OC
TOBER 2
013
THE OFFICIAL PUBLICATION OFFocus Session
Unlocking the Power of
the Triplet in the
College Classroom
Basic Training
Using Tone Rows
in Composition
T H E J A Z Z E D U C A T O R ’ S M A G A Z I N E
OC
TO
BE
R
20
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JAZZedmagazine.com
Jeff Coffin
Takes on Jazz
Clinics
www.jazzbooks.com
Available from your favorite music source.Visit www.jazzbooks.com or call 1 (800) 456-1388 for more information.
This new book by well-known pianist Andy Laverne satisfes a
long-awaited need: a method for moving voicings melodically, dramatically,
and gracefully over the entire keyboard through various harmonies!
Firmly rooted in contemporary theory and tradition, the emphasis is on
practical performance application, illustrated by comping choruses over
fve standard harmonies. Make your comping come alive! Replace static
chords with voicings that move. 156 pages, spiral bound. ... CIM $24.95
CHORDS IN MOTION
MOVING QUARTAL VOICINGS & RELATED STRUCTURES
Have the tightest Big Band imaginable! Instead of wasting valuable
time by rehearsing and learning each chart individually, Mats Holmquist
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up for public performance, delegation of authority, dealing with disparate
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th ti ht t Bi B d i
i bl ! I t d f
ti
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THE GENERAL METHOD
A NEW METHODOLGY FOR A TIGHTER BIG BAND
FOR BIG BAND & PIANO
JAZZ
NEW FROM
AEBERSOLD
THE
GENERAL
METHOD
Jamey Aebersold Jazz
®JAZZed® Volume 8, Number 5, October 2013, is published six times annually by Timeless Communications Corp., 6000 South Eastern Ave., Suite 14J, Las Vegas, NV 89119, (702) 479-1879, publisher of Musical Merchandise Review, School Band & Orchestra and Choral Director. Standard Mail Postage Paid at Las Vegas, NV and additional mailing offices. JAZZed is distributed free to qualified individuals and is directed to jazz educators, music dealers and retailers, and others allied to the field. POSTMASTER: Send all UAA to CFS. NON-POSTAL AND MILITARY FACILITIES: send address corrections to JAZZed, PO Box 16655, North Hollywood, CA 91615-6655. 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. Copyright ©2013 by Timeless Communications Corp., all rights reserved. Printed in USA.
contents
O C T O B E R 2 0 1 3PUBLISHER’S LETTER
4
NOTEWORTHY
6
WHAT’S ON YOUR PLAYLIST?
12
Nicky Schrire
JAZZ EDUCATION
NETWORK SECTION
22
JAZZ FORUM
32
GEARCHECK
34
CLASSIFIEDS
35
AD INDEX
35
BACKBEAT:
Oscar Castro-Neves
36
departments
BASIC TRAINING:
TONE ROWS IN JAZZ – Part I
14
Discovering the many harmonic paths opened up by
composing with 12-tone systems explored by 20
th-cen-tury composers like Schoenberg and Webern. Follow in
the footsteps of Bill Evans, Leonard Feather, and Gunther
Schuller!
LESSONS LEARNED:
VIDEO RECORDINGS
17
Eugene Marlow looks into the possibilities available with a
new global service that streams live video from jazz clubs
around the world.
SPOTLIGHT:
JEFF COFFIN
18
The widely accomplished sax player who has toured the
world with Béla Fleck and Dave Matthews talks about how
he’s solidifed his career as an in-demand jazz clinician.
FOCUS SESSION:
POWER OF THE TRIPLET
30
A great tool to spice up any tune is the triplet, a rhythmic
monkey wrench that’s worked for centuries. Dr. Damani
Phillips investigates methods of helping students master
this sometimes tricky concept.
“
”
I want the students to
know that I’m going to
work just as hard as they
are and that it’s me that
owes them something,
not the other way around.
– Jeff Coffin
18
Cover photograph: Rene Huemer; Vienna, Austria
(www.renehuemer.com.)
DEGREE PROGRAMS: Undergraduate Graduate Tuition-free, Performance-based Post-Graduate program Tailored Curriculum Weekly Private Study
Work & Perform with Renowned Guest Artists International Tours
Apply by December 1 •Juilliard.edu/jazz
Photo: Hiroyuki Ito
Professional Development Coaching by Juilliard’s Dedicated Faculty Benny Golson, Artistic Consultant Jason Moran, Artist in Residence Benny Green, Visiting Artist Christian McBride, Visiting Artist SAXOPHONE Ron Blake Joe Temperley Steve Wilson TRUMPET Eddie Henderson Christian Jaudes Joe Magnarelli Joseph Wilder TROMBONE James Burton III Steve Turre FLUTE Mark Vinci GUITAR Rodney Jones VIBRAPHONE Mark Sherman PIANO Kenny Barron Xavier Davis Frank Kimbrough BASS Ron Carter Ray Drummond Ben Wolfe DRUMS Carl Allen Billy Drummond Kenny Washington JUILLIARD JAZZ ORCHESTRA James Burton III, Conductor
Juilliard
J
A
Z
Z
publisher’s letter
R i c k k e s s e l
PRESIDENT Terry Lowe [email protected] PUBLISHER Richard E. Kessel
Editorial
EDITORIAL DIRECTOR Kevin Mitchell [email protected] EXECUTIVE EDITOR Christian Wissmuller
[email protected] ASSOCIATE EDITOR Eliahu Sussman
[email protected] ASSOCIATE EDITOR Matt Parish
Art
ART DIRECTOR Garret Petrov [email protected] PRODUCTION MANAGER Mike Street
[email protected] GRAPHIC DESIGNER Tony Calvert
[email protected] GRAPHIC DESIGNER Jay Savage
Advertising
ACCOUNT MANAGER Matt King [email protected] ACCOUNT MANAGER Dave Jeans
[email protected] CLASSIFIED SALES Erin Schroeder
Business
VICE-PRESIDENT William Hamilton Vanyo [email protected] CIRCULATION MANAGER Erin Schroeder
[email protected] October 2013, Volume 8, Number 5
JAZZ EDUCATION NETWORK
JAZZ EDUCATION NETWORK
RPMDA
Bridging Many Gaps
The Official Publication of JEN 6000 South Eastern Ave., #14-J
Las Vegas, NV 89119 702-479-1879 Fax: 702-554-5340
I
recently had the opportunity to see the OrpheusCham-ber Orchestra at the magnificent Mechanics Hall in Worcester, Mass. – a renowned theatre known for its acoustics as well as its traditional architectural beauty. Although I had heard many good reviews prior to attend-ing, I must admit that I wasn’t prepared for what I was to see that evening when the Orpheus ensemble stepped on stage and began playing… in its standard format,
sans conductor. For a group known for its progressive programing, it was an extraordinary feat to watch the ensemble perform in near-perfect timing without a leader in front of them providing cues, setting tempos, establishing rubatos, et cetera. Much of it was left to the concertmaster, and other prin-cipal players who used body movements to start, stop, and move the group through the pieces. Obviously, this is not standard fare for classical music, but it was quite thrilling to see the group think more like smaller jazz groups, who depend upon an uncanny sense of eye contact and other visual cues.
According to the Orpheus Chamber Orchestra’s web site, they are “reinventing the way the world thinks about collaboration, outreach, and democratic leadership,” and it was certainly evident in their performance. Jazz pianist Brad Mehldau, one of the leading jazz performers in the world today and a composer in residence at Carnegie Hall, took the orchestra through its paces with his soloistic piano work, also, of course without a conductor. This concert featured the U.S. pre-miere of his “Variations on a Melancholy Theme,” which Mehldau says sounds “as if Brahms woke up one day and had the blues.” (Nonesuch Records web site, October 16, 2013).
Orpheus is also very unique in its involvement in a form of arts education that helps to develop leaders in the arts and which serves as a model for other performing ensembles. According to their site, they provide “experience in crucial arts leadership skill sets, from methods of musical communication to administrative problem solving. Together, Orpheus and our partner schools are helping to train a new generation of musical entrepreneurs, prepared to lead in an evolving 21st-century arts marketplace, by creating a unique working environment where student musicians are empowered to make their own artistic and career decisions.” This significantly unique ensemble bridg-es many gaps between a variety of musical stylbridg-es and performance options. Orpheus should certainly be viewed as a model organization by which we can all learn to help further the cause of whatever type of music it is that we are involved with, so check out their web site for a variety of exciting, educational, and thought provoking ideas: www.orpheusnyc.org.
“We can all learn to help
further the cause of
whatev-er type of music it is that we
are involved with.”
GILMORE
IS LEGACY
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2013 A
vedis Zildjian Company
ZILDJIAN.COM
Marcus Gilmore is part of a proud tradition of drummers
inspired by the Zildjian legacy K sound. Discover all of the
legendary dark sounds of the K Family. Warm, expressive
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Marcus Gilmore plays K Constantinople.
New En-gland Conser-vatory’s Jazz Studies De-partment has hired two re-nowned mu-sicians to join
the faculty: jazz trumpeter/com-poser Ralph Alessi who will teach trumpet and improvisation and jazz saxophonist Brian Levy who will teach both saxophone and mu-sic history and mumu-sicology.
“I’m thrilled that Ralph Alessi has agreed to join our faculty,” said Ken Schaphorst, Chair of NEC’s Jazz Studies Department. “His experi-ence, both as an artist and as an educator, will provide a tremen-dous resource for our students.” Schaphorst is equally pleased to have Levy on faculty: “After an ex-haustive search, I’m very excited to have Brian Levy teaching at NEC. His academic and musical train-ing is unusual for its depth and breadth. He will be a great asset to both the jazz and music histo-ry departments.” Jazz trumpeter Ralph Alessi studied under the legendary Charlie Haden at CalArts before moving to New York, where he swiftly became a ubiquitous presence on the downtown scene. He has been a frequent collabora-tor with such notable musicians as Steve Coleman, Jason Moran, Don Byron, Ravi Coltrane, Fred Hersch, Uri Caine, and Dafnis Prieto.In addi-tion to his work as a leader, Alessi has appeared on approximately 75
note
worthy
Pianist Vijay Iyer was among the 24 in-novators to be awarded the 2013 MacAr-thur Foundation “Genius
Grants” this year. Iyer, who has developed into a one-of-a-kind composer, band-leader, electronic musician, and writer, has worked to forge a new conception of jazz and American creative music through an eclectic oeuvre that includes
com-positions for his own and other ensembles, collaborations across multiple genres and disciplines, and scholarly research on the act of listening. An ardent investigator of musical communities, practices, histories, and theories, he mines core rhythmic, me-lodic, and structural elements from a wide range of sources to construct richly varied, improvisation-driven solo and ensemble music. Vijay Iyer received a B.S. (1992) from
Yale College and a Ph.D. (1998) from the University of California at Berkeley. His
ad-ditional recordings include Tirtha (2011), Solo (2010), and Door (2008, with the collective trio Fieldwork), among others. He has per-formed his music at such venues as Carnegie Hall, Lincoln Center, the Walker Art Center, the Brooklyn Academy of Music, Chica-go Symphony Hall, University of California at Los Angeles’s Royce Hall, Köln Philhar-monie, Musiekgebouw Amsterdam, and Teatro Manzoni di Milano, as well as doz-ens of international music festivals and jazz clubs around the world. In January 2014, he will join the Harvard University Department of Music as the Franklin D. and Florence Rosenblatt Professor of the Arts.
macfound.org
Jazz Pianist Vijay Iyer Earns MacArthur Grant
Berklee Online, long a re-source fo online courses in music, business, and produc-tion. now offers their first un-dergraduate degrees online – a Bachelor of Professional Studies with areas of focus in Music Business and Music Production. Berklee Online’s current online offerings range from individual courses to certificate programs in
spe-cific specialties. They’ve also experi-mented with free classes and even re-cently released a BitTorrent bundle of music lessons. Earlier this year, Berklee Online and Southern New Hampshire University announced a jointly offered online MBA in Music Business draw-ing on specialties of each institution. Applications for the new bachelor’s degrees began on October 7, with the
first class starting fall 2014. Annual tuition is $16,500, 60 percent cheap-er than a traditional degree at Bcheap-erklee College of Music. In addition, both previous college credits and life expe-rience can be applied to the program which is “especially targeted to adult learners who have earned previous col-lege credit and/or associate’s degrees but do not hold bachelor’s degrees.”
berklee.edu
Berklee Online Adds First Bachelors Degree
continued on page 8
Ralph Alessi and
Brian Levy Join
NEC Jazz Faculty
PHO T O B Y JIMMY K A TZ
A
comprehensive program in performance, improv- isation, composition & arranging, jazz history, pedagogy, styles & analysis. Large and small ensemble playing in a thriving cultural community.Scholarships and assistantships available!
Now accepting applications for instrumental and vocal jazz majors for the 2014 fall semester.
audition dateS January 17 & 18, 2014 February 7 & 8, 2014 March 7 & 8, 2014
For a complete list of Jacobs School faculty, visit music.indiana.edu.
Jeremy Allen Steve Houghton
Michael Spiro Joey Tartell Brent Wallarab Tom Walsh (Chair) Ly Wilder Steve Zegree David N. Baker Luke Gillespie Pat Harbison
Welcoming
New Faculty
darmon Meader Vocal Jazz dave Stryker Guitar Wayne Wallace Trombone FacultyLi v i n g Mus i c
Ralph Alessi con’t
recordings. On top of his post at NEC, Alessi has been on the jazz faculty at New York University since 2002 and is the founder and director of the School for Improvisational Music, a nonproft entity currently holding improvisational music workshops in New York City and abroad. He also served on the faculty of the Eastman School of Music.Jazz saxophonist Brian Levy received his Ph.D. in musicology from Brandeis University in 2012 with a dissertation that examines harmonic and rhythmic interaction in John Coltrane’s Classic Quartet. Previously, he earned a D.M.A. and M.M. in Jazz Performance from New England Conservatory and Man-hattan School of Music, respectively. He has performed widely throughout the world and has taught undergraduate and graduate history, theory, and per-formance courses in such institutions as Brandeis University, Harvard Univer-sity, and NEC. In addition to a perfor-mance and research focus on jazz, he has studied music theory and analysis, 18th and 19th century philosophy, and aesthetics. Levy is featured on and helped advise the production of four in-structional jazz DVDs by Jerry Bergonzi.
necmusic.edu/jazz
Jimmy Ponder
1946 - 2013
Legendary jazz guitarist Jimmy Ponder recently passed away, having appeared on over 80 recordings with his unique blend of Wes Montgomery octaves and bluesy roots. Ponder re-leased 21 albums asa bandleader since 1969 for lables like Muse, Highnote, Cadet, Explore and LRC. He began his career with Charles Earland and Lou Don-aldson’s soul-jazz ensembles and worked as a studio sideman for stars like Etta James, Donald Byrd, Ray Bryant, Dr. Lonnie Smith, and more. He performed with Dizzy Gilles-pie, Jimmy McGrif, and Sonny Stitt among many others.
www.msmnyc.edu
Manhattan
School of Music
Jazz Arts Program
|
Justin DiCioccio, Associate Dean, Chair
“It is a great
community.
Everywhere
you look people
are creating.”
— P at r i c k B a r t l e y ( B M ‘ 1 5 )
Office Of AdmissiOns And finAnciAl Aid
mAnhAttAn schOOl Of music
120 ClAremont Avenue, new York, nY 10027
917-493-4436 | [email protected]
Mastering the Language of Jazz
Caleb Chapman & Jeff Coffin
The CD features a world-class jazz quartet: Jeff Coffin (tenor saxophone), Victor Wooten (bass), Roy “ Futureman” Wooten (drums), and Chris Walters (piano).
Bb instruments
note
worthy
Barnhart Named Count Basie Orchestra Director
The Count Basie Orchestra and All That Music Productions, LLC, recently an-nounced the appointment of Scotty Barn-hart as the new director of The Legendary Count Basie Orchestra. He follows Thad Jones, Frank Foster, Grover Mitchell, Bill Hughes, and Dennis Mackrel in leading one of the greatest and most
import-ant jazz orchestras in history. Founded in 1935 by pianist William James Basie (1904-1984), the orchestra still tours the world today and is presently ending a two-week tour in Japan. The orchestra has released hundreds of recordings, won ev-ery respected jazz poll in the world at least once, has appeared in movies, television
shows and commer-cials, Presidential Inaugurals, and has won 18 Grammy Awards, the most for any jazz orchestra. Mr. Barnhart, born in 1964, is a native of Atlanta, Geor-gia. He discovered
his passion for music at an early age while being raised in Atlanta’s historic Ebenezer Baptist Church where he was christened by Dr. Martin Luther King, Jr. He has been a featured trumpet soloist with the Count Basie Orchestra for the last 20 years, and has also performed and recorded with such artists as Wynton Marsalis, Marcus Roberts, Frank Sinatra, Diana Krall, Clark Terry, Freddie Hubbard, The Duke Ellington Orchestra, Nat Adder-ley, Quincy Jones, Barbara Streisand, Na-talie Cole, Joe Williams, and many others.
scottybarnhart.com and thecountbasieorchestra.com
Thousands of music teachers, admin-istrators, and students come together in Nashville this month to attend the 2013 National In-Service Conference of the Na-tional Association for Music Education (NAfME). The main theme for the four-day conference is “Music education orchestrates success” – in school, in work, and in life. The event will run October 27-30 at the Gay-lord Opryland Resort & Convention Center. Teachers who attend will address the pro-posed reauthorization of the Elementary and Secondary Education Act, gain new insights into how their classroom teaching styles are being evaluated, attend dozens of professional development workshops, and celebrate the achievements of some of the nation’s most distinguished stu-dent musicians. The 2013 NAfME National In-Service Conference will also recognize
NAfME Conference Set for
Nashville, Oct. 27-30
October 2013 • JAZZed 11
College-Conservatory of Music
for further information [email protected]
513-556-5463 fax: 513-556-1028
ccm.uc.edu
“…one of this country’s leading conservatories”
—the New York Times
CCM
jazz
Faculty
Scott Belck, director of jazz and commercial musicJames Bunte, saxophone
Rusty Burge, vibraphone
Jim Connerly, piano
Philip DeGreg, piano
Marc Fields, trombone
Art Gore, drums
Bill Gwynne, recording techniques
Tom Haines, commercial music production
Aaron Jacobs, bass
Dan Karlsberg, piano
Dominic Marino, arranging, ensembles
Kim Pensyl, trumpet
James E. Smith, guitar
Rick VanMatre, saxophone
John Von Ohlen, drums
Phil Willis, guitar
Joshua Redman with CCM Jazz Students
Degrees
Bachelor of Music in Commercial Music Production Bachelor of Music in Jazz Studies
Bachelor of Music in Music Education with a concentration or double major in jazz studies
Master of Music in Jazz Studies Comprehensive Curriculum
Extensive Big Band and Combo Program
Jazz Listening Library with over 12,000 jazz recordings
Jazz Computer Studio
Jazz Recording Studio
Visiting Artist Series includes over 15 clinicians each year
BM in Commercial Music Production with emphasis on song writing, production and flm scoring.
Scholarships and graduate assistantships available
note
worthy
The flm production team ManofGilpatrick Pro-ductions is in the planning stages of creating a doc-umentary about renowned musician and educator Marshall Hawkins, who has served a legendary orle at the Idyllwild Arts Academy. Says Devon Gilpatrick (Co-producer): “Marshall has taken a chance putting this project in our hands, because this project will encapsulate his life and his legacy. I want to thank Marshall for taking that chance and I want to let him know that Ashi and I vow to do everything in our power to make a flm that honors that legacy to the highest degree. So I am asking you to take that chance with MGP, to put your trust in Ashi and me, and make this movie a reality.“ As far as the budget goes for the making of this flm, we estimate a total
of $20,000 in order to bring our full artistic vision to fruition. The main costs for this flm will go into traveling expenses. We have an extensive list of heavyweight names in the music industry who have played a signifcant part in Marshall’s story. Some of you may know about Marshall’s playing in Miles Davis’ band along with Wayne Shorter, Herbie Hancock, and Tony Williams in his younger days, but a large number of professionals know and have a lot to say about Marshall.
Filmmakers Raising Funds for Hawkins:
A Documentary on Marshall Hawkins and IAA
the talent and accomplishments of local and regional music students, as sixteen of Tennessee’s most pro-fcient musical groups, including a university wind ensemble, high school show choir, brass quintet, and a symphonic band, will per-form at various events open to attendees. In addition, 670 of the most talented and skilled music students in the nation, represent-ing 46 states, will perform as part of the 2013 All-National Honor En-sembles – Orchestra, Concert Band, Mixed Choir, and Jazz Band. To see the full agenda for NAfME’s 2013 National In-Service Conference, go to: inserviceconference.nafme.org/ agenda.php.
NAfME Conference Set
for Nashville (con’t)
What’s on
Your
PlaYlist?
1. “Road Song” – Tigran Hamasyan
I was frst introduced to Tigran’s music through his album, Aratta Rebirth. He writes such exquisite melodies and uses the voice of Areni Agbabian so efectively in deliv-ering these melodies. His writing neatly
straddles the lines between improvised music, soundtrack-like harmonies, and beautifully crafted songwriting. “Road Song” is quite cinematic in its development and evocative orchestration. It really celebrates beauty. Pure and (deceptively) simple.
2. “The Lady Vanishes” – Matt Ulery’s Loom
I was a little late to the party when it comes to Matt Ulery. And I also discovered his mu-sic in a roundabout way, starting with his previous album, By A Little Light (which is fantastic). Fortunately I fnally arrived at
his recent ofering and became engrossed in the world he cre-ates with his moody, detailed writing. His instrumentation and orchestration is brilliant and so nuanced – I discover something new every time I revisit this album and, specifcally, this track.
3. “Come Talk To Me” – Geofrey Keezer
Based on my previous choices, it’s fairly clear that I’m drawn to piano-driven music. Geofrey’s rendition of Peter Gabriel’s song is all at once joyous, virtuosic, and addic-tive. I think I might even prefer it to the
original (don’t tell Peter!). He manages to unearth and highlight the melodic essence of the song while maintaining the driving momentum through the use of a rolling ostinato pattern. He is also so tasteful in how he colors the harmonies – they infuse “jazz” into his rendition but the overall style and sound are still contemporary and very pop-infuenced. A fantastic example of bringing popular repertoire into the jazz realm.
4. “We All Love Neil Young” – Bill Frisell
At 1:38, this tune of Bill’s Big Sur album is sweet perfection. It overfows with charac-ter and quirk while presenting a straight-forward but evocative melody played on the violin by Jenny Scheinman. It’s a bril-liant example of “less is more.”
5. “Like The Morning Dew” – Laura Mvula
Laura is getting a lot of buzz at the mo-ment – and deservedly so. I’d be hard pressed to fnd anyone else who manages to blend memorable songwriting, full or-chestral accompaniment, and four-part
vo-cal harmonies the way she does. She trained at the Birmingham Conservatory and her consummate musicianship and musicality really shine through. Her concept is neatly executed with such thought and care. And after all that analyzing, it’s just great music that is fun to listen to.
6. “Mousso” – Fatoumata Diawara
Although Fatou isn’t from South Africa (she was born to Malian parents in Côte d’Ivo-ire), there is a common thread in sound that runs through all music from the Af-rican continent. The mere sound of the
acoustic guitar in the intro, followed by the entrance of the shak-er, is enough to make me feel homesick. It’s fairly typical of Afri-can music to utilize very few chords within a song and I marvel at Fatou’s ability to create diferent sections and melodic variation within these harmonic limitations. Her music also emphasizes the power of creating a strong sense of atmosphere through writing and delivery. Harmonic shifts, obvious rhythmic complexities and a multitude of other devices are overrated and are often to blame for the lack of mood in a song. There’s no shortage of ambience in Fatou’s music.
Vocalist, composer, and arranger Nicky Schrire is an expressive and compelling musician who’s been making waves of late. Schrire graduated from the Manhattan School of Music, where she earned a Masters degree under the tutelage of Peter Eldridge, Theo Bleckmann, and Dave Liebman. A semi-finalist in the “Jazz Voices” Competition (Klaipeda, Lithuania), and a finalist in the Voicingers International Vocal Jazz Competition (Zory, Poland), Schrire’s “irrepressible style” (LondonJazz) makes her an in-demand musician, both as a bandleader and as a sideman. She lent her voice to New York drummer Brian Adler’s “Helium Project,” which featured artists such
as Kate McGarry, Dave Eggar, and Ben Monder. Basak has been ascending the jazz ladder worldwide since her 2012 debut CD Freedom Flight, which landed on numerous “Best of the Year” lists. The London-born, South African-raised NYC artist’s adventurous spirit shines through on her newest release, Space and Time, produced by Matt Pierson and featuring Schri-re’s wistful originals alongside fresh takes on songs ranging from Gershwin to George Harrison to Massive Attack. Joining Schrire in these duo performances are pianists Gerald Clayton, Gil Goldstein, and Fabian Almazan.
October 2013 • JAZZed 13
P. Mauriat Saxophones and Trumpets are available through the fnest instrument retailers. To fnd one near you visit www.pmauriatmusic.com.
DOES NOT BELONG
TO ONE RACE OR CULTURE
THAT AMERICA HAS GIVEN THE WORLD
BUT IS A GIFT
JAZZ
THIS IS OUR GIFT BACK
St. Louis Music is the exclusive distributor of P. Mauriat in North America. To fnd out more visit www.stlouismusic.com
7. “Closer to the Source” – Bheki Mseleku
For many people, Abdullah Ibrahim is their “go-to South African jazz pianist.” Mine is Bheki Mseleku. He was both a technical and lyrical player, and a prolifc composer. Courtney Pine’s soprano playing on this
tune is beautifully matched with Bheki’s percussive accompani-ment and the interplay between them is seamless.
8. “Rollercoaster” – Thomas Newman
(from the White Oleander Original Motion Picture Soundtrack)
I am, without a doubt, obsessed with Thomas Newman’s work. His scores are easily identifed through the presence of
parallel chord motion, piano-led melodies, and his skill in navi-gating shifts between sweeping, lush, full orchestral episodes and contrapuntal, percussive interludes (highlighting the use of marimbas and xylophones as in his American Beauty score). “Roll-ercoaster” is a meandering piece of music but it is orchestrated with such care and attention to detail – the tinkle of a bell fades in and out, futes deliver brief ascending and descending phras-es. There’s so much to hear in a “song” that doesn’t seem to go anywhere. It’s a fascinating aural experience.
9. “July Flame” – Laura Veirs
The production in this song is so gorgeous. I also love how clever the writing is – the initial entrance of the melody doesn’t nec-essarily match where one thinks the down-beat will be when the drums enter. This realization never fails to amuse me. And I love Laura’s lyrics and imagery. She’s a su-perb songwriter.
10. “A Fine Spring Morning”
– Blossom Dearie
Blossom was ahead of her time. Her delivery was always unfussy and there’s a contempo-rary air to her music regardless of whether she was singing tunes from the ‘30s, ‘40s, or
‘50s due to her brilliant interpretation skills. She infused her bit-ing sense of humor into countless standards and her understated musicality was second to none. I’ll always wish I’d had the oppor-tunity to hear/see her live before she passed away.
Nicky Schrire’s latest album, Space & Time (Magenta Records ARG), was released on September 10, 2013. www.nickyschrire.com
basic training
|
TONE ROWS
A
rnold Schoenberg’s twelve-tone technique and the use of the tone row originated in 20th-century modern classical music, but the tone row has rarely made an appearance in other idioms such as jazz. Gunther Schuller’s compositions found on the album The Birth of the Third Stream, Lou Harrison’s Sympho-ny on G, Bob Brookmeyer’s “ABC Blues,” Leonard Feather’s “Twelve Tone Blues,” and Bill Evans’ “Twelve Tone Tune” are some examples of the application of serial music in a traditionally tonal jazz envi-ronment. Of the works listed, Bill Evans’ “Twelve Tone Tune” was the only piece that attempted to create a tonal landscape out of the twelve-tone system.The methodology that I present in this article bases its founda-tion in techniques used by Bill Evans in his “Twelve Tone Tune.” Ev-ans’ treatment of the tone row created a tonal harmonic context for an atonal melody. Evan’s method can be used in a variety of ways: as a compositional, a pedagogical, and as a purely theoret-ical tool.
Bill Evans’ tone row from his “Twelve Tone Tune” is structured as follows: E D F# G F EH AH BH DH C AH. An analysis of his “Twelve Tone Tune” reveals that Evans dissected this tone row into groups of one, two, three and four notes. He then found various harmonic impli-cations for the dissected note groups. For example, the frst com-plete measure contains the notes F# and G. Evans chose to place these two notes in a G root note context and his harmonic choice was a Gm(Maj7) chord. In the second measure, the C root note con-text for the F and EH notes resulted in a Cm7, or more specifcally, a Cm11 chord. The following measure (Fm7) contains the AH (minor third) and BH (eleventh) just like the chord tones of the Cm7. The DH and C notes are placed in a BH root note context resulting in the minor third and ninth respectively, creating a BHm7 or BHm9 chord. The A note is harmonized with an EH root note. Evans chose the EH9(#11) chord for the A melody note. The fnal note B is placed in a D root note context creating a thirteenth sound. Evans selected an altered dominant sound by placing a D7(H9) chord above the B, essentially creating a D13(H9) chord. His choices appear to have a foundation in the established jazz harmony practices that came out of the ‘50s and ‘60s in that he used minor major seventh, dom-inant ninth sharp eleventh and domdom-inant seventh fat nine chords. Note Evans’ dissection of the tone row into two, three and four note groups, which results in four complete measures and one pickup measure at the beginning of the piece.
#5 #4(H5) M7 R 11 H3 H3 11 H3 9 #11 13 The frst step in exploring Evans’ technique involves grouping the notes of the tone row and then analyzing all harmonic possibil-ities of each group of notes. This will eventually create a harmoni-cally tonal backdrop from a tone row. Before doing this, a tone row must be created.
0 5 10 9 7 6 11 4 2 8 3 1 This tone row occupies a one-octave register for the sake of sim-plifcation. This tone row also follows the rule that no note should be repeated until the other eleven notes have been used.
The next step involved in creating a harmonic context for the se-ries of notes is to classify note groups or cells that exist in measures. The note cells could be divided into several numeric options. A cell or measure could contain any number of notes in the tone row; how-ever, divisions of one, two, three and four are most practical. As the number of notes in a cell increase, the harmonic implications and variables decrease. Finding a single harmonic context for six notes is more challenging than fnding a harmonic context for two notes.
The example below demonstrates one possible note grouping of the sample tone row. The frst four notes (F C BH A) are grouped into one measure. The second four notes (G GH B E) are also gathered into one measure. The next two notes (D AH) are paired into two notes per measure and given half note values. The last two notes (EH DH) are also coupled into a two-note cell and given half note values.
Four-Note Cells Two-Note Cells
The method for discovering all harmonic implications and per-mutations for each cell or measure involves examining the four-note groups in the context of all twelve chromatic bass notes. When the frst group of notes is placed in the context of a C root note the fol-lowing chord tone implications occur:
R 4 or 11 H7 6 or 13
The minor seventh BH forces the harmony into various chordal possibilities: Cm, C7, Cm7(H5). If this group of notes is considered in the dominant seventh sonority, the F could be seen as a suspend-ed fourth or eleventh and the A as a thirteenth (once the seventh is introduced, the A must be considered as a thirteenth, not a sixth). The resulting chord in a dominant seventh context would be C13sus. Another option, in the same sonority, would be a simple C13.
The next chromatic bass note context is DH or C#. When the notes from group one are placed into a DH bass context the following harmonic im-plications occur:
Using Tone Rows in Jazz Composition – Part I
by PAUL J. MUSSO
Ex. 1 Twelve Tone Tune mm 1-4
Ex. 2 Tone Row Example
Ex. 3 Tone Row in Groups of Four and Two
Ex.4 Note Group 1 C Root Context
October 2013 • JAZZed 15
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Maj7 3 6 or 13 #5
Once the major seventh is a possible note, the chord sonority choic-es become major seventh or major/minor seventh chords. In the major seventh sonority, the F is the obvious third, the A natural is the sharp ffth and the Bb is the thirteenth. The resulting chord is a DHMaj13(#5).
D is the following chromatic bass note and the notes from group one contain two possible sonorities: minor seventh and dominant seventh. The minor third, ffth and minor seventh could create a mi-nor somi-nority. The mimi-nor third could also be considered a sharp nine, which then creates an altered dominant sonority. The BH would then be considered the fat thirteen. Once the ffth is established with the A note and the seventh is established with the C natural, the BH must be considered as a fat thirteen, not a sharp ffth. The D minor possi-bility becomes a minor seventh with a fat thirteen. Some would call it an Aeolian chord because the fat sixth is being exploited in the chord itself. Two chords are the ninth.
H7 H3 H13 5
The dominant context of the notes contained in group one could also be considered an altered dominant with a sharp ninth and a fat thirteen.
H7 #9 H13 5
When EH is the root note context, two harmonic possibilities occur: EH69 and EH13.
6 or 13 9 5 #11
The subsequent ascending chromatic root note E could be thought of as a Locrian chord because all melody notes are consistent with E Locrian or F major. Also, the fat nine, eleven and fat thirteen are all acceptable colorations over the Locrian or half diminished chord.
H13 H9 H5 11
Ex. 7 Note Group 1 D Bass Context – D Minor
Ex. 6 Note Group 1 DH Root Context
Ex. 8 Note Group One, D Root Context – D Altered Dominant
Ex. 9 Note Group One EH Root Context
basic training
|
TONE ROWS
The ensuing root note context, F, is far less complex since the F triad is found within the four notes of the group. The only concern here is the BH note. In this case, the pure F major triad or an F suspended chord could serve as a viable harmonic background for the four notes in the cell.
5 R 4 3
The F# root note could suggest either a polychord or a slash chord. The slash chord would be an F triad with an F# root (F/F#). Once again, the BH would have to exist in the melody and not in the harmo-ny. This chord also creates an F# dimin-ished sound because the major third and perfect ffth of the F major triad (A C) be-come the minor third and diminished ffth of the F# triad.
A G root note creates a simple Gm11 chord. The presence of the guide tones F and BH imply a minor seventh chord, with the added nine and eleventh.
The AH root context becomes problemat-ic because of the presence of both the nat-ural and fat nine. It is extremely rare that the natural and fat nine appear in the same harmonic situation, so the AH is pushing the boundaries a possible root note.
3 #5 9 H9
An A root note creates another occur-rence of the altered dominant context. The A root note is present in the four-note cell.
#9 #5 H9 R
The BH root note implies two harmonic possibilities: BHMaj9 and BHm(Maj9).
9 5 R 7
The B root note is problematic since the major seventh (A#) and the minor seventh (A) are both present. As both the major and mi-nor seventh are absent in common jazz chords there is no utility in the B root note context.
Look for Part II of ‘Using Tone Rows in Jazz Composition’ in the next issue of JAZZed…
Paul Musso is an assistant professor and area head of Music Performance in the Music and Entertainment Industry Studies Depart-ment at the University of Colorado Denver. He is the author of three Mel Bay publications for jazz guitar: Fingerstyle Jazz Guitar/Teaching Your Guitar to Walk, Graded Fingerstyle Jazz Guitar Solos, and Fingerstyle Jazz Chord So-loing. His recent CD release, Tonescapes, is available for download on iTunes.
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Ex. 11 Note Group One, F Root Context
Ex. 12 Note Group One, F# Root Context
Ex. 13 Note Group One, G Root Context
Ex. 14 Note Group One, AH Root Context
Ex. 15 Note Group One, A Root Context
October 2013 • JAZZed 17
lessons learned
VIDEO RECORDINGS
B
rian Gruber, founder and CEO of ShowGo.tv, is traveling the world putting remote controlled television cam-eras in jazz clubs. As of March 2013, his company had installed television and audio technology in 10 clubs in four countries – in New York City, San Francisco, Seattle, Los Ange-les, Milan, London, and Sao Paulo (Brazil).Says Gruber: “By the end of 2013 we want to be in 30 clubs. By 2015 we want to be in a 100 clubs. We think volume is im-portant. This is about choice and the sharing of new music. You can hit your iPad, sit on the couch, and club hop between fve and 10 clubs. You might only want to watch three minutes and share that with a friend, and then go from one club to anoth-er, city by city. Eventually, our vision is a 24/7 service to clubs all around the world anytime you want to watch live music in-stead of listening to recorded music.
“Right now the investors are paying it. Our vision is for a $5/ month, all-you-can-hear service. And a revenue share to the artist and the venue, with all of the costs falling to us. The artist and the club will each get 25 percent of revenue.”
Gruber estimates his business needs 50,000 subscribers to break even: “We’re looking for fve million subscribers in fve years worldwide which we think is very conservative. It’s all about: Can we deliver great product or not? Great audio and
video over a great network. A really smart selection of clubs. Great experience with interactivity and a great social experi-ence.”
There’s a potential huge educational component to Gruber’s technological vision up and down the demographic scale. Peo-ple who have never stepped into a jazz club might experience a jazz performance, be engaged by it, and begin to experience it in the fesh, so to speak. Moreover, if Gruber is successful in installing his technology into hundreds of clubs, this will then become a global experience. As the Internet continues to pene-trate countries all over the world (even in China, where Internet penetration is now 40 percent and growing leaps and bounds), this could well mean that populations for which jazz is a foreign experience (no pun intended) could become exposed to Amer-ica’s indigenous music with the resultant efect of perceiving America in a more favorable light, given the metaphorical and musicological connection between jazz and democracy.
Another educational aspect is the potential impact on stu-dents K-12 and at the college level. It is no secret that the cur-rent generation has no clue about America’s cultural gift to the
world. They have little understanding that jazz (and its roots) is the foundation of much of contemporary music–hip-hop and rap did not come into existence by immaculate aural con-ception. Contemporary musical styles grew out of rock that, in turn, grew out of swing, and so on. Teachers from many ac-ademic disciplines will now be able to assign a streamed jazz performance for discussion the next day. A jazz performance could form the basis of a review of America’s early history, of racism, of the Civil Rights Movement, of the relationship be-tween jazz and Latin music, of the amalgamation of jazz and Latin music in the Bronx in the 1940s, and so on.
For college students, especially, having “streaming” access to a jazz performance would mean not having to deal with drinking age issues, travel issues, or, most importantly, fnan-cial issues. As jazz club audiences know only too well, the cost of attending a live performance at a club of any repute has be-come expensive, some might say exorbitant. This one factor alone is a major reason for the diminution of attendance at jazz clubs, resulting over the last few decades in the closure of clubs all over the country. This, in turn, has afected the reduc-tion in the number of jazz radio stareduc-tions and in some instances in jazz critics working in print media. Jazz musicians (as well as musicians in other genres) have all had to scufe to fnd non-traditional venues to perform in. It has all resulted in pal-try income for jazz musicians. Just ask the folks at the Future of Music Coalition. It is all part of the whole.
The teaching opportunity at the college level could be enormous. Not only could students experience a local jazz performance or one in another part of the country, they could also beneft from experiencing a jazz performance in another country. That alone would be an educational event!
There are other issues related to Gruber’s vision, such as copyright ownership of the streamed performance and con-comitant royalty rights, the impact of the technology on the clubs’ physical environment, and the pecuniary behavior of club owners, among others. Only time will tell what the out-comes will be. But if the experience in the sports world over the last 50-60 years is any gauge, seeing a jazz performance in a virtual setting could create a strong demand for experienc-ing it in person.
V Cameras in Jazz Clubs:
The Educational Potential
by Eugene
Marlow, Ph.D.
Eugene Marlow, Ph.D., is an award-winning composer/ar-ranger, producer, presenter, performer, author, journalist, and educator. He has written over 200 classical and jazz compositions for solo instruments, jazz and classical chamber groups, and jazz big band. Under the MEII Enter-prises label, he has produced six CDs of original compositions and ar-rangements. His big band chart, “El Aché de Sanabria (en Moderación),” appears on Bobby Sanabria’s Grammy-nominated album Big Band Ur-ban Folktales (2007 Jazzheads).
“It Is no secret that the current
generatIon has no clue about
amerIca’s cultural gIft to the
world.”
Cofn realized that to get nearly any student on his or her feet, he’d only have to get them to focus on a few broad concepts that could, in turn, open pathways to almost every corner of jazz. “I came up with what I call ‘The Big Five,’” he says. “At the top of that is listening, which is the blanket over the top. The other four are tone and dynamics, rhythm and time, harmony, and articulation. I’ve yet to fnd anything fundamentally that doesn’t ft under one of those things.”
Cofn established himself as one of his generation’s premier saxophonists years ago as a member of the pioneering jazz/jam-band Béla Fleck and the Flecktones. He’s since formed his own stellar group (the Mu’tet) and become a regular member of the Dave Matthews Band. But in recent years, Cofn has also built a reputation as great jazz clinician. With his streetwise sense of per-formance, real-world experience, and afrming attitude toward all hopeful young jazz musicians, Cofn has become a model for pro-fessional performers looking to reach out to the next generation.
“I call it ‘corrupting America’s youth,’” he says with a laugh. “We’re trying to help shape them. We’re trying to give them some tools, so that when they get out there in the world, it won’t be a huge shock to them.”
Cofn has lived in Nashville since 1991, traveling the world with a number of diferent groups ever since he moved there. He graduated with a music degree from the University of North Texas, performing with that school’s famous One O’Clock Lab Band and studying with Joe Lovano on an NEA grant. He be-gan touring with Béla Fleck in 1997, going on to win three Grammy awards with that group as well as having his song “Zona Mona” nominated for Best Pop Instrumental Composi-tion. Cofn joined the Dave Matthews Band in 2008.
Throughout that time, he collaborated with everyone from Branford Marsalis to DJ Logic; Maceo Parker to Lynyrd Skynyrd.
In 2001, he branched of into education after a few col-leagues had contacted him about the idea. Caleb Chapman
I
t wasn’t long before Jef Cofn’s frst-ever pedagogy jazz clinic that he fnally
realized what he’d actually be teaching. “I had thought about it for about nine
months and I still wasn’t sure what I was going to do,” says the veteran saxophonist
over the phone from a gig in Amarillo, Texas. “I was standing in the shower the
morning of the clinic thinking, ‘I’m screwed.’”
But then it came to him – fundamentals.
The star saxophonist of Béla Fleck and the Flecktones,
Dave Matthews Band, and the Jeff Coffn Mu’Tet talks
about his growing contributions to the world of jazz
clinics.
JEFF COFFIN
Takes on Jazz Clinics
spotlight
Jeff coffin
By MaTT Parish PHO T OS : RENE HUEMER
October 2013 • JAZZed 19 was an early motivator, and Cofn still works closely with him.
“I did a few classes early on and felt like I was connecting with the students pretty well. I’d go from Coleman Hawkins to Or-nette Coleman and talk about the recordings and what they were hearing.”
After working with Bob Mintzer in learning how to get his own tunes published as big band charts, Cofn began emu-lating that veteran educator in his clinics. “Bob is such a warm and gentle human being,” he says. “The way he interacts with people is really inspiring as well. He’s what we call a triple threat – composer, player, and teacher. I’ve tried to round out all three of those areas to be able to present my music to people and to present my ideas and educational thoughts, and it’s really worked out well in that sense.”
In fact, the most difcult part in his evolution as an educa-tor still seems to have been that frst clinic, which was a breeze once Cofn realized his concept of the “Big Five.” “I
remem-bered something I heard from John Whitman, who is a great friend from Yamaha, which I endorse and act as one of their performing artists and clinicians,” remembers Cofn. “He said that students can remember three main things when you pres-ent a clinic to them.”
In keeping with that attitude, Cofn designs his presenta-tions and interacpresenta-tions with students with as much positivity in mind as possible: No berating students; No being down on the scene. “It’s one thing to be honest and tell kids that this is go-ing to be difcult,” he says. “But it’s another to just tell people they shouldn’t try. I come from a place of real positivity and encouragement and advocacy for the students. I don’t like the negativity that surrounds certain clinicians, as if they somehow hung the moon. They didn’t. None of us did.
“I want the students to know that I’m going to work just as hard as they are and that it’s me that owes them something, not the other way around.”
I want the students to
know that I’m goIng
to work just as hard
as they are and that
It’s me that owes them
somethIng, not the
other way around.
spotlight
jeff coffin
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In turn, Cofn suggests that artists thinking about moving into the world of jazz clinics seriously assess their feel-ings toward the idea. “For me, it’s been a calling and I feel it’s the most important thing I do,” he says. “I think sometimes musicians get called in to do these things because they’re well known, and it can be detrimental sometimes.”
Cofn brings along the members of his Mu’tet to the clinics whenever pos-sible, meaning participating students have the opportunity to interact with not only Cofn but a variety of world-class musicians, including Roy Wooten, Felix Pastorious, Bill Fanning, and Chris Walters. The experience helps to roll up expertise in several areas – performance, education, and the unique skills require as a clinician – for every member of the band.
It’s been a career changer. The Mu’tet has steadily gained experience while Cofn has racked up over 300 clinic ap-pearances from Maine to Rio de Janei-ro (and even as far as Perth, Australia).
Cofn has also recently fnished up a new method book with Caleb Chapman for Alfred Music Publishing titled The Artic-ulate Jazz Musician. It’s full of new tunes that utilize Chapman’s “syllabic method” of education [see JAZZed’s cover story on Chapman in our September 2011 issue] and comes with an accompanying CD with backing band performances by Roy
October 2013 • JAZZed 21
roosevelt.edu/CCPA (312) 341-6735 [email protected] Text CCPA to 57711 Study with accomplished faculty, who include Chicago Symphony and Lyric Opera orchestra members, Metropolitan and Lyric opera sensations, renowned soloists, Grammy-winning jazz musicians, and award-winning composers. Enjoy opportunities to perform in professional venues. Live,
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“This thing will revolutionize how jazz bands sound in schools,” he says. Chapman has been using the method for years at his renowned jazz school in Utah.
But regardless of where the students are, Cofn fnds that they’re all looking for the same thing.
“They want to be recognized and they want you to know that they can play well,” he says. “They’re just barely out of childhood and trying to gain mo-mentum personally and spiritually and musically and artistically.”
Beyond that, Cofn notes that some of the best education will come once the students venture beyond the class-room walls. In efect, it brings his role in a student’s development full circle. “I tell them to get out there and experi-ence and about the ‘power of yes.’”
“I mean, I’ve played some terrible gigs, man!” he says. “I rode on a road case with a cape while someone shot confetti over the top of me with a snow-blower. I mean, I’ve done some bad gigs. So I tell [students] that whatever you go up there and do, it’s an experi-ence. Sometimes the bad ones are the best because you don’t want to go back to them.
Dear friends of jazz,
Every semester when I prepare to teach my Introduction to Jazz class to general
education students at California State University Northridge, I think to myself, “how am
I going to possibly inspire these students, who grew up on rap and hip-hop, to learn to
appreciate one of the greatest musical art forms ever created?” It’s a hard thing to do in
a sterile classroom. Yes, you can play lots of audio examples, show videos and lecture
about the major periods, styles and musicians in the history of jazz, but to truly
experi-ence jazz beyond playing jazz, is to see it live. I do require my students to go out and see
live jazz in the Los Angeles community and then write two concert reports about their
experiences with a little bit of extra jazz history research added into the reports. My goal
is always to at least bring a new experience into their lives and hopefully have them attend live jazz concerts and
buy jazz recordings. If I accomplish that I feel that I’m doing my small part to advance this incredible art form
into the future. We’re all trying to do that. Most of our students will not go on to be professional jazz musicians,
but if they can be a part of the jazz audiences of tomorrow; we’ve accomplished something very important.
Speaking of live jazz and jazz education, where else on the planet can you find an experience that the Jazz
Education Network has to offer every January? The 2014 conference in Dallas is no exception and we’ve got
an incredible lineup of student groups, pro groups, workshops, and exhibitors to make this an experience of a
lifetime.
Not only will we be featuring some fantastic groups from Texas and the Southwest, but we will have a broad
selection of instrumental and vocal jazz ensembles and clinicians throughout all four jam-packed days of the
event from all over the U.S, but as far away as Korea, Turkey, Mexico, and Israel. You will see just some of the
amazing groups that are performing in this conference in the pages ahead. But please also visit the Conference
Central tab on JazzEdNet.org for a complete listing of professional ensembles, school ensembles, community
ensembles, clinics, research presentations, panel discussions, exhibitors and JENerations Jazz Festival
partici-pants. You can’t find a better concentration of jazz anywhere in the world.
This year we’re very excited to launch a new “Keepers of the Flame” LeJENds of Latin Jazz Award at JEN
2014 by honoring the legendary Candido Camero. At 92 years young, Candido has seen it all, performing with
everyone from Duke Ellington, to Tommy Dorsey, Dizzy Gillespie, Sonny Rollins, Art Blakey, Tito Puente,
Chano Pozo and Machito, plus hundreds of others. Latin Jazz plays a critical part in the history of jazz and we
are so lucky to have a living legend such as Candido at our conference to accept this honor.
Don’t forget to register for the conference and book your hotel room on our website at JazzEdNet.org. I look
forward to seeing you all in Dallas!
Sincerely,
Andrew Surmani | JEN President
PRESIDENT’S LETTER
JEN Board of Directors (2013–14): Rubén Alvarez, Paul Bangser, Bob Breithaupt, Cheryl Carr, Caleb Chapman (Vice President),
John Clayton, José Diaz, Dr. Lou Fischer (Immediate Past President), Dr. Darla Hanley, Dr. Monika Herzig (Secretary), Judy Humenick, Rick Kessel (Treasurer), Mary Jo Papich (Past President), Bob Sinicrope (President-Elect),
Andrew Surmani (President). Office Manager: Larry Green; Webmaster: Gene Perla; Marketing & Communications: Marina Terteryan; Web Hosting: AudioWorks Group, Ltd./JazzCorner.com; Bookkeeper: Lynda Chavez
2014 CONFERENCE PREVIEW
News from the 2014 Conference
The JEN Annual Conference would not be possible
without the generous help of our sponsoring partners.
We thank those who have signed up to help us present
the various components of our conference. To find out
more, visit JazzEdNet.org/Sponsorships.
2014 Conference sponsors include:
LeJENds Stage: Jupiter/Mapex/XO
Visions Stage: Berklee College of Music
New Voices Stage: Ella Fitzgerald Charitable
Foundation
JENerations Jazz Festival: D’Addario
Inspirations Stage: Yamaha
Presenting Sponsor: Timeless Communications
CONFERENCE SPONSORSHIPS
Each year, JEN hosts the JENerosity project to
collect donations of instruments and materials to a
local organization in need. To date, we have collected
more than $28,000 of donations in our last four
con-ferences. This year, we are asking you to participate
again by nominating organizations/schools in need, as
well as donating
materi-als. It is important to us
to help enrich the local
community of our host
city by bringing together
our JEN partners and
local music programs.
To nominate a Dallas-area school or organization as
a possible recipient for the JENerosity project, please
email [email protected]. To be eligible, schools
must be located in Dallas and able to pick up their
donations at the conference.
Donate materials by bringing them to the JENeral
store during the conference, before 4 p.m. on
Saturday, January 11, 2014.
JENEROSITY PROJECT
Each year, the conference is run entirely on volunteer staff, from registration desk to stage crew, and
everything in between. To be part of the JEN family and volunteer your time at the conference, visit
JazzEdNet.org/Volunteers.
Featured Conference Volunteers:
Ryan Adamsons,
On-Site Assistant Production
Coordinator
“I’ve been involved with JEN
as a volunteer since our frst
conference in St. Louis, when I
managed the student performance
stage. I had a great time, so I’ve
been involved with the production
side of the conferences ever since.
This year, I will be passing off my stage manager
re-sponsibilities so that I can take on a bigger if less visible
role behind the scenes helping to make sure everyone
has the equipment they need to make every performance
special. My favorite part of the conference is seeing
everyone come together across subgenres, ability levels,
and ages to enjoy and appreciate what we can all bring
to the music.”
Dan Gregerman,
Conference Offce Coordinator
“When I was asked to be on
the founding team for JEN,
I was moved and honored.
Volunteering allows me to
spread the word of jazz and
to educate audiences beyond
the walls of where I teach.
Sometimes it is hard to explain
when something moves you so deeply that you want
to share it with all of the many people you come in
contact with. I fnd great satisfaction in knowing that
what I do allows more people to experience and learn
about jazz. As for the conference, my favorite part is
watching the energy and excitement at each show. It
is awesome when you see the light bulbs constantly
going off as people learn and get excited for new
ventures in jazz.”
VOLUNTEERS NEEDED
Available Sponsorships:
Conservatory Stage, Exhibitor’s Welcome,
President’s Founders Reception,
LeJENds Gala Reception
The New Collection
Jef Cofn &
the Mu’tet
WEDNESDAY, JANUARY 8
THURSDAY, JANUARY 9
2014 CONFERENCE EVENING CONCERTS
Brecker Brothers Revisited:
Caleb Chapman’s Crescent
Super Band with Randy
Brecker, Ed Calle
Brad Leali Jazz
Orchestra
HSPVA Jazz Combo I ,
with Dennis Dotson
California State
University Long
Beach: Pacifc
Standard Time
Bass Extremes w/Victor
Wooten, Steve Bailey, and
DeRico Watson
University of North Texas
One O’Clock Lab Band with
guest artist TBA
For a complete concert and clinic listing, visit JazzEdNet.org.
Artists and programming subject to change.