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“
The things that we enjoy the most are the things that we discover for ourselves.
”
contents
16
JANUARY/FEBRUARY 2014
departments BASIC TRAINI TRAINING: NG: TONE ROWS IN JAZZ (Part 3) 12
PUBLISHER’S LETTER 4
Discovering the many harmonic paths opened up by composing with 12-tone systems explored by 20th century composers like Schoenberg and Webern. Follow in the footsteps of Bill Evans, Leonard Feather, and Gunther Schuller!
NOTEWORTHY 6
SPOTLIGHT:
JAZZ FORUM 41
JOHN CLAY CLAYTON TON 16 The widely respected jazz educat educator or and legend legendary ary bassist talks about a lifetime of lessons learned. By Bryan Reesman.
CONNIE CROTHERS: What’s On Your Playlist? 10 JAZZ EDUCATION NETWORK SECTION 30
GEARCHECK 42 CLASSIFIEDS 43
FOCUS SESSION:
BACKBEAT: Foreststorn “Chico” Hamilton 44
THAD JONES – FORGOTTON GIANT 38 Mike Cumbria takes a close look at this classic – though sometimes overlooked – jazz composer.
Cover photograph courtesy John Clayton.
JAZZed® Volume 8, Number 7, January/February January/February 2014, is published six times annually by Timeless Communications Corp., 6000 South Eastern Ave., Suite 14J, Las Vegas, NV 89119, (702) 479-1879, publisher of Musical Merchandise Review, School Band & Orchestra and Choral Director. Standard Mail Postage Paid at Las Vegas, NV and additional mailing offices. JAZZed is distributed free to qualified individuals and is directed to jazz educators, music dealers and retailers, and others allied to the field. POSTMASTER: Send all UAA to CFS. NON-POSTAL AND MILITARY FACILITIES: send address corrections to JAZZed, PO Box 16655, North Hollywood, CA 91615-6655 91615-6655.. The publishers of this magazine do not accept responsibility for statements made by their advertisers in business competition. No portion of this i ssue may be reproduced without the written permission of the publisher. publisher. Copyright ©2014 by Timeless Communications Corp., all rights reserved. Printed in USA.
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publisher’s letter
RICK KESSEL
JEN Reaches a Turning Point
F
ive years typically represents a milestone in the growth of any organization, company, or association. It’s a turning point at which progress may accelerate, stagnate, or worse, turn downwards. It’s a time when the initial excitement of the launch may have passed, and there’s a need to look carefully to the future with more serious plans for the long haul. It’s certainly a time for the Jazz Education Network (JEN) – of which JAZ Zed is the official publication – to step back and consider the tremendous successes in its short history and take a look towards the years to come. From the devastating hole in the market that was left by the previous organization, this new group has grown to establish itself as a leader in the field of jazz education. JEN has made a difference in the lives of thousands of students, educators, musicians, and other friends of jazz. In this case, the five-year mark certainly represents a positive history and the promise of even greater heights in the future. From the first convention effort “JEN has made a difference in the in St. Louis, which lives of thousands of students, was an extraordinary feat considereducators, musicians, and other ing the extremely friends of jazz.” short planning period, through all of the wonderful cities that have been hosts to the conference – New Orleans, Louisville, Atlanta, and now Dallas – the feedback has mostly been positive. Although there have been growing pains, when you consider all of the incredible musicians who have performed at the conferences, from middle school students all the way through the top college ensembles and professional groups, the results have been encouraging. JEN’s outreach efforts have helped to bring jazz to students who may have never had any exposure to this quintessential American music, and the recently launched festival component has made the conference more inclusive to all levels of school programs. Most importantly, the fact that the organization has no full-time employees and that most of the work has been done by dedicated teams of volunteers, unpaid board members, friends, and others, makes the existence of this network a special accomplishment. More and more people have realized the critical mission of JEN and have given generously to help see that this group continues to thrive in the future. We’re proud to feature John Cl ayton on this month’s cover, as he not only is one of the finest bassists and educators in jazz today, but he’s also given generously of his time, intellect, and guidance to the JEN board. John has been a key part of the JEN organization from the early days and his ever-present calm and thoughtful ability to break down a difficult situation and consider the best way to move forward has been essential in the leadership and growth of the network.
January/February 2014 Volume 8, Number 7 35(6,'(17 7HUU\ /RZH WORZH#WLPHOHVVFRPFRP 38%/,6+(5 5LFKDUG ( .HVVHO UNHVVHO#WLPHOHVVFRPFRP
Editorial
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Artists believe in Yamaha. “I have been performing on the Yamaha Silent Bass for over 10 years and love everything about it...the sound, the touch, the feel and the compactness of the bass, which makes it convenient for travel. It produces the sound of a ‘high end’ acoustic bass but it is actually more even from top to bottom. I have always treasured my relationship with Yamaha. The company is totally dedicated to music education and to their artists.”
- Jim Widner Jazz Camp Organizer for 25 Years, Jazz Bassist, Educator
note worthy NEA Statement on the Death of Jim Hall Upon the passing of the great jazz guitarist Jim Hall last month, the NEA issued the following statement: It is with great sadness that the National Endowment for the Arts acknowledges the passing of 2004 NEA Jazz Master Jim Hall, whose prowess playing jazz guitar puts him in the company of Charlie Christian, Wes Montgomery, and Django Reinhardt. Jim Hall’s technique has been called subtle, his sound mellow, and his compositions understated; yet his recording and playing history is anything but modest. He recorded with artists ranging from Bill Evans to Itzhak Perlman
and performed alongside most of the jazz greats of the 20th century. He was the first of the modern jazz guitarists to receive an NEA Jazz Masters award. Hall was an original member of the
Chico Hamilton Quintet in 1955 and continued to hone his craft on Ella Fitzgerald’s South American tour in 1960, later joining Sonny Rollins’ quartet. His extensive ensemble experience produced a control of rhythm and harmony so that Hall’s playing, while grounded in scholarly technique and science, sounded both rich and free. His influence on jazz guitarists, including such disparate ones as Bill Frisell and Pat Metheny, is immense. In addition to numerous Grammy nominations, Hall was awarded the New York Jazz Critics Circle Award for Best Jazz Composer/ Arranger.
JAZZ DOES NOT BELONG TO ONE RACE OR C ULTURE
BUT IS A GIFT THAT AMERICA HAS GIVEN THE WORLD
THIS IS OUR GIFT BACK
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noteworthy Juilliard Names Marsalis Director of Jazz Studies The Juilliard School and Jazz at Lincoln Center recently announced that Wynton Marsalis, Jazz at Lincoln Center’s managing & artistic director and a Juilliard alumnus, will become director of Jazz Studies at Juilliard beginning July 1, 2014. Mr. Marsalis will actively oversee the Spring 2014 auditions and admissions cycle to select the entering class for Fall 2014, while immediately beginning to plan for how the program and curriculum will evolve under his leadership to meet the needs of gifted young jazz musicians. In addition, the two organizations announced a substantial new initiative to give Juilliard Jazz students increased access to Jazz at Lincoln Center’s education programs, concert opportunities, and audience development projects that will augment their academic work and career. Adding to the School’s existing practical teaching experiences for its jazz students, JaLC will provide additional opportunities to perform, and develop practical insights into managing their own careers by participating in JALC’s innovative social media, digital marketing, and webcasting initiatives. This new collaboration revitalizes the relationship between the two organizations, which began when jazz education was introduced at Juilliard with the first class of jazz instrumentalists arriving in September 2001. www.juilliard.ede
Masekela Headlines New Nigerian Jazz Festival South African trumpeter and Grammy Nominee Hugh Masekela headlined the inaugural International Jazz Festival in Bayelsa, Nigeria in December. For Mr. Masekela, the concert’s African-American mix was familiar: having returned to apartheid-era South Africa from the Manhattan School of Music during the 1970s, he has not lost touch with African varieties of jazz, or with African instruments. Speaking during a performance in the U.K. earlier this November, Masekela touched on his enthusiasm for mixing New York jazz with African variations, retelling a line spoken to him by Miles Davis: “If you take some of that sh*t from home, and put it together with the sh*t from here… sh*t !” Director general of Bayelsa’s Tourism Development Agency, Mrs Ebizi Ndiomu-Brown, said the Festival would showcase the region’s “rich and vibrant cultural heritage.” The concert follows Bayelsa’s November CAAN (Caribbean, African, American Nations) Musical Awards, which saw Sean Kingston, the rapper, and Tuface Idibia perform live to a television audience across West Africa. www.bayelsajazz.com
Finalists Announced for Grammy Educator Award A total of 10 music teachers from 10 cities across eight states have been announced as finalists for the first annual Music Educator Award™ presented by The Recording Academy and the Grammy Foundation. In total, more than 30,000 initial nominations were submitted from all 50 states. Nominees include: Lisa Bianconi (Vt.), Charles Cushinery (Nev.), Andrew DeNicola (N.J), Vivian Gonzalez (Fla.), Kent Knappenberger (N.Y.), Kathrine Kouns (Ariz.), Glen McCarthy (Va.), Steve Vutsinas (Va.), Jo Wallace-Abbie (Texas), Mary Jo West (Va.). The Music Educator Award was established to recognize current educators (kindergarten through college, public and private schools) who have made a significant and lasting contribution to the field of music education and who demonstrate a commitment to the broader cause of maintaining music education in the schools. A joint partnership and presentation of The Recording Academy and the Grammy Foundation, this special award will have its inaugural presentation at the Special Merit Awards Ceremony & Nominees Reception honoring recipients of the Lifetime Achievement Award, Trustees Award and Technical Grammy Award during Grammy Week 2014. One recipient will be selected from 10 finalists each year, and will be recognized for his/her remarkable impact on students’ lives. The winner will be flown to Los Angeles to accept the award, attend the 56th Annual GRAMMY Awards ceremony, and receive a $10,000 honorarium. The nine finalists will receive a $1,000 honorarium, and the schools of all 10 finalists also will receive matching grants. The honorariums and grants provided to the finalists and schools are made possible by the generosity and support of the GRAMMY Foundation’s Education Champions Box Tops For Education®, Converse, Ford Motor Company Fund, Journeys, and Microsoft Surface, with additional support from Universal Music Group. GRAMMYMusicTeacher.com
Berklee Presents First-Ever Spanish Language Program Berklee College of Music presents Berklee Latino, the college’s first-ever program to be taught in Spanish. The program, a series of lectures and master classes, will be held January 13-18, 2014, at the Mexico City campus of Tec de Monterrey. Berklee Latino will be led by Grammy and Latin Grammy Award-winning producer Javier Limón (Diego El Cigala and Bebo Valdés, Paco de Lucia, and Andrés Calamaro, among others); and Grammy Awardwinner Oscar Stagnaro, who has worked with performers including Paquito D’Rivera, Jorge Drexler, Rosa Passos, Ivan Lins, and Isaac Delgado. www.berklee.edu/latino CORRECTION : The first two lines of the sonnet in l ast issue’s ‘Jazz Forum’ should have read: When I comedown to sleep death’s endless night, The threshold of the unknown dark to cross -DQXDU\)HEUXDU\ é -$==HG
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WHAT’S ON YOUR PLAYLIST? BY CHRISTIAN WISSMULLER
Pianist Connie Crothers, a player championed by jazz giants such as Lennie Tristano, Max Roach, and Jemeel Moondoc, has long flown under the radar, but in recent years she’s become a prolific force. Crothers made her recording debut as a leader with 1974’s Perception (SteepleChase) and hasn’t looked back. Max Roach sought her out for a collaboration as part of his duo series, and they ended up recording Swish (1982, New Artists). She’s moved into creative overdrive in recent years, releasing four albums in 2011 and five in 2012. Her latest in a flood of recent releases is Live at the Freight , a duo session with adventurous tenor saxophonist Jessica Jones.
1. Wes Montgomery – Echoes of Indiana Avenue I have always loved Wes Montgomery. I had the great privilege of hearing him perform at the Half Note. I had heard that his playing was extraordinary before he left his hometown, Indianapolis, to become the renowned jazz musician that we know. This recording is from that time in his life. I bought it as soon as I found out it was available. Hearing it, I was just stunned. This is required listening for anyone who loves Wes, or anyone who loves jazz. 2. Lester Young – Pres Box Through the years, I have listened to Lester Young a lot. Repeated listening is always new; the surprises go deeper. This box set presents live performances. His energy, always loose and open, could be even more expansive when the music was captured live. In these recordings, his presence is uncanny. You are there with the great master while he creates, instant by instant, his timeless masterpieces. 3. Roy Eldridge – “Stardust” One of the ways I listen is to sing with records. I’ve sung with this solo before, years ago. I was drawn recently to sing with it again. Roy, to me, is like a conduit to an incredible other location in the universe. This solo exemplifies this beautifully. Every note reaches the saturation point for feeling. The differing sounds that happen with each note express a feeling that goes beyond what might seem possible. (I recommend singing with records. Doing this magnifies hearing awareness and causes the listening experience to be deeply personal.) 4. Richard Tabnik – Symphony for Jazz Trio, A Prayer for Peace Richard Tabnik, alto saxophone player, is – to say it simply – incredible. I am fortunate enough to be in a working quartet with him. This two-CD trio record gives me a chance to sit there and concentrate on his great artistry. One CD is a studio recording,
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the other is a performance at The Stone. Both feature his composition, the title of which is the title of this CD. It is enlightening to have the two versions, very different. There are other tracks, all of them on the high level of spontaneous improvisation that characterizes his playing. I have it repeatedly playing on my sound system since it came out about a year ago. 5. Lennie Tristano – Live at Birdland, 1949 This is a recording of the very first set of the opening night of Birdland. Lennie, who seldom talked about his own recordings, appreciated his playing on this one. I have sung with his solos. Recently, I have been listening repeatedly to the amazing solo Warne Marsh plays on the first track, “Remember.” It’s 1949, and Warne was very young. His melody is so extremely advanced, not only for that time, but also for today. Besides being way ahead of the times, this solo is astonishingly beautiful, every note. Also, there are breakthrough levels of tenor saxophone playing; for example, he takes his melody down to the lowest part of the horn and plays it like it is purely lyrical, flowing, natural utterance. 6. William Parker – Centering This box set is a monumental record of an era and the great musician who expressed so much, musically and conceptually. William Parker was a founder and central figure of an artistic movement, documented extensively in this release. He has a tremendous range of sound and concept, both as a composer and an improviser. His associates recorded here include some of the most important musicians playing today – Roy Campbell, Jemeel Moondoc, Charles Gayle, Daniel Carter – plus musicians who are not with us but who are still with us in spirit – Billy Bang, Denis Charles, David S. Ware, and many others. It is a compendium of music of great intensity. This is my most current listening experience. I am immersed. 7. Jimmy Reed – I’m Jimmy Reed We need blues. I love to listen to the older
S D R A H C I R L Y R E H C Y B O T O H P
generation of blues musicians – John Lee Hooker, Son House. Lately, I can’t stop listening to Jimmy Reed. I first heard his records when I was a teenager. I used to dance to them. I still do. His time and something about the feeling of his singing remind me a bit of Billie Holiday, but, of course, his singing is all his own. His harmonica playing is just thrilling to me. I do think that hearing “Going to New York” was an early influence on the course of my life. 8. Jay Clayton – The Peace of Wild Things I have all of Jay Clayton’s CDs. I have to listen to her in special moments. Jay is equally at home singing standards and improvising free. This CD is free improvisation, her way. It combines innovation with intrinsic beauty. I just now listened to the first track once again. She sings, “I wanna sing like birds sing.” She does. 9. Max Roach – Solos When this LP was released, it was nearly impossible to get, so it was very rare then, and it is even more rare now. This recording is a breakthrough, only drum solos. It wasn’t too long before it came out that it was thought that people couldn’t handle any more than four bars of a drum solo. Max makes an entire solo performance riveting. Every track has a unique musical logic. Each piece is entirely compelling. This is fascinating to me. Max was a master of the infinite permutations of sound. 10. Louis Armstrong – “West End Blues” There is a special reason why I am listening to this track lately. I think the famous, often-quoted intro is free improvisation. Yes, there are two chords, but I don’t think that Louis had anything in his mind as a reference for his improvisation – no tune, no format, no tempo – he was just freely improvising.
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basic training
| TONE ROWS
BY PAUL J. MUSSO
Using Tone Rows in Jazz Composition Part III It is intriguing to realize that from a somewhat random tone row, several options that contain harmonic order are present. Consider that the previous progressions that we have examined have only focused on dominant seventh chords, without delving into other sonorities. The harmonic palette is vast when all chord types and intervallic relationships are explored. If Lydian chords were used exclusively as harmonic material, the following progression could be used as a possibility: Ex.28
If more than one chord per measure is used the following ii V and ii V I progressions are possible. Ex.34
Using multiple chords per measure also creates a common jazz harmonic possibility: a i iv H6 V progression in D minor with the A7 acting as a V pivot chord to the parallel major (DMaj7) followed by a dominant IV(H5) chord. Ex.35
Here is another possibility utilizing all major seventh chords with elements of parallel equidistant relationships. Ex.29
Even the “Coltrane Matrix” (major chords descending in ma jor thirds) is a harmonic possibility in this tone row, but only in the last two measures. Another progression that maintains similar harmonic sonority throughout all four measures is:
Ex.36
Ex.30
Simple functional harmony also occurs in a few places among the harmonic possibilities. A V7 to I progression could be found from D7 to G and E7 to A. Ex.31
With a simple chord substitution one of the most common progressions in tonal music and jazz can be found. If a G13, or G13(H9) is backward-substituted for the Fdim7 chord, a ii V I VI progression is possible. Ex.32
A ii V I progression is also present in the second third and fourth measures, in the key of B major. Ex.33
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At this point we have just scratched the surface of exploring the chord progression possibilities that could be extracted from this tone row. There are a multitude of other chord progressions that could occur depending on the composer’s choices. More formal serial music techniques could be applied to the tone row as well, like inversion and retrograde inversion, which would create new pitches within the cells and an entirely new set of harmonic possibilities. This proces s is an excellent teaching tool, theoretic al exercise, and compositional device. It’s a great way to explore new melodic and harmonic content and it creates a backdrop that facilitates fresh musical ideas. Paul Musso is an assistant professor and area head of Music Performance in the Music and Entertainment Industry Studies Department at the University of Colorado Denver. He is the author of three Mel Bay publications for jazz guitar: Fingerstyle Jazz Guitar/Teaching Your Guitar to Walk, Graded Fingerstyle Jazz Guitar Solos, and Fingerstyle Jazz Chord Soloing. His recent CD release, Tonescapes, is available for download on iTunes.
basic training |
TONE ROWS
D EBach, Johann Sebastian, and Saul Novack. The Well-Tempered Clavier: T I Books I and II, Complete. New York City: Courier Dover Publications, C1983. SCampbell, G., J. Casale, J. Coker, and J. Greene. Patterns for Jazz -- A Theory KText for Jazz Composition and Improvisation. Van Nuys: Alfred Publishing RCompany, 1982. O WEvans, Lee. “Another Color for Your Musical Palette: Principles of Twelve Tone Writing.” JAZZed:The Jazz Educator’s Magazine. 6.2 (2011): 50-53. Print. “The magic of thirteen.” Clavier Companion. 2.4 (2010): 28-29. Print. Gourse, Leslie. “In the Heyday of the Studio Musician, Thad Jones and Mel Lewis Start a Big Band at the Village Vanguard.” Massachusetts Review . 39.4 (1999): 585-595. Print. Hansen, Liane , dir. “Discovery Reveals Bach’s Postmodern Side.” Weekend Edition Sunday . National Public Radio: 06/September/2009. Radio. http://www.npr.org/templates/transcript/transcrip
(1996): 1-17. Print. McFarland, Mark. “Dave Brubeck and Polytonal Jazz.” Jazz Perspectives. 3.2 (2009): 153-176. Print. Perle, George. Serial Composition and Atonality: An Introduction to the Music of Schoenberg, Berg and Webern. Berkeley: Reilly, Jack. The Harmony of Bill Evans. 1. 1. Milwaukee: Hal Leonard, 1994. 64. Print. Russo, William. Jazz Composition and Orchestration. Chicago: University of Chicago Press, 1997. “Serialism, Serial Technique, Serial Music.” The Oxford Dictionary of Music , 2nd ed. rev. Ed. Michael Kennedy. Oxford Music Online. 19 Jun. 2012 Schenkius, Patrick. “Slash Chords: Triads With ‘Wrong’ Bass Notes?.” Tijdschrift Voor Muzektheorie. 16.1 (2011): 47-52. Print. Schoenberg, Arnold. Theory of Harmony . Berkeley: University of California Press, 1983.
Larson, Steve. “Composition Versus Improvisation?” Journal of Music Theory . 49.2 (2005): 241-275. Print.
Schuller, Gunther. Musings: The Musical Words of Gunther Schuller . Oxford University Press, 1986. Print.
Laverne, Andy. “Augment Your Diminished Usage, Part 1.” Keyboard . 29.11 (2003): 42-47. Print.
Straus, Joesph N. Twelve-Tone Music in America (Music in the Twentieth Century). 1. Cambridge: Cambridge University Press, 2009. Print.
“Augment Your Diminished Usage, Part 2.” Keyboard . 30.2 (2004): 40-46. Print.
Strunk, Steven. “Notes On Harmony In Wayne Shorter’s Compositions, 1964–67.” Journal of MusicTheory . 49.2 (2005): 301-332. Print.
Levine, Mark. The Jazz Theory Book . Petaluma: Sher Music, 1995.
Waters, Keith. “Modes, Scales, Functional Harmony, And Nonfunctional Harmony In The Compositions Of Herbie Hancock.” Journal of Music Theory . 49.2 (2005): 333-357. Print.
Martin, Henery. “Jazz theory: An overview.” Annual Review of Jazz Studies.
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JOHN CLAYTON Synergy, Artistry, and Authenticity rammy Award-winning jazz composer, performer, and educator John Clayton believes in honesty and sincerity in music, and his artistic passion has lead him across the world, working with stars like Diana Krall, Paul McCartney, and Queen Latifah, among many others. For over three decades he has collaborated with his brother Jeff in the Clayton Brothers, Clayton-Hamilton Jazz Orchestra, and other musical endeavors – it’s sibling synergy rather than rivalry – and in recent years, his son Gerald has joined the Clayton Brothers ranks as well. Clayton thrives on collaboration and believes that “healthy competition” is an oxymoron. Beyond his recording and touring, Clayton has devoted himself to teaching and furthering jazz through several different venues. He conducts workshops and clinics around the country. He serves as the artistic director of the Lionel Hampton Jazz Festival in Idaho, the artistic director of Jazz Programs for the Centrum Festival in Port Townsend, Washington, and on the Board of Directors for the Vail Jazz Foundation, which holds an annual festival. The man lives and breathes music. When he spoke to JAZZed , Clayton answered queries on a wide range of topics, from his teaching techniques to playing with family to finding the connections between different genres of music. One thing is ver y clear: He’s always learning.
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BY BRYAN REESMAN
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DO WHAT YOU DO WITH HONESTY. � You have a jazz and classical background and have also played R&B. Have you been finding new connections between the different genres of music after all these years? Joh n Clayton: Yes. I think in fact the borders are becoming more blurred, which is what I love. The connections are more obvious because you’ve got more and more peo ple who studied both [jazz and classica l] and are making their profession doing both and playing both. But it’s more than two. You get an Edgar Meyer, for instance, who can play “Stella By Starlight” and then do the Bach cello suite and then turn around and play some bluegrass, and that’s becoming more and more normal. He’s a freak of nature anyway, but you look at a Victor Wooten and it’s the same kind of thing. And those are the names you might know. There are more and more people that are kind of hiding away and flying under the radar. I love it.
JAZ Zed:
The Clayton Brothers (John at far right).
I embrace many forms of music, and for me it’s as easy as switching between CDs. I hope that the world is turning in your direction, that more and more listeners are reflective of your model. Who cares about a pigeonhole.
It seems like the kids growing up now are listening to a wider range of music than we did growing up simply because they have more access to it. When we were growing up, you heard music on the radio, at a friend’s house or a record store, or you bought it. You couldn’t download things at the speed of light and dive into ten genres of music in an hour. Do you think that kids are getting into more stuff these days? I guess I’d be a fool if I would counter that because it’s too obvious. We have easier access, but I don’t know if that’s necessarily steering the ship in a different [direction]. I think the ship may be turning very slowly. For instance, as you’re talking and explaining what your thought i s here, I’m thinking back on my youth. We were fanatic about turning guys onto different stuff. I heard stuff because my friends would do exactly what you said – they would play a record for me or walk me to the Venice library to hear this amaz ing record that this kid had found in high school of this piano player named Oscar Peterson with this bass player Ray Brown. I had never heard the bass played like that. We were always turning each other onto different stuff. That hasn’t changed. I think what’s changed is obvious – it’s global, it’s faster – but people still have kind of a herd mentality, and we go with the flow of what our peers are into. Of course we get to choose our groups within those peers, so some guys my
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age might be into white rock ‘n roll and other guys might be more into Motown/R&B. They’re all still my age, I’m still friendly with all of them, and we’re still hearing each other’s music. Then I might be into Miles and Trane. I think that part of it hasn’t changed. Everything is bigger, and there’s more. There are more people on the planet, there are more kinds of music. When you were 17 years old, there weren’t as many styles of music and fewer still when I was 17 years old. So now a kid that is 17 years old has mo re extra options, more choices to make than we did. That part of it has a way of balancing out the fact that it’s easier to access. In the big band era, if you turned on the radio, how many different styles of m usic would you here? You wouldn’t hear any Latin jaz z, you wou ldn’t hea r any rock ‘n roll. Now here we are, however many years later – 60, 70, 80 years later – and it’s a whole different scene. When you’re teaching younger students privately or at clinics or workshops, do you learn what their interests are? What kind of balance do you try to strike musically – do you focus more on what the kids want to learn or what you think they should be learning? I focus on what it is they want to learn because that inspiration sparked that fire. It’s the key, it’s not so much the material. Sometimes it’s hard for just a one-day clinic, but if I spend some time with them and discover what they’re really interested in, I can mirror their excitement and help them to expand what it is they’re excited about. It’s the same concept. I’m one of these people who, even though I don’t own any Kenny G records, I totally support people that are into Kenny G because deep down in my soul I’m hoping that that person that buys that Kenny G record and goes to those concerts will eventually discover John Coltrane. Then I’m a happy guy.
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YOU REAP WHAT YOU SOW. IF
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YOU SOW MEDIOCRITY, WHAT ARE YOU GOING TO GET?
Whenever you’re teaching somebody something by Kenny G, do you then offer them something else to learn? You know what? I don’t believe in that way. Instead, I allow them to discover it. To me, that’s so much more natural and works a lot better and feels less manipulative. The things that we enjoy the most are the things that we discover for ourselves. We don’t mind if somebody shows us something, but when we find something on our own, that’s it. Somebody might play us the latest Stevie Wonder and this track that they are so incredibly impressed by, but then buried on that same CD is a track that nobody’s listening to
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that we discover and go, how could you have missed this? Do you see the film Quartet ? There is a really interesting scene where an opera teacher is explaining to some high school students that opera is about tragedy, and during a horrible moment like someone being stabbed, they are singing about their pain. Then a k id
in the room talks about how rap is the same thing, except they’re rapping instead of singing. I do that, too. One of the things I do at home when it’s Christmas is I always ask [my son] Gerald to give me a Christmas gift of things that I need to be checking out, so I can learn and discover that way. What I’m discovering about myself is when I hear this stuff and am really impressed by it,
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Has playing with your son Gerald allowed you to teach each other things? I think at this point I feel I’m learning a lot more from him than the other way around. That’s okay, it should be that way. N O T G N A L E C U R B ©
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I’m loving it, I’m checking it out, but I don’t feel the urgent need to be have to be able to do that. That’s something new for me because when I was growing up, I’d hear something like a new Chick Corea tune, and it was awesome and I had to learn it. But now, I’m hearing stuff and impressed by it and moved by it and really like it, or not sometimes, but I never feel like I have to learn that. I f I want to, of course I do, but I d on’t feel an obligation to anymore.
As far as your clinics and workshops versus private lessons, is there a difference in the approach and instructing people based on the student numbers? The mat erial may be the sam e, b ut the approach is different. I can get very personal with a one-on-one lesson and find out how that person’s schedule and personal life affects the music that they’re learning. It could be that somebody has a high school schedule or a college schedule that is really screwing up the amount of time to practice. So I know I need to sit down with that person and really help them with time management and figure out how much music we can really get together rather than overload them with a bunch of music that they can never get together within the timeframe that we have and it becomes a frustrating goal for them. I can do that one-on-one, but when I’m in a room full of 40 students that doesn’t work, so I have to focus on different things. There are always a few things that I try to remind people of or inspire them about, and the top of the list is following your heart. It has to do with everything – following your heart in terms of the people you want to study with, the music you want to play, the groups you want to play in, the people you want
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JOHN CLAYTON
� WE DISCOVER FOR OURSELVES.
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THE THINGS THAT WE ENJOY THE MOST ARE THE THINGS THAT
to play with. Follow your heart. Don’t think, “I’m only good enough to play with so-and-so” or, “It sure would be nice, but it ain’t going to happen.” By following your heart you clarify stuff, and then your path is much more focused.
Jeff and John Clayton.
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Arturo Sandoval told me that at the outset he’s less concerned about musical style than teaching people the basics. He feels that students have to learn the rudimentary stuff first, then develop a technique before they can determine what kind of style they really like or can play. Do you approach teaching the same way? Some of those elements I absolutely embrace and do. Like he does, I don’t focus as much on style. I think it’s more about helping them to find a procedure to absorb music and to learn music. I talk a lot lately about learning “sound motion.” Instead of really thinking theoretically or trying to find a scale or a modal approach when you’re learning music, think about sound motion. If you sing a tone, and you pick anybody off the street to sing that tone with you and say, “Follow me” and start singing “Happy Birthday,” they can sing it with you. How can they do that? They’re not a musician like you. They don’t know what key you’re in or what time signature you have or what degree of the scale it starts on. They don’t know any of that stuff, yet they’re able to sing that. How can they sing that? Because they’ve learned sound motion. Basically what we’re doing as musicians is that, only on a larger scale and on a higher level. If you’re learning “Donna Lee” or whatever, it’s sound motion. It’s this note followed by that sound followed by that sound followed by that sound and so on. When you do that, you internalize music and allow it to flow in your veins. Then when it’s tim e to play in a
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JOHN CLAYTON
different key, you’re not transposing mentally. Along with the sound that you learn, you also learn the accompanying sound. So if you learn the melody note, the melody sound, you learn the bass note, the bass sound. That way when you tra nspose or do anything, you’re not having to do a mental process. That’s kind of my way of teaching, and then the way people get to that is that I encourage
them to transcribe. Transcribe does not mean writing it out, it means jus t lea rning it note for note from the record and playing it along with the record. If you transcribe 25 solos, your ear will be bigger than a Cadillac. That’s the ticket, and this is along with everything else. Obvio usly we’re working on our reading skil ls and our theory and all that stuff, but I think it all needs balance. I find that too of-
ten there’s an imbalance, there’s too much focus on all the other stuff; the theoretical stuff and all the left brain stuff. It sounds like you’re teaching people to use their ears as much as their eyes when learning music. That it’s not just about what’s on the staff in front of them. Yes, and understanding that those notes on the paper are important and have their place. I do that every day, but it’s about balance. If you don’t have the right balance, then you’re going to be a person who can’t make as many choices. So if you can only play by ear, you can’t make that choice of reading and vice versa. You’ve been playing with your brother Jeff for over three decades. When did you two decide to play music and to support each other’s musical formats, and how did that evolve? We didn’t play a lot together as kids. We played in church. I played bass, and my brother was playing clarinet and moved to saxophone. My mom wouldn’t let him play saxophone in church because it was like this heathen instrument. She eventually changed her tune, but at that time he was singing in the choir and I was playing bass. Along that same period, I was playing in a high school jaz z big band. That’s how it all hap pened. In our college days, after a year or two in L.A., I transferred to Indiana University, so I wasn’t really with him for three years. I’d come back and we’d play a gig here or there, but we really didn’t have an established Clayton Brothers group. When I went with [the Count] Basie [Orchestra], that’s when we decided to make our first Clayton Brothers record. We were enjoying playing together when we could and thought it might be fun to do a record toget her, and Ray Brown, who of course was my mentor, was very close to Carl Jefferson and Concord Records. He told him about us and helped organize that record session. That’s really how it started.
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JOHN CLAYTON
Over the years, you guys have done a lot of different stuff to gether. Over the years we’ve played more and more and had more and more fun together actually.
instrument – how to phrase, how to breathe, what they have to do to make a sound, to extend a phrase, what’s their natural way of tapering at the end of a phrase. I learned all that stuff from him.
What have you learned from Jeff over the years? I really learned about melody from him and what goes into playing a wind
What do you think he has learned from you? Nothing. [Laughs ] Nothing he’ll admit to.
When did your son Gerald start playing with the Clayton Brothers quintet? He did a couple of gigs with us while he was in college, and after he left I told him, “I don’t want to force you or push you or motivate you in this direction at all, but we would love to have you play in the Clayton Brothers if you’re interested.” He said, “Are you kidding? That’s been one of my goals in life.” Which I never knew until that time. So that was very cool. That’s som ething ever y fat her wants to hear. It sounds like you have a family synergy. It’s true. People talk about that, and the more I thought about it, the more I realized that that is definitely real. There are things that I can d o on my instrument that Gerald has heard all of his life, and he knows my tendencies. He knows if I play a certain line that I may have a tendency to rush that line. The same thing with my brother. If my brother plays something, the audience hears it as a musical statement. I hear that as, when we were kids we used to hear that in church. There is something about the whole family thing. Ray Brown was a big influence on you and was your mentor. How did his approach to teaching and playing influence you, and how important was that for you? It was super important because he was the guy who told me that first of all I had to learn how to play the bass from here to here – he touched the top of the bass and touched the bottom of the bass – and then said, “Get your butt out there and make some music.” He was telling me this because at that time I was dreaming about being a studio musician, and he just went crazy. “Are you out of your mind? You don’t even know how to play the bass.” That’s when he said I first have to learn how to play from here to here and get out, make some music. He was a mentor in that way, in terms of helping me and in-
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spotlight
JOHN CLAYTON
sisting that I learn how to play the instrument, but he is also the guy that introduced me to the understanding of what I say is the credo that we musicians live by. I was thanking him profusely for all he was doing for me, and he said, “Don’t worry about it. I’m doing this for you because somebody did it for me, and you are going to do it for somebody else down the line.” That’s the rule. You don’t do it
out of necessity to follow the rules, you do it out of a humble sincerity. Is there certain advice that you give to students about this business and what they need to do? Sure, it’s easy. It’s so easy that a lot of people don’t get it, and that’s fine because those that do will. That is that the doors of opportunity will open to you based on the level of
your art. Period. The end. We want to so easily blame the scene, the lack of jobs, and all the sta tis tic s. We might look to ourselves and go, “Okay, I auditioned, that other person got the gig, and they’re actually not even better than I am.” No, no, no. Instead you’ve got to go, “What do I need to add to my music to allow that door of opportunity to open for me, as well?” If everybody does it, it keeps you focused on the right stuff instead of networking and dissing the business and saying it sucks. No man, it’s on you. You don’t have what it takes in terms of your artistry to allow doors to open for you, so get busy. Shut up.
I think there’s an element of networking involved. No, no, no, I still disagree because you can get your foot in the door based on who you know and who you hang out with the first time, but if you ain’t playing s*** they’re not going to call you back. If you focus on your music and get that to a high level, you end up creating a buzz about yourself, and you don’t have to network. It’ll happen naturally. You can’t hide away in some log cabin – I’m not talking about that – but assuming you’re playing your music and you’re just sharing it at every opportu nity,
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spotlight
JOHN CLAYTON
� AND SOUL ARE NOT INTO BECAUSE THEY’RE NOT HONEST WITH
�
I DON’T WANT PEOPLE TO BE DOING A GIG THAT THEIR HEART
THEMSELVES. THEN YOU DIE.
Five Towns College Open House
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Saturday, January 18 at 11 am Music Scholarships Available
Enrollment Week
January 13 – 17, 9 am – 5 pm Go to our website for our High School Pre-College Jazz Ensembles & Summer Graduate Institute
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Professor Stephen Gleason, one of our Distinguished Faculty
I promise you that people talk about you. There’s just no way around it. You reap what you sow. If you sow mediocrity, what are you going to get? It’s really about looking in a mirror and going, “Okay, you know you don’t really know that melody. You know you don’t really know the chord changes. You know you’re actually rushing or dragging that tempo.” We should be honest with ourselves.
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What are the biggest life lessons that you’ve learned? The big lessons that I’ve learned sound like clichés, and that’s unfortunate because then people don’t feel that they’re profound. That’s fine – I don’t care whether they find it profound or not, but it’s not going to be something that they haven’t heard before. Do what you do with honesty. I want to go and hear an honest concert. I don’t want to hear somebody playing music that they think is going to get the audience riled up. I don’t want to see a movie that the producers and director think will win the audience over by doing certain things. I don’t want to eat food that is prepared by somebody who’s throwing stuff in that they think people will love. I want honesty. I think focusing on that, playing music from an honest place – and that has to be defined by the individual – is something that always wins. I don’t want people to be doing a gig that their heart and soul are not into because they’re not honest with themselves. Then you die.
PRESIDENT’S LETTER
A Message from Jazz Education Network President Andrew Surmani Dear Friends of Jazz, This month, we are presenting our 5th Annual JEN Conference in Dallas January 8-11, 2014 at the Hyatt Dallas at Reunion. This involved over a year of planning starting from the JEN Site Review Committee’s trips to various cities, including Dallas, to scout out potential locations for our conferences. At the this recent conference, we hosted 5 performance venues, 6 clinic venues, an exhibit hall with over 100 exhibitors, and the JENerations Jazz Festival, all in one location. We have also booked conference sites for the next 3 years: 2015 in San Diego, 2016 in Louisville, and 2017 in New Orleans. As a fairly new organization that has only been existence for five years, we couldn’t function without the incredible level of volunteerism from so many people. This starts with your dedicated volunteer board that works very hard throughout the year at nearly two weeks of in-person meetings, countless emails back and forth, conference calls and Skype calls, and tremendous ongoing committee work that pushes our organization forward into the future. JEN is an organization with over 1,500 members in 23 counties, every USA state and 7 Canadian provinces, yet it still does not have one single full time employee. Only three dedicated part-time independent contractors, plus a lot of volunteers. We’re trying to spend our member’s money wisely, so until we can afford to hire full-time staff, we will get by with a strong volunteer army. I’d like to especially thank our Conference Coordinator, JEN Co-Founder and Immediate Past President Dr. Lou Fischer, who works tirelessly every single day on a volunteer basis for our organization, and particularly for the annual conference, which involves ongoing negotiations with hotels, A/V companies, rigging companies, caterers, performers, manufacturers, and countless others to make this event a great success. Dr. Fischer has built an incredible volunteer conference coordination team consisting of stage managers, sound engineers, production coordinators, exhibitor liaisons, food and beverage coordinators, local outreach coordinators and others. You will see that one of our dedicated volunteers, Jerry Tolson, is being recognized this year as our Presidential Service Award winner. In addition to being a world-class jazz pianist, Jerry has been heavily involved in our helping to produce our conference. We are also honoring Dan Gregerman as the esteemed John LaPorta Educator of the Year award winner. Named after the legendary jazz educator from the Berklee College of Music, this award honors one great high school level educator each year for their contributions to the field of jazz education. This past year JEN launched a new program entitled JAZZ2U where we bring speakers, clinicians and performers to educator classrooms all over. This was made possible from a generous grant from the Herb Alpert Foundation. More than 15,000 students and teachers were served in 2013. Thanks to another generous grant from this benevolent foundation, we are able to f und it for another year. Applications are available on the JEN website beginning February 2014. In 2013, the JEN Board completed and posted our Strategic Plan on our website. This detailed plan will guide the organization for the next several years into the future. We are also working on a District Rep program to increase awareness for JEN throughout the world. If you are interested in serving as a local rep, please contact our Membership Manager Larry Green at
[email protected]. I hope you enjoy the conference and have a wonderful year ahead. Warm Regards,
Andrew Surmani | JEN President JEN Board of Directors (2013–14): Rubén Alvarez, Paul Bangser, Bob Breithaupt, Che ryl Carr, Caleb Chapman (Vice President),
John Clayton, José Diaz, D r. Lou Fischer (Immediate Past President), Dr. Darla Hanley, Dr. Monika Herzig (Secretary), Judy Humenick, Ric k Kessel (Treasurer), Mary Jo Papich (Past President), Bob Sinicrope (President-Elec t), Andrew Surmani (President). Office Manager: Larry Green; Webmaster: Gene Perla; Marketing & Communications: Marina Terteryan; Web Hosting: Holistic Solutions HotDrupal (hotdrupal.com); Bookkeeper: Lynda Chavez
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2014 S CHOL ARSHIP & AWARD WINN ERS DANIEL GREGERMAN John La Porta Jazz Educator of the Year Award (Sponsored by Berklee) Daniel Gregerman, Choral Director at Niles North High School in Skokie, IL has spent 23 years building an award-winning vocal program which he started and built with his deep passion for jazz and education. He directs 5 concert choirs, teaches piano class and directs the top vocal jazz ensemble of three in the program. His groups have earned national recognition, performing at regional and national conferences, winning multiple Down Beat awards, and performing at festivals both nationally and internationally. Gregerman’s ensembles have shared the stage with such names as Diane Schuur, The New York Voices, The Real Group, Take Six, and Janis Segal of The Manhattan Transfer. Known composers such as Jennifer Barnes, Michele Weir, Kirby Shaw, Greg Jaspers, and Gary Fry continue to create musical arrangements and compositions for his ensembles. Gregerman has served in a variety of leadership roles within the education community. He is a founding member of JEN, where he has volunteered in many different roles including his current role as the Conference Office Coordinator for the Annual JEN Conference. Gregerman has held positions as State and District Chairman of Vocal Jazz for ILMEA, and has been Guest Director for several ILMEA District Jazz Festivals as well as acting as a clinician for vocal groups both locally and around the Midwest. He also founded and hosts the Niles North High School Vocal Jazz Festival, now in its 14th year. Gregerman earned his Bachelor of Music Education from Northwestern University in Evanston, IL and a Master of Music Degree with an emphasis in Choral Conducting and Jazz Studies from Western Michigan University in Kalamazoo, MI. In addition to his educational commitments, Gregerman resides in the North Shore of Chicago and shares two beautiful children with his wife Sandra.
JERRY TOLSON President’s Service Award (Sponsored by JEN) Jerry Tolson has been a member of the music faculty at the University of Louisville since 1993. As professor of jazz studies and music education, he directs instrumental and vocal jazz ensembles and teaches jazz pedagogy, jazz style, jazz history, and African American Music classes. A graduate of Drake University and the University of North Texas, Tolson is active as a clinician, adjudicator, guest conductor, and jazz camp instructor throughout the country. He has been active as an organizer, administrator, and presenter of jazz through festivals and educational activities. Mr. Tolson has made presentations at the National MENC conference, the International Association of Jazz Educators (IAJE) Conference, the International Academy of Law and Mental Health, the Midwest Band and Orchestra Clinic, the Jazz Education Network Conference, and numerous state music conferences, including Barbados, Brazil, and Trinidad as well as numerous universities around the country. He co-founded the Kentuckiana Jazz Style Summer Workshop at Bellarmine University in Louisville. He also co-founded and is the director of U of L’s African American Music Heritage Institute, and a co-founder of a series of teacher training institutes sponsored by the International Association for Jazz Education. As a composer/arranger Tolson writes for both large and small instrumental and vocal jazz ensembles. His vocal jazz works are published by UNC Jazz Press, and he is an author, clinician, and consultant for the Alfred Music Company. He is also a content consultant for Pearson/Prentice Hall Educational Publications. In addition, Tolson has published articles in The Instrumentalist, Jazz Educators Journal, and Music Educators Journal, and was a contributing author to the publications Teaching Music Through Performance in Jazz (GIA) and The Jazz Director’s Handbook and Resource Guide (Alfred). As a performer on keyboards, woodwinds, and vocals, Tolson leads three of his own groups and has worked with such popular artists as the Temptations, and Manhattan Transfer, and with jazz artists Delfeayo Marsalis. Tolson’s jazz group has ap peared at the prestigious Montreux Jazz Festival in Switzerland as well as the Umbria Jazz Festival in Perugia, Italy and has also completed a performing tour in Barbados where among other concerts, they performed for the Prime Minister. Tolson has been named to “Who’s Who Among America’s Teachers”, and has received the Kentucky Music Educators “College Teacher of the Year” award, the University of Louisville Exemplary Multicultural Teaching Award, and has twice been recognized with the University of Louisville Distinguished Faculty Service Award, and Tolson is a board member of the University of Louisville Athletic Association, the University Club of Louisville, and a former member of the IAJE executive board. His other professional memberships include the American Federation of Musicians, ASCAP, College Music Society, National Band Association, Kentucky Association for Jazz Education, Jazz Education Network, and Music Educators National Conference. -DQXDU\)HEUXDU\ é -$==HG
2014 S CHOL ARSHIP & AWARD WINN ERS
Congratulations to the 2014 Scholarship Winners BRIAN CLAXTON David Baker Scholarship (sponsored by Jamey Aebersold) Brian Claxton is a drummer, educator, and a recent graduate of the University of Northern Colorado, having earned a Masters Degree in jazz studies. He has been playing the drums since he was 4 years old and started his private lessons and undergraduate studies at the University of Wisconsin Eau Claire for his B.M. in music performance. At University of Wisconsin Eau Claire He played in the school’s best ensembles and performed with great musicians on a regular basis including the downbeat award winning (Best Undergraduate Large Jazz Ensemble) UW-Eau Claire Jazz Ensemble 1. While at UNC, he has performed and recorded with the Vanguard Combo, and UNC Jazz Lab Band 1 throughout Colorado and across the country, and in 2013 they won a Downbeat Award for Best College Big Band at the Graduate Level. He has played music around the world and has met and made music with many of his idols, including: Chris Potter, Donny McCaslin, Dave Douglas, Jiggs :KLJKDP7HUUHOO 6WDIIRUG :D\QH %HUJHURQ 1LFKRODV 3D\WRQ -HII &RI¿Q *UHJ *LVEHUW 3DXO 0F.HH 0LNH 5RGULJXH] -HII &RI¿Q %REE\ 6DQDEULD 'DYH :HFNO &\UXV &KHVWQXW (ULF 0DULHQWKDO 7RP *LDPSLHWUR -RKQ )HGFKRFN -RKQ )DGGLV 7RQ\ Monaco, and Ron Miles. He also frequently performs with a network of local musicians both in the Greeley/Ft. Collins area and the Eau Claire/Twin Cities area. He has studied with Jeff Crowell, Jim White and has had lessons with Jeff Hamilton, Peter Erskine, Ed Soph, Carl Allen, Ari Hoenig, Gregg Lohman, Joe Pulice, and Rich MacDonald. Claxton plans to pursue a PH.D. at UNC.
ALEXA TARANTINO Mary Jo Papich JEN Co-Founder Women in Jazz Scholarship (Sponsored by JEN) Already an accomplished jazz saxophonist, woodwind doubler, composer, and educator, Alexa Tarantino is cur rently a senior at the Eastman School of Music. She will be graduating w ith degrees in Jazz Saxophone Performance and Music Education, as well as a certificate in Arts Leadership. A graduate of the award-winning Hall High School music program in West Hartford, Connecticut, Alexa has achieved recognition in several competitions such as Jazz at Lincoln Center’s Essentially Ellington Competition and Music for All’s Honor Jazz Band of America. A student of New York City-based saxophonist/woodwind doubler Charles Pillow, Alexa performs regularly as a leader and sideman in the Rochester area in ensembles and genres that range from traditional jazz to R&B/Soul, Dixieland, and more contemporary and original music. Performance highlights include the Umbria Jazz Festival with Ryan Truesdell’s Gil Evans Project, the Xerox Rochester International Jazz Festival on several occasions, and attending the Banff Inter national Workshop for Jazz and Creative Music. She has been fortunate to share the stage with artists such as Phil Woods, Curtis Fuller, Peter Erskine, Andy Bey, Steve Wilson, John Legend, David Paich, and more. I n addition to performing and teaching, Alexa was recently appointed the position of Production Manager for the Eastman School’s upcoming weekly radio show t itled “Jazz@Eastman: Past, Present, and Future” to be broadcasted on Rochester’s WGMC Jazz90.1. Appreciative of having grown up i n a community that fostered jazz education, Alexa hopes to share the skil ls she is learning at Eastman to create a similar experience and nurturing environment for the next generation of aspiring jazz musicians.
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2014 S CHOL ARSHIP & AWARD WINN ERS
GIBRAN KHAN Hal Leonard Collegiate Scholarship (Sponsored by Hal Leonard) Gibran “Braun” Khan’s musical journey began in high s chool when he started playing electric bass for his band. He immediately took to the bass and started learning on his own, eventually playing bass with several college groups and volunteering as Music Director at his church. Du ring his u ndergraduate study, he played both classical and jazz, and participated in a couple of big bands. After graduating in 2005, he began working full-time as a Music Director at his church and continued to pr actice and perform. Khan also began organizing jam sessions and concerts for the community that featured local music students. Th is eventually developed into an organization that he founded and directed called The Jazz Project, which aims to “promote the development of jazz musicianship and appreciation among students and community members of all ages in central Michigan” through jam sessions, master classes, and public performances”. When the University found out about the program, they offered Kahn an assistantship to continue organizing the events and to develop their community outreach program. In 2008, he began his Masters and continued working t o develop the concert series and the community outreach program. The concert series grew to incorporate guest artist clinics and performances, including artists such as Billy Hart, Vincent Herring, Peter Zak, Phil Palombi, and others. As part of the outreach program, he coordinated jazz groups to go play at local schools and senior homes, reaching to more than 60 performances a year. As a Masters student, Khan also began working to develop the jazz program within the university. He developed and taught a course in jazz theory and functional jazz piano, and also organized jam sessions, combos, and additional performance opportunities. After graduating, he was hired by the University to continue the courses and programs that he had begun as a graduate assistant, as well as to developed a Jazz Repertoire course and in itiate the creation of an Undergraduate Certificate in Jazz.
CHRISTOPHER PARKER Dr. Lou Fischer JEN Co-Founder Scholarship (Sponsored by JEN) Christopher Cooper Parker is a multi-faceted musician who plays several instruments including the drums, tenor sax, soprano sax, clarinet, euphonium, guitar, baritone, vibes, reeds, and upr ight bass. He is currently 16 years old and attends the Bloomington High School North in Indiana. He enjoys volunteering for music events and is a junior board member of Jazz from Bloomington, a non-profit organization whose primary mission is to promote and preserve jazz as America’s unique ar t form. His time is mostly spent doing gigs, jamming, and attending concerts, clinics, and master classes. Parker’s studies include private lessons with Mitch Sh iner and Steve Houghton, Tom Walsh, Ed Soph, and Peter Kniele, and has attended t he Jamey Aebersold Jazz camp. Parker has played in numerous All Star combos and groups and has won the outstanding musician honor in several jazz festivals. Groups he has pa rticipated in have won superior ratings in festivals, and he has won the Outstanding Soloist honor of the festival on both dr ums and tenor in the Lionel Hampton Jazz Festival. He has been in a Jazz Trio for about five years and has been in several gigs and has r ecorded three albums. As a professional drummer, he has appeared with the Monika Herzig Trio, Ralph Bowen, Jamey Aebersold, Keith Karns Quartet, Marlin McKay Quartet, Dennis Riggins Swing Thing, and Sarah’s Swingset. When his school district was faced with losing all extra-curricular programs due to budget cuts, Parker spent his summer busking for funds so that his school would continue to have band and theater. He has assisted with the sectionals for the Tri-North Middle School Jazz Band, has been an assista nt to the director for Star Band, which is a beginning band program for 5h and 6th graders, and has led sectionals for the jazz bands at Bloomington High School North. Parker has performed free concerts with his jazz combo for numerous non-profit agencies such as Red Cross, UNICEF, and Homeward Bound.
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2014 STUDENT COMPOSITION SHOWCASE WINNERS
Congratulations to the 2014 Student Composition Showcase Winners LUCAS APOSTOLERIS Lucas Apostoleris is a 20-year-old junior studying music performance at the University of Massachusetts Amherst. A jazz drummer, composer, and classically trained guitarist, Lucas is a two-time winner (2008, 2009) of and one-time finalist (2013) for the ASCAP Young Jazz Composer Awards. In April of 2013, he was awarded the Howard Lebow Memorial Scholarship by the music department at UMass Amherst. Apostoleris is the drummer for the group City of Four, a jazz ensemble based in Amherst, MA that recently debuted at Symphony Hall in Boston. He is also performing at the Jazz Education Network Conference this year with the Jeff Schneider Nonet. WINNING COMPOSITION: September Again
C. TYLER DENIS Composer-pianist C. Tyler Denis has a wide range of musical interests, which he uses to fuel his own passions and affect the lives of those around him. His arrangements have been recorded and performed by a number of artists, including Kevin Mahogany, Bruce Hornsby, Steve Miller, and a host of others. Outside of the jazz realm, he has also been active as a theatre orchestrator, contributing to a number of local and regional shows, including Maryann Kyle’s one-woman off-Broadway debut, Sondheim in the City. As a pianist, Denis has received outstanding soloist awards at the University of North Texas and Alcorn State University jazz festivals, and ca n be heard performing across the Southeast in a wide range of settings. In 2012, he completed his B.M. in jazz piano at the University of Southern Mississippi, and is currently working towards an M.M. in Studio/Jazz Writing at the University of Miami under the mentorship of Gar y Lindsay. WINNING COMPOSITION: WWTD (What Would Thad Do?)
RAFAEL PICCOLOTTO DE LIMA Born in Brazil, Rafael is a Latin Grammy nominated composer who had his music performed and recorded by ar tists such as Terence Blanchard, Chick Corea, Steve Miller, Jon Secada, Bruce Hornsby, and ensembles such as the Costa Rica National Orchestra, Campinas Symphony Orchestra, and the Henr y Mancini Jazz Philharmonic. Graduated in Classical Composition and Brazilian Jazz Studies at UNICAMP (São Paulo, Brazil), Rafael has a Master degree in Stud io Jazz Writing from the Frost School of Music (University of Miami), where he is now a Doctoral candidate in Jazz Composition. Sponsored by ASCAP through t he Henry Mancini Fellowship he works at UM as a composer and arranger. Other awards include 3 student Downbeat awards as a composer and conductor, the ARS BRASILIS Arranger Competition award in tribute to Milton Nascimento and first place in the Ricardo Rizek Latinamerican Composers Competition for young musicians. WINNING COMPOSITION: Quebra-Cabeças
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2014 STUDENT COMPOSITION SHOWCASE WINNERS
ENRICO BERGAMINI
Enrico Bergamini is an Italian saxophone player, composer and arranger. While he spent his youth studying classical music he was later inÀXHQFHG E\ RWKHU JHQUHV RI PXVLF VXFK DV -D]] )XVLRQ )XQN DQG 3URJUHVVLYH Rock which helped him to develop a peculiar and characteristic musical style. After completing his studies in Classical Performance at the Luca Marenzio Conservatory in Brescia he auditioned and was accepted at the Berklee College Of Music where he’s currently majoring in Jazz Composition. WINNING COMPOSITION: Convergence
AARON HEDENSTROM
Aaron Hedenstrom is an upcomi ng young saxophonist and composer who has had the fortune of playing with a variety of wonderful musicians in his life. Whether it is performing original compositions with his big band, the Aaron Hedenstrom Orchestra, playing clarinet and bass clarinet with indie rock groups such as S. Carey, or playing small-group jazz with top-notch jazz artists like Quamon Fowler, Aaron brings a unique and personal sound to every situ ation. Currently living in Denton, TX, Aaron maintains a large teaching studio and performs regularly at Dallas/Fort Worth’s premiere venues. Aaron holds a Masters in Jazz Arranging from the University of North Texas and a Bachelors in Music Composition from the University of Wisconsin-Eau Claire. Aaron is the recipient of multiple awards including the 2012 Detroit Jazz Festival Arr anging Contest, the 2013 Herb Alpert ASCAP Young Composer Award, and the 2013 DownBeat Award for Blues/ Pop/Rock Soloist. WINNING COMPOSITION: Honeybee
Selections by the student composition winners will be performed at the 2014 JEN Conference at 2:00pm on Saturday, January 11, 2014 in the Pegasus Ballroom. Selections will be performed by the University of North Texas One O’Clock Lab Band under the direction of Steve Wiest.
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5TH A NNIVERSARY CO NGR ATULATIONS JEN Members Celebrate 5 Years of Our Annual Conference “JEN is an amazingly multifaceted organization that, in its five years of existence, has enhanced my world in 4 ways. As an Educator, I have re-established relationships with my mentors and colleagues as well as done some very effective recruiting for our bass department. As a Professional Musician, my Jen concerts, clinics, and networking have resulted in some great opportunities… as in very cool gigs and clinics for Bass Extremes that would otherwise have never happened. As a Perpetual Student of Music, I always leave JEN inspired by the myriad techniques and concepts learned at artist clinics and concerts. As a Human Being, JEN reaffirms and solidifies my belief that building and maintaining relationships, more than anything else, is where personal and career contentment is derived.” –Steve Bailey
“Congratulations to everyone who has made JEN possible for the last 5 years! There are so many people around the world who appreciate this tremendous effort. Having just been on tour in South Africa, there is a buzz going on even there about what is happening here! That’s incredibly inspiring to me. I hope that through the efforts of so many dedicated students, educators and players that JEN will continue to make a global educational impact for many years to come.” – Jeff Coffin
“I am extremely proud to be a founding member of JEN. The Jazz Education Network continues to grow in so many areas and ways–increase in membership (both numbers and areas) makes its own statement. Hurray for Jazz, and for JEN!” – Paris Rutherford
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“Thank you, JEN, for continuing to give us a place to gather, grow, and share in the best interest of Jazz musicians and Jazz music. Hopefully, five years is just the beginning.” –Victor L. Wooten
JEN NEWS
2015 Conference in San Diego, CA Our 6th Annual Conference will be on January 7-10, 2015 at the Manchester Grand Hyatt in San Diego, CA. Following in the great tradition of JEN conferences, the 2015 conference will host concerts, clinics, research presentations, industry exhibits, scholarships and awards, and tons of networking opport unities for everyone in the jazz community. The elegant Manchester Grand Hyatt hotel will serve as our conference location and host hotel in beautiful San Diego (“Sun Diego”), CA. Applications for performing and presenting a clinic will be open starting February 2014. To receive up-to-date notifications on when the applications will be live, visit JazzEdNet.org and sign up for our email list or follow our social media pages.
JAZZ2U Resumes in 2014 Our popular JAZZ2U initiative will be open for ap plications again in 2014. Though the grant can be used at any time in the year, we encourage applicants to consider creating or participating in an event during Jazz Appreciation Month in April and/or on International Jazz Day on April 30. Lear n more at JazzEdNet.org/JAZZ2U.
JEN Members Featured in The Jazzer’s Cookbook JEN members contributed their ideas to the newlyreleased book, The Jazzer’s Cookbook: Creative Recipes for Players and Teachers. This exciting collection features favorite tips from 57 of today’s most outstanding educators, performers, and industry pros including: Dr. Lou Fischer, John Clayton, Diane Downs, Jamey Aebersold, Dave Liebman, and more! The book is published by Meredith Music (distributed by Hal Leonard) and is available online and at music stores. A portion of proceeds go to JEN programs.
Share Your 2014 (#JEN14) Conference Experience! Connect with us online to share photos, videos, and your thoughts about the 2014 conference. Be sure to tag #JEN14 to include your posts in our trend stream! facebook.com/JazzEdNet facebook.com/groups/jazzeducators
youtube.com/JazzEdNet
twitter.com/JazzEdNet
LinkedIN Group: Jazz Education Network
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focus session
THAD JONES
Thad Jones – A Forgotten Giant? Let Us Not Forget His Place In Jazz! by Mike Carubia
T
he passage of time gives us the proper historical perspective of the works of great poets, painters, musicians, composers, and artists in fields too numerous to mention. Thad Jones (1918 – 1986) is one whose rank in the world of jazz is rarely lauded and perhaps overlooked too often. Musicians and composers who were fortunate enough to have played with him, worked with him, or who simply showed up to hear Thad play trumpet, cornet, or lead his trailblazing big band know how important a figure Jones was. Let us not forget the hundreds and thousands of musicians, jazz fans, celebrities, and writers who made their way to the Village Vanguard on a Monday night just to hear an astounding group of New York’s finest musicians perform a style of big band jazz never heard before. They watched Thad lead this ensemble in directions even the band didn’t know they were capable of going. I was one of the fortunate ones who were there on many of those Monday nights watching and listening in complete awe of what I was witnessing. I always left more wide-awake than when I arrived, even though it was 1:15 a.m. on Tuesday, work looming a few hours later. On that next day, I couldn’t wait until school was over to get my manuscript paper and pencil out to try and capture some of the sounds I heard the previous night. Of course I was always bugging the record stores for when the next Thad Jones-Mel Lewis Big Band a lbum (No CDs or downloads in 1967) would be available. My searches today are on the Web – I’m still looking for the album with Catarina Valente recorded in Europe in 1976 when Thad was leading the Basie band with his arrangements containing classic Thad lines and voicings – does anyone out there have it? (Byron Stripling – you were on that album – help! ) Is it any wonder that many of this country’s finest writers have taken the time to capture what it was that Thad exuded in all of his charts? Bill Finnegan, Manny Albam, Mike Abene, Bob Brookmeyer, Jim Mc Neely , John Clayton, Dave LaLama, John Fedchock, John La Barbera, Mike Holober, Pete McGuinness, Anita Brown, and thousands of writers around the world have incorporated a piece of Thad into their own writing styles. (My apologies if I’ve failed to mention the many other prominent names out there.) And what about Raybur n Wright at the Eastman School of Music, who produced the first definitive analysis of Thad’s writing with Inside The Score (Kendor Music Co.), along with analysis of charts by Bob Brookmeyer and Sammy Nestico.
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Presenting Thad Jones, Mel Lewis & The Jazz Orchestra Solid State - 18003
Live At The Village Vanguard Solid State - 18016
Monday Night! Solid State - 18048
Central Park North Solid State - 18058
Consummation Blue Note - BST 84346
Ruth Brown with the Thad Jones, Mel Lewis & The Jazz Orchestra Blue Note - BN-LA392-H2
THAD JONES
What is it that separates Jones from his predecessors and contemporaries from a writing standpoint? I met Bill Finnegan when I was teaching at the University of Bridgeport in Connecticut, having replaced Neil Slater, who went to North Texas State in 1980. Bill would come to most all of the rehearsals we had just to hang out one year, in particular, because his son Jamie was in the band. I was surprised one night when sitting
focus session
next to Bill at my rehearsal was Jim Hall. After the rehearsal we were talking about a chart I had written and he said to me, “I liked that ensemble section you wrote, it sounded like one of those non-melody ensembles that Thad likes to write.” I knew exactly what he meant but never gave it a second thought until I decided to write this article. This provides me with the perfect place to start: the melody.
Thad’s Melodies Who would doubt that Thad Jones would write so much non-melody in a chart when you listen to the beautifully melodies he was capable of writing – “A Child Is Born,” “It Only Happens Every Time,” “Mean What You Say,” “Walkin’About,” “Three and One,” and “Two As One,” to name only a few. I’m
not really sure if I am qualified to answer such a question, but I will attempt to offer a few thoughts on how Thad used his “quirky” melodic lines as primary melodies, countermelodies, backgrounds for solos and particularly in his ensemble passages.
Trumpets: Unison Cup & Harmons “The Second Race” Comp. by Thad Jones (Concert Pitch) F Blues – First 8 measures
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focus session
THAD JONES
Certainly this is not the kind of melody found in the Count Basie library, such as “Moten Swing,” “One O’Clock Jump,” “Splanky,” et cetera… and you wouldn’t find too many people whistling this melody after the performance. What Thad did to provide balance to these quirky melodies was to bring you home with this “down home,” straightforward shout chorus, which provided the balance to the less melodic passages.
F Blues – First 8 measures )%OXHV
When it came to harmony and particularly his voicings for the ensemble, sax solis and brass solis were all knocked out with his new approach. All you used to hear from players and writers was, “Man, what tight voicings,” which wasn’t always true. Most of his sax soli voicings were quite spread over 10s and wider at times in open fashion. I found that out when I tore apart his sax soli from “Don’t Get Sassy” and saw that his voicing were rich and most of the time contained five separate voices, but were wide open particularly as the lead Alto or Soprano went into the higher register. I didn’t let on to my musician friends that knew they were more open than not and accepted the local terminology that they were “tight” voicings because it fit. I hadn’t seen enough of Thad’s scores to argue the point with much conviction. His brass voicings were in fact “tight,” particularly in the range a 4th or 5th above or below middle “C” where Thad provides the “grinds” that Manny Albam described to me. Those were Minor 2nd “rubs” that naturally occur between Major 7ths and roots, Minor 9ths and 3rds, # 9s and 3rds, Manny Albam, a great arranger and teacher whom I met at the Eastman School in the summer of 1970, hipped me to some of Thad’s voicing and harmonic tendencies when I began private studies with him soon after that summer.
“Don’t Get Sassy” Comp by Thad Jones, 1967 (Pick ups to second 8 measures of the Sax Soli Basic Chords: ( P
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All Thad Jones excerpts used by permission D’ Accord Music & Publishers Licensing Corp.
Manny Albam was in the booth for many of the Solid State recordings in the late ‘60s and was privy to Thad’s scores during those sessions and after. He gave me copies of two scores for the Joe Williams songs, “Keep Your Hand In Your Heart” and “Evil Man Blues” which was written by Bob Brookmeyer. “Evil ManBlues” sounded so much like Thad’s writing that, until I saw Brookmeyer’s name on the score, I thought that it was Thad’s hand that produced the chart.
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Mike Carubia played as a regular sub with the Mel Lewis Orchestra and the Vanguard Orchestra for 22 years, and spent five years with the Gerry Mulligan Concert Jazz Band. He maintained a teaching schedule on Long Island N.Y. for 27 years in high school and adjunct positions in several LI colleges and universities. Carubia was also director of Jazz Studies at the University of Bridgeport, Conn., from 1990 -1992. He started a publishing company, Smart Chart Music, primarily to provide re-orchestrated versions of Thad’s music for high school andcollege jazz programs in 2005. Smart Chart Music has joined the C.L. Barnhouse family and continues spreading the word about Thad and other fine jazz composers on his staff through his re-scored Thad Jones compositions. Mike may be contacted at: smartchartmusic@optonline. net or (631) 724-6098.
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Dr. Larry Ridley, Executive Director, and Bill Myers, President
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Thelonius Monk T “
he piano ain’t got no wrong notes!” So ranted Thelonious Sphere Monk, who proved his point every time he sat down at the keyboard. His angular melodies and dissonant harmonies shook the jazz world to its foundations, ushering in the birth of “bebop” and establishing Monk as one of America’s greatest composers. Yet throughout much of his life, his musical contributions took a backseat to tales of his reputed behavior. Writers tended to obsess over Monk’s hats or his proclivity to dance on stage. To his fans, he was the ultimate hipster; to his detractors, he was temperamental, eccentric, taciturn, and childlike. But these labels tell us little about the man or his music. In the first book on Thelonious Monk based on exclusive access to the Monk family papers and private recordings, as well as on a decade of prodigious research, prize-winning historian Robin D. G. Kelley brings to light a startlingly different Thelonious Monk – witty, intelligent, generous, politically engaged, brutally honest, and a devoted father and husband. Indeed, Thelonious Monk is essentially a love story. It is a story of familial love, beginning with Monk’s enslaved ancestors from whom Thelonious inherited an appreciation for community, freedom, and black traditions of sacred and secular song. It is about a doting mother who scrubbed floors to pay for piano lessons and encouraged her son to follow his dream. It is the story of romance, from Monk’s initial heartbreaks to his lifelong commitment to his muse, the extraordinary Nellie Monk. And it is about his unique friendship with the Baroness Nica de Koenigswarter, a scion of the famous Rothschild family whose relationship with Monk and other jazz musicians has long been the subject of speculation and rumor. Nellie, Nica and various friends and family sustained Monk during the long periods of joblessness, bipolar episodes, incarceration, health crises, and other tragic and difficult moments. Above all, Thelonious Monk is the gripping saga of an artist’s struggle to “make
“THROUGHOUT MUCH OF HIS LIFE, HIS MUSICAL CONTRIBUTIONS TOOK A BACKSEAT TO TALES OF HIS REPUTED BEHAVIOR.”
it” without compromising his musical vision. It is a story that, like its subject, reflects the tidal ebbs and flows of American history in the Twentieth Century. Elegantly written and rich with humor and pathos, Thelonious Monk is the definitive work on modern jazz’s most original composer. Audio and Ebook Editions are also available: SimonandSchuster.com
Robin D. G. Kelley is Professor of History and American Studies at the University of Southern California. His books include Race Rebels: Culture, Politics, and the Black Working Class and Freedom Dreams: The Black Radical Imagination. He has written on music for The New
York Times, The Village Voice, Jazz Times, Lenox Avenue, The Nation, and other publications. He lives with his family and his Baldwin baby grand piano in Los Angeles.
Larry Ridley footnote: My thanks to my great friend and colleague Professor Robin Kelley for his astute scholarship and asking me to participate in this most definitive book on the genius life and times of Thelonious Monk. My travels, family friendships, performance experiences as a member of the Thelonious Monk Quartet are major in my life and career. Thelonious was an astute mentor to me in so many ways. George Wein also enabled me an opportunity to play and perform with the “Giants of Jazz Ensemble” with Thelonious, Dizzy, Blakey, et cetera.
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Backbeat P H O T O : H a m i l t o n & H o r n
Foreststorn ‘Chico’ Hamilton (1921-2013)
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