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56 rue Lepic - Paris. Where jazz is not just a legend.

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The new jazz standard

www.vandoren.com

Every once in a great while something comes along that turns expectations upsidedown, redefines how you approach things and sets a new standard for everyoneelse. Its happened again theres a new standard in jazz saxophone mouthpieces.

Introducing the new mouthpieces from Vandoren. These extraordinarymouthpieces combine the rich sounds of mouthpieces from the 50s and 60s withthe precise articulation, dead-on intonation and lightning response that you expectfrom Vandoren. Play one and youll see what we mean.

The standard has been raised. Vandoren the new jazz standard.

ANNONCE VANDO 3 BEC V16 us+mtal 10/01/07 15:37 Page 1


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news

NEWRELEASES

Vandoren is always on the go,living and breathing music Scoresand CDs of every kind of musicawait you there, from classical tojazz, klezmer to contemporary.

Among the most recent jazz andimprovised music CDs in stockover the last few months, wefeature clarinetists like Jean-Marc

Foltz, Sylvain Kassap orChristophe Rocher; saxophonistswith styles as varied as Jean-

Christophe Beney,Sbastien Jarrousse,Philippe Bourdin, Eric

Pland, Sylvain DelCampo or Christophe

Monniot Without for-getting the last CD of

Vandojam MC MichaelCheret ( Serious

things ). For a com-

plete CD list or anyother information,please send an email

to Jean-Marie Paul:[email protected]

BY ANNE-SOPHIE NAN DOREN

As organization of the 50th

Vandojam gets underway, we

can only rejoice in the success

of this event. Exported a year

ago to New York and

Chicago, Vandojam has beco-

me a top class jazz

venue. This is why we have decided

to dedicate this Vandojazz edition to

our activity in America and,

more especially, in that

other jazz capital, New

York. These few pages offer

a brief history of the

Musicians Advisory studio,

created 13 years ago and nowdirected by David Gould.

Considered as one of the pillars

of the Vandoren organization,

a crossroads of current trends

and a meeting-place for musicians, the studio is

essential to product research and development.

But more than simply detailing this activity, we also wan-

ted to take the temperature of the musical big apple andits actors. So we have put together a mosaic of concise

interviews, capturing the essence of musicians as talented

and original as each other, musicians who all embody the

spirit of New York. Among them, top artist Mark Gross,

director of the Vandojams, who invites these musicians

regularly to join him and his group on the stage of the

Iguana, the Mexican restaurant located just above the stu-

dio (our point of departure). Though ambitious in scope

(describing the New York jazz scene is no mean feat) this

number still has a rather informal, homely feel.

editorial

Director of publication: Anne-Sophie Vandoren -

Creation and realization: La Maison, 16 rue de Naples75008 Paris - Telephone: 01 44 90 02 20. Email: chris-

[email protected] - Photos: All rights reserved:

Vandoren - Registration of copyright: January 2007

Vando

jaz

zFROM THE OUTSET

IN MEMORIAM

Jackie McLean passed away onMarch 31st, 2006. A student ofnotably Bud Powell, a great inspi-ration to him, he played withCharlie Parker, Sonny Rollins,Thelonious Monk and MilesDavis. In the mid sixties, he colo-red his hard bop with free jazz.

Very involved in youth educationfrom 1968 on, he taught jazz and

Afro-American music history atHartford University. And, lest weforget, the more recent disap-pearance of Charles Luter at theage of 83. An emblem of NewOrleans in France and the jazzclubs of Saint-Germain, he played

with the greatest: Barney Bigard,Sydney Bechet and Louis

Armstrong.

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VandorenNew-York


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The VandorenMusicians

Advisory StudioSince its creation 13 years ago, the Vandoren Musicians

Advisory Studio has been the axis of our jazz presence in NewYork and an invaluable asset to all its visitors, professionalmusicians, amateurs, teachers and students alike. The idealsolution for customers keen to try out and compare our

whole range of reeds, mouthpieces, accessories and ligatures,this mini 56 rue Lepic , located in the heart of Manhattan,caters for both classical and jazz musicians. These continualencounters have triggered the research and development of

the great majority of Vandoren products now played throu-ghout the world. And in its own way, the showroom has been helping to launch musical careers for over adecade now. Artistic advisor David Gould says the Vandoren showrooms being above all a place ofencounter and exchange, is based on the firms being a front runner in music and jazz for over a century.

Vandojams have been part of the New York and Chicago scene for two yearsalready. Here s the occasion for their leaders, Mark Gross and Michael

Skinner, to present them to us A new Vandoren club in New York: the Iguana,

ideally located right beside our studio run by David Gould, always ready to wel-

come you A presentation of the IAJE and its annual conference Plus a few

favorite Vandoren artists and friends we wish to salute in passing for this

third Vandojazz edition!

Vandoren in the USsince 1928.Robert Van Doren, the son ofEugne, studied the clarinet, gra-duating with a Premier Prix from

the Paris Conservatoire.Embarking on a musical career, he

went, in 1928, for a year on tour tothe United States where he made aname for himself. He was one of

the first French clarinetists to playas a soloist at Radio-City, thefamous New York radio station.This was Americas initial contact

with Vandoren reeds, leading to a

popularity rising ever since withprofessionals of the New World.

Mark Brown in the company of David Gould, artistic

advisor and specialist of Vandoren products in New York

since 1999.

The showroom displays every type of mouthpiece and reed for saxophone and clarinet. To try

them out, call David at 212-399-9457 or contact him at : [email protected]

Our address in New York: 250 W. 54th Street.

Discover our showroom and the Iguana, the clubhosting the New York Vandojam for a few months

now. A new jazz venue in New York

VANDOREN NEW-YORK

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Mark, now that youre loo-

king after the New York

Vandojams, what do you

remember of your own

first jam sessions in the

early days?

Amazing memories! I made mydebut in Baltimore, Gary Bartzcountry and now that of GaryThomas, Antonio Hart andMark Gross. While I was still atuniversity, jams used to scare mebut they were fantastic. Musicianslike Arnold Sterling, Andy Ennisand Michael Fields used to play

everywhere in Baltimore. Theyhad a regular jam session in a clubcalled The Sportsmans Lounge.Going to this club was like goingback in time. Like in those oldfilms with everyone smoking,dressed up to the nines, fans in thefront row, others in the back of

the club talking away, and a groupswinging for all it was worth.I used to hang out in the front row

with my brother Vincent, a trum-pet-player, and sometimes the

club-owner would invite us to jointhe group: that was pretty scary!

Now I have great respect formusicians who have to play every

night. Those guys were such greatperformers! At the time I didntrealize they were teaching meeverything about playing in a

group. This was my real school,the definitive one. The songs weused to play together: Sugar, Songfor my father, along with loads ofother blues. You cant imaginehow great it was to play with myidols! And they used to let me andmy brother play nearly all night

with them. Thats where I learnt

jazz vocab, playing standards withthem. No sooner home, I wouldbe rushing to look for the recor-ded versions in my own collection!

What do you go for when

youre in charge of a jam

session?

I first try to create a swingingatmosphere, for everyone. Notjust for the musicians, but also for

the public. You build up a publicthrough what you give them.

I want the jam, and the way themusic is presented, to do justice

Mark Gross Former saxophonistwith Lionel Hamptons orchestra, Mark honors us by directing the New YorkVandojam, for the greater swing pleasure of one and all.

M

ARKGROSS HAS BEEN DIRECTOR OF THE NEWYORKVANDJAMFOR TWO YEARS NOW. BUT LETS GO BACK A LITTLE AFTER

CLASSICAL TRAINING AT THE BALTIMORE SCHOOL FOR THEARTS, MARKSTUDIED FOR A SEMESTER AT HOWARD UNIVERSITY AND THEN FORFOUR YEARS AT THE BERKLEE COLLEGE OF MUSIC FROM WHERE HEGRADUATED WITH A BACHELOR OF ARTS IN MUSIC PERFORMANCE.TWO OF BERKLEES BEST PROFESSORS, JOE VIOLA AND BILL PIERCE,

WERE TO BE PARTICULARLY INFLUENTIAL IN DEVELOPING MARKS FINEMUSICIANSHIP. AFTER HIS DEGREE, IN 1988, MARK SET OUT ON HISCARAVAN AS A PROFESSIONAL JAZZ MUSICIAN. MARK CREDITS HIS PRO-LIFIC SOUND TO THE LOVE OF GOSPEL THAT FILLED HIS PARENTBALTIMORE HOME DURING HIS UPBRINGING. HIS NEW CD, THEGOSPELACCORDING TO MARK, IS A CELEBRATION OF THESE ROOTS.MARKS FATHER IS STILL PASTOR OF HIS HOMETOWN CHURCH, MTZION C.O.G.I.C. HIS PROFESSIONALISM HAD HIM RAPIDLY PERFOR-MING AND RECORDING WITH FELLOW PACESETTERS IN JAZZ MUSIC.TOURING FREQUENTLY, HE HAS PLAYED ALL OVER THE WORLD, NOTA-BLY WITH THE DUKE ELLINGTON ORCHESTRA, PHILIP HARPER, NATADDERLEY, DAVE HOLLAND, MULGREW MILLER, NICHOLAS PAYTON,DELFEAYO MARSALIS, WYNTON MARSALIS, DIZZY GILLESPIE, NANCYWILSON, JIMMY HEATH, THE DIZZY GILLESPIE ALL STARBIG BAND,THE TOM HARREL BIG BAND, FRANK FOSTER AND THE LOUDMINORITY, FREDDIE HUBBARD, DONALD HARRISON, MARKWHITFIELD, JOE DUKES, JACKMCDUFF, JOE CHAMBERS, NEAL SMITH,REGINACARTER, LIONEL HAMPTON, STEPHEN HARRIS, DON BRADEN,VINCENT GARDNER, LENORA ZENALAI HELM, MARLON SAUNDERS,SEPIA, JANN PARKER AND THE MARKGROSS QUARTET, TONAME A FEW.THE WINNER OF TWO GRAMMY AWARDS, MARKGROSS HAS RECORDEDOVER40ALBUMS, INCLUDING TWO UNDER HIS OWN NAME, PREACH (KING RECORDS) AND RIDDLE OF THE SPHINX(J CURVE RECORDS).

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to both the musicians and themusic being played. Then I thinkof Louis Armstrong, DukeEllington, Count Basie, TheloniusMonk, Charles Mingus, CharlieParker, Dizzy Gillespie, John

Coltrane, Stan Getz, Lee Konitz,Ornette Coleman, Sarah Vaughan,

Julian Cannonball Adderley, etc.,and I think: always keep it interes-

ting, never let the music drop. InNew York, we are lucky enough

to have so many great musicianscoming to the club, that a four-hour jam is really four hours ofjazz. Sometimes, to let a certainmusician play, I organize the jamaccording to tonalities, instru-ments and styles At the last

Vandojam, for example, we hadevery saxophone model onCherokee. It was fantastic, fromsoprano to bass, all played byScott Robinson. Thats one of theamazing things about New York.I also want to give everyone time

to jam, so rarely impose timelimits like on the number of cho-ruses, etc. Sometimes I do have to

give a little sign though But therhythmic section is so courteous.Special thanks to Chris Brown on

drums, David Berkman on pianoand Tom Dicarlo or BeldenBullock on bass.

Is this your first jam?

No. In the beginning of the 90s,I ran a jam for two years in a clubon the East side of New York.

What do you think about

the current New York jazz

scene?

Very interesting. Ive been in New

York now for 17 years and the cityhas changed considerably. Before,it was more active. Now there areless clubs and those greats who

would have been in a position toeducate the young, have passedaway. There are fine schools like

Julliard, the new School or theManhattan School, but clubs arefar too expensive for the budgetof these young beginners. Youhave to pay for each set and the-res a minimum drink policy. Even

so, most clubs are full, despiteexcessive prices.

Is it hard to play in New

York?

Once I had made a name formyself in jazz, there were no pro-blems, but getting started was

tough. But then, it is hard for kids

just out of school.

A funny story, an anecdote?

It was in the beginning of mycareer. I was accompanying LionelHampton. My fee, for 90 minutesplaying, didnt warrant a secondmore. But at the end of the set,Lionel just kept on playing, we

couldnt stop him, we tried to tellhim but there was nothing to do,he just kept on playing. Then, to

try and bring him down to earth,they closed the curtain, but he justopened it by hand and kept on

playing. One day, at the Meridienin Paris, the fire alarm went offand he kept on playing like a mad-man! Oh, one day I was playing inNew York at John Jay College: Iprepare everything in the mor-ning, leave home for the concert,

get into Manhattan, park the car atthe garage, grab my saxophone

case, go into the dressing room,open the case, and findno saxinside! That was a long time ago!

FAVORITE ACCESSORIES: SOPRANOSAX : MOUTHPIECES S35, V16 S8 - REEDS

JAVA 2.5 - LIGATURE IN LEATHER / ALTO

SAX : V16 A8S -REEDS JAVA 2.5 - LIGATUREIN LEATHER / TENOR SAX : T95 V16 - REEDS

JAVA 2.5 - LIGATURE OPTIMUM

After being originally basedfrom Autumn 2004 at thehighly electronic club The KnittingFactory, the Vandojam and its lea-der Mark gross have now moved

to the Iguana. This restaurant, justbelow the Vandoren showroomrun by David Gould, was to quicklyprove ideal for the monthly event.

And great for Vandoren, to beable to have a meeting-place forjazz musicians and an outlet for

their select products at the same

address. If you are interested inparticipating in the New York

Vandojams, call David on212-399-9457 or email him at:[email protected]

A brief history ofthe Vandojam

in the United States

VANDOREN NEW-YORK


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Who has most influenced you in yourcareer?

All the legendary figures like Coleman Hawkins,Lester Young, Louis Armstrong, Ben Webster, SonnyRollins, John Coltrane, Miles Davis, Clifford Brownand on and on. Theyre the ones who defined whatjazz is and what jazz musicians are all about.

As an teacher, what do you think is thegreatest responsibility you have to yourstudents?Being honest with them and totally dedicated to the

whole pedagogical process. I also feel I have an obli-gation to help my students explore jazz from A to Z.

How do you manage to keep up yourplaying standard on so many different

instruments with such a tight schedule?I have several methods. Maybe one time I will choose

to work on straight technique, at another time, onsound quality. The most important thing for a youngmusician is to realize that consistency and regularpractice are essential to progress. In the long run,

the standard of your playing is directly related to thework you put in. Its up to you!

FAVORITE ACCESSORIES: CLARINET IN Eb : TRADITIONAL N3REEDS / BASS CLARINET: B45 MOUTHPIECE - TRADITIONAL N2.5REEDS / CLARINET IN Bb: TRADITIONAL N3.5 REEDS / SOPRANOSAX: S25/35 MOUTHPIECE / TRADITIONAL N3 REEDS /ALTO SAX :

V16 N2.5 REEDS / TENOR SAX : T75 JAVA MOUTHPIECE - V16 N 3REEDS

BRUCE WI LL IAMS WASBORN AND BRED INWASHINGT ON, D.C. HEBEGAN TO PLAY ALTO SAXO-PHONE AT THE AGE OF 12,INSPIRED BY HIS ELDER BRO-

THER ANTHONY WHO PLAYED THETENOR SAX. VERY QUICKLY, BRUCESHOWED HIMSELF TO BE A TALENTED

IMPROVISER. AF TER PER FO RM IN G I NS EVERAL GROUPS AT SCHOOL, AND

WINNING SEVERAL AWARDS FOR HIS

SOLO PLAYING, HE GOT A SCHOLARSHIPTO STUDY JAZZ AT COLUMBIAUNIVERSITY, TRANSFERRING TWO YEARSLATER TOWILLIAM PATERSON COLLEGEIN WAYNE, NJ. HE STUDIED WITHSTEVE WILSON, RUFUS REID, GARY

SMULYAN, WILLIAM SHATEL ANDJOE LOVANO. HE WAS ENGAGED TO PLAY IN THE BANDS OF LIONELHAMPTON AND MCCOYTYNER. JAMMING EVERYWHERE IN NEWYORK FOR NIGHTS ON END, BRUCE

WILLIAMS WAS SOON SEEN AS PART OF ANEWWAVE THAT INCLUDED RUSSELL GUNN, GREG TARDY,STANLEY COWELL, T. S. MONK, FRANK FOSTER, CECIL BROOKS III, LITTLE JIMMY SCOTT, THE

WORLD SAXOPHONE QUARTET, THE COUNT BASIE ORCHESTRA AND ROYHARGROVE. THE WINNER

OF TWO GRAMMYAWARDS, BRUCE IS CONTINUALLY PLAYING ALL OVER THE WORLD, NOTABLY WITHBEN RIELYS MONKLEGACYSEPTET AND ROYHARGROVES RH FACTOR. HE LEADS THREE BANDSUNDER HIS OWN NAME AND HAS APPEARED ON OVER TWENTY RECORDINGS, THREE OF WHICH WERE

AS A SOLOIST. HIS LATEST CD MORE TO GO IS RELEASED ON HIS OWN LABEL: BRUSHWOOD.

Why is jazz such a tough business?First of all, because jazz has such a limited publicIt takes years to build up a real following. You have

to go to Europe and Asia, get known international-ly, before really becoming a big name in the States,even if youre playing serious gigs with big stars.Theres no lack of talent, in every field, from hardbop, to traditional or avant-garde ! I really do think

that jazz is the hardest music to play.

How would you define your playing?My playing is based on rhythm and a good ear forharmony. I see myself as a kind of painter. I try to goplaces in the music, I love interacting with the pianoharmonies. I guess what I love most of all is themusical dialogue.

If you could have been there for onegreat moment in jazz history?Id choose when John Coltrane composed A LoveSupreme . How incredible to see him go so deepinside himself, and bring out such a piece.

FAVORITE ACCESSORIES: CLARINET : MOUTHPIECE 845 LYRE -TRADITIONAL REEDS OR V.12 N3 OR 56 RUE LEPIC N3,5 / ALTOSAX : MOUTHPIECES V16 A9S, A8S AND OPTIMUM AL4 - REEDS V16N3 / TENOR SAX : MOUTHPIECE V16 T35, REEDS JAVA AND ZZN3 AND N3.5 / SOPRANO SAX : TRADITIONAL REEDS N3

B

orn in 1961 in New Orleans, VictorGoines began to study clarinet at

the age of 8 and, very soon after, saxo-phone with Carl Blouin at St. AugustineHigh School. In 1980, he went to studyclarinet and saxophone at theUniversity of Loyola, majoring in 1984

with a Bachelor of Music Education.From 1983 on, Victor studied privately

with Ellis Marsalis, joining his teachersquartet 8 months later. He left NewOrleans in 1987 to continue studies at

Virginia Commonwealth University(Richmond), graduating in 1990 with aMasters in Music. Today Victor Goinesis the first artistic director of jazz at the

Julliard School in New York, conductor

of the Julliard Jazz Orchestra and amember of the Julliard jazz faculty. Hehas been a pedagogical consultant at

the Lincoln Center and given master-classes in many prestigious schools: theDenver School of the Arts, the JohnSchreiber Group, the Greater NewOrleans Suzuki Foundation, CornellUniversity, the Columbus Youth Jazz

Ensemble, Scranton University, etc. Totally committed to jazz pedagogy, he offers each ofhis students the opportunity to explore all facets of American jazz. Victor Goines is alsorecognized as a distinguished musician and composer. He has played notably with RayCharles, Diana Krall, Delfeayo Marsalis, the Wycliffe Gordon Quintet, Branford Marsalis, theSmithsonian Masterworks Orchestra, Bob Dylan, Stevie Wonder, Garth Fagin, ReneFleming, the Herlin Riley Quintet, Mark OConnor, Terence Blanchard, Bobby Watson,

Diana Ross, Marian McPartland, Ruth Brown, Dizzy Gillespie, Nancy Wilson, PaquitoDRivera, James Taylor, Lionel Hampton, Harry Connick, Jr, Dianne Reeves, Don Vappie andthe Creole Jazz Serenaders, Dee Dee Bridgewater, Irma Thomas, Marcia Ball, Bo Diddley,Freddie Hubbard, James Moody, Damon Short, Freddie Green and the George French Trio.

Victor Goines

VANDOREN NEW-YORK

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Bruce Williams


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B ENNY REID WAS BORN AND BRED INTHE HEART OF THE MULTICULTURALTOWN OF WESTFIELD NJ. HE BEGAN TOPLAY ALTO SAXOPHONE AT THE AGE OF 7,

AND WAS QUICKLY LISTENING TO THE GREAT

JAZZ CLASSICS. AT THE SAME TIME, HE WASTRANSCRIBING AND RAPIDLY PICKING UP THEBASICS OF JAZZ LANGUAGE. AT THE AGE OF17, BENNY WENT TO THE PRESTIGIOUS

UNIVERSITY OF INDIANA AND SOON BECAME A JAZZ FIGURE ON THE CAMPUS.ON GRADUATING, BENNY BECAME ONE OF THE MOST HIGHLY DEMANDEDSAXOPHONISTS IN JAZZ CLUBS IN THE MIDWEST. HE CAN BE SEEN THROU-GHOUT THE COUNTRY, NOTABLY IN NEWYORK CLUBS,WITH HIS OWN BAND.HIS FIRST ALBUM FINDINGS WILL BE RELEASED THIS WINTER ON CONCORDRECORDS.

Benny, as a young musician, how did you break into

the jazz business?Right from university, I was always playing in public or going out to hearmy favorite musicians. That helped form my musical ear and my network.

At Indiana, I was combining gigs with formal training, so I had a chance toquickly make a name for myself on the jazz scene. I also had some luckybreaks in recent years, performing with Winard Harper, Eric Reed or theChico OFarrill Orchestra. They helped me progress yet allowed me tostay true to myself.

What are your goals?I am happy that I am achieving the main objectives I set myself, but ofcourse I want to go further, to develop myself though my own music, myplaying and my performances.

Who were you most influenced by musically?I have had so many idols that I admire, but today my main referencesare Pat Metheny, Charlie Parker, Sonny Rollins, Stan Getz, Sonny Stitt,Cannonball Adderley, John Coltrane, Paul Desmond, Wayne Shorter,

Herbie Hancock, Joe Henderson and Eric Alexander.

FAVORITE ACCESSORIES: MOUTHPIECE V16 - REEDS JAVA 3S

JASON MARSHALL ARRIVED IN NEWYORK IN 2003. FOND OF DIFFE-RENT MUSICAL STYLES VERY EARLY

ON, JASON DEVELOPED AN ATYPICALSTYLE, VERY AFRO-AMERICAN.

INFLUENCED BYLEO PARKER, N ICKBRIGNOLA AND BRUCEJOHNSTONE,HE HAS NO PRECONCEPTIONS

ABOUT THE BARITONE SAX. JASONSTUDIED WITH THE BEST 20TH CEN-TURY BARITONE SAXOPHONISTS,

ARTISTS LIKE HAMIETT BLUIETT,RONNIE CUBER AND GARYSMULYAN. HE PARTICULARLY PRAISESTHE TEACHING OF LORENZ

WHEATLEY. JASON PLAYS WITH THETHAD WILSON JAZZ ORCHESTRA AND BLUES-MAN ROY GAINES. HE CUR -RENTLY TOURS WITH ROYHARGROVES BAND, RH FACTOR, AND BLUES STAR

JAMES HUNTER. HI S OWN BAND OVER NEGRITUDE IS NOW PREPARINGTHEIR DEBUT ALBUM.

Jason Marshall

How did you discover jazz?As an Afro-American, my black culture is not just something to affirm,its a fact of life. I saw jazz as the facet of black culture that most spoke

to me.

How do you practice to improve?I spent a long time looking for the ideal combination on the baritone saxbetween soul music and bebop. I also do a lot of scales and arpeggios, etc.

And often work in the utmost register to try and cut through all the clichessurrounding the baritone sax.

When did you first realize you were a musician?When I joined Roy Hargroves band in April 2005.

FAVORITE ACCESSORIES: SOPRANO SAX : S35 MOUTHPIECE AND N2,5 TRADITIONAL REEDS/ TENOR SAX :V16 AND T95 MOUTHPIECE, AND N2.5 JAVA REEDS / BARYTON SAX : B95MOUTHPIECE AND ZZ N3 REEDS / CLARINET: 5JB MOUTHPIECE AND 56 RUE LEPIC N3REEDS / BASS CLARINETTE : B46 MOUTHPIECE

Benny Reid

The legend isconfirmed: NewYork is well and trulythe jazz capital of theworld. Paris, in myopinion, is a close run-ner-up. But NY hasmore clubs, small orlarge, legendary orunderground. Thefirst big difference

with Paris, the oneyou cant help noti-

cing on every street-corner, is thatover there, jazz fits naturally into eve-ryones culture (though it must belosing a bit of ground for, to my greatsurprise, it was impossible for the taxi-driver bringing me to Manhattan fromthe airport, to find a jazz station on theradio), whereas in Paris, jazz is likesome art object for connoisseurs. Howexhilarating to hear Coltrane blaring

onto the sidewalk from the speakers ofa music shop one morning around 9a.m. as I was strolling around 48th.New Yorkers like listening to thismusic; they play it collectively at school(the big-band in college); they know

what makes it tick. As audiences, both

interested and interesting, they aremotivating and more likely to appre-

ciate risk-taking than comfort-zoneplaying. New Yorkers are also a vidclub-goers, respect jazz and its perfor-mers, and find it normal to pay (some-times quite a lot: from 8 euros to 35euros a set) to listen. In France we like

jazz most when you dont have to payfor it! Its not part of our national cul-ture yet to pay for this music Andhow often does a musician hear: But

what do you do for a real living? Isthis the consequence of a fairly genera-lized phenomenon in France whereamateurism is encouraged (associa-tions are formed like wild fire) morethan helping professionals? The otheramazing draw about New York is theprogramming in clubs. Most of thegreat jazz names actually live thereand go clubbing to try out their pro-

jects, have a jam, take a few risks,

making for the kind of line-upsunheard of in Europe. My best eveningout had to have been the night thatbegan at Blue Note with a concert ofGil Goldstein with Richard Bona, Don

Alias, Randy Brecker, Chris Poster, astring trio and Bobby McFerrin pop-

ping in for a jam. Followed by the late-night-hour jazz-buff scene in smaller,

more underground clubs where youcan hear excellent musicians, oftencompletely unknown in Europe,playing 4 or 5 sets (a different groupfor each set) that start rolling at 1.30 inthe morning! And finally came themoment Id been waiting for and thereason for my visit to NY: the

Vandojam at The Knitting Factory, ahomage to Cannonball Adderley whereI was the guest of Mark Gross and histrio. It took a while to break the ice,but once the music began, it was allsmiles on the faces of my brothers ,encouragement and enthusiasm like Inever felt from French musicians. New

York musicians keep cool before theyknow whether you can play or not.Music speaks for everything, even theirsocializing a shame perhaps!

Another striking difference: the rela-

tionship between the leader and therest of the group: the rhythmic sectionis totally at the bid and call of thesoloist, following him wherever he

wants to go without ever taking theinitiative. I love this way of working.

And what a buzz to play with musi-

cians who really know this Afro-American music of the sixties: the

spirit, the intros, the codas, the coun-ter-melodies, everything was there.The jam of the 2nd set was no disap-pointment either, with some cooldiscoveries on my part: Jason Marshallon the baritone ( who has since thencome to jam at the Sunset Vandojam in

June) and Anat Cohen, a fabulousmusician, clarinetist and saxophonist.Mark Gross is a big specialist ofCannonball and directs his New York

Vandojam in a relaxed, humorous way.:what class! The NY Vandojam beganagain in September at the Iguana, on54th , just beside Vandoren. The Parisone began again in October, takingplace, like last year, every 1st Tuesdayof the month at the Sunset.

For the next Vandojams,consult our website:

www.vandojazz.comHoping to see you all again for a jamseason as much fun as last year.

CheersMichal CHERET

par Michal CheretA week in New York


10/16

MichaelSkinner

Michael, you are with your company DANSR thenew importer since 2004 of Vandoren productsto the United States. What kind of relationship doyou have with your musician clients?Established in Chicago, our principal mission is to distribute

Vandoren products and allow artists and clients to discover andunderstand them. And eventually help them to get into the Vandoren community in the United States.

How do you go about this?We have created an American website www.vandojazzusa.comgiving information about Vandoren products and our sales net-work, along with concert information, technical advice, links toother Vandoren artists and announcements of the Vandojams in

the United States.

And so tell me about the Chicago Vandojams, theones youre closest to.Its an extension along the same lines as Paris and New York. Thejam now takes place in a jazz club that has been well-known

venue for 30 years: the Velvet Lounge. Everyone knows theplace, its a superb spot for Vandoren. It takes place here everylast Monday of the month. In Chicago, our jazz is very rich, verymixed. First of all, theres a real and very active salsa movement

here, along with a form of post Coltrane, post modern jazz, anew type of bop that we call the neo-Bop. And in our first jams,we managed to mix the two, something quite unique in theworld. Both communities mixed and the public loved it! Its areally powerful movement that is developing here. Our rhythmic

section is composed of Ernest Dawkins, Mark Colby on saxo-phone, Avreeayl Rah on drums, Larry Gray on bass and VjayTellis-Nayak on piano.

How do you organize contacting musicians inChicago?

We actually also have a studio like in New York so that musicians cancome hear the Vandoren sound and try out products if they wish

to. They need to get in touch with Steve Baughman, our studio

manager.

You have just released a first Vandojam artistCD? Tell me about it?So many artists come here to Chicago to record their albums, itsa good market to exploit. We thought a CD of artists playing

Vandoren would help us expand our network and clientele. Weplan to bring one out every year. This one combines 6 French and6 American musicians. Its excellent!

What are your other projects?We are not considering developing the Vandojam concept elsew-here than in New York and Chicago, because it needs the implan-

tation of a parallel outlet where clients can try out products.Which is today not the case in Los Angeles or Miami. Whats

more, Los Angeles is so big, youd have to have four Vandojams!On the other hand, we are thinking to invite university professorsto come and run a Vandojam from time to time. It would be greatfor their students and Im sure they would enjoy it!

AMEETING WITH MICHAEL SKINNER ATVANDOREN, RUE LEPIC. ACHANCE TO GET TO KNOW MORE ABOUT THEVANDOJAMSIN CHICAGO, HEADQUARTERS OF THE LATEST IMPORTER OF THE LABEL TO THE UNITED STATES TWO YEARS AGO.

WALTER BLANDING WAS BORN ONAUGUST 14TH, 1971 IN CLEVELAND,OHIO TO A MUSICAL FAMILY AND BEGANPLAYING SAXOPHONE AT THE AGE OF SIX. HESTUDIED AT LAGUARDIA HIGH SCHOOL,THEN AT THE NEW SCHOOL FOR SOCIALRESEARCH, GRADUATING IN MAY2005. HISDEBUT ON TOUGHYOUNG TENORS, ONEOF THE BEST JAZZ ALBUMS OF 1991, WASHIGHLY ACCLAIMED. SINCE, HE HAS PLAYED

AND RECORDED WITH GREAT JAZZ NAMES

LIKE THE CAB COLLOWAY ORCHESTRA, ROYHARGROVE, THE COUNT BASIE ORCHESTRA,TONY BENNET, THE ILLINOIS JACQUET BIGBAND, DIANNAROSS, WYCLIFFE GORDON,LIZAMINELLI, MARCUS ROBERTS, WYNTONMARSALIS, AND MANY OTHERS. HE TEACHESIN HIS OWN SCHOOL IN TEL AVIV, EXPOR-TING HIS TEACHING THROUGHOUT THE

WORLD. HE IS CURRENTLY A MEMBER OF THEJAZZ AT LINCOLN CENTERORCHESTRA ANDTHEWYNTON MARSALIS QUINTET.

How did you get into jazz and the saxophone?Music has been my whole life. My father was a bass-player, my mother, a pianist anda singer. They had a funk band and were always rehearsing at home. My grandmo-

ther was also a classical pianist, composer and organist, the musical director of seve-ral churches in Cleveland and Atlanta. She also taught music history and theory at

the Cleveland Institute of Music. When we moved to New York in the 80s, we allbegan exploring jazz more profoundly.

You currently play in a big ensemble. What are the prerequisitesfor good ensemble playing?

Above all, no matter what the size of the ensemble, a musician has to be able to real-

ly listen to the music being played, I mean be totally aware of all the other musicians.Its a good combination of attention to musicality, instinct and ability to make musi-cal decisions that allows a musician to integrate in harmony with other band musi-cians. Thats the key to success. Thats what the musicians and the public will thank

you for.

You have played all over the world. What are you favorite spots?I never really realized how lucky I was to be able to travel around the world thanks

to music. My favorite places, apart from New York, are Italy, Japan, Australia,Malaysia, Singapore, South America. My favorite venues: Dizzys Coca-Cola Club,

the Village Vanguard, Frederick P. Rose Hall to cite just a few I dont mind playingin different types of venue: concert halls, clubs, schools, churches, in privatehomes What I most prefer is intimacy between the musicians and the public.

FAVORITE ACCESSORIES: V16 MOUTHPIECE - JAVA 3 REEDS

Walter Blanding


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BORN IN BLOOMFIELD, NJ, JULIUS BEGAN TO STUDY PIANOAT THE AGE OF 7, THEN THE CLARINET AT 10. HE FINALLYBEGAN THE SAXOPHONE AT 13, THE INSTRUMENT ON WHICHHE WAS TO REALLY GET INTO JAZZ. DURING HIS YEARS AT UNI-

VERSITY, HE PERFORMED THROUGHOUT THE STATE WITH LOCAL

BANDS AND WON A DOZEN SOLOIST AWARDS. HE THEN WENTTO THE HARTT SCHOOL OF MUSIC TO STUDY WITH JACKIEMCLEAN. IN 1999, JULIUS JOINED THE ILLINOISJACQUET BIGBANG FOR A CONCERT TOUR AND RECORDED WITH THEM FOR5 YEARS. HIS FIRST CD FORSHARP NINE RECORDS, JUST THEBEGINNING WITH STEVE DAVIS ANDJEREMY PELT PLUMMETEDTO 8TH PLACE IN THE JAZZ CHARTS. JULIUS NOW DIRECTS A

WEEKLYTHURSDAY JAM SESSION IN NEWYORK AT CLEOPATRASNEEDLE. HE WILL BE PERFORMING ON DECEMBER 9TH AND10TH IN HOLLYWOOD AT THE CATALINAJAZZ CLUB AS PARTOF THE SECOND FILIPINO FAZZ FESTIVAL. JULIUS TOLENTINOHAS ALREADY PLAYED WITH THE BIGGEST NAMES IN JAZZ: THEILLINOIS JACQUET, ERIC REED, CYRUS CHESTNUT, PHILIP

HARPER, NATALIE COLE, KEVIN MAHOGANY, JEREMY PELT,LOUIS HAYES, THE COUNT BASIE AND THE DUKE ELLINGTONORCHESTRAS.

What have been your most important musicalinfluences?Studying with Jackie McLean was the greatest influence on mymusical and personal life. He taught me, like all his students, tobecome someone. Not just as a musician but also as a humanbeing.

How did you start out?Like many, I caught the music virus early on in life. I rememberhearing when I was young the recordings of Charlie Parker whoaffected me deeply. Before finishing my sophomore year atuniversity, I decided during a summer camp that I wanted topursue music as a career. My first official gig with the Illinois

Jacquets Big Band was an excellent way for me to get into thejazz world.

You direct a weekly jam session in New York. Howdo you run it?I have been running this jam since 1998, always using the regu-larity of the event for programming recordings or exchanginginformation. Then, with playing the music of CannonballsQuintet with Louis Hayes, and big jazz names coming to hearothers, things just developed naturally.

FAVORITE ACCESSORIES: V16 MOUTHPIECE - JAVA 3 REEDS - OPTIMUM LIGATURE

Julius Tolentino

TK Blue

Your association with Vandoren dates from a few yearsnow. How did it come about?I was in Paris in December 1981. I met Bernard after a concert withdrummer Kenny Clark. He said I should work with Jean-Paul Gauvin at the

Vandoren factory and asked me to come see their latest line of saxopho-ne mouthpieces. Jean Paul and I quickly became friends and so the storycontinues

In a constantly evolving musical world, how do you mana-ge to stay at the top and always be working?Finding new ways into new forms of jazz makes me feel so humble and

grateful to those around me that my first thought is: how can I be use-ful here? .

You play so many instruments. Which one do you thinkis your ultimate voice?Tough question! Probably the alto saxophone and the flute on which Ivespent so many hours working.

MATRIEL JOU : TENOR SAX :JUMBO T95 MOUTHPIECE - ZZ N3,5 REEDS /ALTOSAX :V16A8 MOUTHPIECE (SMALL CHAMBER) - ZZ N3,5 REEDS /SOPRANOSAX :V16 S8 - ZZ N3,5 REEDS

TKBLUE WAS BORN IN NEWYORK TO A MOTHER FROM TRINIDADAND AJAMAICAN FATHER. HE BEGAN MUSIC WITH THE TRUMPETAT THE AGE OF 8. DURING HIS UNIVERSITY STUDIES, HE PLAYED FLUTE, THENTOOK LESSONS WITH BILLY MITCHELL, THE LEGENDARY SAXOPHONIST, ANDMASTERED THE SOPRANO AND THE ALTO SAXOPHONE. HE GRADUATED

WITH A MASTERS IN PEDAGOGY FROM THE TEACHERS COLLEGE OFCOLUMBIA UNIVERSITY, STUDYING WITH JIMMY HEATH, CHRIS WOODS,ERNIEWILKINS, FRANKFOSTER, SONNYRED, JIMMYOWENS, THADJONES,BILLY TAYLOR, RASHAN ROLAND KIRK, YUSEF LATEF, JOE NEWMAN, B ILLYMITCHELL, PAUL WEST AND REGGIE WORKMAN. BETWEEN 1981 AND1989, TK BLUE LIVED IN PARIS WITH A STRONG DESIRE TO LINK UP WITHAFRICAN MUSICIANS LIKE MANU DI BANGO ANDXALAM. HE WORKS WITHTHE COMPOSER PIANIST RANDYWESTON AND, SINCE 1990, HAS MANY DIF-FERENT FACETS: MUSICAL DIRECTOR, ARRANGER, COMPOSER, HE FOUNDEDTHE BAND TALA WITHJAMESWEIDMAN. SINCE 2001,APART FROM HIS TEA-CHING POST AT THE LITCHFIELDJAZZ SUMMER CAMP, HE HAS BEEN PER -FORMING WITH THE DON BRADEN BIG BAND, JIMMY SCOTT, AND PLAYED

AT A GREAT NUMBER OF FESTIVALS INCLUDING THE PANROYALE JAZZFESTIVAL (TRINIDAD), THE NORTH SEAJAZZ FESTIVAL (HOLLAND), THELINGANOREWINEJAZZ FESTIVAL (MARYLAND) AND THE CAPE MAYJAZZFESTIVAL IN NEWYORK.

VANDOREN NEW-YORK


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For several years, Vandoren has been a member of the IAJE, an asso-ciation with a mission to ensure the development of jazz and its tea-ching throughout the world. Presentation of the association and itsnext conference, January 10-13, 2007 in New York where Vandorenwill be present as in 2006, next time with the complete V16 mouth-piece range, including the ebonite soprano and brand new tenor.

The mission of the IAJE and the means at its disposal

The principal mission of the International Association for Jazz Education is toensure the continued development of jazz and jazz education throughout theworld, initiating programs which nurture and promote the understanding andappreciation of jazz and its heritage.

The association assists teachers and practitioners with information andresources, and plays an active role in organizing all kinds of events at local,regional, national and international levels. The International Association for JazzEducation also promotes the application of its jazz principles to the manufac-turing of musical materials and the creation of teaching methods at all levels. Itencourages research, providing financial assistance and advocating the cause ofjazz in every forum.The IAJE is also committed to informing its public: professional artists or ama-teurs, educators, students and the music industry at large.

At their annual international conference in January, the IAJE hosts the presen-tation of thirty or so specialized magazines covering a wide range of topics

(from personal recollections to pedagogical theories, from sociological resear-ch to musical analysis, etc.). The best articles are then published each year bythe association in the form of the Research proceedings yearbook.

The IAJE is most remarkable in the way it works with teachers. IAJE andMENC (the National Association for Music Education) have joined forces tooffer them a regular workshop lasting for two and a half days. These work-shops are designed for private teachers, bands, strings and vocalists keen tostrengthen their competence in the field of jazz teaching. The sessions, alsoopen to university students currently enrolled in a music education program,have been highly successful, since they cover every aspect of music from per-formance to improvisation, from analysis to the question of evaluation.

IAJE membership is continually expanding. With more than 8000 members innearly 40 countries, the IAJE is today a recognized authority in jazz promotionthrough teaching and research.

To contact the IAJE:

IAJEEducationPO Box 724Manhattan, KS 66505 U.S.A.

[email protected]: (785) 776-8744Fax: (785) 776-6190

12

Vandoren, memThe International Associ


13/16

The IAJE, back in New YorkNext January, on the 10th and the 13th, the IAJE comes back to New York, like in 2006, for itsannual conference. Located in the heart of Manhattan and the famous theatre quarter, the confe-rence promises an in depth exploration of the history of jazz pedagogy and the participation ofvery many students and teachers from all over the world. More than 7000 visitors are expected: teachers, professional and amateur musicians, recording companies, festivals, publishers, ins-trument and accessory manufacturers, universities, colleges, agents and the media.

Jazz pedagogy and teachingThe history of jazz pedagogy is the theme of the conference comprising numerous events andlocated in more than 20,000 m of exhibition space. The goal of this years conference is to pro-vide maximum information on any technique applicable to collective or private teaching.

A user friendly atmosphereThe atmosphere will once more be user friendly , with the idea of each person contributinghis own experience. An opportunity will also be given to all the teachers and professional musi-cians involved to present their pedagogical methods to young students, through a series of ses-sions called Connecting with kids . A space will be specially devoted to technological advan-

ce, with all the new pedagogical tools and the most recent computer programs on the market.A hands-on lab will offer demonstrations in small groups to those interested. The conferen-ce will begin with a fanfare on the Thursday evening.

A 34th edition on

the history of pedagogy.

Michal Cheret, Grant Stewart, DmitriBaevsky and JPG at the 2005 IAJE

Victor GoinesEssais sur le stand

David Gould,Bob Mallach, JPG

Michael Cherret,Scott Robinson

Bobby Watson,Michael Skinner

13

Vandoren present

at the 2006

conference

Jean-Paul Gauvin and TK Blue in theshow-room. A try out session.

ber of the IAJE,tion for Jazz Education


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Apart from the monthly Jam at the Sunset (Michael Cheret Quartet)each first Tuesday of the month, this concert-jam concept is catchingon in different towns throughout France.Since the beginning of the year, Vandojams have been developing in

popular jazz venues. An ideal vehicle for communication for us, they are also a guarantee of

high quality to the public..

The Vandojam Summer

January 2006The Hot Club in Lyon allowed us to organize a workshop followed by a Vandojam featuring Francis Bourrecin quartet. Since the month of October, this has now become a monthly jam with Eric Prosts quartet which,

with a very precise theme, encourages young talent to participate in excellent musical conditions.

April 2006The rose-colored town picked up on our concept. Thanks to a few local musicians (Michael Itier and JeanFranois Recouderc), Toulouse came out in strength to this Vandojam event orchestrated by our godfather ,Francis Bourrec.

June 2006In a preview of the Bordeaux New Orleans festival, the Vandojam opened this festive event with as lead,uncontested master, Mr Jacques Gauthe.

The Jazz Vienne Festival welcomed on June 29th, after a concert in its antique theatre devoted to SonnyRollins, an original formation: the sax springboard . In its little Italianate theatre, transformed into a jazz club,

this podium of young talented saxophonists was also a Vandojam directed by Michael Cheret and featuringIrving Acao (Cuba), Christian Weidner (Germany), Gabor Bolla (Hungary), Luigi Grasso (Italy), Antonin TriHoang (France). Serious hard hop

July 2006For the first time in the National Park of the Chevreuse Valley: 6 hours of non-stop jazz including a line-upfrom Jazz Vienne with our godfather Francis Bourrec. The Vandojam fitted into this mini festival where a

great number of Vandoren artists were also playing: the group Madsax and the Nagual Quintet with FlorentHubert on tenor sax. This successful night was to directly precede the Vandojam on the next day at the Sunsetin Paris.

August 2006Jazz in Marciac. 4 concerts programmed in the off festival along Vandojam lines with our Parisian leader MichaelCheret and guests Gabor Bolla (Hungary), Christian Weidner (Germany) and our dynamic and very talentedMax Pinto.

October 2006Jazz between the two towers of the Festival of La Rochelle. Two Vandojam evenings were programmed, onewith Michael cheret for the overture of the festival and a second for the close of the festival with that giant ofhard bop, Francis Bourrec.

Though the concept of the jam is not new, the will and energy of our artists has caught on. The press has this to say: TheVandojam is one of the most reputed jams in Paris A convivial atmosphere with music of a very high standard The place where

saxophonists get together etc.

Check out Vandojam events on our website: www.vandojazz.com


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How did Jazz first come to

Vandoren.

From Benny Goodman to StanGetz and Gerry Mulligan (to

cite but a few), many of thegreat names of jazz have perpe-trated the tradition of Vandorenreeds. The development of rela-

tionships between artists andtechnological experts turned the80s into a decisive period forreed manufacturing: the crea-

tion of a new model, the JAVAreed (Jazz-Vandoren) which wassoon associated with a range of

sax mouthpieces (Java andJumbo Java) for alto and tenor.Vandoren became more familiarwith the jazz world and artisticrelationships developed veryquickly. Vandorens presence in

the American market becamestronger, making the company areference in jazz culture on theother side of the Atlantic.

Jazz V16, ZZ or classical?

The Java reed is different fromthe classical reed ( the blue box )with its chamfered edge. The

profile of the reed gains in sup-pleness while still preserving thesound and adapts itself moreeasily to mouthpieces withstrong timbre. The differentmodels of reeds proposed today(Java, Classical, V16 and ZZ) areidentified by criteria of equili-brium and apportionment of the wood to the vibrating part of

the reed.

The sound belongs to themusician.

Sound color belongs to the musi-cian. It depends on the organiza-

tion of the embouchure and ofcourse on the morphology of theinstrumentalist, given the confi-

guration of the mouthpieceused. V16, Java or ZZ can bequalified in a few words: brillian-ce, resonance, improved soundand suppleness. Reed strength ismeasured in terms of reed flexi-bility which, itself, is linked to thedensity of the fibre. Reed thick-ness is therefore not the only

absolute criteria of the latter.Given the same strength, nomodel will ever be the same (forexample, a V16 n3 reed is clo-ser to a ZZ n3,5, a Java n3 reed

will be closer to an easy V16n3). The series of V16 mouth-pieces (soprano ebonite, altoebonite, tenor ebonite and tenormetal) is perfectly adapted to

three reed models. The same

applies to Java and Jumbo Javamouthpieces.

Those convinced:

Steve ColemanA55 Java mouthpiece.V16 n3 reeds.Bobby Watson

V16 A8s mouthpiece.ZZ n3 reeds.Michael Cheret

V16 A7s ,mouthpiece, Java n3 reedsFrancis Bourrec

V16 T95 metal mouthpiece.ZZ n3 reeds.

Erick ProstV16 T75 metal mouthpiece.Java n3 reeds.

A REED IS A NATURALMATERIAL THAT NEEDSTO BE PREPARED ANDTESTED EACH HAS ITSOWN QUALITIES OFVIBRATION AND SOUND.ITS UP TO YOU TOAPPRECIATE THEM

THE REED AND JAZZ, AN INCONTROVERTIBLE ALCHEMY THAT ENDURES,DESPITE TRENDS AND MUSICAL CURRENTS

ABOUT PRODUCTS

Nearly ten years ago now, theV16 alto mouthpiece affirmeditself as the reference in the jazz

world, as much from a manufac-turing point of view as from itsown inherent artistic worth. Weare not in the habit of citing all

the jazzmen who have adoptedit. The list would be too long. Allare unanimous: this mouthpie-ce, whether open or closed,

maintains its equilibrium (lowand high) and its timbre certain-ly recalls the classic sounds of

the great names of Bop. TheV16 label will soon include arange of mouthpieces for sopra-no and tenor. This series is per-fectly adaptable with V16, Javaand, of course, ZZ (jazz) reeds.

The soprano mouthpiece

Technical and artistic develop-ment associates the brillianceand sound depth of this new

V16 mouthpiece while preser-ving the identity of the soprano

sax. The conception of therather unusual interior of themouthpiece is the fruit of closecollaboration between our spe-cialists and musicians. Three ope-nings are possible: S6 - S7 - S8.

The tenor mouthpiece

Since jazz has often been a lan-guage through which artistsleave their mark on their

epochs, the materials theychoose are essential. The stri-king personalities of Stan Getzand Joe Henderson contributeddirectly to a current infatuationfor the tenor sax mouthpiece inebonite. Vandoren Java and

Jumbo Java mouthpieces werethus able to gain a certain noto-riety, and the recent develop-ment of the new ebonite V16

tenor mouthpiece will nowreinforce this. The concept of

this mouthpiece is above all verymethodically inspired by theinfluences of this epoch. Three

openings are possible: T7 - T8 -T9. Each mouthpiece is a com-promise between the length of

the curve of its table and itsopening. The interior is also apredetermining parameter insound quality and mouthpieceresonance: variants in interiorform define the sound dynamic.

An open mouthpiece is not sys-tematically difficult to control:

this depends on the choice ofthe reed and the curve of thetable of the mouthpiece. Thehigh standard and care brought

to the manufacturing of ourmouthpieces has created a qua-lity label recognized by artists.

Antonio Hart, Alain Debiossat,Steve Wilson, Michael cheret,Sbastien Jarousse, Bobby

Watson, Max Pinto, VincentHerring, Sylvain del Campo,

Jean Toussaint, Mark Groiss,Francis Bourrec, Eric Seva, JanGarbarek, Gabor Bolla, Sophie

Alour and so many others

THE V16 MOUTHPIECE SERIES SOPRANO, ALTO, TENOR EBONITE


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Vandojam NY

the 50th

All Vandojaminfo on

www.vandojazz.com

All the VandojamsMADRID, CASTELLON DEL MAR, VALENCE, LJUBLJANA, BERLIN, TOULOUSE, NEW-YORK,CHICAGO BORDEAUX LA ROCHELLE MARCIAC LES MOLIRES VIENNE

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