JazzEd January 2010

T H E J A Z Z E D U C A T O R ' S M A G A Z I N E

JANU

ARY

2010

• $

5.00

The Official Publication of

JAZZ EDUCATION NETWORK

T H E J A Z Z E D U C A T O R ' S M A G A Z I N E

Those Who Can Do, Teach

DAVID BAKER

Basic TrainingWhere's the Beat?

Focus SessionJAzz Singing

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www.jazzbooks.com

www.berklee.edu/jazzed

Leads Grammy-nominated groups. Performs and records with the best:

Herbie Hancock, Dianne Reeves, Cassandra Wilson,

Stevie Wonder, and more…

Leads Grammy-nominated group. Has performed and

recorded with the best: Stan Getz, Art Blakey, Joe

Henderson, Dexter Gordon, Pharoah Sanders, and more…

Leader of the Grammy-winning Caribbean Jazz

Project. Has performed and recorded with the best: Pat Metheny, Paquito D’Rivera, Oscar Peterson, Spyro Gyra, Yellowjackets, Frank Zappa

and more…

Leads Screaming Headless Torsos. Performs and records

with the best: Stewart Copeland, Hiromi, Dennis Chambers, Kenny Garrett,

John Medeski, Meshell Ndegeocello, and more…

Professor of Percussion Professor of Piano Associate Professor Vibes/Ensemble Department

Associate Professor of Guitar

JoAnne BrackeenTerri Lyne CarringtonBerklee Alumna ’83

Dave Samuels Dave “Fuze” Fiuczynski

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www.berklee.edu/jazzed

2 JAZZed January 2010

BASIC TRAINING: MULTI-METERED MUSIC 20Dr. Paxton Girtmon, director of Bands at Belhaven College, discusses teaching younger students the basics of multi-metered rhythms.

DAVID BAKER – THOSE WHO CAN DO, TEACH 24Founder of one of the nation’s fi rst jazz degree programs (Indiana University) and an accomplished performer and composer, David Baker has truly done it all. In this month’s cover story, JAZZed gets the lowdown from one of the true giants of jazz education.

ROUNDTABLE: JAZZ CURRICULUM APPROVAL 32

FOCUS SESSION: JAZZ SINGING 47Stephanie Austin Letson, director of Choral Activities at Contra Costa College, outlines how to effectively teach jazz vocalists.

TECHNIQUES OF MELODIC DEVELOPMENT IN JAZZ IMPROVISATION 52

™

contentsJ A N U A R Y 2 0 1 0

DAVID BAKER “I’m so glad to see that your magazine and others have now begun to champion the fact that there’s more than one way to skin a cat.”

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PUBLISHER’S LETTER 4NOTEWORTHY 6JAZZ EDUCATION NETWORK SECTION 10

departments64

JAZZed™ is published six times annually by Symphony Publishing, LLC, 21 Highland Circle, Suite 1, Needham, MA 02494, (781) 453-9310.

Publisher of Choral Director, School Band and Orchestra, Music Parents America, and Musical Merchandise Review. Subscription rates $30

one year; $60 two years. Rates outside U.S. available upon request. Single issues $5. Resource Guide $15. Standard postage paid at Boston,

MA and additional mailing of ces. Postmaster: Please send address changes to JAZZed, 21 Highland Circle, Suite 1, Needham, MA 02494.

The publishers of this magazine do not accept responsibility for statements made by their advertisers in business competition. No portion of this

issue may be reproduced without the written permission of the publisher. © 2010 by Symphony Publishing, LLC. Printed in the U.S.A.

™

JANUARY 2010Volume 5, Number 1

GROUP PUBLISHER Sidney L. [email protected]

PUBLISHER Richard E. [email protected]

Editorial StaffEDITOR Christian Wissmuller

[email protected]

ASSOCIATE EDITOR Eliahu [email protected]

STAFF WRITER Denyce [email protected]

Art StaffPRODUCTION MANAGER Laurie Guptill

[email protected]

GRAPHIC DESIGNER Andrew P. [email protected]

GRAPHIC DESIGNER Laurie [email protected]

Advertising StaffADVERTISING SALES Iris [email protected]

CLASSIFIED SALES Maureen [email protected]

Business StaffCIRCULATION MANAGER Melanie A. Prescott

[email protected]

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PRESIDENT Lee [email protected]

CHIEF FINANCIAL OFFICER Rich [email protected]

Corporate Headquarters

26202 Detroit Road, Suite 300Westlake, Ohio 44145

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Publishing, Sales, & Editorial Offi ce

21 Highland Circle, Suite 1Needham, MA 02494

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Member 2010

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JAZZed January 2010 3

Cover photograph: Kendall Reeves - Spectrum Studio

• PRESIDENT’S LETTER• NETWORTHY NEWS• JEN CONFERENCE• UPCOMING EVENTS• WELCOME NEW MEMBERS

CD SHOWCASE 31JAZZ FORUM 57GEARCHECK 59HOT WAX 60

CLASSIFIEDS 63AD INDEX 63BACKBEAT: RUSTY DEDRICK 64


RPMDA

JOHN HOLLENBECK:WHAT’S ON YOUR PLAYLIST 18

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When it comes to jazz education, there are very few people who rise to the level of prominence of David Baker, dis-tinguished professor at the renowned Indiana University School of Music. His place among the greats has been solidifi ed as he has blazed his unique path in the music fi eld. If you surf to Amazon.com and look for a list of jazz method books, you will fi nd dozens authored by him, including his “Giants of Jazz” series focused on the history and jazz styles of Sonny Rollins, John Coltrane, Cannonball Adderly, Miles Davis and others. Plus, there are his collections on jazz composition, ear training, practicing strategies, and so many others. But Baker is not only pro-lifi c in his writing career, he is equally accomblished in composition and per-formance. With over 2,000 pieces to his credit, not only has he composed for jazz ensembles, but also for symphony orchestra, chamber ensemble, plus bal-lets, instrumental conacertos and other works. He has done what it might take most others three lifetimes to complete. I could go on, but it would take more than this entire magazine to the full recount list of his achievements and awards.

Though there were signifi cant obstacles that David had to overcome in order the gain his success, some of them appear to have actually guided him to become one of jazz’s most important educators. Unfortunately in the 1940s and ‘50s, as he was graduating from In-diana University, many of the doors were closed to

minorities in the symphony orchestras, so pursuing classical performance was unlikely. In addition, a di-sastrous automobile accident affected David’s ability to play trombone, which pushed him further towards teaching. Most of his own education took place during times before jazz was established as a regular part of the curriculum in college music programs, as it is to-day, so he learned a tremendous amount about the jazz art form the way most folks did during that period, which was from going to clubs and jam sessions. He

also furthered his education by involv-ing himself with great musicians such as Wes Montgomery, Slide Hampton, Cannonball Adderly, and uniquely with Gunther Schuller, who became enamored with the jazz world after meeting Baker.

David has made Indiana his home for most of his life, and he has been instrumental in helping to grow Indi-ana University into one of the great institutions of musical education in the world. It was Dean Wilfred Bain, who recognized Baker’s ability, and hired him to help establish the jazz

degree program in the mid-1960s. Evidently, neither he, nor anyone else at the time, imagined the tremen-dous evolution and success of the IU jazz program or jazz education in general. Baker’s torch is now carried around the world and refl ects the unique set of capa-bilities, knowledge, and personality that he brings to the world of jazz.

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

Among the Greats

Baker’s torch is now carried

around the world and refl ects

the unique set of capabilities, knowledge, and personality that


[email protected]

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“Without a doubt, this is the best trumpet I’ve ever played.”

More professionals are playing XO by Jupiter.It’s time to find out why…

Educator, Author, Recording Artist, and Lead Trumpet with the Orchestras of Harry Connick, Jr., Maynard Ferguson, Woody Herman, Jazz at Lincoln Center and Ray Charles. http://RogerIngram.com

Once you try an XO professional trumpet, you will discover what more professionals already know. XO instruments not only perform to the highest standards, they outperform them as well.

Ask your dealer to show the complete line of B �, C and piccolo trumpets.

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• Key of Bb, Medium-Large .459” Bore, Medium-.453” Bore, Large-.462” Bore, standard or reverse leadpipe

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• Flugelhorn, Key of B �, .413” Bore, French-style tuning slide

Roger performs exclusively on the new XO 1600I Trumpet.

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www.jupiterxo.com


Swing Central, the high school jazz band competition and workshop pro-duced by the Savannah Music Festival (SMF), is the subject of a new media project that utilizes technology to en-hance the promotion of jazz music and education. SMF is one of only fi ve recip-ients of fi rst-round funding from the na-tional Jazz.Next initiative, also including NPR, Monterey Jazz Festival, Walker Art Center, and the National Federation of Community Broadcasters. The project is

funded by Mid Atlantic Arts Foundation through the support of the Doris Duke Charitable Foundation.

Over the next two years, the Swing Central jazz technology initiative will combine video and audio documenta-tion of SMF’s jazz programs, social and other digital media, and traditional broadcast to promote its efforts to a broader audience, offer supplemen-tal educational content to young jazz musicians, reinforce the creative and

academic work of jazz artists, enhance communication between students and teachers, and connect members of the jazz community with each other.

The Center for New American Media from New York City has been selected to handle video documentary work relat-ing to the project, and Heideldesign from Savannah will be SMF’s digital media partner. In addition to its wide use within Swing Central jazz, the video documenta-tion of the 2010 Swing Central program will be used to produce a documentary promoting the importance of mentorship and teamwork within the jazz tradition.

For more information, visit savan-nahmusicfestival.org.

he National Endowment for the Arts honored 2010 NEA Jazz Masters at an awards ceremony and concert produced by Jazz at Lincoln Center on January 11 & 12.

Meet the 2010 NEA Jazz Masters featured a conversation with the 2010 NEA Jazz Masters, exploring their lives and careers in jazz. On January 12th a concert

was held at the Rose Theater, Frederick P. Rose Hall, home of Jazz at Lincoln Center, featuring performances by the Jazz at Lincoln Center Orchestra with Wynton Marsalis and guest performances by the 2010 Jazz Masters, in a program dedicated to honorees’ works. The concert will included video biographies of each 2010 NEA Jazz Master.

For more information, visit www.apapconference.org.

noteworthy2010 NEA Jazz Masters

T

CORRECTION:In the November 2009 issue of JAZZed, credit was not given to the

photographer of the Eddie Locke photo, featured in Backbeat. Richard Conde was the photographer.

The 2010 Mid-Atlantic Jazz Festivalhe Jazz Academy of Music has announced the fi rst an-nual Mid-Atlantic Jazz Festival

(MAJF), to take place at The Hilton Washington D.C./Rockville Hotel & Executive Meeting Center, on Febru-ary 19-21, 2010.

Produced by saxophonist and edu-cator Paul Carr, Executive Director of The Jazz Academy of Music, the MAJF will reignite the Festival in the fl avor,

style, and spirit of the former East Coast Jazz Festival (founded in 1992 by the late vo-calist/educator Ronnie Wells).

The MAJF will offer Festival at-tendees an entire weekend of local, regional, and national artists such as Mulgrew Miller, Bobby Watson, Lewis Nash, Terell Stafford, and Marc Cary,

coupled with a host of budding high school ensembles, jazz workshops, master classes, jazz fi lm screenings, and much more.

For more information, visit www.midatlanticjazzfestival.org.

T

Savannah Music Festival Awarded Jazz.Next Grant

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by Rupert Hörst (www.hoerbst.net)Rupert's collections of music-themed cartoons – Brassival, Woodstocks, and Stringled – are available in the U.S. through Hal Leonard Publishing.

Brass Fantasy

noteworthyClassic Blue Note Albums in XRCD Format

Elusive Disc has launched a new series of XRCD24 releases of Blue Note products under the Audio Wave brand. The fi rst four in the se-ries are Hank Mobley’s Soul Station, Horace Parlan’s Speakin’ My Piece,Sonny Clark’s Cool Struttin’ and Tina Brooks’ True Blue. The XRCD stands for “Extended Resolution” CD, with 24-bit technology. Elusive Disc have already scheduled a total of 25 Blue Note albums for release as XRCDs.

For the complete list of titles, visit www.audiowavemusic.com.

Miles Davis’ Kind of BlueHonored On Capitol Hill

On December 15th, the U.S. House of Representatives voted and passed a resolution to honor Miles Davis’ landmark album Kind of Blueand its contribution to the genre.

Davis collaborated on the record with saxophonists John Coltrane and Julian “Cannonball” Adderley, pianists Bill Evans, Wynton Kelly, bassist Paul Chambers, and drummer Jimmy Cobb. The resolution recognizing the album’s 50th anniversary passed on a 409-0 vote.

To learn more, visit www.milesdavis.com.

In the Best Possible Light: Herman Leonard’s Jazz

Jazz at Lincoln Center is hosting In the Best Pos-sible Light: Herman Leonard’s Jazz

photo exhibit features masterworks in black and white photography by Herman Leonard, whose pictures of jazz icons Duke Ellington, Louis Arm-strong, Miles Davis, Billie Holiday, and Theloni-ous Monk, among many others, have made him the dean of jazz photographers. All of the images presented in this show are for sale through The Morrison Hotel Gallery. A portion of proceeds from the sale of photographs will benefi t Jazz at Lincoln Center. The exhibit is being held at Peter Jay Sharp Arcade, 5th fl oor, Frederick P. Rose Hall, Home of Jazz at Lincoln Center, Broadway at 60th Street; New York City and runs through February 14, 2010.

For more information, visit www.jalc.org.

“Making the simple complicat-ed is commonplace; making the complicated simple - awesome-

ly simple - that’s creativity.”—Charles Mingus

Say What?

Django 100 Concert TourThe late gypsy jazz guitarist, Django Rein-

hardt, will be hon-ored with a 100th anniversary tour, the Django 100. The countrywide tour will kick off on January 16th at Washington’s Ken-nedy Center. Lead-ing the quintet will be guitarist, Dora-do Schmitt, him-self a gypsy and the winner of Europe’s Django award in 2000, along with his son, Samson Do-rado, also a guitarist, accordionist Ludovic Beir, violinist Pierre Blanchard, and bassist Brian Torff.

For more information, visit www.redhotjazz.com.


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For Additional News in JAZZed, please visit

www.jazzedmagazine.com

News

Saint Lucia Jazz Festival

Beginning May 1, the 10-day Saint Lucia Jazz Festival will kick off with opening performances featuring Jean-Luc Ponty, Earl Klugh, Monty Maxwell, and Harvey Millar.

This year’s musical line-up also includes C u b a n - b a s e d Buena Vista So-cial Club and Haitian/USA-based Carimi, scheduled to perform on Friday, May 2. Other scheduled performers include Steel Pulse; Laura Izibor; Quito & The Edge; Maxi Priest; Foreigner; Yellowjackets; Boo; Teddyson and Friends; and Carl Gustave. In addition to the main stage, many island hotspots will feature local acts performing complimentary acous-tic, calypso, jazz, soul, and R&B music shows daily.

The Saint Lucia Tourist Board is in the process of fi nalizing contracts with artists, and the headlining acts will be disclosed shortly. This will be the Fes-tival’s 19th consecutive year.

For more information, visit www.stlucia.org.


noteworthy

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www.cannonballmusic.com

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www.JodyJazz.com

Our network is growing

Dear Friends, HAPPY 2010!!! This year promises to be a memorable one for those of us in the Jazz Education Network. Now’s the time to sign

up for the fi rst annual Jazz Education Network Conference to be held May 20-22, 2010 at the University of Missouri St. Louis! The main conference hotel, with all the late night hangs will be the Airport Hilton. This upscale hotel was just featured in the new George Clooney movie “Up In the Air”—get online now before it is sold out. We had many great performer and clinic submissions, see the

following pages to see our exciting list of featured artists. On behalf of the Selection Committee I am proud to share that we have over 20 school/university jazz ensembles performing at our fi rst conference to show our commitment to jazz education. Lou and I want to thank the selection committee members as follows: Pro ensembles-Paris Rutherford, John Clayton; School ensembles-Jose Diaz, Jim Widner; clinics-Bob Sinicrope and Tom Walsh.

Register online now as a member or an exhibitor at www.JazzEdNet.org to attend this exciting and historic conference. The fi rst 500 registrants receive priority seating at evening concerts. We are plan-ning a Meet Me in St. Louis Celebration prior to the Friday night concert that will feature the favorite, tasty foods of the area complete with local wines and brews… with music provided by the St. Louis Jazz All Stars! Check the website regularly as info is updated often.

Great minds think in harmony! Attending and participating in the Quincy Jones Musiq Consortium in November in NYC was a highlight for JEN. Hearing Q, Billy Taylor and Herbie Hancock share their passion for American music was inspirational and powerful. See photos and story in the following pages.

Congratulations to the legendary David Baker for being featured on the cover of this month’s JAZZed magazine. David, a founding member of JEN, has been a powerful force in the world of jazz for decades now. He has inspired and motivated many of us, myself included. Thank you, David for all the years of wisdom and skill you have shared with us. It is important to groom new leaders in the fi eld…I encour-

age you to nominate yourself or another strong jazz leader for a position on the JEN Board of Directors. Nomination applications online until February 28th.

In the spirit of excellence and with the advancement of jazz education always in mind…I look forward to working with you and for you.

Mary Jo Papich President, Jazz Education Network

Interim Fine Arts DirectorNiles School District 219

5701 W. Oakton StSkokie, IL

847-626-2050/2560 [email protected]

JAZZ EDUCATION NETWORKA MESSAGE FROM JEN PRESIDENT MARY JO PAPICHJanuary, 2010“Great minds think in harmony.” – Quincy Jones Musiq Consortium

www.JazzEdNet.org

Our goal is to be a vital resource for a constantly evolving global art form today and for JENerations to come.

President’s LogJan. 11- 12 NEA Jazz Masters presentation – Jazz at Lincoln Center - NYCJan. 16-17 NAMM Trade Show & Music Ed Days – Anaheim, CAJan. 23-25 JEN Board Meetings - St. Louis. MOJan. 28-30 IMEA Conference – Peoria, ILFeb. 13-15 Puerta Vallarta Jazz Festival – MexicoMar. 22-25 SAJE Conference – University of Capetown, SAMar. 26-28 Capetown Jazz Festival – South Africa

JEN Board of Directors: Ruben Alvarez, Paul Chiaravalle, John Clayton –Vice President, Steve Crissinger, Jose Diaz, Lou Fischer – Presi-dent Elect, Rick Kessel, Jackie Harris – Secretary, Paris Rutherford, Bruce Silva, Bob Sinicrope, Terrell Stafford, Andrew Surmani – Treasurer, Jim Widner, John Wittman.

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networthynewsBe sure and stop by to say HELLO and catch up on the latest plans about the up-

coming fi rst annual conference to be held at the beautiful University of Missouri- St. Louis May 20-22nd, 2010. Have you registered yet? Visit www.JazzEdNet.org today!


JEN Vice-President JOHN CLAYTON (CA) and JEN member TIM DAVIES (CA) nominated for GRAMMY awards!... Tim Davies was nominated for best composi-tion, for his original composition on his DIALMENTIABig Band cd titled “Counting to Infinity.” NEW band website www.TimDaviesBigBand.com ...The Clayton Brothers Quintet cd titled Brother to Brother [Artist-Share] was nominated as Best Jazz Instrumental Album, Individual or Group. Please come to see them at Dizzy’s Club Coca Cola, 60th & Broadway, NYC, from Janu-ary 6-12, 2010. Immediately after their performance at Dizzy’s they are heading into the studio to record “A New Song and Dance” their second fan funded project with Artist Share. Additionally John arranged a song and performed with Yo-Yo Ma and Diana Krall in the following Grammy Nominated Best Classical Crossover Album Yo-Yo Ma & Friends: Songs Of Joy And Peace. GERALD CLAYTON, was nominated for Best Impro-vised Jazz Solo on the track titled All Of You from his own debut cd Two-Shade [ArtistShare]. All three of these fine artists will be appearing at the upcoming JEN conference in May 20-22 in St. Louis!

Jazz icon DAVE BRUBECK was inducted into the Kennedy Center Honors Awards this past month in Washington, D.C. His sons DARIUS (South Africa), CHRIS, DAN and MATTHEW performed “Blue Rondo” as a surprise to him. Cathy Brubeck, wife of Darius, was happy to report to JEN that the festivities surrounding the honor were quite impressive. Other inductees in-cluded Mel Brooks, Robert DeNiro, Grace Bumbry and Bruce Springsteen (pictured below). Dave celebrated his 89th birthday in style with thousands at the Gala and

the dinner and then again at a private Sting/Springsteen party where he was presented with a big cake! The list of memorable people that Darius and Cathy Brubeck (JEN members) spent time with included: Bill & Hillary Clinton, Herbie Hancock, Michelle Obama, Jon Stewart, Carol Burnett, Jack Black and Caroline Kennedy.

JEN founding members LISA KELLY (FL-Expert) and JB SCOTT (FL-Expert), director of the University of North Florida JE 1, are being featured in the book, “The New Face of Jazz: An Intimate Look at Today’s Living Legends and the Artists of Tomorrow”, by Cic-ily Janus with photographs by Ned Radinsky (July 13, 2010 through Billboard Books, a division of Ran-dom House, available for pre-orders through http://www.facebook.com/l/4c7f3;Amazon.com), a time-less collection of over 200 voices from around the scene in America that are making a difference in the jazz world today. Additional artists include WYN-TON MARSALIS, SONNY ROLLINS and PATTI AUS-TIN. Kelly and Scott are also on the new big band CD release, “Silver Threads” as the featured vocalist and jazz solo trumpeter with the St. Johns River City Band, and both will be presenting jazz clinics at the annual FEMA/MENC State Convention, in Tampa, FLA, January 7-10, and at the upcoming JEN Con-ference May 20-22 in St. Louis. Kelly and Scott are now being represented by Gille Amaral with Dog & Pony Industries Management, www.dogandponyin-dustries.com.

Iola & Dave Brubeck, Bill & Hillary Clinton

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networthynewsJAZZ EDUCATION NETWORK

Pianist MULGREW MILLER joins the Juilliard Jazz Ensemble for “Blues in the Church” in celebra-tion of Martin Luther King, Jr. Day on Monday, Jan-uary 18, 2010 at Dizzy’s Club Coca-Cola, located at Jazz at Lincoln Center (NY, corporate partner), Broadway at 60th Street , 5th Floor. Sets are at 7:30 and 9:30 PM. “Blues in the Church” was inspired by music Mulgrew Miller heard in his Mississippi church while growing up. Performing in the Juil-liard Jazz Ensemble will be JORDAN PETTAY (Alto saxophone), RANDALL HAYWOOD (trumpet), WILLIE APPLEWHITE (trombone), KRIS BOW-ERS (piano), PHILIP KUEHN (bass), and BRYAN CARTER (drums) with Mulgrew Miller on piano. Dizzy’s Club Coca-Cola is located at Jazz at Lincoln Center , Broadway and 60th Street , 5th Floor. Cov-er charge is $20; $10 for students with a valid stu-dent ID. For more information, call Jazz at Lincoln Center at (212) 258-9595 or go to www.jalc.org.

Check out the blog post link: Mid Atlantic Jazz Festival is Coming Your Way Soon! The weekend of February 19-20, 2010.

Author MICHELE CANIATO (MA) has published A Guide to Outstanding Big Band Arrangements Se-lected by Some of the Foremost Jazz Educators. Visit the website for more details: www.rowmaneduca-tion.com.

Be on the lookout for the new CD from the David Berger Jazz Orchestra, Sing Me a Love Song - The Undiscovered Standards of Harry Warren featuring vocalists Freda Payne and Denzal Sinclaire. It hit the streets on Jan 19, 2010.

Yamaha’s Young Performing Artist program has helped launch the careers of hundreds of success-ful performing artists over the years. While many other programs in the country are being cut, YYPA remains a priority because Yamaha believes in its value. Please pass the application on to at least one of your best students. The experience promises im-measurable returns including workshops on career development, and an unforgettable performance experience.

www.yamaha.com


Hot jazz in cold Madison, Wisconsin! JOEL KAYE, a bari sax player in the bands of Johnny Richards and Stan Kenton in the early 60’s has secured the arrangements of the Johnny Richards Big Band book and is planning concerts Feb. 20-21. As you may know, Richards was the great arranger for the Kenton bands that expanded the stan-dard Big Band instrumentation by adding Tuba and Bass Sax on the bottom and Pic-colo on top…and later French Horn. He was the arranger of Cuban Fire Suite, Kenton’s best selling album and West Side Story, Kenton’s Grammy winning album. Contact [email protected] for more info and how to get tickets.

Upcoming Events JEN Partnerships in Jazz Education:NAMM/Support Music CoalitionJanuary 14-17, 2010Anaheim, CAwww.supportmusic.com

Music For All National FestivalMFA/JEN Honors Jazz Band of AmericaMarch 4-6, 2010Indianapolis, INwww.musicforall.org

1st Annual JEN Conference: Shaping the Future of Jazz EducationMay 20-22, 2010University of Missouri – St. LouisSt. Louis, MOwww.JazzEdNet.org

Music For All Summer SymposiumMFA/JEN Jazz CampJune 21-26, 2010Bloomington, ILwww.musicforall.org

JEN Endorsed Events:Puerto Vallarta Jazz FestivalFebruary 12-15, 2010Puerto Vallarta, Jalisco, Mexicowww.amclass.com

National Jazz WorkshopJuly 11-16, 2010... Details Coming Soon!Beginner to Professional MusiciansShenandoah University in cooperation withU.S. Army Blues & Smithsonian JazzMastersWinchester, Virginiawww.nationaljazzworkshop.org

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1st Annual JEN ConferenceUniversity of Missouri - St. Louis

May 20-22, 2010

Be a Part of History!

Be certain not to miss being a part of JEN history by attending the First Annual Conference

next spring! Here are a few exciting details about this once in a lifetime event.

•Conference Registration:To register today, log on to www.JazzEdNet.org and click the link to purchase your conference registration. The fi rst 500

members to register receive Priority Seating to the evening concerts! If you are not currently a JEN member, please Join Today and you can register for the conference as part of the same transaction. If you have already purchased your conference registra-tion, we will see you in St. Louis!

•Conference Housing:The Jazz Education network is pleased to announce the Hilton Airport St. Louis as the offi cial hotel for the 2010 Confer-

ence. As part of this exciting partnership we are able to offer a room rate of $74 per night, plus tax to our members. A directlink is provided on the JEN website to secure your reservation.

If you prefer, you may contact the hotel directly by calling: 314-426-5500 direct or toll free at 1-800-314-2117.The Hilton provides Hotel Shuttle Service to and from airport. JEN will provide shuttle service to and from the offi cial

hotel and the University of Missouri-St. Louis for the Conference.

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• Congratulations to the following School Ensembles that have been accepted for performance:

• Abraham Baldwin Agricultural College - Tifton, GA• Austin Academy - Garland, TX• Brubeck Institute - Stockton, CA• College of the Mainland - Texas City, TX• Columbia College Chicago - Chicago, IL

• Deal Hannes Sigfridsson Trio - Stockholm, Sweden• Ft. Zumwalt North High School - O’Fallon, MO• Hannibal High School - Hannibal, MO• Jazz St. Louis All Stars - St. Louis, MO• Johnston High School - Des Moines, IA• Marshall University - Huntington, WV• Milton Academy - Milton, MA• Metropolitan Area Youth Jazz Orchestra - Omaha, NE• Niles North High School Jazz Choir - Skokie, IL• St. Charles North High School - Bartlett, IL• Tinley Park High School - Tinley Park, IL• University of Alabama Big Band - Tuscaloosa, AL• University of California Los Angeles

- Canyon Country, CA• University of Northern Iowa - Cedar Falls, IA• University of Missouri-St. Louis Big Band - St. Louis, MO• University of West Georgia - Carrollton, GA• Webster Groves High School - St. Louis, MO

We are very pleased to announce the Professional ensembles that will per-form at the Inaugural Conference:

• The Army Blues/Pershing’s Own• Ruben Alvarez• Jennifer Barnes and Sixth Wave• Shelly Berg• Phil Brown and the New Arts Jazztet• The Capitol Bones• Capital Trad Jazz Band• The Caswell Sisters• The Clayton Brothers Quintet• Rosana Eckert• Lou Fischer• Christian Howes• Inventions Trio• Tom “Bones” Malone• Bob Mintzer• Bill Mays• OslanDailey Jazztet• Gene Perla and the GO Trio• The Rufus Reid Trio• Bobby Shew• Terrell Stafford• Marvin Stamm• Ndugu Chancler• Jerry Tolson Quintet• Chris Merz’ Equilateral• John Wojciechowski Jazz Quartet• More to Come!

World-Class Clinics:Education is one of the three primary missions of the

Jazz Education Network and we were fortunate to receive a signifi cant number of clinic applications. The process of selecting individuals to present was a diffi cult one and we would like to thank all of those who applied.

• Jamey Aebersold, Anyone Can Improvise• Ariel Alexander, Where are the Girls?• Frank Alkyer, DOWNBEAT Blindfold Test• Carol Argiro, New Knowledge for Engaging Jazz

Audiences• Pete Barenbregge, Big Band Rehearsal Techniques• Sharon Burch, Jazz for kids--easy and fun! Infusing

jazz into elementary music

JAZ_14 14 1/18/10 10:35:40 AM


• Ndugu Chancler, Finding the Time: Swing to Salsa!• Tim Davies, Breaking the Mold: Big Band Writing

to the next level.• J.B. Dyas, Tune Learning: A Systematic Method for

Memorizing and Retaining the Essential Jazz Repertoire

• Dave Fodor, JEN Student Composition Forum• Antonio Garcia, Transcribing Jazz Solos Without

Pitches• Mark Gridley, Teaching Jazz History and

Appreciation: A Listening Skills Approach• Christian Howes, The Classical String Player:

Making the Leap to Jazz Improvisation• Cheryl Hughey, The Future of Online Media

Technology in Jazz• Lisa Kelly and JB Scott, Singing Jazz: How do you

Begin to Learn Your Craft?• Robert Klevan, Listening 101: Get your students to

listen to jazz• John Kuzmich Jr., Digital Magic: Seamlessly From

‘Live’ Recording to Web Posting in Minutes• Larry Lapin, Arranging for the Jazz Vocal Ensemble• Mark Levine, Drop 2 for Pianists and Arrangers• Victor Lopez, Latin Rhythms: Mystery Unraveled

(A Practical Approach Introducing Latin Rhythms to the Jazz Ensemble)

• Sherry Luchette, Hands On Activites In Jazz for K-8 Students

• Bob Mintzer, The Saxophonist in the Rhythm Section• Allan Molnar/Stewart Smith, The ALIVE Project

– Jazz Education via Distance Learning• The Rufus Reid Trio, About the Rhythm Section• Fran Morris Rosman, An Afternoon with Ella

Fitzgerald• Dave Robinson clinic should read...Traditional

Jazz--It’s Not Just for Breakfast Anymore!• Judy Shafer, Roundtable-Open Discussion on K-8• Dean Sorenson, Jazz improvisation One Step At

A Time• Mike Tomaro, Instrumental Big Band Reading

Session with the Army Blues• Mike Vax, Care and Feeding of the Trumpet Section• Richard Victor, ADVOCACY IN ACTION: Tips for

EFFECTIVE advocacy!• Michelle Weir, JAZZ CHOIR: Effective Rehearsal

to Stellar Performance

•4,000+ sq. ft. Industry ExhibitSelected list of exhibitors:• Advance Music/Veronika Gruber• Aebersold Jazz• Alfred Music Publishing• Army Recruiting• Berklee College of Music• Buffet Crampon• Capital University• Cultural Tour Consultants• DANSR Inc.• EM-BEE Ideas• Mark Gridley• Hal Leonard Music Publishing• Jazz at Lincoln Center• ejazzlines.com/Jazz Lines Publications• Mozingo Music• Music For All/Bands of America• Pender’s Music• Piano Distributors• Powell Flutes/Sonare Winds• Robert Taylor• Rufus Reid Productions• Shattinger Music• Stanton’s Sheet Music• Sher Music Company• Symphony Publishing, Inc.• Yamaha Corporation of America• and more to come!

•Stage Naming RightsA unique feature of the upcoming JEN Conference,

May 20-22, 2010 will be the ability to secure Stage Nam-ing Rights to sponsor one of the four performance or clinic stages for the weekend. Prices range from $2,500-$10,000. Details online!

•Meet Me in St. Louis Celebration!Join us on Friday evening just prior to the evening con-

cert from 5:30-7:30pm for a Taste of St. Louis Cuisine com-plete with local wines and brews. Music will be provided by the Jazz St. Louis All Stars!

We look forward to seeing you in St. Louis THIS May! Don’t

wait; register now to be a part of jazz history!

Ruben Alvarez

JAZ_15 15 1/18/10 10:35:45 AM



JEN MEETS WITH Q AT THE QUINCY JONES MUSIQ CONSORTIUM!

On November 4th President Mary Jo Papich and President-Elect Lou Fischer, representing JEN, met

with leaders in music education, the music industry, corporations, foundations and philanthropists to

share resources, networks, ideas and passion with the goal of making American music a vital part of the

lives of children in the United States. The legendary music icon, Q, called the meeting out of concern that

today’s American students are growing up without grounding in the history of American music and not

realizing the importance of this music to their cultural identity.

Sponsored by NAMM and Time Warner, this was the 2nd meeting of these leaders. The goals of the Musiq Consortium are to:• Increase the percentage of children that are participating in school and after-

school music programs.• Increase the quality and number of music educators in the United States, as

well as employment opportunities for those who are best qualifi ed.• Via partnership with the Musiq Consortium participants, develop shared ad-

vocacy and funding initiatives for music programs.• Ensure that all students, whether they are studying music in public schools or

in after-school programs, are thoroughly grounded in the history of American popular music from Appalachian and Folk music to Rap, and the importance of the music to the student’s cultural identity.

Q’s comments focused on the concept of ubunto ….that the collective is al-ways more important than the individual when working together…thus “Great minds think in harmony!” Plans are to roll out a comprehensive American Music curriculum within the next year or so…heading this major task are Dr. David Baker (Indiana University/Smithsonian Jazz Orchestra) and Dr. William Banfi eld (Berklee College of Music). Organizer for the event was Madelyn Bonnot, Exec-utive Director of the Quincy Jones Foundation. Other JEN members participat-ing included: Scott McCormick, Yvonne Ervin, Marty Ashby, Barry Applewhite, Shelly Berg, Roger Brown, John Hasse and Anthony White.

Shaping the future of music education – things to come!

Visit www.qjconsortium.org for more info and www.DonorsChoose.org to make a donation.

Quincy Jones and JEN Members.

Lou Fischer, Mary Jo Papich, and Herbie Hancock

JAZ_16 16 1/18/10 10:35:49 AM


New Members As Of December 23, 2009.

Corporate Partner:Dansr IncShattinger Music

Institutional Partner:University Arkansas Ft. SmithUniversity Of New OrleansStanford Jazz WorkshopNew England Conservatory Of Music

Network Affi liate:Swedish JazzfederationUniversity Of Northern Colorado

Individual Members:Kurtis AdamsRyan AdamsonsSeth AhnertRichard ArmandiDon BaileyDavid BankerJennifer BarnesKristin BeasleyEd BinghamGayle BisesiMissy BowenTimothy BrentBernie BrinkPhilip BrownGregory BushMichele CaniatoDavid ClarkDonald CoatesJustin CockerhamJim CochranMarlin CooperCelia CottleJorge CurreaLika DozierGregory DudzienskiRobert Duss Ii

welcome new members

Larry DwyerJoyce EdwardsYvonne ErvinFrederick FiddmontDorothy FreeRichard GalimeStephen GuerraTom HallKirk HamiltonMike HamptonPatrick HennesseyGino HernandezThomas HerreraBrian JacobiJaniece JaffeMichelle JensenCatherine Jensen-HoleShirley JudkinsRobert KellerMarty KenneyJulie LawsonMatt LederVince LewisSteven LipmanElizbeth Lucht-ThomasKenneth MarrsMel MartinLawrence McclellanSean McgowanJenna McswainRichard MikelDavid MillerJoedy MissalAllan MolnarJoel NagelFredrik NorenTommie PardueMichael ParkinsonAlan PasquaRoy PhillippeDonald Phillips

Roberta RadleyDustin RetzlaffBrian RodeschTony SaccomannoRobert SchafKen SchaphorstKelsey ShibaWilliam Sheffi eldMatt SmileyStewart SmithConstance M. SteinMichael Jefry StevensTom StewardJohn StolfeJanice SwanbergGary SwerdlowD.R. UllmanAaron VandermeerMurray WalkerTom WalshDavid WareSallie WhiteA. Gregory WilliamsSam WilliamsSarah Andrew Wilson

Current Membership Representation includes: Australia, Austria, Canada, China, France, Germany, Japan, Korea, Mexico, New Zealand, South Africa, Sweden, United Kingdom, and the United States. The collective Membership includes: twenty-nine Corporate Partners; twenty-fi ve Institutional Partners; And twelve Network Affi liate groups, in addition to our various individual member categories. To See Which Of Your Friends And Neighbors Are Members, Visit Our Website At www.JazzEdNet.Org

JAZ_17 17 1/18/10 10:35:53 AM


1 Peter Garland - The Days Run AwayThis has been my favorite CD for many years and I fi nd I must visit it periodically as it helps ground me in what is important to me musically. The music is so simple and lucid. With each listening, it takes on more weight and depth. After recently looking at the sheet music, I now realized how important the pianist is to the success of this recording.

2 Allison Kraus/Robert plant - Raising SandThe sound of this recording knocks me out. Jay Bellerose is my favorite drummer at the moment - his sonic choices add to the emotion and character of each song. I always love the breadth of humanity in Allison’s voice, but was surprised how much I like Robert Plant’s voice, as well, and the combination of the two.

3 Susanna and the Magical Orchestra - Melody MountainIf I had my own award competition (the “Johnnys?”), this album would have won ‘Best Album!’ It is another longtime favorite that warrants repeated listenings. Each arrangement is a sonic jewel - the arrangements and keyboard choices by Morten Qvenild (the “orchestra”) are exquisite. I also heard this program live, and it moved me deeply. I like most of these versions more than the originals and I fi nd it mind-bog-gling how much incredible music is coming from Norway!

4 Brian Eno and David Byrne - My Life in the Bush of GhostsI recently heard this seminal recording for the fi rst time (like usual, I’m many years behind the hipsters) and could instantly hear the infl uence it had on a generation of artists I admire. I love the concept of “fi eld recording” as lead vocalist/melody and appreciate the rich layers of groove.

5 “Take this Ring” (Toni Braxton) and “One Thing” (Amerie)Both of these songs were produced by Rich Harrison and have some of the same touches, but the layers of details and subtlety always surprise me. Both tunes are grounded in great groove samples from Meters songs.

6 Elvin Jones - Earth JonesThis remains my favorite Elvin Jones recording. I love David Liebman’s reworking of “Night and Day”; the mesmerizing slow Elvin groove of “Is Seeing Believing;” Kenny Kirkland!; the great duo in “Top of the Middle,” the great drum melody of “Three Card Molly.”

7 John Scofi eld, Adam Nussbaum, Steve Swallow - Shinola I fi rst heard this on LP when I was about 16, and recently bought a digital version. I still love the rough, live sound, and the sound of the calfskin heads. It was, and is, very inspiring!

Well known as leader of the Claudio Quintet, acclaimed drummer John Hollenbeck has also recorded and performed with many of today’s jazz greats, including Fred Hersch, Bob Brookmeyer, Kenny Wheeler, and Tony Malaby.

Hollenbeck was awarded the prestigious Gug-genheim Fellowship in 2007 and his most recent works include commissions by the Bang on a Can and the People’s Commissioning Fund; the Ethos Percussion Group funded by the Jerome Founda-tion; Youngstown State University; and the Painted Bride Art Center of Philadelphia.

2009 saw the release of two more well received recorded collections from John Hollenbeck: Rain-bow Jimmies and Eternal Interlude.

What’s on Your Playlist?

John Hollenbeck’s 2009 CD releases are: Rainbow Jimmies (GPE Records) & Eternal Interlude (Sunnyside Records). www.johnhollenbeck.com

JAZ_18 18 1/18/10 10:36:30 AM


8 Johann Johannsson - IBM 1401, a user’s manualChris Speed hipped me to an earlier recording which led me to this. Hard to put into words, but I love the space and moodiness... very cinematic and emotion-ally substantive.

9 Madlib and MF Doom - “Accordion” from Madvilliany The combination of the way he back phrases, the soft dissonant samples, the hilarious words (“Slip like Freudian, your fi rst and last step to playing your self like accordion”) create a very fresh and funky little piece that captivates me over and over again.

10 Japon-Gagaku (various artists) The mystery of this music appeals to me - the spaciousness, the deep/funky groove, the clarity. Although I have so far been unsuccessful, I have often started brainstorming a composition with the intent of creating something with these combinations of elements.

Jazz Performance EducationBachelor & Master of MusicArtist Diploma� Curriculum Tailored to Each Student’s Need� Perform, Tour, Participate in Master Classes� Extraordinary Faculty & Top Guest Artists

Apply by December 1for February/March auditions in New York at Juilliard

All applicants must meet Juilliard’s jazz audition requirements.

B.M. requires high school diploma or equivalent

M.M. requires bachelor of music

Artist Diploma (a post-graduate, tuition-free program) requires college degree or extensive experience

Send Applications and Pre-Screen Recording to:Juilliard Admissions, 60 Lincoln Center Plaza, NY, NY 10023(212) 799-5000 • www.juilliard.edu/jazz

Photo: Jazz Bassist, alumnus, and Juilliard Jazz Artist-in-ResidenceChristian McBride performs with student Eddie Barbash, on alto sax.Photo: Hiroyuki Ito

Carl AllenArtistic Director

Laurie A. CarterExecutive Director

Benny GolsonArtistic Consultant

Christian McBrideArtist in Residence

Benny GreenVisiting Artist

SaxophoneRon BlakeJoe Temperley

TromboneSteve Turre

TrumpetEddie HendersonChristian JaudesJoseph Wilder

GuitarRodney Jones

PianoKenny BarronFrank Kimbrough

DrumsCarl AllenBilly DrummondKenny Washington

BassRon CarterRay DrummondDavid GrossmanBen Wolfe

THE JUILLIARD SCHOOL | JOSEPH W. POLISI, President

JuilliardJAZZ

JAZ_19 19 1/18/10 10:36:34 AM

www.juilliard.edu


Symmetrical MetersWhen teaching middle school students

how to recognize different meters, remember to emphasize that the beats and their subdivisions are all equal and even. In my experiences in working with young musicians, the tendency is to rush the upper beat or the “&” of the count. If all of the syllables are evenly spaced, like “1&2&”, simple duple would be the correct meter of choice. But if it is more comfortable to count “1&a2&a”, compound duple would be the correct meter of choice. Remember to emphasize to the student that the numbers (1, 2, 3, and 4) always come on a pulse, or the strongest part of the beat. This may take

The term, “meter” can be defined

as a repetitive pattern of strong

and weak beats in an arranged

rhythm. This does not imply

that the rhythms themselves

are necessarily repetitive, but

a repeated pattern of pulses

or beats is clearly evident.

Duple meter in the music will

feel like “strong/weak/strong/

weak.” Triple meter in the mu-

sic will feel like “strong/weak/

weak,” and quadruple will fell

like “strong/weak/weak/weak.”

basic training M U LT I - M E T E R E D M U S I C

Where’s the Beat?MIDDLE SCHOOL MUSICIANS AND MASTERING THE MYSTERIES OF MULTI-METERED MUSIC

BY PAXTON GIRTMON

some practice. These exercises may be very benefi cial for a young musician learning to read advanced level music and is confused by meter changes in a composition.

Identifying Various MetersSimple and compound are the two main categories of meters. In

a simple meter, each beat is basically divided into two parts, 1&, and the quarter note should be constant. In compound meters, each beat is divided into three parts, 1&a, and the eighth-note should be constant.

Constant Note Value Quarter Note Eighth-Note

Two beats per measure Simple duple Compound dupleThree beats per measure Simple triple Compound tripleFour beats per measure Simple quadruple Compound quadruple

The table below illustrates the most-used symmetrical meters.

Symmetrical MetersMeter Beats/Pulses Time Signature

Duple Simple (1&)(2&) 2 4

Triple Simple (1&)(2&)(3&) 3 4

Quadruple Simple (1&)(2&)(3&)(4&) 4 4

Duple Compound (1&a)(2&a) 6 8

Triple Compound (1&a)(2&a)(3&a) 9 8

Quadruple Compound (1&a)(2&a)(3&a)(4&a) 12 8

JAZ_20 20 1/18/10 10:38:05 AM


basic training

Asymmetrical MetersMany composers of today are using

meters that are asymmetrical. This occurs in music when you have an odd number of subdivisions, which means that the measure cannot be divided into equal pulses or beats. There have been a number of different methods used for notating asymmetrical meters; the more traditional method of notating these time signatures is commonly preferred like (5/8 and 7/8).

Making asymmetrical meters easy to recognize is the top number of the time signature. In many cases it is an odd number, for example (5/8 and 7/8). Asymmetrical meters can be counted in the same manner as compound meters. In order to determine the best possible group pattern, young musicians must pay careful attention to the beams provided above or below the notes. Where possible, each beat is divided into three-note groupings. One beat or pulse will have one less eighth-note, thus making the meter asymmetrical.

Many musicians overlook the effect that meter changes will have on the conductor. Conductors use different conducting patterns to successfully conduct many different meters. The conductor’s pattern should emphasize a strong downbeat. This may aid many young musicians in keeping their place in the music. Watching the conductor is extremely important when dealing with asymmetrical meters.

Another compositional method used in many of today’s concert band music is the alternation between simple, duple, triple, quadruple and asymmetrical meters. Many young musicians of various experience levels frequently play these rhythms incorrectly because they don’t realize that they’re only rearranging the eighth-notes to create a different pulse or beat. In return the asymmetrical meters are often rushed, especially the beat or pulse with the fewest notes. For example, if the grouping of an asymmetrical measure is (3+2), the last count with only two

notes would usually be rushed, as well as any following simple, duple, triple or quadruple metered measure.

Young musicians will see that the second beat or pulse has one less note than the fi rst beat or pulse and will automatically assume that there must be a need to compensate for the missing note by speeding up the note value of the fi rst pulse or beat. Remember, the eighth-note must stay constant. Before you have the students play any rhythm, have them count the rhythm fi rst. I would usually stress the pulses or beats in each measure while the students would count the entire rhythm in each measure. For more reinforcement, I would have a percussionist play steady eighth-notes on a snare drum and have your students count the rhythm in each measure. Select a slow tempo to start this exercise and gradually work your way up to the performance tempo. This method of teaching will ensure that all notes are being played evenly.

The table below illustrates the most-used asymmetrical meters.

Asymmetrical MetersMeter Beats/Pulses Time Signature5/8 is considered Asymmetrical Duple, because it contains one compound pulse.(1&a), and one simple pulse (1&), or vice-versa; (3+2) or (2+3).

Asymmetrical Duple (3+2) (1&a)(2&) 5 8

Asymmetrical Duple (2+3) (1&)(2&a) 5 87/8 is considered Asymmetrical Triple, because it contains two simple pulses (1&) and one compound pulse (1&a), such as (2+2+3), (2+3+2), or (3+2+2).

Asymmetrical Triple (2+2+3) (1&)(2&)(3&a) 7 8or (2+3+2) (1&)(2&a)(3&) 7 8

or (3+2+2) (1&a)(2&)(3&) 7 811/8 is considered Asymmetrical Quadruple, because it contains one simple pulses (1&) and three compound pulses (1&a), such as (2+3+3+3), (3+2+3+3), (3+3+2+3) or (3+3+3+2).

Asymmetrical Quadruple (2+3+3+3) (1&)(2&a)(3&a)(4&a) 11 8

or (3+2+3+3) (1&a)(2&)(3&a)(4&a) 11 8

or (3+3+2+3) (1&a)(2&a)(3&)(4&a) 11 8

or (3+3+3+2) (1&a)(2&a)(3&a)(4&) 11 8***In the examples above, the numbers in (1&)/(1&a) can be replaced with any number that will best demonstrate the correct counting of the measure in question.

JAZ_21 21 1/18/10 10:38:09 AM


basic training Points to Remember1. Thoroughly explain all meters:

simple, duple, triple, quadruple, and asymmetrical.

2. If possible, have the children listen to the composition and clap only the strong beats: 1-2, or 1-2-3, or 1-2-3-4.

3. Ask them to identify the meter of the song, based on their clapping or counting.

4. Duple and quadruple meters may cause some confusion within the group. Don’t be alarmed. Sometimes young musicians will have trouble distinguishing between the two meters. Locating the strongest beats in each measure may resolve the problem.

5. If you have the ability, use new compositions when dealing with compound and asymmetrical meters.

6. Once they have found the beat, have them to count along with the music; (1&)(2&) or (1&a)(2&a).

7. To check for understanding, ask the following questions:

1. Can they quickly decide which meter is used in the music?

2. Is the meter simple, compound or asymmetrical?

8. When dealing with asymmetrical meters, remember, the eighth-note must stay constant. Young musicians will have a tendency to rush. Select a slow tempo to start this exercise and gradually work your way up to the performance tempo. This method of teaching will ensure that all notes are being played evenly.

Simple Songs in various meters• “The Farmer in the Dell” (duple

simple)• “Five Little Ducks” (duple simple)• “Joy To The World” (duple simple)• “Row, Row, Row Your Boat” (duple

compound)• “When Johnny Comes Marching

Home” (duple compound)• “Green sleeves” (duple compound)• “Three Blind Mice” (duple

compound)• “Found a Peanut” (triple simple)• “Take Me Out to the Ballgame”

(triple simple)

• “Amazing Grace” (triple simple)• “Home On The Range” (triple

simple)• “My Bonnie Lies Over the Ocean”

(triple simple) • “Jesus Loves Me” (quadruple

simple)• “The Cat came Back” (quadruple

simple)• “Do Your Ears Hang Low”

(quadruple simple) • “Dry Bones” (quadruple simple)• “Silent Night” (compound duple)• “Humpty Dumpty” (compound

duple)• “The Muffi n Man” (quadruple

simple)• “The Alphabet Song” (quadruple

simple)• “The Animal Fair” (compound

duple)• “The Ants go Marching”

(compound duple)• “The Bear went over the

Mountain” (compound duple)• “The Eensy Weensy Spider”

(compound duple)• “Pop! Goes the Weasel”

(compound duple)• “Hickory Dickory Dock”

(compound quadruple)

Dr. Girtmon is currently director of Bands/Music Education-chair/associate professor of Music at Belhaven College, Jackson, Miss. He oversees all aspects of the Marching, Jazz, Symphonic Winds, and Pep Band programs, as well as the large and small ensembles in the spring terms.

Dr. Girtmon has large and small Wood-wind Ensemble compositions with the following music publishers: Duma Music, Pender’s Mu-sic, Hickey’s Music Center, Grand Mesa Music, Mannerino’s Sheet Music, and Wehr Music. He has also published several scholarly articles in The National Association of African-Ameri-can Studies (NAAAS) Monograph Seriesand The Dr. Estrella’s Abridged Dictionary of Composers. Dr. Girtmon has an active conducting schedule and is a frequent honor band clinician and adjudicator for concert band and large and small ensembles events.

Bachelor Degree Programs• Jazz/Commercial Music Mus.B.

• Music Education Mus.B.

Masters & Doctoral Degree Programs

Concentrations in Music Performance, Composition/Arranging, Music History &

Music Technology

• Master of Music M.M. • Doctor of Musical Arts D.M.A.

• A U D I O R E C O R D I N G T E C H N O L O G Y • C O M P O S I T I O N / S O N G W R I T I N G • M U S I C T E A C H E R E D U C AT I O N • MUSIC BUSINESS • MUSIC PERFORMANCE • MUSICAL THEATRE • MUSIC TECHNOLOGY • MUSIC HISTORY

305 N. Service Road Dix Hills, New York 11746

631.656.2110www.ftc.edu

Graduate Assistantships Available

Masters tuition is $495/credit or $5940/semester (12 credits) Doctoral tuition is $725/credit or $6525/semester (9 credits)

Application to be submitted by March 30, 2010 Assistantships are $5400 along with tuition remission

JAZ_22 22 1/18/10 10:38:13 AM

www.ftc.edu

When we say music is central at North Central College, it means that we expect you to build a full and complete life around your music studies. Students choose from majors in Music, Music Education, Musical Theatre or Jazz Studies—but they also dance, act, explore, study abroad, volunteer, mentor, pole vault and pursue countless other passions.

Our location, in downtown Naperville, is only 40 minutes by train from Chicago and makes it easy to enjoy, perform and do great works.

Call 630-637-5800 to discover more about our programs in music.

Or visit us online at www.northcentralcollege.edu.

www.northcentralcollege.edu 30 N. Brainard Street Naperville, IL 630-637-5800

Performing Opportunities at North

Central CollegeConcert Choir

Women’s ChoraleWomen’s Chamber Ensemble

Opera WorkshopMusic Theatre Productions

Vocal Jazz EnsembleGospel Choir

North Central College Express Show Choir

Concert WindsChamber Winds

Percussion EnsembleBrass Quintet

Big BandJazz Combos

Chamber JazzPep Band

Naperville Chorus

Freshman Visit Days:Monday, January 18, 2010Saturday, April 10, 2010

Transfer Visit Days:Saturday, February 27, 2010Saturday, April 24, 2010

Fine Art Auditions:Saturday, February 20, 2010

Music, TheaterThursday, February 25, 2010

Music Education, Vocal, Forensics

Saturday, March 6, 2010Music, Theater, Art

At North Central College, being well-rounded doesn’t mean losing your musical edge.

JAZ_23 23 1/18/10 10:50:23 AM

www.northcentralcollege.edu


Can Do, Teach

Da

vid

Ba

ker

Those Who

JAZ_24 24 1/18/10 10:40:08 AM


Not only is David Baker an educator, but also a dedicated composer, performer,

and jazz ambassador, as well. Baker has served as a member on the National

Council on the Arts, board positions for the American Symphony Orchestra

League, Arts Midwest, and the Afro-American Bicentennial Hall of Fame/Muse-

um. He is a former chair of the Jazz Advisory Panel to the Kennedy Center and

the Jazz/Folk/Ethnic Panel of the National Endowment for the Arts. In addition,

Mr. Baker served as president of the International Association of Jazz Educa-

tors and is currently a senior consultant for music programs for the Smithsonian

Institution. He has more than 65 recordings, 70 books, and 400 articles to his

JAZ_25 25 1/18/10 10:40:12 AM


David is not only a giant in terms of awards, books, and honors, but is a true jazz legend and brilliant teacher. The saying, “those who can’t do, teach” does not apply to Baker or even his own mentors. Baker has studied with some of the greatest jazz legends, including J.J. Johnson, Bob Brookmeyer, George Russell, William Russo, and Gunther Schuller, and a list of Baker’s own stu-dents reads like a list of who’s who in the modern jazz world. He’s performed with Lionel Hampton, Stan Kenton, Maynard Ferguson, George Russell, and Quincy Jones, to name a few, and told JAZZed that the state of jazz in America has “never been better.”

JAZZed: How did you get started play-ing music?

David Baker: Well, I started when I was in about the 7th or 8th grade and didn’t really get serious until I got into high school. I went to a high school called Crispus Attucks High School which was famous simply because Os-car Robertson was an alumnus, but J.J. Johnson, Leroy Vinegar and a host of others also had attended and, by law, had to go to that school. This was dur-ing the time of segregation – you know: “separate but equal” facilities.

We had excellent teachers, and be-cause that was one of the only schools that blacks could go to that meant we probably had the crème de la crème of teachers, also. There were so many teachers at Crispus Attucks who had Ph.D.s or Masters Degrees in Music. So, it turned out that something that had all kinds of negative connotations was actually a blessing for those of us who went to that school.

JAZZed: Who were some of your major infl uences as both a player and teacher?

DB: All of my teachers at Crispus Attucks were major infl uences on me. And, as it was the school where J.J. Johnson graduated, it was a natural thing that I would gravitate toward the trombone because he was already an icon by that time. I believe he gradu-ated in 1942. By the time I got to that school – four or fi ve years later – he was already legendary.

My degree at Indiana University was in music education and, con-sidering the models that I had – my own teachers – it seemed natu-ral that I would gravitate towards that. When I saw my graduation yearbook at our [high school] re-union this summer, the first thing I noticed was were it said, “Name, Nickname, Pursuit” – my pursuit was “music teacher,” so I’m sure that I had some serious leanings to be a teacher already.

JAZZed: You studied at Indiana Univer-sity at a time when jazz was not taught. What pushed you to study jazz?

DB: Well, I ended up at Indiana University, so I was practicing and learning how to play classical music because that’s what Indiana University taught, as did most other schools. It was still a long way in the future before jazz would become a part of the edu-cational institutions. But, I also knew that, given those times of segregation, I wasn’t going to play in the symphony orchestra and I probably wasn’t going to play in the opera or ballet. I think that people tend to excel in the areas which are open to them and, for me, that would have been rhythm and blues, rock ‘n’ roll, jazz and I suppose of what was left of vaudeville at that

As you add different viewpoints, it gives the students a much more rounded exposure to the material.“

“

JAZ_26 26 1/18/10 10:40:16 AM


other programs now which have blossomed and made America a place where you really, really can go and get a major education in the jazz area.

But, we went maybe six or seven years where I was doing it by myself. Across the years as we added other faculty members, it gave the students more viewpoints and as you add different viewpoints, it gives the students a much more rounded exposure.

JAZZed: Other than the addition of new faculty members, how has the program evolved academically?

DB: The basic principals have remained the same, but when you add other faculty members, they bring new information, new blood, and new approaches to it. Now we’ve grown in numbers – this last semester I had 60 students in my basic improvisation class which obviously necessitates another way of approaching the information, so that you get everybody involved and also requires that you change how you begin to disseminate that information.

time. So, this is a choice that I’m glad I made, but it was a choice which was limited because of the times.

JAZZed: You were instrumental in the creation of Indiana University’s jazz program at a time when jazz was not accepted in academia. Can you tell us a little bit about the evolution and changes that you’ve seen over the years within Indiana University’s jazz program?

DB: For all intents and purposes, this is a degree that I started. I started the degree program but actually, for three or four years before that, Roger Pemberton, Jerry Coker and others were teaching isolated classes. So, in 1966 they brought me in to bring all of those things together to make a program. The three people who had laid the foundation were Buddy Baker, who was also on faculty as a trombone teacher; Roger Pemberton, who taught arranging; and Jerry Coker, who was working on a masters degree at the time. Actually, Jerry’s the one who rec-ommended me for the job of coming in and starting a degree granting pro-gram. They were offering some jazz courses, but they were disparate and not really a part of a cohesive curricu-lum. So, when I came in, my charge was to put together a curriculum that would then make it acceptable to the Dean and the committee to make it a degree granting program rather than a group of independent classes that were being offered.

At the time, I was only one person and that made it very diffi cult because you have only one person who is trying to teach all of the subjects.

Of course there were fewer numbers, too, because it was in its infancy. At that time, there were not many people because there was not a future for most people. It has now evolved into one of the major programs, and it’s a program now which is one that has been imitat-ed by other schools. I think it’s merited because of the people, we’ve turned out, from John Clayton to Bob Hurst to Peter Erskine -- you can pretty much name it. So consequently the changes have been material but changes which are very, very big changes in the sense that they’ve kept abreast with all the

David Baker conducting the sax section.

James Moody consulting with David Baker.

JAZ_27 27 1/18/10 1:31:13 PM


We’ve added a Masters Degree and we have added high specifi city courses like “The Music of Duke Ellington.” We now have coverage, across the board – Latin jazz, all the things that have happened since Ornette Coleman, and we cer-tainly in our history classes have tried to incor-porate everything from roughly around ragtime up through to the present. So I guess yes, we’ve expanded, not only the amount of information, but the different ways to present that informa-tion as well.

I’m sure I’ve changed some, too. When I started writing books, Jerry Coker and a few other people were the only people who had books. That was in the early 1960s. Now, if you pick up a Jamey Aebersold catalog, it’s almost like picking up a thesaurus or encyclopedia be-cause there’s so much information and so many different ways of disseminating that information. Obviously I’m not living in a vacuum, so conse-quently I’m sure that, as I have grown and had

access to a lot more information, I’ve changed the ways in which I present that information.

JAZZed: Speaking of Jamey Aebersold, how do you feel about the standardization of jazz educa-tion?

DB: Well it’s very diffi cult for me to speak with much detachment, simply because I taught Jamey. But I think that certainly bringing it into some way where it was verifi able, whether people were learning the intonation or not [was impor-tant]. In an article I wrote in 1967, I criticized that, essentially, we were getting formulaic results to problems that existed. What happened was that we were teaching teachers, to teach teachers, to teach teachers, to teach teachers, without any of them having done anything – I mean played! And, when that happens, I do think that it can be very dangerous. But by and large, I think that has been dealt with, at least within the major venues

that I come into contact with.

JAZZed: There’s that old saying, “Those who can’t do, teach.”

DB: Oh that’s absolute nonsense! I think that lost its validity a long, long time ago.

Basically, the best teachers, in most situations now, are people who are players in the classical world, as well as the jazz world. It might not be that they play at the level of say John Coltrane but then again, who does?

When I came into this, Jerry Coker, myself, Nathan Davis, Donlad Bryd, and Rufi s Reed – we were among the only people who were really coming at it with playing backgrounds. I mean, having played with any of the major artists. I know that there were probably other people we didn’t even know about who were doing this. I think that over the years, most of the problems – it seems to me, anyway – have already come to a head and been solved in a reasonable way.

JAZZed: What is the hardest thing about teaching jazz?

DB: I suppose it’s getting past the mechanics. The easiest things for the teacher are the things that can be imitated – the things that have to do with the technical side of it. How do you play the instrument? What chord goes with what scale? So, that leaves the hard part – how do you make music out of all of those things where, in fact, the whole is greater than the sum of the parts.

JAZZed: Right, and much of jazz can’t really be taught.

We were teaching teachers, to teach teachers, to teach teachers, to teach teachers, without any of them having done anything – I mean played!“

“JAZ_28 28 1/18/10 10:40:24 AM


DB: Well, you put it that way, buy how do you teach the idiosyncrasies of the music of Haydn? I don’t subscribe to the notion – I think what we do is present information and try to put it in a package that allows people to ac-cess that information and bring to bear what they play. So I’m not so sure that there are even any elements of jazz that you can’t teach.

It’s like language. What happens with people so often is they start teach-ing all the syntax and grammar before the people can have a natural sense. Like when we were little kids and we learned how to speak – “I wanna go potty. I’m hungry” – nobody says that we have to put it in proper form with verbs and nouns, et cetera. So you learn the language and then you learn how to apply the language.

In jazz, I think that we sometimes have done it backwards. We start off by telling people about scales, we tell them about the rhythms, we tell them about all of these kinds of things, but we never tell them how to make mu-sic! So, I’m so glad to see that your magazine and others have now begun to champion the fact that there’s more than one way to skin a cat.

JAZZed: What’s your favorite thing about teaching?

DB: The passion for teaching and for loving working with young people. Young minds who are probably emi-

nently more talented than the people of my generation were, simply because now they have access to better teach-ing facilities, all the electronics, all the things that have now made commu-nication almost an afterthought. Who would have ever thought that all those years ago when I started learning and wanting to teach, there would come a time that someone could walk around with something the size of a package of cigarettes in their pocket and it has 2,000 tunes on it!

People have recognized that this music is now one of America’s gifts to the world. I think if you stop and think about it, it may be the one place in the world that this music could have, given the circumstances, evolved into what it has now become. Now that it’s uniformly admired, taught, and learned all over, wherever there are people who are interested in the fi ne arts, people who are interested in jazz, they know they can come to America and fi nd schools that are comparable to anything because we’ve been the leaders for all of these years.

JAZZed: What do you think about the state of jazz education today?

DB: Never been healthier, never been better. I think jazz is in the best position monetarily and otherwise than ever. I can’t think of a single school that doesn’t have a jazz band or a jazz pro-gram of some sort – high schools, ju-

nior high schools, college or whatever, and I think that’s healthy because then people can get angry with each other, they can make different decisions, make more mistakes, and still survive.

The beautiful thing about it is there are so many different people that you will gravitate towards the ones that come closest to the idea that you believe in. I think there are more schools teach-ing jazz at this time and more people who are equipped, because teachers evolve and become better, the materials with which they work, become better, and the circumstances in which they can obtain jobs become better.

So I think that jazz has never been in better shape than it is now and watch-ing what I read, as well as listening to students all the time when I go out to do clinics or what have you and to see with wide-eyed wonderment just how lucky we are to have so many talented young people – well I shouldn’t say just young people, people in this music period – it’s really a beautiful thing.

I think that JEN is doing a wonder-ful job. Mary Jo Papich – she’s really pulled the people and the resources together and the fact that the National Endowment for the Arts is still picking Jazz Masters says a lot too. So I think we’re not maybe in as dire straights as one might think.

You can look at the young cats who came out the generation after Hank Jones, Moody, and myself, and they’re the ones who are the torchbearers – the Maria Schnieders, the David Douglas’, the Terance Blanchards. There are people out there who are doing this and I think that with JEN, people are starting to look to the resources that are there. That’s why you have your oral history projects and you’re always accessing the people who got you to where you are – the people who were the building blocks – I think that it’s been wise that you can fi nd those in books and you can fi nd them in teach-ers who are my age or older who are still teaching these courses.

JAZZed: What advice do you have for young players?

DB: Get the best all around educa-tion possible. Learn everything that is possible for you to learn so that you’ll

JAZ_29 29 1/18/10 10:40:31 AM


be equipped for whatever things appear. Whether it’s in the jazz area, whether its rhythm and blues, whether its classical whether its ethnic music or whatever. Furthermore, to not put any of these [genres] in an elite place, be prepared to accept them for what they are and take advantage of them as they emerge.

JAZZed: Speaking of “other music,” country and hip-hop now dominate the charts. As a teacher and musician, how do you feel about the decline of jazz as popular music?

DB: I think that after the swing era, that happened. A.B. Spellman in his book, Four Lives in the Bebop Busi-ness, said that bebop had the effect of removing jazz from popular music. That’s such a thorny area because hip-hop and all of these [genres] have to be measured according to the people that are playing them and the kind of music that’s a result of the techniques and things that go with that. I certainly wouldn’t criticize Quincy for hip-hop and the things that he or his son does with one of his companies, so I think there are so many variables. It’s hard to be, you know, stuck in a hard place and say that I’m not gonna budge one way or the other. There’s music I listen to that I think is important music that

maybe would be labeled one of those renegade musics.

JAZZed: What advice can you give teachers?

DB: In short order, I would start by having students listen to all of the mu-sic they can. I think that’s important. If you don’t hear the music or you have no situation in which you’ve listened -- how do you learn to play? I think the teacher should make suggestions, but when they’re walking around with their iPods and things, they should be listening to as much variety to fi nd out what they are. You need to let them listen to what they want so that they have something to build on. You start where they are and take them to where they want to go.

Be prepared. Learn everything that you can – not just about the music but also about the environment in which it was created. For instance, I don’t think that in classical music, anyone would ever teach about Beethoven without teaching about the period in which he lived, or without teaching about what was happening in Germany at that time. I don’t think they would teach about Brahms without talking about where Brahms came from. So in jazz, I think we have to be so careful not to make the mistake of thinking about the

music as though it existed without an environment that made it possible.

JAZZed: So, too many teachers are concerned with analysis of jazz without thinking about the environment or time in which the music was created?

DB: When you take music out of the culture in which it grew up, of which it was born, at some point you’re going to lose the essence of the music.

I think that more and more teach-ers are going to people who have the background and are also teaching that it wasn’t just in a book. History, is “His - Story” and it’s whoever is writing the history book who makes the decisions about what’s important and what isn’t, and that’s another reason why I’m glad to see so many books on the market that you can choose from. If you only have a few sources, then you’re more likely to make those kinds of egregious errors and get caught into that kind of thinking.

Now with so much out there – so many good schools – I can’t think of any good school with repute that doesn’t offer something in the jazz area. I just came back from New Orleans – I went out there to do the Monk Institute and those kind of organizations, the Monk Institute, JEN, the Jamey Aebersold camps – I think all fi t into kind of a patchwork that allows you to actually choose where you want to go or at least be advised by some people who know about which way you should go and where you might want to go that will give you the desired results for which it is you’re searching.

JAZZed: You’ve been a big part of the jazz world for so long. What are the high-lights of your career?

DB: Longevity. Being able to stay ac-tive across this many years at a major uni-versity, and that’s like 44-45 years. The other highlight is, of course, being some-body who was able to be a part of those evolving scenes – to play with George Russell, to play with Kenton or Maynard Ferguson or whoever. To have all of these opportunities not only to teach, but also to teach having had the experiences that I can bring to the classroom.

JAZ_30 30 1/18/10 10:40:34 AM

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t occurred to me that in all the years I’d faithfully read various educational journals, I’d never en-

countered an article regarding the process for getting jazz curriculum approved in an educational

institution. Granted, the trailblazers that first accomplished the Herculean task decades ago—when

jazz had been outlawed in many schools—had it far more difficult than jazz proponents do today.

Yet virtually anyone who’s ever tried to get a jazz program instituted at their school has their share

of tales of amusement, frustration, or surprise at the process. At some schools, this procedure might

be as smooth as silk.

roundtable C U R R I C U LU M A P P R O VA L

Jazz Curriculum Approval: An Insider’s LookBY ANTONIO J. GARCÍA

I

JAZ_32 32 1/18/10 10:42:26 AM

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I will focus this article on advice for the jazz educator towards getting university jazz curriculum passed by the School/De-partment of Music. Particular emphasis will be given to the challenge of getting an entire Jazz Studies major degree proposal passed at the graduate or undergraduate level. I am confi dent, however, that con-structive tips within these scenarios will offer assistance to readers with different goals, since much of this advice is applica-ble to elementary and high school environ-ments as well as to non-musical curricular needs.

My quest began by contacting over 40 successful jazz educators across the globe. These men and women span vocal, string, and jazz band/combo programs—plus a few who are not directly affi liated with institutions but have worked within them. Some of these individuals recommended additional contacts to me; and at the end of my two-year study, I had received re-sponses from nearly as many very busy professional artist-educators as I’d origi-nally contacted. I believe this high level of response speaks to the importance of the topic in their eyes, and I foresee the value of

my offering a panel discussion on this topic at a future educational conference.

None of the individuals quoted within this article had access to the others’ replies; so I am grateful to each for their willingness to contribute their thoughts independently.

GARCÍA: What is your best advice towards getting a Jazz Studies major degree-proposal passed at the college or university level? Your advice might focus on how to structure the curricu-lum, or on how to deal with non-jazz colleagues, or on any other aspect of the process.

FRED STURM, chair, Jazz and Im-provisational Music Department, Law-rence University Conservatory of Music:Determine fi rst if your music depart-ment is best suited for a jazz major, a minor or secondary concentration, or a “jazz emphasis.” (Because Lawrence University is an undergraduate institu-tion, I felt that a jazz major was too spe-cialized and failed to promote a whole-some jazz/classical curricular balance for students with strong jazz interests.)

Second, calculate the ramifi cations that the added coursework and coordina-tion will have upon your teaching load. Third, identify other jazz teaching re-sources within your music faculty and potential adjunct jazz instructors in your area who might be able to assist you. Make certain that you have the mix of disciplines you’ll need to cover all facets of your jazz curriculum.

Before you propose the jazz curricu-lum, examine (1) the NASM guidelines for jazz degree programs, (2) what oth-er jazz programs at universities similar in size and character to yours offer, and (3) the existing performance and com-position curricula at your institution. Seek meaningful ways to synchronize and cross-correlate your jazz courses, ensembles, and applied study with the established classical programs in your music department.

Throughout the structuring process, seek the advice and support of your music administration and faculty. From the inception of your program, strive to establish comparable status for jazz offerings with your school’s classical

JAZ_33 33 1/18/10 10:42:36 AM

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music programs. For example, the jazz ensemble and jazz small groups should maintain equal status with the school’s other large ensembles and classical chamber groups; similarly, the weight-ing of course credits, faculty load credit, and student work expectations for jazz courses should be on par with classical offerings. Make certain that your jazz program gets an equitable portion of the music department budget, and seek to have your jazz operation recognized as a distinct department or division of your music school.

RENATA BRATT, freelance clinician, performer, and writer teaching strings in California at the Pacifi c Elementary school (Davenport), Waldorf Elementary school (Santa Cruz), the Cabrillo Suzuki String program (Aptos), and the University of California–Santa Cruz: Each institution is different. You need to know how yours operates. Some universities need a student-led petition and respond very well to this. Others need a faculty-led proposal process.

Everywhere you will run into faculty members holding very tightly to their domain and very often unwilling to change. Certainly the institution must not believe that this new degree will cost it money. Rather, it must believe

that it will gain money somehow from the new degree program (more students applying, or less drop-out from the cur-rent music program).

Some music departments will hold out until critical faculty members retire. Others need to see a very successful mi-nor degree program before the major can be established. In string jazz, we have seen carefully managed campaigns by students and their sponsoring jazz director just to get a jazz string orches-tra class established, let alone a major in string jazz.

PATRICK DORIAN, associateprofessor, East Stroudsburg University of Pennsylvania: First, get basic core courses in place in the music depart-ment catalogue: Jazz History (Semes-ter 1: Listening and Early Jazz through the Swing Era; Semester 2: Bebop Jazz through the present); Improvisation (2 semesters); Jazz Theory (perhaps via a jazz keyboard course); Jazz Masters Seminar (senior mentoring course); Applied Jazz lessons (at least 2 semes-ters beyond basic applied lessons); and the like.

Then propose a jazz minor, and see if many students enroll in it in addition to the present major course of music study. If student interest is decent, pro-

pose a jazz major; but still retain the jazz minor—win/win!

ROBERT BREITHAUPT, De-partment chair, Music Industry Studies, Capital University: Jazz studies degrees should be viewed as a specialty degree to attract highly motivated and talented students, not as an “alternative” degree that will attract masses (such as current trends in various music technology and some music industry degrees); the jazz studies degree will not be a cure for enrollment problems in a college mu-sic department. With that being said, curricular adjustments and enhance-ments—based in jazz/popular materials and nomenclature that is applicable to popular and jazz forms—can provide an update to the overall curriculum.

A jazz studies program should be viewed as an opportunity to integrate el-ements into all aspects of a curriculum. For those that are a part of NASM insti-tutions, the guidelines can be viewed as your best friend, if applied liberally.

Adding a jazz studies major cannot be accomplished by adding “the jazz guy/gal” to a faculty and being done with it. Such tokenism will not accom-plish comprehensive goals and does not do the medium justice.

Be ready to view jazz with eyes wide open regarding various styles, ap-proaches, and forms. Many outside the United States view “standard” jazz peda-gogy as lock-step; so allow for the same creativity in curricular development as we hope for in the music itself.

Unfortunately there may be some re-sistance to your efforts, which is tragic as we move into our second century with the music. Articles such as the pro-vocative editorial by Dr. Sammie Ann Wicks in The Chronicle of Higher Educa-tion (January 9, 1998) may be needed to generate a debate that should no longer be necessary. If you encounter resis-tance, persevere.

Unlike the classical/orchestral world, we have little to no performance “infra-structure” (for example, major/national/

JAZ_34 34 1/18/10 10:42:41 AM

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regional/community orchestras) to pro-vide an emerging jazz student the op-portunity to move through the ranks. Therefore, with the demise of the tour-ing jazz bands and show bands (which were held up as performance outlets during the development of many of the current jazz studies programs), our stu-dents are relegated to going it on their own into the world of cruise-ship gigs, service bands, and other limited gigs in a diminishing marketplace.

A new system or “paradigm” must emerge on a national basis to recognize that jazz is a cultural music, deserving of support from cultural organizations (which is why I am so driven to do what I do as the Executive Director of the Jazz Arts Group of Columbus).

TED PILTZECKER, associate profes-sor, Purchase College:

A close examination of required core courses for all other majors in an insti-tution is an excellent way to make the jazz curriculum less threatening dur-ing the approval process. Right along with highlighting its unique contribu-tion and importance, the more the jazz major is perceived as having in com-mon with other offerings, the easier it will be to move forward. An attempt should be made to truly understand why the college feels that these core courses are necessary, as they represent a ready-made link to the institution’s philosophy.

These “connections” should be ex-plored more deeply, revised, or ex-panded to create new and exciting arts-oriented course offerings that serve all majors. I believe that all benefi t from such a broad approach—including the jazz majors, who often need to expand their horizons and should be asked to do so from the outset. Additionally, op-portunities for interaction with other majors—and the ability to readily real-ize interactive projects (not just in the arts)—should be an important focus of a proposal. This promotes creativity, institutional pride, and improved rela-

tions and understanding of other col-lege programs.

JOHN MAHONEY, coordinator of Jazz Studies, Loyola University of the South: I had little to do with the estab-lishment of a Jazz Studies curriculum at Loyola. I did recently succeed in getting our Evolution of Jazz Styles (Jazz His-tory for Music majors) switched from a Jazz Studies course to a Music History course. This was vital to getting our Jazz minor fl exible enough to accommodate Music Ed, Music Industry, and Music Therapy students who might be inter-ested in the minor. It wasn’t too hard a task. However the Jazz History remains a 2-credit class, while “Classical Music History” requires two 3-credit semes-ters.

PARIS RUTHERFORD, Regents professor, University of North Texas: The acceptance of jazz curriculum at the university level by the usual committees can be diffi cult. My experience at North Texas has revealed again and again the value of success at the ensemble level. Colleagues “in high places” are quick to measure ensemble preparation and per-formance from the standpoint of musi-

cal style and quality, attention to detail, and the like—and then respond more positively to curricular submissions.

DR. RONALD C. McCURDY, chair and professor, University of Southern California: At the University of South-ern California we received approval on what I believe to be an innovative yet daring jazz degree program. We al-ready had a jazz program in place, but we made radical changes in our exist-ing undergraduate degree. Given the restrictions as to the number of credits one can offer at the undergraduate level, we had to delete some courses that have always been somewhat sacred in most schools of music.

In order to have more courses that addressed jazz topics, we were able to convince the curriculum committee, the dean, and the rest of our colleagues to remove all of the traditional music theory from the curriculum and have those classes taught in the jazz depart-ment. We were also able to reduce two years of Western Art Music History to one year. This was replaced with a full year of jazz history. We also consolidated courses like combo, improvisation, and composition. Part of our goal was to rid

JAZ_35 35 1/18/10 10:42:44 AM

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ourselves of compartmental classes and reduce the number of 1-credit classes. We wanted the students to learn a par-ticular concept and in the same class be able to apply that same concept.

None of these modifi cations could have taken place without a well-re-searched and detailed plan. We took nearly two years studying what our peer institutions were doing. Then we examined our existing curriculum (which had been in place for twenty years). We then asked ourselves: giv-en the changes in the landscape of the music profession, what kind of skill-sets do we want our graduates to possess? With that information, we began the process of redesigning our curriculum.

I am convinced that none of this could have happened if we did not have the respect of our colleagues on the “classical” side of the building. They had confi dence that we would craft a curriculum that would better serve our students.

BRIAN COYLE, director of Jazz Studies, Hope College: I think fi rst you must have a need. If you want a degree at your school but are having trouble fi lling a big band, your department and by extension the administration proba-bly will not endorse it. If, however, you demonstrate a vibrant program (large numbers), I think you have a much bet-ter case to make.

It is also important to demonstrate to your students and department that this is not a selfi sh endeavor. It is quite easy to make the case that the stronger the jazz program, the stronger the depart-ment. For example, if a terrifi c young jazz trumpeter is recruited, that person will more than likely be a strong con-tributor to other areas, such as the wind ensemble or orchestra. It has been my experience that a holistic approach is best: “the stronger my program is, the stronger yours is.”

What degree program suits your school best: a Jazz Major, a Jazz Empha-

sis, or a Jazz Minor? Philosophically, it helps to understand the general ethos of your school. I teach in a Music De-partment at a liberal arts college with a student body of 3,000. It didn’t make any sense for me to pursue a Jazz Major, but the Jazz Emphasis and the Jazz Mi-nor fi t seamlessly into the overarching mission of the college.

CHRIS VADALA, director of Jazz Studies/Professor of Saxophone, The Uni-versity of Maryland: Be sure that your personal reputation as an educator, mu-sician, and colleague is strong and cred-ible. Administrators and faculty who do not place a high priority on jazz may be won over by the probity of a respected member of the music department who is proposing the program. Present a convincing case as to why the program should be adopted, plus a solid course curriculum including specifi cs such as full-time and adjunct faculty (in place or in mind) and a carefully prepared budget.

ANTONIO ADOLFO, founder, Centro Musical Antonio Adolfo, Antonio Adolfo School of Music: Focus on struc-turing the curriculum with disciplines that combine jazz and traditional/clas-sic teaching. In my opinion, any major student in jazz has to have some of the

traditional knowledge besides all of the jazz pedagogy combined.

DENNY CHRISTIANSON, direc-tor, Music Program, Humber College: The approval process for any new degree is always infl uenced by both the implicit need for the training it offers as well as the politics inherent within the institu-tion and within the ministry of educa-tion.

It is critical to address the political ter-rain by creating something that is different enough from existing degrees that it poses no threat to the status quo of other pro-grams or schools. To please the ministry, the degree must be pedagogically sound while also being innovative so as to make the case that it offers a pathway to success that no other curriculum can offer. These criteria are especially important when dealing with interdepartmental politics: one must offer something as an asset, not a threat—not always an easy task.

As to degrees with a niche focus, they, too, must offer something unavail-able elsewhere. This becomes trickier when projected numbers are smaller, making it a harder sell to your admin-istration. It may be more advisable to offer it as a profi le within a degree of a larger focus.

We at Humber were forced to come up with a degree with a different focus,

JAZ_36 36 1/18/10 10:42:51 AM

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as the legislation propelling it specifi -cally forbade mirroring any existing de-gree in our province. In the long run, this became an asset, as we were able (by focusing on what skills the student needs to have a successful career in a wide variety of applications) to create a curriculum that shares aspects of a tra-ditional Bachelor of Music degree while blending in courses designed with a far more contemporary approach. This ap-proach may become even more valid in the future, as it allows for customizing to student needs as opposed to strict-ly following a Bachelor of Music/Jazz Studies template that is realistically at least fi fty years old by now.

RICHARD LAWN, dean, College of Performing Arts, The University of the Arts (formerly Director of Jazz Studies, chair of the Department of Music, and as-sociate dean for Academic Affairs, Univer-sity of Texas at Austin): I have found that it is important to have the support of the core music faculty for any proposed jazz studies programs before they come to public discussion and approval. It is important to do some market research ahead of any formal proposals and dis-cussions. You must learn to anticipate every question and reservation in ad-vance and do lots of subtle politicking while having informal discussions in the hallways, lunchrooms, and faculty centers in advance.

Make certain proposals will conform to campus guidelines as well as any na-tional, regional, and state accreditation guidelines—and that there are enough faculty specialists to support the level and quantity of instruction in jazz being proposed. Determine if adequate library and other specialized resources are available to support the coursework.

Anticipate how many new students the new program(s) will attract, what the student profi le will be, and how these students might also benefi t other aspects of the music program—espe-cially the traditional performance pro-grams. It can sometimes be helpful to

begin with program minors rather than majors.

What kind of fi nancial support will be required in the form of tuition-dis-counts, scholarships, graduate teaching assistantships, and regular operational funds? Don’t sell yourself short by agree-

ing to start a program with far fewer re-sources than are needed to be success-ful, as ultimately you and the program will be measured on its success.

It is important to remember that many faculty see the additional of any new programs outside the norm as more

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of a fi nancial threat than a philosophical one since there is often a fi nite pool of resources and since in many cases bud-gets have been shrinking rather than growing to support new programs.

PAUL TYNAN, assistant professor of Jazz Studies, St. Francis Xavier University: My advice is more detailed towards get-ting university jazz curriculum passed by the Committee on Studies and the University Senate. As academics one must be able to communicate in a way that will make the non-musician under-stand the necessity of this type of offer-ing in a music program. Caution must be held in regards to the use of musical jargon, and the presentation should fo-cus on intended outcome. This includes recruiting and retention as well as the educational aspect.

In regards to presenting a jazz cur-riculum to a music faculty, the jazz edu-cator must be able to show intended results as well as evaluation techniques that will be used in grading the stu-dents. They must be able to show that a jazz program will not negatively affect the broader program but will in fact strengthen it and nurture its growth.

BRET ZVACEK, director of Jazz Studies, Crane School of Music, SUNY–Potsdam: It’s helpful if you can tie your proposed program into the overall mission of the school. At Crane, for instance, we are by mandate primar-ily an undergraduate music education school. I structured my program to tie in strongly with the needs of new music teachers entering the job market.

I served on both the music school- and college-wide curriculum com-mittees while my proposal was in the works. I was on hand for all discus-sions, could serve as a resource person, and guaranteed at least one vote in fa-vor of my proposal.

It is good if you can help your non-jazz colleagues to understand that your program can enhance theirs rather than detracting from it. Meet them more

than halfway: go to their recitals; join them in an orchestral section or on a new music performance if the opportu-nity presents itself.

DARIUS BRUBECK, associate pro-fessor (Retired), University of KwaZulu-Natal: In order to attract jazz students, you have to set up a degree that rec-ognizes rather than marginalizes “jazz” as a mainstream musical discipline. To get through various levels of university and, in many cases, government ap-proval, replicate existing music degrees (undergraduate or postgraduate) as far as possible to the last detail. If differ-ences emerge in the drafting stage, sup-press them.

No one is going to check later whether “Jazz Ensemble 1” really requires exactly the same work as “Chamber Music 1.” If your curriculum puts a lot of emphasis on transcription—and if the classical or music education degree has a module called ear training—call transcription “ear-training,” too; and assign the same credit points or semester hours. If they have theory, you have theory. Instru-ment lessons are instrument lessons. Ensembles (whether for credit or not) are ensembles, etc. Make credit points the same for all categories of instruc-tion so there is no issue around trans-ferability of credits from one course to another or need to interpret progression requirements specifi cally for jazz.

At the postgraduate level, look at re-cital or dissertation requirements; and make them parallel even though they will of course be very different in reality. Finally, create undergraduate and post-graduate degrees in Jazz Studies (per-haps differentiating between concentra-tions in Performance, Composition, or Pedagogy) rather than, say, a degree in Jazz Trombone or Jazz Piano, thereby avoiding the issues centered around voice or certain instruments.

PAUL SCEA, associate professor, director of Jazz Studies, West Virginia University: Know who your allies are;

they may not be obvious. Our orches-tra conductor at the time was the one who fought the most eloquently for our degree.

Understand what the impact will be on other aspects of the curriculum. You should be able to assure applied faculty that this will not be a burden on their studios.

JIM KETCH, director of Jazz Stud-ies at the University of North Carolina at Chapel Hill: My advice would be to in-vestigate the implications of a specifi c Jazz Studies degree vis-à-vis expected graduation rates. If the program will be viewed as a separate degree and not a part of a broader Bachelor or Master in Music platform, then you might need to project expectations for graduation.

Following this, one should begin the discussion of funding resources so that you can determine if the scholarship pool will be commensurate with cre-ating and sustaining a comprehensive program and a pool of players that will supplement the educational offerings of the school.

Finally, ascertain what is needed from a curricular and staff standpoint, and determine if you have the staff and coursework necessary for “stand-alone” jazz-degree status. Of course, building across faculty support would be an on-going process throughout the entire dis-cussion. How nice it is when the degree programmed is embraced rather than merely tolerated.

JOE PARILLO, professor, director of Jazz Studies, University of Rhode Island:Address the NASM standards for im-provisation. Research other music de-partments of the same enrollment and overall program as your own that have jazz programs. Look at their enroll-ment, recruitment, and retention. Have data to make your case.

Examine high school jazz programs as well, especially from areas when re-cruiting is important from your school’s standpoint. Also present the success of

JAZ_38 38 1/18/10 10:43:03 AM

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educational programs such as Jazz at Lincoln Center and the like.

Consider a curriculum that inte-grates courses from the existing mu-sic program of study. Courses such as theory, ear training, methods courses, and ensembles can cross over in terms of content and the overall development of the music student.

Consider double majors and design a curriculum that is well integrated. Many students will major in something other than music in college but would like to continue performing in a jazz group. A Minor or B.A. in Jazz Studies should be easily attainable for non-music majors to get a second degree. This will help the overall enrollment statistics when issues of budget and other kinds of support from the college or university community are challenging for a music department.

DENNIS J. TINI, distinguished pro-fessor, co-founder, Jazz Studies Program, and former chairman, Department of Mu-sic, Wayne State University; past president, IAJE: Carefully research and evaluate important national/international jazz studies programs; and, if appropri-ate, review the National Association of Schools of Music (NASM) guidelines for undergraduate/graduate jazz studies degree emphases. Contact experienced colleagues and administrators nation-ally/globally for professional advice and insights throughout this important pro-cess.

Determine the unique aspects of your proposed jazz curriculum and your music school’s/institution’s strengths and weaknesses. Consider including in whole or part your school’s “core music curriculum”: this will hopefully pro-vide an inclusive partnership/relation-ship. “Agree to disagree” and consider a “win-win” philosophy for your col-leagues, administrators, and all involved throughout this entire process.

MARCO PIGNATARO, director, Jazz and Caribbean Music Department, Puerto

Rico Conservatory of Music: How can we be really positive that the music of Miles, Ellington, and Coltrane will out-live this century and the next, just like Bach, Mozart, and Beethoven’s music have outlived their centuries? I found myself facing this compelling issue late-

ly, when some colleagues of mine and I had to defend the proposal for an ex-panded jazz history curriculum in front of a panel of classical professors at the institution where I work. The fi ercer at-tack came from a very distinguished and well-read professor that dismissed the

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current interest toward jazz education as a temporary academic trend, not dif-ferent from the short-lived trend of the 1960s to introduce ethnic music in the core curriculum. His conservative view held strong to the temporal permanency factor that classical music benefi ts from when compared to jazz. And there we were...feeling the force of threatening ideas and reassessing the foundations of our comfortable belief system on a pure philosophical domain.

If we prioritize our curriculum’s choices by indulging in a qualitative judgment mainly on the basis of which music proves to hold a universal val-ue—and if the only way you can judge this is by measuring which music has the longest tradition—then jazz obvi-ously cannot stand the comparison to the European classical music. Yet, if time is really the main unit of measure-ment, why aren’t we then considering the Indian, Oriental, and Middle East-ern traditions in our music programs? Is that omission an implied qualitative choice?

As Clifford K. Madsen explains: “One goal [of education] is to acculturate, that is, to make students aware of their cul-tural traditions and to instill the values of society without necessarily justifying them. The other goal is to innovate and lead the culture forward. Thus, the pro-spective teacher’s job might be to make students aware of the traditions of the past, and aware of the culture in which they presently exist, while also teach-ing for the future.” Furthermore, if in a hundred-year span jazz has proven itself by rapidly developing from folk-music to art-music while appealing to so many different cultures—therefore complying with the basic premise that a true art form transcends its environ-ment and time of creation—couldn’t we then safely induce that it will continue to do so in the future, if we endow it with its deserved attention? As a mat-ter of fact, if the classical tradition has endured and developed throughout the centuries, couldn’t it be also due to the

fact that somebody at some point was very successful in instructing others to think in the same way they were think-ing and in the same values they believed in? Isn’t this at the very foundation of every kind of tradition?

(The above is excerpted with per-mission of the author from Pignataro’s article “Jazz Matters: Developing a Phi-losophy of Jazz,” originally published in Jazz Improv magazine, Volume 4, Number 3.)

DR. CHATRADARI DEVROOP,deputy director (Professional), Director-ate Music, UNISA, University of South Africa: I serve on a South African Quali-fi cations Authority body responsible for the Generation of Standards in Music at Tertiary Level. I was external modera-tor for qualifi cation accreditation prior to my 1997 appointment to the above body.

Ensure that you meet the national requirements for competency at each year of an arts degree study. Decide on whether the jazz study program is going to run over three or four years. Work out the credits for each academic year of study. Establish the competencies required for each of the years of study. Write up unit standards that will en-able students to attain these standards. Establish the evaluation mechanism (provision made for learners with dis-abilities).

Identify the content that will support achieving the competency standards. Ensure that there is a balance between theoretical and practical abilities and that these are comparable to the study of music in other genres (such as west-ern art music).

Send your program for critique to leading scholars in the fi eld for their in-put. Implement suggestions from sub-ject-experts into your curriculum de-sign. Align your program to job outputs in the music industry.

Submit this program for evaluation within your faculty. Implement your program, and test whether you are

achieving your aims. Re-adjust your program in order to meet the original expected aims.

JUSTIN DiCIOCCIO, chair, Jazz De-partment and assistant dean, Manhattan School of Music: At Manhattan I get very little resistance to updating or changing our curriculum. We do have Jazz String, Voice, and Composition majors, as well as all woodwinds, brass, and rhythm. The jazz and classical faculty work very well together and realize the impor-tance of creating a well- rounded and educated musician—one who can per-form all styles of music, which leads to a successful career and a life in music!

DR. STEPHEN ZEGREE, Bobby McFerrin distinguished professor of Jazz, School of Music, Western Michigan Uni-versity: At Western Michigan we estab-lished a Jazz Studies Major (that applied to instrumentalists and vocalists) some 30 years ago by establishing evidence of three things. First, we offered a compe-tent faculty (some of whom were also classically trained, myself included) to teach all of the proposed courses (jazz theory, improvisation, arranging, com-position, history, and more). The cur-riculum committee and later the full faculty were inclined to approve of the major because the proposal was written by well-respected, competent faculty members (Trent Kynaston, for exam-ple).

Second, we demonstrated an inter-est from current and future students. No other university in our area offered such a degree program; so it was good economics.

Finally, we clearly offered musical excellence from the student ensembles (big bands and vocal jazz ensembles).

In terms of the vocal component, undergraduate and graduate students choose to major in Jazz Studies either as a singer or an instrumentalist. The cur-ricular requirements are essentially the same. We have very high expectations of our jazz vocal majors: they take all

JAZ_40 40 1/18/10 10:43:11 AM


the same courses and have essentially the same requirements as all instrumen-tal jazz majors. The only exceptions are in the specifi c jazz jury requirements: though equally demanding for sing-ers and players: the specifi c titles for singers are slightly more geared toward standard vocal repertoire.

DR. LARRY RIDLEY, professor emeritus, Rutgers, the State University of New Jersey; professor of Jazz Bass, Manhattan School of Music: My suc-cess as the primary and lead architect of the Rutgers University Jazz Perfor-mance Degree began in 1971 and was based on assembling internationally re-nowned working jazz artists who were also outstanding teachers, such as Ted Dunbar, Kenny Barron, Frank Foster, Bill Fielder, and John Stubblefi eld. Our individual and collective credentials were an important part of the approval process by the University. Additionally was the well-designed and researched curriculum, with the aid of David Baker among others, that stressed the African roots/aesthetic and the social, political, economic, and evolutionary develop-ment of jazz through the African Ameri-can and African Diaspora.

GREG YASINITSKY, Meyer distin-guished professor, coordinator of Jazz Stud-ies, Washington State University: We do not have a jazz major; but we do have a Master of Arts with a Jazz Emphasis, a Bachelor of Music in Performance with an Emphasis in Jazz, and a Jazz Minor. In my experience, it is easiest to pass jazz curriculum when there is a demon-strated student demand for it and when a consensus is forged with faculty mem-bers from across our School of Music. Faculty in other musical areas are more inclined to help with jazz initiatives when I am sincerely sympathetic and helpful to them and their concerns.

CONNAITRE MILLER, Jazz Studies coordinator, Howard University: I think it helps to develop respect and friend-

ship amongst your colleagues fi rst. It’s a good idea to fi nd out as much as you can about those who have been with the department a long time. Chances are they’ve contributed quite a lot over the years, but maybe their greatest ac-complishments aren’t recent enough to be remembered.

Older professors hate to be ignored or thought of as obsolete. As times change and music changes, it can be hard and quite frightening for univer-sity professors to be swept up into styles with which they have no experience or background. Many jazz musicians these days (thanks to jazz education) are trained in classical or traditional music as well as jazz and other contem-porary styles. They also have multiple skills: composing, arranging, perform-ing, computer or electronic music, re-cording and producing, teaching large ensembles, small ensembles, and in-dividual lessons. In addition, the jazz teachers are often kind of hip and fun to be around: laid-back, so to speak, well liked by the students as well as re-spected. Sometimes a bit of jealousy can arise that can then keep someone from voting for a program out of spite. Also, fear that classical music will become less important and that jazz will “take over” can also keep some from voting in favor of a program.

I suggest making a sincere effort to visit with fellow colleagues individually. Have coffee or lunch and just talk: fi nd out what they like, what they’ve done, and where they’re at in their careers. (Google can help!) If you have time, at-tend their recitals or concerts: it’s a way of showing respect for their art and a genuine interest in what is important to them. Most generally will in turn be interested in you and what you’re trying to accomplish.

When they realize you’re not trying to replace them—just add something really good—things can progress much more smoothly. There’s also a lot of wis-dom to be gleaned from more experi-enced colleagues. They have generally

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fi gured out a lot of the politics that we all hate but are nonetheless a reality.

FRANK GRIFFITH, director of Per-formance, School of Arts, Brunel Univer-sity, Uxbridge, Middlesex, United King-dom: My advice is to tailor your request to show that it strengthens and/or fi ts into the general ethos and vision of the institution as a whole. For instance, one of the major problems of a classical course is fi nding practical (performance or composition/arranging) work for its graduates. This is an area that jazz graduates can fl ourish in, as the training and experience gained in a jazz educa-tion will afford them a variety of work opportunities.

As far as dealing with non-jazz col-leagues or line managers is concerned, I suggest that module guides and pro for-mas (descriptive and validating docu-ments of classes) for jazz classes be as open to interpretation and pluralistic as possible in terms of language. For in-stance, use the term “melody” instead of “head.” Jazz has an equal amount of scientifi c and “proper” terms as clas-sical; so don’t “ghetto-ize” it by using the slang terms that many jazz musi-cians use. Music theory is music theory, whether taught in jazz or classical set-tings. There is no need for separating the two disciplines that much.

MARTIN NORGAARD, former adjunct instructor of Jazz Violin, Bel-mont University: Before I left Belmont to pursue my Ph.D. in Music and Hu-man Learning at the University of Texas at Austin, I got a new ensemble, “Jazz String Quartet,” added to the books; and the ensemble continues to this day. It fi rst existed for a couple of years un-der a different name, using a universal ensemble course number. It performed at the IAJE Conference in New York in 2001, helping to legitimize its existence. To ensure continuity past possible fac-ulty changes, a proposal was drawn up to add the ensemble to the offi cial list of courses at Belmont. The proposal was

evaluated by various committees and the Dean in a process that lasted about a year, and the ensemble was then added to the list of courses

The next step would be to make the ensemble mandatory for certain degree plans, such as the Bachelor of Arts in “commercial music” violin, viola, and cello.

LARRY PANELLA, associate pro-fessor, Director of Jazz Studies, University of Southern Mississippi: I have not sought to revise my curriculum, since the cur-rent situation allows me to cover what I need to and am able to cover as the sole jazz faculty. The process for major re-form is very labor-intensive, time-con-suming, and not at all necessary. I had a good framework to work with from the start.

Secondly, adding hours to the degree is not an option here. Cutting is, since the Institutes of Higher Learning Board wants our degrees cut down to 120 hours. (They offered Music, most partic-ularly Music Education, a compromise of 134 hours.) We have not changed much in our offerings to achieve that. We were able to take things like recital class and make it 0-credit hours, tying it in with the applied-lesson grade. We also reduced our theory sequence from 3-credit Part Writing and 3-credit Aural Skills to 2- and 2-credit each semester.

There has not been much resistance to the jazz program here, in part be-cause I have always tried to make sure my colleagues understand I want my area to enhance the overall program—attracting quality students and being part of a broad offering of performance training—and I want it to be acces-sible to classical performers interested in improvisation. We have neither the facilities nor resources to be an island. We are interdependent in a healthy way and manage to accomplish a lot with a little.

HAEMI HAEMMERLI, head of Jazz Department, Musikhochschule Luzern,

Switzerland: The European Union is in the process of restructuring all educa-tion programs on the University and Polytechnic level. So there are different criteria in Europe compared to the rest of the world. This process follows the “Bologna Declaration,” a guideline in-terpreted differently in each country.

Here in Switzerland we have to fol-low guidelines given to us by the educa-tion ministry. Then, since each school is embedded within a local institution, you also have to follow guidelines given by the local institution.

So if you are already on the Univer-sity level, you have to restructure your programs and curricula accordingly. If you’re still a private school, you have to present a study program that cor-responds to the local guidelines. Co-operation with other music schools is probably necessary; so if there’s a con-servatory or any other music school close by, you should cooperate and present yourselves together.

Then you have to lobby, lobby, lobby to convince all local politicians, offi -cials, and other important people that your private school has to be moved to university level. Here this is at least very diffi cult because this costs the state a lot of extra money (music education being the most expensive study program).

DR. WALTER TURKENBURG,head of Jazz Studies, Royal Conserva-toire, The Hague; lecturer in the History of Jazz, University of Leiden and Univer-sity of Utrecht, The Netherlands; execu-tive director, International Association of Schools of Jazz: At the Conservatoire, we renewed the application procedure for the Master’s study, keeping the new European regulations in mind (the so-called “Dublin Descriptors”). Also, the learning outcomes of the Association of European Conservatoires (<www.aecinfo.org>) have been a valuable doc-ument for us. So what counts for us will count in broad terms for all of the ap-proximately 200 music conservatories in Europe.

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In order to be accepted for the Mas-ter program at the Royal Conservatoire the student has to present a recording of his playing and write a Study Plan. The Guidelines Study Plan Master’s Study can be found at <www.koncon.nl>. In the Study Plan there has to be a balance between the practical, theoreti-cal, and research aspects of the study. Theory and research are linked into what is called “practice-based research.” The musicology-type of research is not requested but instead research directly linked to the performance practice that the student envisioned. The study itself will be measured not so much in how far the student has become a better player but more in how far the student has managed in bringing the fi elds of practice, theory, and research together.

RACHEL L. LEBON, Ph.D., coordi-nator of Jazz Voice, Professor, Frost School of Music, University of Miami: It is dif-fi cult introducing and implementing a Jazz Vocal Program at the university level because, with very few exceptions, most university trained voice teachers have studied classical singing only and have never sung in the jazz or commer-cial idioms. Therefore, they are threat-ened or confounded by genres where singing is not directed towards an ob-jectifi ed vocal quality as set forth in the music as composed. There is also an ambivalent attitude towards vocalism derivative of the African American tra-dition.

I believe that a Jazz Vocal Program should function out of the Jazz Depart-ment and not out of the Voice Depart-ment. In the jazz environment, the solo singer strives to be a jazz musician with the voice as the instrument, freed to explore a myriad of vocal styles and sounds (swing, Brazilian, R & B, fusion, et cetera) including improvisation while interacting with jazz instrumental-ists to produce an authentic musical performance. It is my belief that the quality and sophistication of Jazz Vocal Programs will be severely limited if the

school does not have a strong Jazz In-strumental Program.

For additional information, please see my second book, The Versatile Vo-calist: Singing Authentically in Con-trasting Styles and Idioms (Scarecrow Press), specifi cally Chapter 5, including “Pedagogical Adjustments to Musical Idioms” and “Jazz Vocal Pedagogy.”

DR. LOU FISCHER, professor, Jazz Activities Coordinator, Capital University Conservatory of Music: It is important when making a course or curriculum proposal that the presenter(s) be aware enough to be inclusive of all faculty, rather than exclusive. All too often it is easy to exclude without even realizing one is doing so.

For example, we wanted to move the jazz and music industry students to a more broadly based approach to music theory, one that incorporates jazz ele-ments but embraces the tradition from which they come, such as Western Art Music and the Rhythms of Africa—one that embraced all elements of music in general! Our Orchestra Director then asked, “How will you address certain sixth-chords in this class, such as Ger-man, Italian, French, and Neopolitan sixth-chords?” I immediately answered that there would not only be lectures re-garding tritone substitution in this class, but also a full explanation and study of these sixth-chords in which tritone substitutions are rooted. The only dif-ference is the voicings used today: the rules are less stringent. He was satisfi ed with my answer and voted for the cur-riculum shift.

Not only did we receive almost a unanimous vote by the full faculty, we were able to receive an endorsement from the Music Education Department allowing its students to choose between the traditional theory or American Pop/Jazz sequences. Further, our Compo-sition Area Head also added the Ad-vanced portion of the course (second semester) as a requirement for all com-position majors. Had we not thought

of the all-inclusive angle prior to our presentation to faculty, instead taking a strict position that “jazz students need to study jazz theory,” the course most likely would not have been passed by the full faculty.

Jazz is much more than just jazz; it is an outgrowth of all music. Quincy Jones said it best, if I may paraphrase: “Jazz is like osmosis; it eats everything in its past and what lies before it: reg-gae, funk, soul, fusion, country, atonal, modal forms, pop, Bach, Beethoven, Mozart, Stravinsky, Ravel, Debussy, rap, and more.”

I look forward to this article, as we are in the swing of attempting to add a Jazz Minor for those that are not able to fulfi ll the obligations of the Major but have huge interest in the music!

ROBERT WASHUT, professor, Di-rector of Jazz Studies, 1980-2002, Uni-versity of Northern Iowa: I designed our M. M. Jazz Pedagogy degree program in 1994. The only resistance I met ini-tially was departmental concern about maintaining the academic integrity of the degree (that is, the basic graduate core common to all M. M. programs). Several programs I had checked out were quasi-vocational in that almost all of the coursework was in the area of specialization. I did not try to alter core requirements and thus met no opposi-tion from School of Music faculty.

The regents were of course con-cerned about staffi ng, fearing that new faculty lines might be required. Once I explained that I could cover the instruc-tion of any new course offerings, there was no objection; and the program was approved. After that I was able to ac-quire another jazz line, thus improving the overall quality of the degree pro-gram by providing more than one per-spective.

One wrinkle did develop, however; and that concerned the course so cen-tral to the program: the jazz pedagogy course. By necessity and its very nature, the course is low-enrolled. Our univer-

JAZ_43 43 1/19/10 11:00:18 AM

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sity has a policy that no graduate course can “fl y” if less than fi ve students are en-rolled. On several occasions I have had only two or three students enrolled in a given semester. Every time that hap-pens, the Director [of the School of Mu-sic] has to explain to the Dean [of the College of Fine Arts] the nature of the course and why it is typically low-en-rolled. So far it has always “fl own.” This semester I have only two students—and no problem.

ART MARTIN, then adjunct profes-sor, Montclair State University, and IAJE United States Section Coordinator: I feel that a major in Jazz Studies is vital to the Music curriculum. However, I also feel that it is important for all Music students to study all aspects of Music. In education, it is vital for teachers to be well versed in all styles of music, since they will need to teach all styles. Regarding Music Performance, I think that musicians should be able to major in classical or jazz....

Many universities that do not offer a jazz component to their music curricu-lum need to look for qualifi ed profes-sional jazz musicians that can give the students the necessary background to excel in jazz and jazz education.

JOHN DAVIS, Jazz Studies director, University of Colorado–Boulder: Here the M.M. in Jazz Performance and Peda-gogy began in Fall 1998, the D.M.A. in Jazz Studies Fall 2005, and the B.M. in Jazz Studies Fall 2008.

Certainly, one must get the support of the administration—the chair, direc-tor, and/or dean—in order to proceed with a degree proposal. As these indi-viduals are the “gate keepers,” it makes no sense to proceed until each person understands and supports the initiative. Validation for the degree, if needed, may include students who are seeking such a degree but cannot receive it at this institution, plus a survey of how many schools already offer such a degree, the quality and reputation of those institu-

tions, and the year when such a degree was fi rst introduced at the school. Often administrators are entirely unaware of how prevalent jazz degrees are at other institutions, how many of the fi nest and most highly regarded institutions are offering degrees in jazz, and how some of these offerings have been in place for decades.

Keep your administration in the loop regarding the status of the degree pro-posal, your communication with other faculty and areas, and feedback from those faculty. Keep your administration on board and involved in any trouble-shooting.

Some faculty may be hesitant to support such a degree, usually either unaware as to what comprises such a degree or because of a dated view that doesn’t include jazz as a degree empha-sis. So you must begin communication with area chairs, associated or con-cerned faculty (trumpet, trombone, sax, bass, and the like), and unrelated but voting faculty.

Be prepared to fl ex. Listen fi rst, then respond. Often faculty will have a valid concern, one you may not have previ-ously considered. If so, examine possi-ble adjustments or compromises.Often you may not share the concern; but it is someone’s valid view, nonetheless. Be willing to listen!

When a faculty member feels strong-ly about a point, you have three op-tions. First, you can present your case strongly, with facts as to why your po-sition makes sense. Be willing to allow the faculty member to respond, and be prepared to clarify your points. Second, you can compromise. This often makes your degree stronger, rather than dilut-ing it. For example, if you had been opposed to including various classical studies within the degree, you could nonetheless include them. Offering clas-sical skills taught by classical faculty will only strengthen the jazz students’ skills and knowledge; and if classical faculty want to be a part of the jazz degree cur-riculum, that certainly benefi ts your

degree in many ways. Third, you could adjust your proposal without compro-mising your view of the integrity of the degree. For example, you might add an-other semester of traditional theory or musicology without lessening the jazz offerings.

Faculty appreciate being consulted and updated about such things. Doing so demonstrates your desire to work along with other faculty and sends the clear message that you value their in-put and viewpoints. Do so in advance of any offi cial proposal to the faculty at large so that you can address problems or questions before presenting the fi nal proposal.

At all stages, ask yourself: “What might someone ask or express a con-cern about? If they raise this point, what will be my response? Why do we believe in this particular curriculum? What are the fi nancial repercussions? Will this adversely affect any other area of the college/school?” This last ques-tion is the primary point for me: I do not move forward with a proposal until I feel that no other area would be ad-versely affected.

Be certain that you can offer your proposed degree at the highest level the students deserve. Do you have the re-sources, the faculty, the space, the time? Are you aware of the additional advis-ing, recruiting, advertising, outreach, and communication challenges this will create; and can you handle them? A weak, unsupported degree is more worthless than no degree at all.

Learn to work with others: internal-ize feedback; seek counsel; be willing to compromise; and question your own priorities and motives while maintain-ing a positive relationship with your colleagues. I have found that this ap-proach actually brings me closer to my colleagues and creates a more team-ori-ented environment. In the end, we want to have a degree that we all see value in, feel a part of its creation, and support. The nuts and bolts of the degree are im-portant; but the communication with,

JAZ_44 44 1/18/10 10:43:28 AM

roundtable


education of, and consultation of our colleagues is even more so.

ANTONIO J. GARCÍA, In my fi rst full-time university teaching position, I served as coordinator of a just-ap-proved jazz program and so was ac-tive in the startup of a half-dozen new courses. At my next university, I served as point-person to pass the fi rst under-graduate B.M. Jazz Studies degree cur-riculum ever approved within that very conservative academic culture. More recently, I received the responsibility of getting the fi rst broad revision approved for Virginia Commonwealth Univer-sity’s B.M. Jazz Studies Program in 25 years—where the institution is less con-servative, but where multiple attempts to make such a change in previous years had failed because of some entrenched opinions on both the classical and jazz sides of the fence.

The degree proposals at the latter two institutions eventually passed unanimously—not a single vote of opposition from any faculty mem-ber—but each only after two years of individual negotiations between each voting faculty member and me. My advice, based on these experiences, is as follows. I hope it is helpful; these suggestions are not meant to sound condescending.

Forget your own institution and its history for a moment. Start with a white paper: no core curricula, no prerequisites. Draft what you think would be the ideal Jazz Stud-ies degree program for your students. Have other jazz faculty do the same exercise, and then compare notes. Do you come up with similar goals? Can you identify the mission of the degree? This exercise will usually re-veal whether you and your colleagues believe, for example, that the best program for your students is Jazz, or Jazz and Commercial, or Jazz plus an additional B.M. or B.A. in Music In-dustry, or another option. You and at least a substantial committee of your

jazz colleagues have to agree before you can get any further—even if your eventual approach is to model your curriculum after the basic structure of the existing non-jazz curriculum at your institution.

Then examine your school and its culture. First, what fi nancial con-straints are in place? Can you create the program you want with no added cost to your department for staffi ng, facilities, or other concerns? Because if you’re seeking more departmental funding, your non-jazz colleagues are likely to object (unless they see the jazz program’s growth as benefi t-ing the whole school). Once I had a conversation in a public setting with a valued non-jazz colleague at another educational institution dur-ing which I congratulated him on the announced establishment of his school’s jazz program. While attempt-ing a smile, he struggled for words to sound positive about the devel-opment. It was clear he was deeply confl icted about the investment of fi nancial, physical, and public-rela-tions capital to which his school had just committed. So shoot for a cur-riculum that costs no more to run than what you have now—unless you have evidence that your school is ready to invest more in jazz.

What curricular pillars are cur-rently in place that you (and your col-leagues) believe really have to stay? Is it the core curriculum? At my two latter institutions, I managed to con-vince the faculty that the core for the classical B.M. students wasn’t as ap-plicable to the B.M. Jazz student. The core was then edited slightly differ-ently for jazz majors.

What can be swapped, jazz for clas-sical, if desirable? At VCU, for exam-ple, we were successful in switching a keyboard class for jazz keyboard, a music history for jazz history, a music theory for jazz theory, and more.

The four truest words about cur-riculum design are that “All curricu-

lum is compromise.” Something will always have to be left out in order to get the most important material in. It’s always a question of priorities. Even if your proposal passes exactly as you’d envisioned it, it’s a compromise: think of all the instructional aspects you’ve already had to leave out of it! So once you’ve arrived at a good draft, quit fretting about what’s not in your plan: something’s left out of every school’s degree-plan.

Note what your recent Music alum-ni with jazz interests have said about what’s needed in the curriculum. For instance, very few VCU jazz students immediately go on to graduate school: they go out and gig. Then they might go to grad school a few years later if their interest in it piques. So a lot of courses that various non-jazz faculty were adamant about retaining be-cause “these prepare our students for graduate school” melted away quickly when our statistics showed that our jazz students weren’t as interested in graduate school—and if they wanted to be, they could take some elective courses or do some self-study: these didn’t need to be in the structure of the degree. Now, this may not be at all where your curriculum is heading; but it’s a fi ne example of learning what the alumni would have wanted—or not—in their education.

Consider this: the vast majority of jazz faculty studied not only jazz but also classical skills during their own college/university years—if they had the opportunity to study jazz in school at all! Yet the vast majority of classical faculty have never studied jazz (nor, for that matter, other non-classical genres). So it is only natural that many classical faculty might be mystifi ed, confused, or outright fear-ful of what is and is not taught in the jazz studies mentoring process. So invite them in: welcome them to observe jazz ensembles, classes, and private lessons. Pour positive energy into demystifying your jazz-educa-

JAZ_45 45 5/19/10 3:03:32 PM

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tional model for your colleagues. Knowledge is power, and classical colleagues knowledgeable about your appropriate and successful approach can be powerful advocates in your quest to improve your curriculum yet further.

If some faculty or administrators then want something retained in or added to the curriculum that you don’t, the best question to ask is: “Could you suggest to me what portion of my cur-riculum draft should be deleted in fa-vor of having the course you want?” This is not a cynical question: it will either yield constructive suggestions or reveal to all that the draft does include what’s most important. Colleagues who want to complain without offer-ing constructive alternatives generally paint themselves negatively and be-come a minority.

A Music Industry course or the like belongs in every B.M degree, period. It’s still not required of anyone but the jazz majors here at VCU, but I believe it’s only a matter of time. Any Music school turning undergrads out on the streets without the opportunity for at least a semester of music business study is in my opinion doing its stu-dents a disservice. So try to get that in the core of all your school’s degrees, if you can!

Once you’ve got a curricular plan that the jazz colleagues can agree on, shop it to your chair or dean. If you get a thumbs-up, then shop it to some non-jazz colleagues you respect who, if they disagree with you, will tell you exactly why and perhaps even how you could improve it in their eyes. Then start shop-ping it to every voting member of the faculty, including assistant chairs/deans.

Once your non-jazz colleagues have contributed such ideas to your model, they have actually invested in it: they have a small amount of own-ership in the proposal. This brings to mind a quote from a pedagogue and remarkable colleague, Don Owens, then-coordinator of jazz at North-

western University: “Make it seem like their idea.”

Don’t bother bringing any pro-posal up for a vote until you already have most or all voting faculty already agreeing to it in private. That said, at each of my latter institutions there was one faculty member who—de-spite agreeing to the proposal in pri-vate—chose to reverse his opinion publicly at the faculty’s meeting on the subject. In both cases, the faculty member could easily have contacted me in advance, let me know of his concerns, and allowed me to address them in private so as not to derail the proposal at the faculty meeting. But in both cases, these individuals chose the public route instead. If that hap-pens, just table the proposal and ne-gotiate in private. These matters de-layed the approval by about a month in each case; but again, the approvals were unanimous in the end.

Maintain your cool, and focus on your goal. Don’t react by retorting with anything (even facts) that will serve no other purpose other than to make you temporarily feel better. You’re best served by winning them over later, if possible. Keeping my cool also won me big points with everyone else on the faculty who thought those two individuals had been out of line for not fi rst raising their concerns with me privately.

And that leads to the most impor-tant lesson I learned at both latter in-stitutions at the end of the two-year sleuthing process: it all comes down to how your non-jazz colleagues trust you. At both locales, I had been in place for two or more years before address-ing the curriculum; and during that time, my non-jazz colleagues had been observing me carefully. When it came down later to my private appointment with most non-jazz faculty members, the common response I heard was: “Look, I trust you to know what’s best for your students. Go for it. Maybe tweak that line there.” They were al-

ready assured of my motives in want-ing the proposal: had they not been, no amount of my talking would have convinced them otherwise. So make sure your reputation and rapport with them is solid before proposing major changes to the curriculum.

What’s “right” for your curriculum depends largely on the culture of the institution you’re in. There are certain-ly many useful articles on the subject of jazz curriculum. Two with a fairly unique twist are housed on my web site. For those faced with convincing colleagues about the validity of jazz vocal instruction, browse “Vocal Jazz and its Credibility in the University Curriculum“ by Diana R. Spradling; Jazz Educators Journal, International Association of Jazz Educators, Vol. 32, No. 5, March 2000, archived at www.garciamusic.com/educator/iaje.journal/iaje.jej.html. And for those pursuing jazz additions within their schools’ Music Education curriculum, consider “Teacher-Training for Under-graduate Students in the New Millen-nium“ (co-written with representa-tives of NASM, MENC, and individual schools of music), Jazz Educators Jour-nal, International Association of Jazz Educators, Vol. 32, No. 2, September 1999, archived at www.garciamusic.com/educator/articles/articles.html.

In closing, remember that the wheels of change do sometimes spin slowly, as summarized by a joke told to me long ago by a faculty colleague. How many professors does it take to change a light bulb? “Change! CHANGE! Not CHANGE!”

Antonio J. García is an associate profes-sor of Music, director of Jazz Studies, and formerly the coordinator of Music Business at Virginia Commonwealth University. His new book with play-along CD, Cutting the Changes: Jazz Improvisation via Key Cen-ters (Kjos Music) offers musicians of all ages standard-tune improv opportunities using only their major scales. Visit his Web site at www.garciamusic.com.

JAZ_46 46 5/19/10 3:03:35 PM


Setting the stage

If you are teaching a jazz choir, you know that

you will have to convey in-depth musical skills

and information to a group of people with limit-

ed time constraints. If you are teaching jazz solo

voice, you know that the teaching process will be

different. Or is it? Historically, jazz singing has

been learned in apprenticeship or immersion set-

tings such as on the bandstand or in jam sessions.

However, today’s aspiring jazz singers attend class-

es or workshops to learn and work out their craft.

These singer/learners are a diverse group ranging in

skill, beginner through professional, and age, high

school-aged to older adult. Classes can be found

at independent workshops, colleges, universities,

and summer camps. However, these settings share

common ground: singers learn an applied skill in a

class setting with minimal individual instructor at-

tention. Since jazz solo voice classes are relatively

new, identification and discussion of successful

practices is essential. Further, teaching delivery

can only be enriched with components and strate-

gies adopted from a successful master teacher.

focus session J A Z Z S I N G I N G

Jazz Singing Goes to Class: INSPIRATION FROM A MASTER TEACHER

BY STEPHANIE LETSON

One community college instructor has de-voted a life-long career to the art of teaching jazz solo voice in a group setting. He has successfully translated jazz singing skills and knowledge pre-viously learned through apprenticeship to group activities and class performance observations. The secret to this class dynamic seems to be the instructor’s sense of time and space. Just as a bril-liant conductor directs an orchestra rehearsal, this instructor ‘conducts’ the class in regard to education, music and organization. Lifetime teaching vocabulary is used to employ learner-enabling tools. Pedagogical technique is tied to subject mastery through which a community of learners is created. In this case, subject matter encompasses vocal technique as well as jazz his-tory and style. In order to learn his strategies, I embarked on a research project observing weekly class sessions throughout an eighteen-week se-mester. The instructor was informally inter-viewed, random students were interviewed and all students were surveyed. Through this process, three components emerged: community, mastery, and educatorship.

Connecting with the Audience: Community of learners

It is 6:35, and the pianist wanders in. “How ‘ya doin’, man?” Hugs…A few jokes…To me, it seems like they are meeting for a drink. There is no sense that they are here for work. The pianist gives pointers to excited students working on that evening’s performance charts. While testing the sound equipment, the instructor pauses to talk with a student about her week. Meanwhile, students fi nd their own comfortable spot to in-habit for the next three and a half hours.

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It is 6:50, and students start trick-ling in. First is Ron who has retired early and is seriously pursuing training as a jazz singer. Next is Thinh, a three-semester percussion student who is transferring to university in the fall. He has sung in the Chamber Singers and Jazz Singers throughout his time

at school. Susan follows Thinh. She is the lead soprano for the Jazz Singers, and is preparing for a classical and jazz voice recital this Spring. Anna sneaks in followed by several of her friends. Anna has sung in her Spanish church, but is terrifi ed of improvising in this class. It is close to starting time and

ten more students rush in. They’ve come from work and many have spent upwards of two hours in transit: 21 students in all, nine men, 12 women, three African-American, fi ve Hispanic, three Asian, ten Caucasian, ages rang-ing from 17-70, the musically trained to the relative beginner.

Community is the foundation of this jazz voice class’ success. Singer/learners feel a sense of safety that en-courages free artistic exploration. Robert Brooks suggests creating a safe and secure learning environment fi lls a social-emotional need of learners. Learners whose basic needs have been met will be the most responsive learn-

ers.2 Richard Ryan and Edward Deci contend that this safe environment en-courages learner motivation, whereas learners will become proactive and engaged or passive and alienated due to social conditions within the class setting.3 This class’ environment is created with necessary equipment, ap-propriate personnel, and continuously evolving curriculum. Second semester singer/learners mentor new singers in social and educational expectations. Students have varied reasons for class enrollment: a father who listened to jazz vocalists or a youthful attendance to Ella Fitzgerald’s concert. However, the students share common ground: a desire to learn this skill and to work with this particular instructor.

In this class, community building is approached through consistent and light-hearted ‘banter’. From the fi rst class meeting, the instructor joked with students as they introduced them-selves. By the second-class session,

“YOU CAN DO ANYTHING YOU WANT TO DO, IF YOU

KNOW WHAT TO DO.”– BETTY CARTER1

JAZ_48 48 1/18/10 10:44:21 AM

www.music.umich.edu

focus session


students realized that he knew unique information about each of them. This rapport building is supported by Rich-ard Brooks who suggests that educa-tors guided by empathetic philosophy will be able to look inside learners and respond with meaningful strategies.4

Within this relaxed atmosphere much is accomplished. Many tunes are introduced and rehearsed. Jazz his-tory and concepts are almost casually interjected as students work through tunes. Phrasing, style, history, vocal technique and microphone technique are conceptually infused from the very beginning. Pacing is unhurried, how-ever, instruction is intense with an im-pression of time’s preciousness and a reluctance to waste any minute. Class directed student feedback is minimal. This has been neither discouraged nor encouraged. When asked, the instruc-tor said that this was a conscious strat-egy. He said,

“They are getting used to listen-ing. They don’t know enough at this point to critique in a discerning way. Many students are getting used to the seriousness of the class. Perhaps next semester there will be enough of an ex-perience base for student comments to be discerning and helpful.”

Richard Brooks suggests that the so-cial-emotional needs of the students are as important as teaching students in the ways they learn best.5 This instructor has created a friendly-forum in which students fi nd the courage to ‘try’. One student addressed this by saying, “The weekly demonstration of human char-acter, in the form of people at all levels standing fi guratively naked in front of a crowd and baring a bit of their soul, is worth much more than the time invest-ment or cost of this class.”

Telling the Story: Mastery of subject

‘Mastery’ was a main thematic re-sponse from student interviews and questionnaires. Student one, “Because

the instructor is a total musician him-self, he can communicate musical con-cepts and ideas from all points of view: director, vocalist, instrumentalist. Wherever the student is, he encour-ages their best and makes it better!” Another student was surprised at the instructional quality,

“The instructor is surprisingly good for a junior college. He teaches theory, corrects gently, and is very encourag-ing to students who have never sung jazz. He has an amazing depth and breadth of jazz theory history and per-formance technique. He is professional and engaging. All his students seem to value him as a friend and mentor, as well as a teacher.”

It is 7:00, and the instructor introduces “Now’s the Time” as well as lyricist, Eddie Jefferson. He asks Thinh, “Who was Ed-die Jefferson?” Thinh does not know, but Susan answers, “A man who wrote lyrics to instrumental solos.” The class sings the tune twice. However, the instructorcatches missed notes and encourages careful listening as the pianist plays the section. He then directs the class to sing the whole song in one breath with a faster tempo. After two more choruses, the instructor asks, “Everyone, how do we get through this in one breath?” Anna suggests thinking about breathing in the middle of her body. The instructor humorously addresses support, “Every-one, point to your nose. Point to your shoulders…point to your lungs...There’s difference between your shoulders and your lungs, huh?”

It is 7:15, and each class begins a lit-tle differently. Sometimes the instructor speaks with individual students while other classes begin with group singing of “Now’s the Time.” During one ses-sion, the recent death of arranger Gene Peurling evoked sadness and provided an opportunity to discuss the arrang-er’s impact on the vocal jazz fi eld. That particular evening’s class began with listening to the Singer’s Unlimited.

Research has found that subject mas-tery is an essential element in effective teacher/learner relationships. Charles Goldsmid, James Gruber, and Everett Wilson found that superior teachers had command of subject matter, concern for students, and techniques for conveying competence.6 Thomas Streeter studied an award-winning middle school jazz band program and found that the direc-tor combined strong musical training, solo classical experience, and profes-sional jazz performance experience.7

Catherine Jensen-Hole studied how teaching strategies employing model-ing, coaching, scaffolding, fading, ar-ticulating, refl ecting comparatively, and exploring were used to develop student musicianship. She suggests that student performance ability is directly related to the teacher’s musicianship and educa-torship, which are intertwined and uti-lized simultaneously within the learn-ing environment.8

For this instructor, subject mastery includes instrumental performance ex-pertise and technique, vocal technique, comprehensive musical knowledge, pedagogical knowledge, and rehearsal techniques. In fact, this instructor has spent a lifetime ‘preparing’ to teach this class, beginning with a music education bachelor degree and a classical trumpet performance masters degree. Although a trumpet major, the instructor studied vocal performance and health intensely. High school and college director posi-tions required choral, band, and or-chestral work, while professional cred-its include principal orchestral trumpet, vocal jazz group directing, international clinician, and Down Beat Magazine award-winning ensembles.

Personalizing the Music: Commitment to Educatorship

It’s 8:30, and Alex works with the instructor. The pedagogical approach is clinician-like with positive, skill-oriented comments, “You just heard something that you would have paid

JAZ_49 49 1/18/10 10:44:27 AM

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for in a jazz club. Poignant, that’s the word that you were looking for.” The instruc-tor asks Alex to begin again. After a few notes, the instructor comments on note duration and text phrasing. With each student performer, there is never more than a four-minute block of comments. Most of the time an individual comment is less than one minute. This seems to strike the balance between individual feedback and class engagement. With another student’s improvisation, strategy was tailored to her advanced, skill level. The instructor asked her what did not work in her im-provisation. The student was not sure. After having the class sing her motive, the instructor analyzed it, “It is all one pitch. But if you take it and end it this way…Go someplace with it.” Using a modeling strategy, the instructor trades four’s (alternat-ing four measure solos) with the student to encourage improvisational concept application.

Many strategies are used within this class. If one idea did not work, the instructor would alter it or change it until he found something that did work. Goals and strategies seemed to be clear and conscious. Some strategies were used to build community and rapport: humor, student modeling, chatting, and seating arrangement. Other strategies were used to convey musical skill: instructor chosen literature, instructor modeling, new conceptual informa-tion, kinesthetic learning, professional accompanist, student demonstration, and immersion. Organizational strategies created the class framework: im-provisational teaching, lecture, time management, momentum, mastery, and expectation-level.

When students were asked to describe the instructor as an educator, the unani-mous response was excitedly positive. One student felt,

“He doesn’t have a one size fits all approach. He works with individuals and teaches them proper vocal techniques, respect for the music, good pos-ture, etc. He makes students feel comfortable in performing. Students learn by watching and listening to others, and each student is respected despite their ability.”

Another student expands this thought, “The instructor is able to teach all levels. He has more than one way to get a concept across. He does not give up. He is an expert at this craft and dedicated to his students’ success.” Ken Bain found that outstanding teachers approach teaching similarly. Class pre-

COMMUNITY & RAPPORT:

• Humor• Student Modeling• Chatting• Seating

MUSICAL SKILL:

• Literature• Instructor Modeling• Musical Concepts• Kinesthetic Techniques• Accompanist• Student monstration• Immersion

ORGANIZATION:

• Improvisational Teaching• Lecture• Time Management• Momentum• Mastery• Expectation

Strategies

sentations are viewed as important and intellectually demanding. Sim-plicity and clarity are key strategies. Critically reflective and analytical teachers are able to clearly convey their thought processes in lectures, discussions and assignments. They know their subjects extremely well, and are able to create structures that learners can use to build their own understandings. Further, because these teachers believe in their stu-dents’ desire to learn, they seek to introduce authentic tasks that will challenge learners to critically assess their assumptions and models of re-ality.9

Patricia Cranton suggests that presenting oneself authentically is intrinsic to the teacher/student re-lationship. Broadly defined, this means helping students learn, caring for students, engaging in dialogue with students, and an awareness of the exercising of power. Further, an authentic teacher presentation inte-grates teaching, personal life, and professional life.10 Authenticity has five interrelated facets: self-aware-ness, understanding of others, con-nections with others, understanding of role of context, and critical reflec-tion on one’s practice. Context would include influences and perception of self, students, and their relation-ships. Perception would extend to the course content, discipline, phys-ical environment, psychological en-vironment, department, institution, general community, and/or cul-ture.11 Cranton adds, “If we assume educator roles that are not congru-ent with our values, beliefs, and per-sonality preferences, we are asking students to communicate with the role, not the person.”12

In this class, presentations could have been altered to be more stu-dent-inclusive. For example, there could have been more discussion op-portunities. However, this is not this instructor’s style or his strength. The

JAZ_50 50 1/18/10 10:44:30 AM

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instructor sees himself as a master in this genre, and that is presented. Authentically the ‘performer teach-er’ role seems to be part of the expe-rience for the students. However, a consistent class strategy was student modeling. Whether during improvi-sation or introducing literature, the instructor would immediately ask a student to demonstrate in front of the class. Student questionnaire and non-verbal responses indicated that students did not seem to mind class presentation methods. Perhaps part of their attraction is to the ‘teacher-as-performer’ who, often using kin-esthetic tools, would draw the best out of everyone. Singers left class sessions sounding significantly bet-ter. Perhaps students traded verbal interaction to gain faster results?

Lessons learnedWhen someone easily creates a

‘relaxed-yet-serious’ environment, an observer might dismiss it as unplanned rather than skill. How-ever, this class’ success and student experience supports the idea that rapport and community-feel are equally important as the amount of content covered. Perhaps the ques-tion is “How does one become an effective, master teacher?” Conver-sations with this instructor revealed continuous reflection about what ‘worked’ versus what did not. This reflection yielded analysis. Analysis led to preparation: the search for new materials, the creation of new materials, the exploration of mean-ingful strategies, and the innovation of presentational materials. Essen-tially, when this instructor teaches a class, for which he is considered an expert, he is not happy to simply rely on previous methods and ma-terial. Perhaps in this instance, Bil-lie Holiday’s idea of artistry applies, “Somebody once said we never know what is enough until we know what’s more than enough.”13

Notes:

1 Carter, Betty. “Betty Carter Quotes,” BrainyQuote. http://www.brainyquote.com/quotes/authors/b/bet-ty_carter.html (accessed 28 September 2009).

2 Brooks, Robert. To touch a child’s heart and mind: The mindset of the effective Educator. http://www.cdl.org/resource-library/articles/touch_child.php (accessed 6 May 2008).

3 Ryan, Richard M. & Deci, Edward L. (2000). “Self-determination theory and the facilitation of intrinsic motivation, social development, and well-being.” American Psychologist 55, no. 1 (2000): 68-78.

4 Brooks, Robert. To touch a child’s heart and mind: The mindset of the effective Educator. http://www.cdl.org/resource-library/articles/touch_child.php (accessed 6 May 2008).

5 Brooks, Robert. To touch a child’s heart and mind: The mindset of the effective Educator.

6 Goldsmid, Charles A., Gruber, James E., & Wilson, Everett K. “Perceived Attributes of Superior Teach-ers: An Inquiry into the giving of teacher awards.” American Educational Research Journal 14, Vol., no. 4, (1977): 423-440.

7 Streeter, Thomas. “Sam Hankins: Middle School Jazz Advocate.” Jazz Educators Journal (April 2006): 1-6. http://www.iaje.org/article/asp?ArticleID=257

(accessed 4 September 2009).

8 Jensen-Hole, Catherine. “Experiencing the interdependent nature of musicianship and educatorship as defi ned by David J. Elliott in the context of the collegiate level vocal jazz ensemble.” Ph.D. diss., University of North Texas, 2005.

9 Bain, Ken. What the best college teachers do. Cambridge, MA: Harvard University Press, 2004.

10 Cranton, Patricia. Understanding and promoting transformative learning: A guide for educators of adults (2nd edition). San Francisco, CA: Jossey-Bass Publishers, 2006.

11 Cranton, Patricia. “Educator authenticity: A longitudinal study.” Learning In Community: Proceedings of the joint international conference of the Adult Education Research Conference (2007). http://www.oise.utoronto.ca/CASAE/cnf2007/Proceedings-2007/AERC%20CASAE%20Cranton-2007.pdf (accessed 21 May 2008).

12 Cranton, Patricia. Understanding and promoting transformative learning: A guide for educators of adults (2nd edition). San Francisco, CA: Jossey-Bass Publishers, 2006. 113.

13 Holiday, Billie. “Billie Holiday Quotes,” BrainyQuote. http://www.brainyquote.com/quotes/authors/b/billie_holiday.html (accessed 28 September 2009).

Department of Music Now off ering an Instrumental Jazz Track

Bachelor of Music Degree. For more information contact

[email protected], (336) 316-2292 or go to www.guilford.edu/music

5800 West Friendly Ave. Greensboro, NC 27410

Personal, Progressive Music Instruction ...

... within a liberal arts environment.

Drew Hays, Director of

Jazz Studies

Stephanie Austin Letson is director of Choral Activities at Contra Costa College, in San Pablo, California. She directs the vocal jazz ensemble, JazzaNova, and the Chamber Singers. A doctoral candidate at Columbia University, Teacher’s College, Letson’s dissertation research focuses on vocal jazz education.

JAZ_51 51 1/18/10 10:44:34 AM

www.guilford.edu/music


To the experienced jazz musician, improvisation is to a great extent, a product of the inter-

nalization of standard jazz phrase patterns learned over a long period of time. When these

patterns are employed in improvisation they often appear in combined form, a portion of

one phrase combined with another.

Techniques of Melodic Development in Jazz ImprovisationBY LEE EVANS

Often the most impressive improvisers are those who have built a large vocabulary of such jazz phrases and have practiced them assiduously in all keys. Through extensive experience these players have acquired a keen sense of when and how to employ and manipulate this phrase vocabulary. However, an important but often overlooked area of jazz improvisation is that of melodic reference, the manipulation of the me-lodic line.

Prior to Louis Armstrong in jazz history, improvisation mostly involved melodic embellishment. One of Armstrong’s important contributions to jazz history was his centering of improvisation around a composi-tion’s chord structure rather than simply embellishing the song’s melody. Getting further and further away from the melody in jazz improvisations over the years has made jazz more abstract and thus less accessible and appealing to lay audiences. I make the case that were the jazz improviser to learn to develop melodic motives more effectively, their improvisations will sound more unified and thus more compositionally sound.

JAZ_52 52 1/18/10 10:45:17 AM


As an example, think of the opening of George Gershwin’s “I Got Rhythm.” After the initial presentation of the first four notes, they are then presented in both retrograde (the pitches in backwards order) and in inversion (the intervals upside down.) Thus an obvious relationship has been created and compositional unity has been achieved. Audiences instinctively react positively to an internal recognition of such compo-sitional relationships.

Examine most successful songs and you’ll recognize this relationship feature. Think of Satin Doll, as another example. At the very start of the chorus, there is an initial presentation of a five-note first phrase in bar one, repeated in a three-note fragmentation in bar two. Then that music appears in bars three and four in sequence (repetition starting on a different pitch) a whole-step higher. What follows is further melodic fragmentation in sequence to round out the first eight bars. Furthermore, think of the B section (the bridge) of that AABA song, where after the presentation of the first four-bar phrase, that melodic motive then ap-pears in sequence a whole-step higher. Result of these obvious relationships: a high degree of compositional unity.

This article teaches easy-to-learn compositional and improvisational devices, mastery of which will en-able aspiring jazz musicians to create more unified improvisations; achievable through the employment of techniques of melodic development and thus the creation of significant melodic relationships in their improvisations.

MELODIC DEVELOPMENT USING REPETITION AND SEQUENCEThe following original 12-bar blues-structured composition utilizes the compositional devices of repeti-

tion and sequence exclusively to develop the motivic material of bars 1-4. Notice how these development techniques tend to unify a work; in other words, make all the different parts seem as though they fit together and relate to one another.

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REPETITION AND SEQUENCE IN ALTERED FORMSSequence is not always accomplished as an exact repetition of a motive at another scale degree. Se-

quences may appear in altered forms, such as:

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Study and play the following two 12-bar blues-structured original compositions that incorporate vari-ous techniques of altered forms of repetition and sequence.

Lee Evans is Professor of Music at NYC’s Pace University. He is the author/composer/arranger of 94 books and numerous articles. The above article is based on his book Improvise By Learning How To Compose (Hal Leonard). His most recent book is Color Me Jazz, Book 1, late-beginner level piano solos (The FJH Music Company).

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jazzforum www.aajc.us

Don Byas, “No such thing as a wrong note!” (Paris, France, November 11, 1969, Interview by Arthur Taylor in his book, Notes and Tones, excerpted, edited and compiled by Dr. Larry Ridley)

Who infl uenced you? In the beginning, it was “Hawk” [Coleman Hawkins]. That sound always stayed

with me and never got away. In fact, I think I have a bigger sound now than he had. Apart from that, I dug what he was playing. Art Tatum really turned me on. That’s where my style came from … style… I haven’t any style. I just blow, like Art. He didn’t have any style, he just played the piano, and that’s the way I play. We were real close, and he loved me. He used to sit down and talk to me and one day he said, “Don, don’t ever worry about what you’re going to play or where the ideas are going to come from. Just remember there is no such thing as a wrong note.” He said, “What makes a note wrong is when you don’t know where to go after that one. As long as you know how to get to the next note, there’s no such thing as a wrong note. You hit any note you want and it fi ts in any chord.” And that’s right! There is no such thing as hitting a wrong note. It’s just that when you hit that wrong note, you’ve got to know how to make it right.

That’s when the doors started opening for me music wise. From that time I started practicing and remember-ing that and all of a sudden I said, “That’s where it is.” There’s no way you can hit a wrong note, as long as you know where to go afterwards. You just keep weaving and there’s no way in the world you can get lost. You hit one. If it’s not right, you hit another. If that’s not right you hit another one, so you just keep hitting. Now who’s going to say you’re wrong? You show me anybody who can prove you’re wrong. As long as you keep going you’re all right, but don’t stop unless you know you’re at a station. If you’re at a station then you stop, take a breath and make it to the next station. Tatum turned me onto that. He was a genius. I had been with Tatum for two years on the West Coast. I came to New York in 1935, and we hung out together every night. It was during that time that he taught me all those things. I came to New York with Eddie Mallory’s band. Mallory’s wife, Ethel Waters, opened up in the Cotton Club, Duke Ellington was playing with his band and so was Eddie Mallory, two big bands.

There was nobody playing what I was playing because I played all that stuff from Tatum. That F-sharp, B-natural, E, A, D, G, C, F, like in rhythm, instead of playing rhythm chords. Everybody was saying what is that? Where did this cat come from? Who is he? There weren’t any horn players following piano players at that time, so I was ahead of everybody.

“Bird” [Charlie Parker] got a lot of things from me. I met Bird when he was about fourteen in Kansas City, so I’ve been knowing him for a long time. Even after Bird got to New York with Jay McShann, we were still real tight, and he used to always come and get me when he wanted to go and jam, which was damn near every night. He would say: “Come on, Don, we’re going to play ’Cherokee’”. That was his favorite tune. What people don’t know is that Bird got a lot of stuff from

me, although he was infl uenced more by “Pres” [Lester Young]. Pres was re-ally his boy.

There was another cat, Buster Smith, and somebody else, I forget his name, but those are the cats who infl uenced Bird. They were all around Kansas City at that time. That was in the early thirties. Bird was a little cat, fourteen years old and blowing! He hadn’t developed then. He didn’t really start blowing till he got to New York; then he stretched out. That man could blow! You listen to the music now and you ask yourself what people are talking about when they compare somebody with Bird? Even “Trane” [John Coltrane] was infl uenced by him, although he went much further, but Bird was his idol.Trane was tight. Every time he came to Europe, the fi rst place he would go to, he would ask, “Where is Don Byas?” Always went where I was play-ing, never said hello. He’d just come in, sneak in. I don’t know how this cat did it. He would sit in the club all night and never move. I wouldn’t know he was there. I’d say to myself, “That looks like Trane sitting back there.” So when the set was over, I would go and ask, “How long have you been here?” He’d say, “I just came in.” Trane was something else. You would never know he was in the joint.

Have you ever felt any kind of protest in music?

I’m protesting. If you listen you will notice I’m always trying to make my sound stronger and more brutal than ever. I shake the walls in joints I play in. I’m always trying to sound brutal without losing the beauty, in order to impress people and wake them up. That’s protest, of course it is. I’ve always felt like that. The point is how

Coleman Hawkins

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jazzforumlong will people keep me waiting before they come in. I’m wondering if things will fi nally come my way before I pop off. Actually right now there aren’t that many cats left that are blowing—me and “Griff” [Johnny Griffi n], who else is there? There are a lot of young cats, but I don’t even know them. I’m talking about the ones on the top. My form of protest is to play as hard and strong as I can. In other words, you did this and you did that, so now take this!

Do you feel unrewarded for the con-tribution you made to our music?

Yes, in a way, but I can’t say I’m angry, because I split at the top of my success, so actually a lot of it is my fault. I can’t get mad at anybody but I can get mad in my music. When I play, I can allow myself to get mad. I split twenty-fi ve years ago. This cat [Calvin Massey, pres-ent at the time of the interview] asked me the night before I left, “When are you coming back?’ I said, “When they build a bridge!”

You were one of the fi rst musicians to settle in Europe?

I was the fi rst. I came with Don Red-man, after the war. I had a beautiful success and made a lot of money. I’ve just stopped making money during the last three or four years. Things got low. So many cats have come over and are still coming that things have dropped down. There isn’t the demand there was before, so that makes it a little rough. I’m not squawkin’. It’s just that I’m go-ing to try some different things and see if I can’t put a little fi recracker under. [Don Byas was expecting to go to Africa with Archie Shepp.] I think it would be nice to change things around a little bit for a while.

I’ve been going in a straight line for so long, it’s not going to hurt me to do that. That tape recorder is on! Yeah you’ve got to be a cross-eyed mother-fucker to make it in life.Paris, November 11, 1969

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HotWax New & Notable Music ReleasesAll dates are subject to change

December 1Build An Ark – Love PT. 1 [Kindred Spirits]

Dave Halls – Burning Time [Phantom]

Lee Konitz – Tranquility [Verve]

Amanda Martinez – Amor [Phantom]Salah Ragab & The Cairo Jazz Band – Egyptian Jazz [Kindred Spirits]

Art Sherrod Jr. – Seasons [Pacifi c Coast Jazz]

Vinson Valega – Biophilia [Consil-ience]

December 8Ernesto Cervini Quartet – Little Black Bird [Anzic]

Marc Copland – Alone [Pirouet]

Jim Hall Trio with Tom Harrell – These Rooms [Denon/Zoom]

Gabriel Mark Hasselbach – Cool Down [Phantom]

Lenny Howell – Soul Bearing [Angel Records Canada]

Ralph Lalama – Audience [Mighty Quinn]

Jon Lundbom & Big Five Chord – Accomplish Jazz [Hot Cup]

Archie Shiepp – On Green Dolphin Street [Columbia Japan/Zoom]

December 15Canaille - Potential Things [Phantom]

Euro Cinema - Brooklyn Groove [Hammondbeat Records]

Daniel Ori – So It Goes [Art of Life Records]

Alvin Queen – I Ain’t Looking At You [Enja]

Claude Williamson - Coraboration [Amj]

December 22Roberto Martinelli & Riccardo Bi-anchi – Ingranaggi [Primula Records]

David Minor - Sparse [Nonine Re-cordings]

David Parsons - Jyoti [Indie Europe/Zoom]

The Shy Boys - Allaxis [Mons Records]

Cootie Williams - Things Ain’t What They Used To Be [Jukebox Lil]

December 29Blue Tail Trio - Real Deal Smooth Jazz [SBR Music]

Fat Cat Five - New Age Smooth Jazz [SBR Music]

Carole Therrien - Vues Du Fleuve [Effendi]

Bill Ware - Played Right [Pony Japan/Zoom]

Michael Wollny - Michael Wollny’s Wunderkammer [Phantom]

January 5Jayne Cortez - Poetry & Music [Indigo]

Jazz Life Sextet - Tall Stories [Indie Europe/Zoom]

Lloyd Miller - A Lifetime In Oriental Jazz [Jazzman]

Mostly Other People Do the Killing - Forty Fort [Hot Cup]Muhal Richard Abrams/Ros-coe Mitchell – Spectrum [Mutable Music]

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HotWaxU-Nam – Past Builds the Future [Trippin’ ‘n Rhythm]

Michael Wolff - Joe’s Strut [Wrong Records/Select-O]

January 12Antonio Ciacca – Lagos Blues [MTM]

Sofi a Rei Koutsovitis – Sube Azul [World Village/Harmonia Mundi]

Frank Macchia – Folk Songs for Jazzers [Cacophony]

Melvin’s Rockpile – Out To Lunch [Accurate]

Greg Reitan – Antibes [Sunny Side]

Carol Sloane – We’ll Meet Again [Arbors]

Daniel Smith – Blue Bassoon [Summit]

January 19Dan Dean – 251 [Origin]

Evan Marien – Between Worlds [Art Of Life]

Alan Hewitt – Retroactive [Nu-Groove]

Holly Hofmann – Three’s Company [Capri]

Alan Holdsworth – Blues For Tony [Moonjune Records]

Michael Pagan – Three for the Ages [Capri]

Gail Pettis – Here In The Moment [Oa2]

Prana Trio – The Singing Image of Fire [Circavision]

Ted Shafer – New Orleans Jazz [Merry Makers]Matt Slocum – Portraits [Chandra Records]

Aaron Immanu Wright – Eleven Daughters [Origin]

January 26Chicago Underground Duo – Boca Negra [Phantom]

Fattburger – T.G.I.F. [Shanachie]

Hiromi – Place To Be [Telarc]

Joe Locke – For The Love Of You [Koch]

Monica Mancini – I’ve Loved These Days [Concord]

Pat Metheny – Orchestrion [None-such]

Raydience – Raydience [Megawave]

Saltman Knowles Quintet – Yes-terday’s Man [Pacifi c Coast]

Jesse Colin Young - American Dreams [Wounded Bird]

If you have information on an upcoming album or music DVD release which you’d like to have included in the next issue of JAZZed, please e-mail editor Christian Wissmuller at: [email protected]

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Jazz trumpeter and educator, Lyle “Rusty” Dedrick was best known for his trademark

trumpet solos; additionally he was a creative arranger and composer. Dedrick studied at

Fredonia College and was tutored by composers Paul Ceston and Stefan Wolpe. Rusty

had a long career in the New York City jazz scene, playing alongside musicians such

as, Don Elliot, Urbie Green, Maxine Sullivan, Lee Wiley, and Lionel Hampton. He also

worked in radio and television with Arthur Godfrey, Ed Sullivan, Sid Ceasar, and more.

In 1971, Rusty joined the faculty of the Manhattan School of Music as director of

Jazz Studies. Throughout his career as an educator, Rusty continued to arrange and

play, and in 1996 he was the musical director of the prestigious Smithsonian Institute

American Songbook Series tribute to Fats Waller and Andy Razaf.

Rusty Dedrick passed away at his home on December 25th at the age of 91.

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JazzEd January 2010

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Transcript of JazzEd January 2010