

Established in 1851 as the first chartered institution of higher education in the state of California, University of the Pacific is an independent university with a tradition of putting students first. With a core liberal arts college, eight accredited professional schools, and a graduate school, Pacific enrolls over 6,000 students on its three campuses in Northern California. The University offers bachelors, masters, and doctoral degrees in more than 80 programs. As a pioneer in education, University of the Pacific provides a superior, highly personalized, student-centered learning experience integrating liberal arts and professional education, preparing students for lasting achievement and responsible leadership in their careers and communities.

C onservatory of M usic

Through its widely recognized programs in music, the Conservatory of Music at University of the Pacific has offered educational opportunities of the highest quality to students from the state, region, and nation for over 130 years. The University of the Pacific is a charter member of the National Association of Schools of Music, and offers an array of curricula that are recognized for their effectiveness in preparing students for their professional futures. A tradition of service and a commitment to excellence have made the Conservatory of Music a vital educational and artistic resource for the University and larger community since 1878.

B rubeck I nstitute

The Brubeck Institute is located at University of the Pacific in Stockton, California. It was established by the University in 2000 to honor its distinguished alumni, Dave and Iola Brubeck. The mission of the Institute is to build on Dave Brubeck’s legacy and his lifelong dedication to music, creativity, education, and the advancement of important social issues including civil rights, international relations, environmental concerns, and social justice through its five core programs including the Brubeck Collection, Brubeck Festival, Brubeck Fellowship Program, the Summer Jazz Colony, and the Outreach Program.

A Message from Dave Brubeck “The Institute is the realization of a dream. From the earliest days in my career I sought the acceptance and recognition of jazz as a serious art form that reflected American ideals of freedom and individual expression balanced with group responsibility and interdependence. Like America itself, jazz has always drawn from many cultures and has been enriched by that cross-fertilization.” “The Brubeck Institute is not about jazz studies alone, however. It is also about social and philosophical issues. Over the years I have become more and more interested in applying these thoughts to classical composition for chorus and orchestra, chamber ensembles, and contemporary music in a variety of forms. I believe in the power of music to transform lives as well as to enlighten and entertain.” “Once when asked how I would like to be remembered, I answered, ‘As someone who opened doors.’ This is what the Brubeck Institute will do. It will provide the key that will open doors for all who participate, whether as a research scholar in the Brubeck Collection, a Brubeck Fellow or Colonist, a member of academic symposia, a classical performer or teacher, contemporary composer, or an interested member of the audience.” “The door is open. Welcome!” — Dave Brubeck

INSTITUTIONS

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I N S T I T U T I O N S

T he B rubeck I nstitute P rograms

The Brubeck Collection, one of the world’s largest and most comprehensive collections from a contemporary musician, consists of Dave and Iola Brubeck’s correspondence, business documents, musical manuscripts and recordings, photographs, printed programs, and other important archival material. It is a resource of immeasurable value for scholars interested in Brubeck’s music, other musicians, and social issues such as civil rights, international relations, and social justice. The Collection is housed in the HoltAtherton Special Collections at the University of Pacific Library. The Brubeck Festival is an annual event that explores and celebrates the musical, intellectual, and philosophical ideas of Dave Brubeck, as well as his influence on the world of music and ideas. The Festival features performances of jazz, contemporary concert music, lectures, and academic symposia. Symposia and lecture topics have included music management and business, sociology and music, words with music, improvisation, creativity, civil rights, and cultural diplomacy. The Brubeck Fellowship Program is a one- or two-year fullscholarship program in jazz performance for five musicians who have just graduated from high school. These are the Brubeck Fellows, they comprise the Brubeck Institute Jazz Quintet (BIJQ), and they are pursuing careers in jazz performance. The BIJQ has performed on the Monterey Jazz Festival, Playboy Jazz Festival, Brubeck Festival, Detroit Jazz Festival, and others, and have done concerts throughout the United States, in Canada, and on a State Department tour in Spain. They regularly perform in clubs such as Yoshi’s in Oakland, Blues Alley in Washington DC, the Montreal Bistro in Toronto, Herb Alpert’s club Vibrato in Los Angeles, and they do clinics and performances in colleges, universities, and schools throughout the country. They have also performed at the annual conference of the International Association for Jazz Education, at the Library of Congress, the Kennedy Center, and many other notable venues. Upon completion of the program the Brubeck Fellows receive the Certificate of Jazz Performance and go on to collegiate programs in jazz studies or pursue careers in jazz performance. They are expected to serve as ambassadors for jazz and to promote the values epitomized by the life and music of Dave Brubeck.

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INSTITUTIONS

The Summer Jazz Colony is a one-week, full-scholarship, intensive educational program in jazz performance for a very limited number of exceptionally talented students who have just completed their freshman, sophomore, or junior years in high school. They come from throughout the United States and beyond to study with Brubeck Institute faculty, guest artists and master teachers in combo rehearsals, master classes and private instruction, classes in jazz theory and improvisation, and seminars on the music of Dave Brubeck and other topics. Colonists have extensive opportunities to visit with the artists and clinicians, visit the Brubeck Collection, participate in numerous jam sessions, and perform in concert.

The Brubeck Outreach Program is designed to encourage the performance, study, and understanding of jazz in its many forms, explore contemporary concert music, enlighten and broaden the general knowledge and appreciation of music, and promote the understanding of the work and influence of Dave Brubeck throughout the United States and beyond. This is accomplished by performances, educational presentations, and touring displays from the Brubeck Collection, presented by the Institute and in partnership with schools, museums, libraries, and other cultural institutions.

F or more information

For more information about all the Brubeck Institute programs, including access to the Brubeck Collection, details about past and upcoming Brubeck Festivals, the Outreach Program, and for complete information about the Fellowship Program and the Summer Jazz Colony, including all application procedures, timelines, and forms, visit our website at www.brubeckinstitute.org or write us at:

The Brubeck Institute University of the Pacific 3601 Pacific Avenue Stockton, CA 95211


HONORARY BOARD OF THE FRIENDS OF THE BRUBEcK INSTITUTE

The purpose of the Honorary Board of the Friends of the Brubeck Institute is to heighten the awareness of the Brubeck Institute and advance its mission locally, nationally, and internationally. University of the Pacific is most grateful to the following distinguished individuals for their commitment to the Brubeck Institute.

C L I NT EA STW O O D

T I M J A C K S ON

W Y N TON M AR S AL I S

Chair, Honorary Board Director, Producer, Actor, Composer

General Manager, Monterey Jazz Festival Artistic Director, Kuumbwa Jazz Center

Trumpeter, Composer

H ER B A LP ERT

A L J A R R E AU

Artist, Producer

Producer, Singer

DAVI D N. BA KER , J R .

Q UI N C Y D . J ON E S

Jazz Educator, Indiana University

Producer

JA M ES R . BA NCR OF T

D A M E C L E O L AI N E

Partner (retired) Bancroft & McAlister

Musician, Actress

DAVI D BENO I T

N O R M AN M . L E AR

Pianist, Composer, Conductor

Television Writer and Producer, Businessman

C H R I S TI AN M C B R I D E

Jazz Bassist M AR I AN M C PARTL AN D

Pianist D OU G R AM S E Y

Author, Critic L AR RY R OS E N

K EN BUR NS

Chairman – Larry Rosen Productions, Inc. Entrepreneur, Musician, Producer H E D R I C K S M I TH

Filmmaker

LA R RY L E AS U R E

Writer, Film Producer

DAVI D CER O NE

Regent – University of the Pacific, Business and Real Estate

B I L LY TAY L OR

President – Cleveland Institute of Music

Pianist, Composer, Educator D EN N I S A. L E V E TT

Donald V. D eR osa

Real Estate and Investments

President Emeritus – University of the Pacific

A. E AR L E W E ATH E R WAX

Musician, Developer RAMSEY E. LEWIS, JR.

C L I VE G I LLI NSO N

Composer, Pianist

Executive and Artistic Director – Carnegie Hall

GEO R G E L U C AS

Founder – Festival Productions Filmmaker

RALP H G UI LD

Chairman of the Board – Interep

G E OR G E T. W E I N

G OR D ON Z U C K E R M AN

Developer, Writer Y O -Y O M A

Cellist TOM HA LL

Conductor – Baltimore Choral Arts Society, Radio Personality

HONORARY BOARD

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FRIENDS OF THE BRUBEcK INSTITUTE

$1,000,000 or more

$10,000 to $24,999

$1,000 to $2,499

Bancroft-Clair Foundation Mr. Kent Lathy Dennis A. LeVett Family Mr. and Mrs. Gordon Zuckerman

ACTION Council of Monterey County Mr. W. Jamey Aebersold Charles P. Berolzheimer Foundation Mr. & Mrs. Philip C. Berolzheimer Dr. & Mrs. Ross Bewley City of Stockton Ms. Shirley Dozier Kadan Limited National Foundation for Advancement in the Arts Newman’s Own Foundation Mr. & Mrs. Paul M. Sachs The San Francisco Foundation

Atlas Properties Mr. Alden Bianchi Mr. Elliott Broidy Mr. & Mrs. Robert J. Corkern Mrs. Joan Cortopassi Mr. and Mrs. William W. Eccleston Experience Music Project Drs. Nava Fathi & Abbas Raissi Mr. Fred Gertler Joan Goble-Rivard Dr. Elizabeth Griego Dr. Tom Hall Dr. & Mrs. Ronald A. Kass Ms. Barbara B. Katz Kawai America Corporation Dr. and Mrs. Louis Messina Monterey Jazz Festival, Inc. Rishwain & Rishwain Wachovia Foundation Mr. & Mrs. Todd Waldman Dr. Eric B. Wall

$500,000 to $749,999 The Herb Alpert Foundation

$250,000 to $499,999 Mr. & Mrs. Ralph Guild Mr. & Mrs. Larry Leasure

$100,000 to $249,999 President Emeritus and Mrs. Donald V. DeRosa Library of Congress Open World Program Mr. & Mrs. Angus L. McLean, Jr. Liz and Dave Rea

$5,000 to $9,999 Mr. Mark J. Bluth Drs. Tony Chan & Virginia Chan Dr. George T. Wein

$50,000 to $99,999 Anonymous Mr. & Mrs. David W. Brubeck Mr. & Mrs. Clint Eastwood Mrs. Elmyra “Tommie” Pardue

$25,000 to $49,999 Mr. & Mrs. Thomas J. Ferrari, Sr. Mr. & Mrs. Stanley S. Hubbard Dr. Stuart Jacobs & Ms. Stephanie Stevenson National Endowment for the Arts Dr. & Mrs. David A. Stadtner Union Bank of California

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$2,500 to $4,999 Mr. & Mrs. Ronald A. Berberian Dr. & Mrs. Philip Gilbertson Mr. & Mrs. David Gill Ramsey Lewis Foundation Pacific Title and Art Studio, Inc. Telarc International Corporation

FRIENDS OF THE BRUBECK INSTITUTE


The Brubeck Institute thanks the National Endowment for the Arts for its generous support of the Brubeck Festival. The NEA is a public agency dedicated to supporting excellence in the arts, both new and established; bringing the arts to all Americans; and providing leadership in arts education. The NEA is an independent agency of the federal government and is the nation’s largest annual funder of the arts.

The Brubeck Institute thanks the following friends for their generous gift of time in being Ambassadors for the Institute and their help in advancing its mission: Larry Leasure, Gail Kautz, Shirley Dozier, Stuart Jacobs, Louise Kass, Scott Liggett, Tommie Pardue, Marion Sachs, Paul Sachs, Tasha Stadtner, Stephanie Stevenson, and Denny Stilwell.

The Brubeck Institute thanks Chase Chevrolet for its continuing support of the Fellowship and Outreach programs by providing the Institute with vans that address its local and regional transportation needs.

S upporting the B rubeck I nstitute

Successful operation of the programs of the Brubeck Institute would not be possible without the support of our loyal friends and dedicated sponsors. Their belief in the mission of the Institute, coupled with their personal and corporate generosity, make it possible for us to hold a Brubeck Festival every year and to create the Brubeck Fellowship Program and the Summer Jazz Colony that provide educational opportunities for youth, as well as entertain and inform the public. The goals of the Institute now include a significant expansion of the operation of the Brubeck Collection and the Outreach Program, so other people, not just locally, but globally, can share the benefit of the extraordinarily valuable resources, ideas, and activities of the Institute.

Our mission, goals, and programmatic activities all require resources. Our long-term objective is to endow the entire Brubeck enterprise so that its future is never in doubt. The immediate goal is to sustain the Festival and our educational programs, begin to develop much greater activity in the Collection and with the Outreach Program, and to continue to build the endowment toward our ultimate goal. If you believe in the values of the Brubeck Institute, and if you share the desire to make certain the Institute thrives well into the future, you can play a significant role in making it happen. To discover how you can be a vital part of the work of the Brubeck Institute and to help assure its future, please contact Jean Purnell, Associate Vice President for Development, at 209.946.2502, or jpurnell@pacific.edu.

FRIENDS OF THE BRUBECK INSTITUTE

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C R E D I T S

&

A C K N O W L E D G M E N T S

The Brubeck Institute is able to accomplish its goals because of the contributions of time and talent of many individuals and organizations. The Institute would like to acknowledge the following for their tireless efforts in supporting our programs and especially the 2010 Brubeck Festival.

U niversity of the Pacific

O ffice of M arketing and

Pamela Eibeck, President Philip Gilbertson, Provost Ted Leland, Vice President for External Relations Patrick Cavanaugh, Vice President for Business & Finance Elizabeth Griego, Vice President for Student Life Mary Lou Lackey, Vice President & Secretary to the Board of Regents

U niversity C ommunications

B rubeck I nstitute

Dave Brubeck, Chairman Clint Eastwood, Chairman of Honorary Board Steve Anderson, Executive Director Andrew Schneiderman, Assistant to the Director Joe Gilman, Musical Director-Fellowship Program Patricia Eckert, Administrative Assistant C onservatory of M usic

Giulio Ongaro, Dean David Chase, Assistant Dean Robin Cheshire, Administrative Assistant Katherine Harper, Coordinator of Student Services Steve Perdicaris, Operations Manager James Gonzales, Technical Director H olt- Atherton D epartment of S pecial C ollections

Shan Sutton, Head of Special Collections Michael Wurtz, Archivist-Special Collections Trish Richards, Special Collections Assistant B rubeck I nstitute A dvisory B oard

Darius Brubeck, Musician & Composer Donald V. DeRosa, President Emeritus-University of the Pacific Russell Gloyd, Brubeck Producer & Conductor Richard S. Jeweler, Brubeck Family Attorney Giulio Ongaro, Dean-Conservatory of Music Brigid Welch, Dean-University Library

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CREDITS & ACKNOWLEDGMENTS

Richard Rojo, Associate Vice President Patrick Giblin, Media Relations Manager Rhashad Pittman, Media Relations Coordinator Karri Johnson, Graphic Designer Tanya Lopez, Web Marketing Manager Sheri Grimes, Marketing Writer Steve Andreesen, Web Developer Corin Imai, Graduate Assistant Der Yang, Administrative Assistant JAZZ ON THE MILE !

Miracle Mile Improvement District Kevin Dougherty, Board President Russell Takeda, Board Member Kellie Jacobs, Board Member Emily Ballus, Executive Director Miracle Mile Improvement District Merchants Committee T he 2 0 10 B rubeck F estival

Producer: Steve Anderson Graphic Designer: April Kimmerly Marketing & Advertising: Office of Marketing & University Communications Production & Technical Director: James Gonzales Brubeck Exhibits: Michael Wurtz Printing: Parks Printing Special thanks to Gallien-Krueger for the use of their magnificent bass amplifiers. Special thanks to Brian Kendrick for his generous assistance throughout the year with all Brubeck Institute programs.


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SCHEDULE

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STOCKTON, CA


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SCHEDULE

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STOCKTON, CA


2010 Brubeck Festival Program