JazzEd 2013

NOVEMBER/DECEMBER 2013
THE JAZZ EDUCATORS MAGAZINE
Arturo
Sandoval
THE OFFICIAL
PUBLICATION OF
The Lessons
of Life
Student Travel
Exploring Cuba Firsthand
Basic Training
Using Tone Rows in
Composition Part II
FOR BIG BAND & PIANO

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JAZZ
CHORDS IN MOTION
MOVING QUARTAL VOICINGS & RELATED STRUCTURES

This new book by well-known pianist Andy Laverne satisfes a longawaited 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
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with the rhythm section, etc. Also includes valuable information on other
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up for public performance, delegation of authority, dealing with disparate
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18

contents
I dont even like the
word, criticize.
November/December 2013
JAZZ-BLUES WITHIN AMERICAN POP CULTURE 10
departments
Trombonist and publisher Mike Treni explores the evolution of

Jazz-Blues and its impact on other popular genres of American
music.
PUBLISHERS LETTER 4
BASIC TRAINING:
NOTEWORTHY 5
The second installment of Paul Mussos three-part analysis

of the harmonic paths opened up by composing with 12-tone
systems.
WHATS ON YOUR PLAYLIST? George Cotsirilos 8
LESSONS LEARNED:
TONE ROWS IN JAZZ PART II 12
STUDENT TRAVEL:
ExPLORING CUBA FIRSTHAND 14

Ana Norgaard, jazz band director at Beaver Country Day School
in Chestnut Hill, Mass., discusses her ambitious two-semester
curriculum based around intensive study of Cuban jazz and
culture, which culminated in an immersive experience for her
student musicians.
JAZZ EDUCATION NETWORK SECTION 24

JAZZ FORUM 32
GEARCHECK 34
CLASSIFIEDS 35
SPOTLIGHT:
AD INDEx 35
One of the most widely regarded musicians performing today,

Arturo Sandoval is also a stalwart advocate for music education, conducting private lessons, frequently leading master
classes and clinics, as well as overseeing the Arturo Sandoval
Institute in L.A. an organization which helps provide access
to instruments and music lessons for lower income children.
BACKBEAT: Frank Wess 36
ARTURO SANDOVAL 18
Cover photograph: Manny Iriarte

(www.mannyiriarte.com)
JAZZed Volume 8, Number 6, November/December 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.
JAZZed November/December 2013
GILMORE
IS LEGACY
2013 Avedis Zildjian Company
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
Ks. Complex, modern K Customs. And K Constantinoples,
famous for their perfectly blended tones.
Marcus Gilmore plays K Constantinople.
ZILDJIAN.COM
SOUND LEGACY
publishers letter
Rick kessel
Extraordinary Accomplishments
ne summer day in early July a number of years

ago, my wife and I were walking along the beautiful Charles River in Boston when we heard some
music wafting through the air. As we got closer to the
Hatch Shell, the outdoor stage where numerous concerts
take place during the warmer months, our frst thought
was that they were checking the sound systems for the
upcoming 4th of July extravaganza that features the Boston Pops Esplanade orchestra each year. To our delight, it turned out that
it was an un-advertised rehearsal featuring the Pops as well as their guest
soloist, Arturo Sandoval. The rehearsal was going along fne, until one of the
more jazz-oriented charts came up. As Keith Lockhart, the Pops conductor,
ran through the piece, the trumpet section ran into a rhythm that stumped
them. Lockhart ran it three times and you could sense his exasperation, as
they couldnt quite nail it down. However, after that third attempt, Mr. Sandoval, in a very gentlemanly manner, turned to the orchestra and played
the rhythm to pure perfection.
As soon as that took place, the
Mr. sandoval has always
trumpet section gave him a
been involved in helpcheer and proceeded to play it
ing the next generation of
correctly. This certainly speaks
to the quality of Mr. Sandovals
musicians reach for their
character, kindness, but also
golden ring.
suggests that perhaps there
needs to be more cross-training
for young musicians between both jazz and classical idioms.
When you consider the humble beginnings that Arturo faced as a young
person growing up behind the Iron Curtain in communist Cuba, its astonishing that he was able to achieve such extraordinary accomplishments. His
career has certainly not followed a direct line, as his time in the military in
Cuba took him away from his playing, he encountered problems with his
pay from the Castro regime, and his journey to the U.S.A. presented further
challenges. Despite this turmoil, he has been able to master his craft to the
point of becoming one of the leading jazz musicians, as well as one of the
most extraordinary trumpeters, in the world today. His performances often
seem as though they are defying gravity as he reaches for the stratosphere
with his extraordinary range, yet he is able to maintain absolute control and
beauty of sound.
Throughout his career, Mr. Sandoval has always been involved in helping
the next generation of musicians reach for their golden ring. Perhaps its
partly his strength of character combined with the challenges that he has
faced throughout his own life that makes him feel how important it is to
make sure that he gives of himself to help educate the next generation. His
focus on teaching the fundamentals that support any type of musical performance with fexibility to the students individual needs further refects this
wonderful musicians desire to pass it along to the next generation Read
on, as youre certain to enjoy this story!
November/December 2013
Volume 8, Number 6
PRESIDENT Terry Lowe
[email protected]
PUBLISHER Richard E. Kessel
[email protected]
Editorial
EDITORIAL DIRECTOR Kevin Mitchell
[email protected]
EXECUTIVE EDITOR Christian Wissmuller
[email protected]
ASSOCIATE EDITOR Eliahu Sussman
[email protected]
ASSOCIATE EDITOR Matt Parish
[email protected]
Art
ART DIRECTOR Garret Petrov
[email protected]
PRODUCTION MANAGER Mike Street
[email protected]
GRAPHIC DESIGNER Tony Calvert
[email protected]
GRAPHIC DESIGNER Jay Savage
[email protected]
Advertising
ACCOUNT MANAGER Matt King
[email protected]
CLASSIFIED SALES Erin Schroeder
[email protected]
Business
VICE PRESIDENT William Hamilton Vanyo
[email protected]
CIRCULATION MANAGER Erin Schroeder
[email protected]
6000 South Eastern Ave., #14-J

Las Vegas, NV 89119
702-479-1879
Fax: 702-554-5340
JAZZ EDUCATION NETWORK
The Official Publication of JEN
RPMDA
JAZZ EDUCATION NETWORK
noteworthy
Marsalis to Become Director of Jazz

Studies at Juilliard
frank stewart
In late October, The Juilliard School and Jazz at

Lincoln Center jointly announced that Wynton Marsalis, Jazz at Lincoln Centers
managing and artistic director and a Juilliard alumnus,
will become director of Jazz
Studies at Juilliard beginning
July 1, 2014.
Marsalis will oversee the
Spring 2014 auditions and
admissions cycle to select the entering
class for Fall 2014, while immediately beginning to plan for how the program and
curriculum will evolve under his leadership to meet the needs of gifted young
jazz musicians. In addition, the two organizations announced a substantial new
initiative to give Juilliard jazz students
increased access to Jazz at

Lincoln Centers education
programs, concert opportunities, and audience development projects that
will augment their academic work and career.
JALC will provide additional opportunities to perform, and develop practical
insights into managing
their own careers by participating in JALCs social media, digital
marketing, and webcasting initiatives.
This new collaboration revitalizes the
relationship between the two organizations, which began when jazz education
was introduced at Juilliard with the frst
class of jazz instrumentalists arriving in
September 2001.
Bassist Eddie G mez Awarded

Honorary Berklee Doctorate in Spain
Legendary jazz bassist and Grammy

Award-winner Eddie Gmez was awarded
an honorary doctor of music degree by
Berklee College of Music in Valencia. Gmez
is a native of Puerto Rico who was raised
in New York City. This was the frst-ever
honorary doctorate granted at the colleges
Monterey Jazz Fest

Celebrates 56th Year
new international campus in Spain. The

award was presented by Larry Simpson,
Berklees senior vice president for academic
afairs, at a celebratory concert at the Teatro
Martin i Soler in the Palau de les Arts, home
of the colleges Valencia campus.
valencia.berklee.edu
The 56th Annual Monterey Jazz

Festival wrapped up earlier this fall,
after an outstanding weekend of
exceptional performances by debut
artists, returning masters and new
favorites. Despite rain on Saturday,
September 21, 35,000 fans came
through the gates of the Monterey County Fairgrounds during the
weekend of September 20-22. The
festival featured music from around
the globe, and from all styles of classic and modern jazz, Latin, gospel,
New Orleans, and funk, with historic
conversations, three diferent flms,
and comprehensive exhibits.
Highlights included performances
from Artist-In-Residence Joe Lovano,
Us Five, Gregory Porter, George Benson, the Berklee Global Jazz Ambassadors, The Brubeck Brothers, the
Wayne Shorter Quartet, Diana Krall,
and many, many more.
montereyjazzfestival.org
November/December 2013 JAZZed
noteworthy
Ralph Alessi and Brian Levy
Join NEC Jazz Studies Faculty
New England Conservatorys Jazz Studies Department has hired two renowned
musicians to join the faculty: jazz trumpeter/composer Ralph Alessi, who will teach
trumpet, and improvisation and jazz saxophonist Brian Levy, who will teach both saxophone and music history and musicology.
Ralph Alessi was born in San Francisco,
the son of classical trumpeter Joe Alessi
and opera singer Maria Leone. After earning degrees in jazz trumpet and bass and
studying under the legendary Charlie Ha- Ralph Alessi.
den at CalArts, he went to New York, where he swiftly became a ubiquitous presence on the downtown scene. He has been a frequent collaborator with such notable musicians as Steve Coleman, Jason Moran,
Don Byron, Ravi Coltrane, Fred Hersch, Uri Caine, and Dafnis Prieto.
Brian Levy received his Ph.D. in musicology from Brandeis University in 2012 with a dissertation that examines harmonic and rhythmic
interaction in John Coltranes Classic Quartet. Previously, he earned a
D.M.A. and M.M. in Jazz Performance from New England Conservatory
and Manhattan School of Music, respectively.
Levy has taught undergraduate and graduate history, theory, and
performance courses in such institutions as Brandeis University, Harvard University, and NEC. In addition to a performance 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 instructional jazz DVDs by Jerry Bergonzi.
necmusic.edu
Lenora Zenzalai Helm Launches Vocal Jazz

Online and The Vocal Musicianship Academy
Vocalist Lenora Zenzalai Helm has created two new online programs for jazz vocal education: Vocal Jazz Online and its ofshoot,
The Vocal Musicianship Academy. These are Internet learning programs where an intensive curriculum provides rounded knowledge
of theory, vocal techniques,
business acumen ,and industry
insider truths aimed to make
students more broadly educated, confdent and unimpeachable in their craft.
Helm describes her programs: Vocal Jazz Online is a
music university at your laptop
fngertips of 180 videos in multiple categories using jazz concepts to teach anybody any style of
music. Because jazz musicians have such a high level of acumen,
those concepts are usable to teach musicianship skills to vocalists
from rock to classical that place them at the highest level.
The Vocal Musicianship Academy is a shortened intensive fveweek self-study ofshoot program of Vocal Jazz Online for people
who love to sing and want to ensure that they can be marketable,
eligible and the very best musician they can be. Its an answer to the
plethora of reality shows that purport this misconception that it
doesnt take a lot to be able to sing.
www.lenorahelm.com
6
Whats on Your PlaYlist?

by Christian Wissmuller
A native of Chicago perhaps explaining his strong affinity for the
blues George Cotsirilos has become a leading musical fixture of the
San Francisco music scene. Hes worked with a wide variety of artists,
including Pharaoh Sanders, Etta James, Chuck Israels, Jane Olivor, Mel
Martin, and the R&B band The Whispers. Cotsirilos was co-leader of the
acclaimed San Francisco Nighthawks, which included drummer Eddie
Marshall, Bobby McFerrin pianist Paul Nagel, and former Cal Tjader
bassist Robb Fisher.
The George Cotsirilos Trio, featuring bassist Fischer and drummer
Ron Marabuto, has earned wide acclaim and their newest disc,
Variations (OA2/Origin Records), shows just why the six-string virtuoso is quickly becoming one of the most sought-after
guitarists in the Bay Area. Cotsirilos effortless mastery of the instrument and the near telepathic union of his trio make
this an album not to miss.
1. Five Centuries Of Spanish Guitar

Andres Segovia
While virtually everything recorded
by the great Segovia is signifcant,
this recording includes a repertoire
from the sixteenth through
twentieth
centuries,
putting
Segovias mastery on display in a
variety of compositions. The result is a paradigm of sensitivity,
technique, and touch applicable to any musical context. To
me, Segovias unsurpassed exploitation of the guitars color
palate is a model, not only for the acoustic guitarist, but for any
instrumentalist.
4. Live In Europe 1967 The

Miles Davis Quintet-The Bootleg
Series, Vol. I
This relatively recently released
three-CD set of intense musical
explorations is fascinating, particularly when reviewed next to
the quintets very different Live At
The Plugged Nickel recordings made two years earlier. The
grouping of Miles, Wayne Shorter, Herbie Hancock, Ron
Carter and Tony Williams was as great a quintet as ever there
was, and the extent to which they pushed rhythmic and
harmonic boundaries is astonishing.
2. The Complete Village Vanguard

Recordings, 1961 Bill Evans
It is amazing how timeless these
recordings are. They were ground
breaking when made and remain
as defnitive works of jazz trio
communication,
replete
with
perfect use of space and dynamics.
Every time you come back to them, you can hear something
new and even surprising in the uncanny communication
between Evans, Scott LaFaro and Paul Motian. The recordings
are a bottomless wellspring of beauty.
5. The Complete Riverside

Recordings Wes Montgomery
This collection puts the bulk of
Wes Montgomerys small group
recordings, including the great
organ trio sessions, in one large
and expensive package, but it is
more than worth it. As opposed
to his more orchestrated releases, these recordings show
all sides of Wes and why he is justifiably regarded as such a
great master of the jazz guitar.
3. Whisper Not Keith Jarrett,

Gary Peacock & Jack DeJohnette
Like those of Bill Evans, the Keith
Jarrett trio recordings are all great,
but this is a two-disc set that has
a special sprinkling of bebop,
including Bud Powell tunes, that
accompanies the usual Jarrett/
Peacock/DeJohnette collection of beautiful standards and
moving ballads. The almost telepathic communication
between these masters exemplifes the supremely difcult jazz
trio vehicle at the highest level.
6. First Edition George Shearing

and Jim Hall
While the wonderful Jim Hall
Trio and Jim Hall/Ron Carter duo
recordings are always on my play
list, this CD, like the great Bill Evans/
Jim Hall recordings, underscores
how chord instruments can
enhance each other to beautiful effect. These two great
musicians are always listening and seem to leave the perfect
amount of space for each other. One can look far and wide
and never find a more beautiful guitar solo than the one Jim
Hall lays down on I See Nothing To Laugh About.
7. Blue Trane John Coltrane

As with all the greats, it is a little touchy
to single out a Coltrane recording,
particularly one apart from his great
McCoy Tyner, Elvin Jones, Jimmy
Garrison quartet, but this is an easy
one to keep coming back to. You get
Coltrane accompanied by a front line
with Lee Morgan and Curtis Fuller, backed by Kenny Drew, Paul
Chambers, and Philly Joe Jones. You also get them playing blues,
Im Old Fashioned and the soaring Coltrane classics Moments
Notice and Lazy Bird, which is about as good as it gets.
8. Quiet John Scofeld
Everyone knows how great a guitarist
and composer John Scofeld is, but this
CD merits a special place among his
many fne recordings. Here he takes
the risk of departing from his signature
electric guitar sound in favor of the
classical acoustic guitar. He plays it
beautifully in the context of his fne compositions and equally fne
arrangements for a stellar ensemble that includes Wayne Shorter
taking stunning solos.
9. Question and Answer Pat Metheny,

Dave Holland, Roy Haynes
Like Scofeld, Pat Metheny has created
a whole library of great recordings,
compositions and guitar virtuosity,
including excellent trio recordings;
however, by combining him with the
inimitable Dave Holland and Roy Haynes,
I think this trio recording stands with his best. It also includes a nice
combination of fne Metheny compositions, standards and tunes by
Ornette Coleman, as well as Miles Davis.
10. The Paul Butterfeld Blues Band
This frst Butterfeld album is a personal
favorite because, as a kid growing up
in Chicago, the Butterfeld Blues Band
opened up incredible vistas for me,
including B.B., Freddie, and Albert King,
Muddy Waters, and other blues greats.
My frst music gigs were with blues
bands and it is at the root of everything, so it is always fun to return
to the blues records, including this one. Nothing enhances a drive on
an open, rural freeway more than putting on Born In Chicago, the
frst track from this CD.
The most recent album from The George Cotsirilos Trio, Variations (OA2 Records), was released on October 15, 2013. www.originarts.com.
Carl Allen, Artistic Director
Juilliard
JAZZ
DEGREE PROGRAMS:
Undergraduate Graduate
Tuition-free, Performance-based
Post-Graduate program
Tailored Curriculum
Weekly Private Study
Work & Perform with Renowned Guest Artists
International Tours
Professional Development
Coaching by Juilliards 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
PIANO
Kenny Barron
Xavier Davis
Frank Kimbrough
TRUMPET
Eddie Henderson
Christian Jaudes
Joe Magnarelli
Joseph Wilder
BASS
Ron Carter
Ray Drummond
Ben Wolfe
Photo: Hiroyuki Ito
TROMBONE
James Burton III
Steve Turre
FLUTE
Mark Vinci
Apply by December 1
Juilliard.edu/jazz
GUITAR
Rodney Jones
VIBRAPHONE
Mark Sherman
DRUMS
Carl Allen
Billy Drummond
Kenny Washington
JUILLIARD
JAZZ
ORCHESTRA
James Burton III,
Conductor
lessons learned
JAZZ-BLUES
The Development
BY MICHAEL TRENI
within American Pop Culture
o most people, pop culture and the

blues go together like baseball and
peanuts. After all, pop culture refers to what is popular in the cultural mainstream,
and what could be more popular than the blues?
Of all American music, the blues is perhaps the most widely known
and admired around the world. The blues, which has its roots in the
African American spiritual, plays a major role in most popular music
forms including gospel, jazz, rock and roll, and of course, rhythm and
blues. Its infuences can even be found in folk, pop, and rap music.
Given the historical underpinnings of the blues, perhaps pop
culture and the blues arent as like-minded as people think. One aspect of pop culture is that in order to fnd consensual acceptance
throughout the mainstream it has become fashionable to dismiss
many of the traditions and standards of the past. In the arts, music,
flm, and literature there seems to be an attitude that previous forms
and techniques are not only pass, but are to be avoided. This is especially true in music where musicians often say they must disavow
the past in order to move the art form forward. Is this the reason, or is
it because in their rush to seek peer acceptance and celebrity status,
many of todays musicians feel it takes too much time and trouble to
assimilate and master the prior art?
Roger Kimball, writing on the legacy of Hilton Kramer, one of the
founders of the literary magazine The New Criterion, observes that,
Tradition is not the enemy, but the indispensable handmaiden of
originality and lasting cultural achievement. Today, the embrace of
tradition in popular music is rare, but when it comes to the blues,
its practitioners understand the importance of preserving its legacy
through their own work. The same is true in jazz, where musicians
strive to preserve the genres heritage even as they seek to innovate.
From the 1930s until the end of the 1940s, jazz played a major
role in American popular culture. Big band leaders, singers, and musicians were the icons of popular culture, some with their own radio
shows, with many bands, even lesser-known regional groups, constantly touring the countrys theaters and dance clubs. The music of
the big bands, while primarily designed for dancing, incorporated
the most important elements of jazz: improvisation and syncopation. Some of the biggest hits of the big band era were blues compositions, including At the Woodchoppers Ball (Woody Herman), In
the Mood (Glenn Miller), and One Oclock Jump (Count Basie).
10
of
During the 1950s, as rock and roll emerged, rock musicians and
bands infused the elements of gospel and early blues into their music to form the category we have come to know as rhythm and blues
(R&B). New popular artists such as Elvis Presley had several big hits
singing blues-based songs such as Hound Dog. Later performers
like Ray Charles, Aretha Franklin, and BB King would make rhythm
and blues an integral part of the pop music scene. By the time the
term Pop had been coined in the mid-50s, R&B and rock had replaced jazz as Americas most popular music genre.
Advancing the Blues Art Form

That the blues has played and continues to play a central role in
jazz is evident by its continued popularity over the course of jazz
history. Go to any jam session and invariably at some point one of
the performers will call a blues. Blues heads are universally known
among jazz musicians and most jazz players consider the blues
the perfect vehicle with which to demonstrate their improvisatory
skills.
Consider the following jazz-blues compositions that have become an essential part of the jazz repertoire: All Blues (Miles Davis), Billies Bounce (Charlie Parker), Blue Trane (John Coltrane),
Blues on the Corner (McCoy Tyner), Footprints (Wayne Shorter),
Straight No Chaser (Thelonious Monk), Stolen Moments (Oliver
Nelson), Things Aint What They Used to Be (Duke Ellington), and
Watermelon Man (Herbie Hancock).
Even though jazz hasnt been able to cash in on the popularity that R&B has enjoyed, jazz musicians have advanced the blues
art form in a way that popular R&B artists have not. Over the years,
jazz players and composers have modifed the basic blues form to
include:
16-bar blues: 12-bar blues with a four-bar turnaround
extension (Watermelon Man)
3/4 time blues: can be 24 bars in length or 12 bars when
written in 6/8 (All Blues)
Minor blues: based on a minor key (Stolen Moments)
Major seventh (Bop) blues: chromatically descending II-V
progressions (Bluesette)
Other variations and combinations of the above can be found,
and even songs that use a non-standard form and harmonic structure can also be labeled a blues if it is evocative of the genre.
Its astoundIng that so many jazz players seem to get so lIttle out of the
blues when they ImprovIse on the form.
The Blues: More than Meets the
Eye and Ear
With so many possibilities, its astounding that so many jazz players seem
to get so little out of the blues when
they improvise on the form. What many
players, even experienced players, fail
to realize is that the blues can actually
highlight the limitations of an improviser. It is much easier to master a tune
with many chord changes, such as Giant
Steps (tempo aside), as there are fewer
available note choices and less time for
thematic development.
The blues offers a broad canvas on
which to paint ones musical ideas. There
is more time (measures) to develop
thematic ideas. There is also more time
between the chord changes of the basic harmonic progression. Due to the
number of harmonic substitutions and
passing chords that have become part of
the modern jazz lexicon, there are many
more scale and note choices available
to outline the harmony of the moment.
Usually, these harmonic substitutions are
not played by observant rhythm sections
until they are first implied by the soloist.
It requires a thorough knowledge of jazz
theory and a keen ear to take advantage
of the ever-changing harmonic context
that can occur in the blues. It has been
said that there are no wrong notes
when improvising on the blues. This is
somewhat of a fiction, for in the blues
there are always better notes with their
implied harmonic substitutions available
at any given time.
beginning student to improvise on the

blues is like asking a young sailor to navigate an ocean in a small boat. In both
cases the novice will certainly encounter
difficulty and probable catastrophe!
Some teachers also recommend the
use of the blues scale as a simple way to
navigate blues changes. Pedagogically,
the blues scale is one of the last scales
the author would introduce to a student
of improvisation. While it may contain
the raised 9th and 5th, the blues scale
offers little in the way of harmonic and
melodic source material for the beginning student.
The Blues: A Bridge to Wider

Acceptance?
Since the blues enjoys such popularity, its possible that jazz musicians might
find a wider audience for their music if
they devoted more attention to the blues
connection. Its worked well for artists in
the past. Consider the widespread appeal
of albums such as Blue Train, All Blues,
and Stolen Moments, as well as the com-
mercially successful cross-over hits Watermelon Man and Cantaloupe Island.

With its ability to assume a variety of
forms, styles, and harmonic treatments,
the blues offers jazz musicians a rich
musical resource, one that is expressive,
challenging and, most assuredly, very
pop culture!
Michael Treni is a
New Jersey-based
composer,
trombonist, and publisher. His latest recording,
Pop-Culture
Blues, performed by
The Michael Treni
Big Band, featuring
Jerry Bergonzi, is a suite in 10 parts that
presents the development of the blues within the jazz idiom utilizing the changing
compositional styles prevalent from the
late 1950s to today. The recording is available from Amazon, cd baby, and the authors website, www.bellproductionco.com.
The Blues in Music Education

Today there are many blues arrangements available from the companies that
publish music for school jazz ensembles,
which is why many jazz educators use the
blues to teach beginning improvisation.
Students should be exposed to the blues
from a listeners perspective early in their
musical education; however, it is the authors opinion that improvisation should
begin with diatonic progressions (II-V-I)
and standards (such as I Got Rhythm),
before introducing the blues. Asking a
November/Decemer 2013 JAZZed
11
basic training
| tone rows
Using Tone Rows in

Jazz Composition Part II
by Paul j. musso
The following table examines note group two compared
to all root notes. Numbers without fats or sharps are major or perfect intervals, depending on the intervallic indication. Establishing a table like this for each note group
is an excellent way to begin the process of determining
all harmonic implications before notating the chords. It is
also an excellent theory exercise for students
Harmonic Worksheet Table for Note Group Two
Summary of Harmonic Possibilities - Note Group Three of Tone Row
Note Group Two

GH(F#)
Chord Components
5
#11
Root
Ex.20
H7
6 (13)
H3
C#(DH)
D
H5
4 (11)
D#(EH)
#9
#5
H9
H3
H9
H5( #11)
F#(GH)
G
H9
4 (11)
H7
11
6( 13)
H7
H3
#5 (H13)
H7
6 (13)
A#(BH)
6 (13)
#5 (H13)
H9
H5 (#11)
#5 (H13)
4 (11)
G#(AH)
Harmonic Worksheet Table for Note Group Four

Ex.21
Note Group Four

Root
DH(C#)
Summary of Harmonic Possibilities - Note Group Two of Tone Row
Chord Components
Ex.18
Harmonic Worksheet Table for Note Group Three

Ex 19
Note Group Three

Root
Ab(G#)
Chord Components
12
H13 (#5)
DH
H9
Root
H5 (#11)
EH
4 (11)
H7
6 (13)
H3 (#9)
GH
#5 (H13)
H9
AH
H5 (#11)
Root
4 (11)
BH
3 (#9)
H7
H3
6 (13)
EH(D#)
H9
H3(#9)
DH
Root
H9
EH
H7
Root
6(13)
#5(H13)
H7
GH
6(13)
H5(#11)
#5(H13)
AH
4(11)
H5(#11)
BH
H3(#9)
4(11)
Summary of Harmonic Possibilities Note Group Four of Tone Row

Ex.22
Ex.23
Pop-Culture
Blues
At this point, the harmonic movement and chord progressions can be extracted from
the tone row. The chord progression combinations number in the thousands (at least
14,641) considering that each measure contains at least eleven chord options. Rather than
creating all possible chord progressions, I will examine some harmonic implications common to jazz and tonal music.
One tonal possibility involves secondary dominant chords. This progression uses dominant seventh chords through the cycle of fourths. This harmonic movement is common
to the bridge of Ive Got Rhythm and many Dixieland songs harmonic structures. The
foundation of each dominant seventh chord is indicated below. The simple dominant
seventh chord could be utilized if voiced below the melody. The tone row melody would
then create the upper harmonic colorations and extensions. The altered chords could also
be employed depending on personal compositional preference.
Ex.24
Another possible harmonic progression is a chromatic dominant seventh progression,
starting on the D7 chord. Once again, the extensions could be used in the harmony or
avoided, depending on the performer or composers choice.
Ex.25
Dominant seventh chords could also be used in parallel whole steps starting on the C7 chord.
Ex.26
The previous three progressions all focused on dominant seventh chords with equidistant intervallic root relationships. The last progression in this vein starts on the C7
chord and moves in ascending minor thirds.
Ex.27
Paul Musso is an assistant professor and
area head of Music Performance in the Music
and Entertainment Industry Studies Department at the University of Colorado Denver. He
is the author of three Mel Bay publications for
jazz guitar: Fingerstyle Jazz Guitar/Teaching
Your Guitar to Walk, Graded Fingerstyle Jazz
Guitar Solos, and Fingerstyle Jazz Chord Soloing. His recent CD release, Tonescapes, is
available for download on iTunes.
Look for Part III of
Using Tone Rows in

Jazz Composition
in the next issue of JAZZed.
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student
travel
student travel
Exploring Cuba Firsthand

ana Norgaard Leads a Massachusetts high school Jazz Ensemble to havana
by Matt Parish
he streets of Havana can make

for an eye-opening experience
for anyone not familiar with Cubas bustling lifestyle. The noise, sounds,
smells, and action demand that visitors
think fast and adapt quickly, while the
cultures tendency for improvisation can
keep the best trip planners on their toes.
Its a long way from Massachusetts, home
to one small group of high school students who recently traveled to Cuba for
a life-changing musical exchange. Their
teacher, Ana Norgaard, says that the cultural friction is one of the best parts of the
experience.
Im positive that it was overwhelming to them at frst, she says. Yet, what
was so nice about getting these kids to
experience something that made them
uncomfortable at times is that they got
to question their own views. As an educator, thats the true grit of it all. Sometimes
when you get your hands a little dirty,
thats when the best things can happen.
Norgaard (whos also a busy professional musician, performing constantly
in the Boston area) is the Upper School
jazz band director at Beaver County Day
School in Chestnut Hill, Massachusetts,
where she leads a vibrant music program
that houses classes full of bright musi14
Norgaard with Beaver County Days Siete Golpes.
cians in all directions, including straight

up jazz, funk, rock, and Afro-Cuban. Last
year, though, she took the program up
a notch with an ambitious plan to build
a two-semester curriculum around intensive study of Cuban jazz and culture,
culminating in an immersive experience
in Havana. The group would interact with
Cuban music students on their home turf
and visit authentic cultural institutions
like the Buena Vista Social Club.
There was no guarantee it would work.

But Norgaard found her students, who
had dubbed themselves Siete Golpes,
putting their all into the efort for a full
year. When they closed out their experience at the Escuala Nacional de Arte
with an impromptu jam session that
transcended language barriers, Norgaard
knew she had a success on her hands.
It was, without question, the pinnacle
of our trip. The students made lasting
student travel
connections with their Cuban peers, and
were surprised when the Cuban students
sent them all concerned emails a month
later after the Boston Marathon bombings. Theyd made true friends.
JAZZed spoke with Norgaard about the
trip, its efectiveness with her students,
the magic of exploring new cultures with
young musicians, and what trips like this
can mean for how schools handle their
curriculums in general.
JAZZed: Just for starters, Ana this was
an incredible project.
Ana Norgaard: For me, it was personally one of the most ambitious things
Ive ever done in my life. It took me a year
and eight months to prepare and for the
whole project to come to fruition. I really
wanted to make sure that it was a comprehensive class and not just a trip. Once
I got the green light, I was able to dive in
and teach them with depth many stylistic
nuances of Cuban music. That work previous to the trip was phenomenal because
when my students fnally got there and
played Cuban music for the Cuban musicians, I couldnt have felt prouder. They
did a fantastic job.
JAZZed: There must have been an immense amount of preparation that
went into this.
AN: Looking back, it was a tremendous
amount of work, but it was so worth it to
see them being immersed in something
real rather than me simply writing about
Cuba up on the whiteboard. This was a
true hands-on experience in every way.
While we were in Cuba, the students
defnitely felt uncomfortable at times.
Culturally speaking, Cuba is a very diferent place from the U.S. Imagine throwing
seven high school students from Boston
in the middle of Havana with all the smells
and chaos and music Im positive that it
was overwhelming to them at frst. It took
a few days for them to adjust to being in
this very diferent city and culture.
Yet, what was so nice about getting
these kids to experience something that
made them uncomfortable at times is
that they got to question their own views.
This experience rattled all of them at the
very least. As an educator, thats the true
grit of it all. Sometimes when you get
your hands a little dirty, thats when the
best things can happen.
change that Wynton Marsalis led in December of 2010 with the Jazz at Lincoln
Center Orchestra. So there has been some
precedent with professional musicians,
but not many programs like this involving
high schoolers.
Once I did the legwork and made sure

everything was legal by going myself frst
and saw how safe it is and how eager and
open-minded the Cubans were to meet
us and work with us, I was able to report
back to the schools administration and
got an unequivocal approval to carry out
the project. On my frst trip, I was able to
meet with the head of international cultural afairs to make sure they were open
to the exchange. She was immediately
very enthusiastic and mentioned an ex-
JAZZed: That must have been great for

you personally because of your background in Afro-Cuban music.
AN: Yeah, it certainly was Afro-Cuban music is my true passion and is what I
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15
student travel
perform professionally. So this was a marriage of my two music related worlds: jazz
education and Cuban music. It was amazing to be able to teach my specialty, and
to bring the kids down there with me. Im
still kind of in disbelief that it happened.
So many magical moments occurred
during the trip that I often found myself
thinking, This is crazy. Is this really happening? In a good way.
JAZZed: Sometimes a little fexibility
is necessary in trips like this was that
the case in your experience?
AN: Thats the other thing about Cuba
you have to be fexible because sometimes things wont happen quite how you
think they will. As with a lot of the South
American and Caribbean countries, theres
an unpredictability factor going into everything. While in Cuba, magical things started
to happen that were totally serendipitous.
A few good examples: Our spontaneous
jam session with the Cuban students was
without question the pinnacle of our trip.
But there was also the time when we realized that the Buena Vista Social Club was
Norgaard with students from the Escuala Nacional de Arte.
playing in a jazz club next door to our hotel.

We got to go watch them, or at least one
of their many versions. Right now, BVSC
is like a brand everyone in Havana calls
themselves that. So when we watched the
show, it was phenomenal for the students
to witness the best of the best playing the
music they had been studying for seven
months. They were able to watch the Cuban musicians through an informed lens.
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Its one thing to say, Watch this guy play

the tres, and have it barely register as a
sort of guitar playing. But these kids knew
exactly what the montuno pattern for the
tres is, as well as what the clave is, along
with everything else that goes into it.
JAZZed: What types of eforts did you
make outside of musical side of the
curriculum?
AN: One of the things we had to do in
our program was what was called a civic
engagement component. Our trip had a
community service aspect. So we got to
visit a senior center and they somehow
thought, through some miscommunication, that we were a choir. But our kids cant
really sing at all! These are jazz combo kids.
They had no instruments for us, except for
one piano at the center. So I asked our piano player student, Liam Brady, to play a
short medley of three pieces that we had
rehearsed in class. I could predict that wed
probably get a nice reaction of those pieces one of the pieces was Cuando Vuelva
a Tu Lado by Maria Grever, which is a classic, beautiful standard of Cuban music. As
soon as Liam reached the chorus section,
most of those elderly members of the center started singing and humming along to
the melody. I just remember feeling a rush
of emotions because I could see some of
the seniors weeping. They were so moved
that this 16-year-old American was playing
one of these Cuban classics for them. It was
a really powerful moment and another
good example of a spontaneous magical
moment we got to live. We captured that
moment on video and hopefully in watching it on YouTube, people can see how that
moment was truly special.
student travel
Colorful sights on the streets of Havana.
JAZZed: Your trip coincided with the

death Venezuelan president Hugo
Chavez how did that afect things?
AN: The country was ofcially in
mourning. Live music in public spaces
was not allowed for three days. Our very
frst activity after we landed was to go
watch an Afro-Cuban folkloric group.
When we got there they said, Sorry,
theres no music. But this is Cuba, what
can I say? So that was one of those kind
of unpredictable curveballs that came
up. But it was still incredible to visit that
site, which is basically an alley. Its called
Callejon de Hamel it means Alley of
Hamel. It was developed by visual artist
Salvador Gonzalez Escalona. This place is
an art gallery with a music space where
every Sunday several folkloric ensembles
perform whats known as Cuban rumba ,
which is very diferent from the American
rhumba that stems from ballroom dancing. The music itself is all highly syncopated percussion and vocals. It has very raw
high-energy. It is very urban, and unlike
most other folkloric Afro-cuban genres
such as Bembe, Abakua, and Palo, in
which religion is a big part of the music,
the Cuban rumba has nothing to do with
religion. Its just people having fun socializing, drumming, singing, and dancing.
JAZZed: Looking into the future, how is
this course going to develop?
AN: This class is going to be ofered every other year. It was modeled as a twoterm class leading up to the trip, and it
has really infuenced how the school will
be doing trips for students in the future. It
will be interesting to see the efect it has on
other classes and other destinations for the
students. This year there is a trip going to

Morocco under a similar model, for primarily French students with some crossover for
the global studies classes.
JAZZed: How were your interactions with
the student arts programs in Cuba?
AN: I think one of the things that the
kids were really impressed with was how
efcient the education system is down
there and how phenomenal the musicians were at the high school level. They
pretty much blew us away. We were really impressed.
On the frst day, we got to the conservatory school (Escuela Nacional de
Arte) and we got to bring all of our instruments. They played for us and then
we played for them. There was also a
brief discussion where the students had
questions for each other. It was a fascinating frst day. The second day, we started the same exchange where they would
demonstrate for us and wed play back,
then towards the end, we ended up
playing together. That was sort of when
the real magic started happening. The
Cuban kids were playing with the American kids and everyone was communicating through music. They were speaking
the same language. The exchange was
fascinating because most of the Cuban
kids couldnt really speak English. Some
of our kids speak Spanish, but not truly
fuently. Having them play together, as a
teacher, was a dream come true.
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17
spotlight
by bryan reesman
18
rturo Sandovals prolifc, expansive career has

been fueled by passion, sustained by perseverance, and was developed through his longtime
association with famed trumpet player Dizzy Gillespie,
who discovered him in Cuba while on a tour stop. Since
that time, Sandovals international reputation has grown
and prospered. He survived Communism, became reborn in America, and has become an important name in
the jazz world. He has proven that simply possessing the
desire to play and having the education under your belt
is not enough; you have to driven and believe in yourself
and what you do.
You have to work so hard, every inch for everything,
little by little, Sandoval tells JAZZed during a tour stop in
Bufalo, New York that included a gig and a master class.
Its a hard world [that requires] strong dedication, especially when youre a jazz musician. If youre into pop
or rock n roll or youre a movie star or soap opera star,
theres a big diference. But being a jazz or classical musician, its very diferent to survive.
Sandoval knows all about survival. He has been playing music for 54 years, since the age of 10. He began
playing music in a marching band in his hometown of
Artemisa, Cuba. They gave him a few instruments to
try, and eventually the trumpet caught his eye and ear.
His public education was cut short around ffth or sixth
grade because he had to work to help his poor, starving
When I fnd a student who

really loves music and really appreciates the time
we spend together, I have
fun, too.
family. But fortune smiled on him when he was 14 years
old and he received a two-year scholarship to attend the
Cuban National School Of The Arts in Havana for classical
training. After he fnishing school, he began playing with
diferent orchestras and bands, including the Orquestra
Cubana de Musica Moderna whom he started with in
1967.
Sandovals musical trajectory was later derailed when
he had to begin obligatory military service in 1971. Man,
that was horrible, he recalls grimly. Three years and four
days... Essentially the only music he got to play during
that unhappy period occurred whenever he performed
Taps. But he survived, and once he was released from
the military joined the genre-spanning band Irakere,
which incorporated everything from funk to Afro-Cuban to classical music and included former members of
the Orquestra Cubana. After being discovered by Dizzy
Gillespie in May 1977 during a Havana stop on a jazz
cruise tour that also included Stan Getz and Earl Hines,
Irakere later signed to CBS and released three albums,
winning the Grammy for Best Latin Recording in 1980
19
Arturo Sandoval behind the console while working on a new recording.
for their self-titled album, which included tracks from their live performance at Carnegie Hall in 1978. They also went to Japan to record
an album. In 1981, Sandoval left Irakere to form Arturo Sandoval Y Su
Grupo, which he played and recorded with until his defection to the
United States in 1990.
Sandoval praises Gillespie He was my hero, my mentor, my godfather, he was so good to me whom he says was responsible for all
the things that happened to him and his musical compatriots while
he was in Cuba. His friendship with his fellow trumpet player will be
chronicled in the upcoming cofee table book entitled Dizzy Gillespie:
The Man Who Changed My Life: From the Memoirs of Arturo Sandoval,
which is due out in April 2014. Sandoval assembled it with his wife
Marianela and writer Robert Simon, and it will include a wide array of
photos.
The Cuban musician learned much from the iconic jazz fgure.
His passion and love for music, that was the most important thing,
notes Sandoval. That guy loved music so much. He never got tired of
talking about music and trying to learn new things from anybody and
sharing his ideas. He was in love with music his whole life.
Sandoval loves music too, and he certainly paid more than his
share of dues to achieve the fame and recognition he has today.
During the period that Irakere and then his own group were signed
to album deals while in Cuba, he and his bandmates never dealt with
the contracts. Those were all handled by Castros Communist regime.
We only received a little, miserable per diem that wasnt even enough
to eat [on], reveals Sandoval. We never saw any contracts at all and
didnt participate in them moneywise. The Cuban government took
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care of everything and took the money, of course.

Even though he had the musical talent and prestige which he
brought to the States when he defected and sought asylum in 1990
while on tour with Gillespie, times were tough for the veteran musician. It wasnt that easy like some people maybe believe, he remarks.
After their arrival, he, his wife, and their younger son their older son
was married and came later stayed in a little efciency in Hialeah.
The three of us [were] sleeping on the foor on a mattress with some
furniture. We had nothing. I was 41 years old and saying to my wife,
We have to start again.We were working all our lives, and then we had
to forget about that and start from scratch again. That was a difcult
move.
Through that arduous time of transition, Sandovals biggest lesson
was that freedom was the most important thing in life. I always say:
no freedom, no life. If I had to do what we did all over again, I would
do it 100 times if I had to. I never regret what we did. He became an
American citizen in 1997, the same year that he performed with Celine Dion on the Academy Awards. Prior to that time and afterward he
released a steady stream of albums and also recorded and/or played
live with the likes of Johnny Mathis, Frank Sinatra, Dave Grusin, Herbie
You have to master your instrument

frst before you can start even thinking
about any specifc style of music.
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They never showed me any kind of respect or admiration for what I was
doing, and that was horrible. When you are an artist, thats the last thing
that you want, people who dont admire you or appreciate what you do.
Along with performing, Sandoval has actively taught music for nearly a quarter of a century since moving to America in 1990. He spent 19
years teaching at Florida International University before moving to Los
Angeles four years ago. During his frst year in California he taught at
USC, and now he teaches private lessons at home and also oversees the
non-proft Arturo Sandoval Institute in Los Angeles, whose mission he
says is to help low income kids to buy instruments and pay tuition and
get scholarships. We have been helping a lot of kids in the community.
Teaching is the trumpeters way of giving
back. Its like an obligation that you should
feel when you learn so many other things
from other people, declares Sandoval. To
share that experience with people who would
be interested in learning from you, this is what
its all about. You feel youre giving back something when youre sharing your experiences
and the things that you have been learning for
so many years. At the same time, I always have
my instrument in my hand when I teach. Its
challenging and good because when youre
teaching, you have to be sure about what
youre doing and you have to check even
yourself, that whatever you ask a student to
do you can do it, too.
Although one might expect the famed
trumpeter to focus on jazz and classical in his
lessons, he says he concentrates on the technical side, the basics of the instrument. This
is what people need more than anything
else, he asserts. You have to master your
instrument frst before you can start even
thinking about any specifc style of music.
Sandoval always teaches private lessons
one-on-one and adapts each lesson to each
specifc student. Theyre diferent individuals nobody plays the same way or has the
same kind of approach, he says. I have to go
Players who play a
by individuals. Rather than present favorite
Wolfe Tayne mouthpiece
pieces of music to teach students, he focusagree: You can have
es on the regular books. Thats my bread
it all! Whether you
and butter, the books that have been there
choose a metal or hard
for more than 100 years. Thats what I really
rubber model, youll
concentrate on.
experience dynamic
When it comes to educational clinics and
sound quality, no
master classes, he takes a diferent approach.
At the clinics, I concentrate on answering
matter what type of
questions, he explains. I like to answer as
music you play.
many questions that they have about anything. Sometimes I play a little bit. Its not like
a performance, but I play examples. I make
an introduction, go into the Q&A, then wrap
www.jjbabbitt.com
it up. He goes with the fow. At a Bufalo
clinic, he worked with three or four diferent
Mouthpieces for all clarinets and saxophones
bands who played and then allowed him to
bruce langton
Hancock, Stan Getz, Tito Puente, and many others. He even recorded a
famous John Williams trumpet concerto in Abbey Road Studios with
the London Symphony Orchestra. In 1995, he performed at the Super
Bowl XXIX halftime show with Patti LaBelle, Tony Bennett, and the Miami
Sound Machine.
I never stopped working, my friend. Never, never, declares Sandoval.
I work all the time. Im so happy and proud to be an American citizen.
I love this country. Nobody loves this country more than me. Equally,
maybe, but more? Forget it. I started to enjoy the respect and recognition for my career and felt like a human being after I moved to this
country. I went through so many humiliations and problems in Cuba.
For ultimate Performance
22
ofer some advice, perhaps some musical examples of his own that included playing a little with
them.
For his master classes, his advice is ofered one-on-one as each student plays and he ofers his
thoughts. I dont even like the word, criticize, says Sandoval. I prefer recommendation or advice or
just sharing experience, ideas, and approach. In Spanish, the word criticize is a little harder.
With all of the activity going on in the 64-year old trumpeters life, its impressive that he fnds the
time to teach, but it shows how invested he is in music. When people are interested, Im interested
too, he explains. When I fnd a student who really loves music and really appreciates the time we
spend together, I have fun, too. He views life as a learning process, whether for himself or others.
Every single day there are some new things you can learn and improve upon. If you really want, you
can improve things every single day. When asked about common mistakes or problems he fnds
with new students early on, he observes that some people dont really care very much about the Sandovals most recent release, 2013s Mambo Nights.
sound, the tone, the quality of the sound,
and they want to fnd the shortcut. In this
career, I dont believe the shortcut is a good
way. I believe that dedication and passion,
daily routine and discipline are what really
make a diference.
Great Artists Like Ours
The latest musical adventure that SandoDont Ever JUST SETTLE
val has embarked upon is scoring flms. His
They Always Insist on the
music has been heard in many flms before,
Finest Horns Available
but now he is composing specifcally for
PHAETON & DAKOTA WERE THEIR OBVIOUS
CHOICES...real accolades below from many
that medium. Since moving to Los Angesatisfed players confrm their selection.
les four years ago, he has written for a few
RAY MONTEIRO
I highly recommend the Sax Dakota
soundtracks. Ive been doing some of that
Saxophones. Pete and his team have
and still have a few to go in the future. Im
really hit it out of the park
RICHARD ELLIOT
really happy about it because I really enjoy
The guys over at Phaeton horns have
scoring movies. Its a diferent bag. He looks
come up with an unbelievable horn at
to composer John Williams for inspiration
an unbelievable price!
there. Hes my role model and my hero. The
Out of all these pockets, the only one I
melodies, the orchestration, the sounds, the
wish I would have kept was the Phaeton
3030. I enjoyed it even more than the
ideas -- hes a genius. If you want to learn how
TIM PRICE
$1700+ Kanstul pocket (at less than half
to do a wonderful soundtrack, hes the guy
the price). It was a solid, well-made pocket
to listen to.
FARNELL NEWTON
with absolutely GREAT valves
Such musical diversity makes sense given
I sold my Selmer Piccolo trumpet of
that Sandoval loves music of all sorts, regard20 years to one of my students after I
played the amazing Phaeton Piccolo.
less of genre or other factors. I dont care
who wrote it or when or where or why, but
Most Incredible trumpet Ive
ever played!!
if I like it I want to learn it, he says. Im a huge
fan of Dizzy Gillespie, but Im also a huge fan
Besides being great instruments, I
just love the distinctive look of Dakota
of Sergei Rachmaninof. I love his piano and
Saxophones.
orchestra concertos, and Im a big fan of RavPATTIE COSSENTINO
Since picking up the Phaeton 2030
el and Debussy and love Erik Satie. I love all
MELVIN MILLER
model, Ive been able to effortlessly
kinds of good music. I love Bach, Mozart, and
play in multiple settings with GREAT
Mahler symphonies. I love Chopin.
success. And to top things off, its a
great looking instrument.
Just recently, the life and music of Arturo Sandoval reached another major mileI heartily recommend the Sax Dakota
straight tenor, there is nothing else on
stone. He received the Presidential Medal of
the planet like it!
Freedom on November 20 from President
The altissimo notes on my new Dakota
Obama. I feel so happy and grateful and reSoprano are incredibly easy to play clearly,
ally humbled to receive such a recognition,
and even the troublesome G# and Bb
EDDIE ALLEN
which is the highest award that the US can
respond better than the Selmers I have
ZDANY CHISHOLM
owned
give to any civilian, beams Sandoval. Its an
Photo by Ben Lieberman
incredible recognition, and were so happy,
man. When they recognize you and give you
such an important award, you feel so happy,
www.saxdakota.com
www.phaetontrumpet.com
and its also like a challenge for me to keep
[email protected]
doing my best for the rest of my life.
Nobody Has Artists Like

Phaet0n & Dakota
23
PRESIDENTS LETTER
A Message from Jazz Education Network President Andrew Surmani
Dear Friends of Jazz,
The 5th Annual JEN Conference in Dallas is around the corner. Our conference theme
for this year is Five Yearsand Moving Forward!
We have another spectacular lineup with nearly 200 events under one roof: 79 concerts
by pro, school, and community ensembles; 78 clinics, research presentations and panel
discussions; 35 JENerations Jazz Festival participating groups and nearly 100 exhibiting
companies all under one roof at the beautifully renovated Hyatt Regency Reunion in
Dallas. You will not find a better concentration of jazz music and jazz education in any
other place on the planet! Hotel rooms are selling fast so dont wait and please visit the
Conference Central page on JazzEdNet.org to reserve your room today! The deadline is
December 18, 2013 to book at the JEN block rate of $139 per night.
The JEN Board of Directors is very excited to release our Strategic Plan for the organization, to guide our
growth for the future. Weve worked very hard on this document for over two years and have now published it
on our website, in the About section. Every company or organization that wants to grow needs to have a vision
and a road map for how to get to where they want to go. JEN is no exception and we combined the collective
brain power of our board to release a Strategic Plan to our members that we are very excited about. Please take
a moment to review it and do what you can to help us achieve our heartfelt goals of elevating the jazz art form
globally.
We have a lot of exciting developments that are taking place every day in the various JEN committees.
Everything from expanding our JAZZ2U outreach program, to our mentor program, to a new music business
committee, to new educational initiatives that will help educators teach jazz to the current and next generations.
Plus, we are continuing to work on one of our key missions, which is the expansion of jazz audiences, and we
will have some more exciting news to share related to that after the first of the year.
We will once again be honoring educators and students at the upcoming conference through our various
awards, scholarships, and Student Composition Showcase that are supported by colleges, companies and
individuals. We are grateful for their support so that we can recognize the accomplishments of so many
deserving JEN members.
Thank you always for your support and I look forward to seeing you all in Dallas!
Sincerely,
Andrew Surmani | JEN President
JEN Board of Directors (201314): Rubn Alvarez, Paul Bangser, Bob Breithaupt, Cheryl Carr, Caleb Chapman (Vice President),
John Clayton, Jos 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: Holistic Solutions HotDrupal (hotdrupal.com); Bookkeeper: Lynda Chavez
24
JEN OUTREACH REVIEW

Five Years of Accomplishments
In celebration of our 5th Anniversary, we are proud to share the accomplishments of our Outreach
programs in fve short years.
JAZZ2U Program
Through a generous grant from the Herb Alpert Foundation,
the JAZZ2U program brings speakers, performers, and
clinicians into members classrooms and community centers
around the country.
Result: More than 1,500 students and teachers served in 2013
Conference Outreach Program
During our annual conference, JEN performers and
presenters visit each conference citys local communities to
provide free master classes and performances to local-area
schools and community venues.
Result: More than 7,000 students served since 2010
JENerosity Project
During each annual conference, JEN selects a local
organization or school to support. Conference attendees and
exhibitors donate instruments and teaching materials
Result: More than $25,000 of materials have been donated
since 2010
Mentor Program
Since 2012, JEN has hosted an annual mentorship program that
matches students with industry professionals for a full year to help
network, learn, and teach the next generation of jazzers.
Result: More than 15 students mentored since 2012
Scholarships and Awards
Each year, numerous scholarships and awards have been presented to
students and educators, sponsored by generous industry partners and JEN
Result: More than $20,000 in scholarships and awards presented since 2010
Virtual Outreach Program
JEN works year-round by offering online concerts and clinics. This new program brings jazz to your
classroom and home online.
Result: Three events hosted so far, with more planned for 2014
You can help support great programs and initiatives like these! Donate to JEN:
JazzEdNet.org/supportus
25
WHY ATTEND THE 5 TH ANNUAL JEN CONFERENCE?

JEN Members Talk About the 2014 Conference
JEN is the only comprehensive, international jazz trade event that
is designed to bring together everyone in the jazz music
community. Ill be looking to learn about new trends and
strategies from my colleagues, and to collaborate with up-andcoming, creative talent. I cant think of a better organization to
network my future projects. Theres an unprecedented level of
cooperation with the enthusiasm in sharing newsworthy topics
(and having fun while doing it).
Dawn DeBlaze, Owner and Director of Public Relations
deblaze.com
One of the most time-honored and great things about

this music is the passing down of information and
inspiration from one generation of players to the next. It
is our pride and responsibility to be part of this
continuum, and JEN helps to make this that much
more possible.
Peter Erskine, Musician, Educator, Clinician, Professor at
University of Southern California
petererskine.com
At the 2013 conference, I had an opportunity to

network with other pro musicians in the field, which
is how most of our connections to one another are
made in this business. I made a great connection
with a mute company and a music publisher that is
now publishing one of my charts, mainly because
they heard it performed at the conference. This year,
I hope to be able to share my techniques I use as
a performer with conference attendees. Having an
entire conference dedicated to the genre of jazz is just
incredible for someone like me whose entire career
has been all about jazz music.
Wycliffe Gordon, Professional Musician,
Composer, Educator
wycliffegordon.com
26
WHY ATTEND THE 5 TH ANNUAL JEN CONFERENCE?
The JEN conference will help teachers in general, whether its

public or private schools. If they go into it with an open mind and
let ideas flow, it will translate back to their teaching. When we
show a student a concept we learned, and let them build upon it,
we are basically sowing the seeds for the future of music
and jazz.
Anthony White, Musician, Educator, Performing Arts Coordinator at Los Angeles Unified School District
tonywhiteinc.com
For my students, performing for JEN will be an honor that they will
always remember and an experience that they will always treasure. In
addition to their performing experience, theyll get exposure to a wide
range of jazz educational institutions at the university level, and theyll
be able to meet the faculty members who will potentially be their
educators and mentors throughout college. For teacherswell, theyll
benefit from the listening opportunities, the exchange of pedagogical
ideas and information, and the vendor products and information in the
exhibit hall.
Warren Sneed, Director of Jazz Studies at High School for the Performing
and Visual Arts
houstonisd.org/hspvarts
The JEN Conference gives me the opportunity to interact

with the greater jazz community. These relationships are very
valuable as a professional musician. People always ask me,
How do you know [insert famous jazz musician]? I reply, I
met them at the JEN Conference!
Monica Shriver, Musician, Clinician, & Teaching Artist, Founder
and Director of Doublers Collective
monicashriver.com
27
WHY JOIN JEN?

Members Share Their Favorite JEN Stories
In the spring semester of 2013 I did a research project on the history of
the vibraphone from the perspective of technology and design, using
performers and music to provide a context for technological
developments. One of the people I particularly wanted to interview for
the project was Gary Burton; with over fifty years of endorsing
Musser Instruments and sixty years as a professional I knew that I could
get some great insights!
I didnt know how to reach him so I asked Dr. Fischer for advice and
he said he could help me out. He got in touch with Bob Sinicrope and
Bob got in touch with Gary. A few days later I had an email from Gary
Burton with his phone number telling me to give him a call. We had a
wonderful conversation and I was able to get insight into the history of
the instrument and it really added a lot of credibility to what I was
putting together.
That connection definitely wouldnt have happened had it not been for
JEN and Im very grateful that Dr. Fischer and Mr. Sinicrope were able
to make that happen for me.
Patrick Overturf, Student, Vibraphonist/Drum Set Artist
As I was volunteering for JEN, I was tasked with searching for

resources for elementary school teachers teaching jazz. I discovered that
there were some out there, but there was definitely a bigger need for jazz
materials at that age range. I reached out to JALC and discovered there
was an area that they wanted to develop for K-5. They had an idea in
mind and I was able to step in as an educational consultant. We are all
very excited about this project and Im thankful for the relationships I
developed that allowed us to do this.
Sharon Burch, Educator, Author, Elementary Music Specialist
sharonburch.com
28
WHY JOIN JEN?
As a member of JEN, I value the enrichment and

innate sense of philanthropy and particularly
appreciate the opportunity to discuss extant pedagogy
with colleagues from all corners of the world. My last
tour to New Orleans was as a direct result of a
connection at the last JEN conference. Who knows
what will happen when we all congregate this year? I
am planning a world tour for my students in 2015, who
knows we could be visiting fellow JEN members.
Jonathan Eno, Hot House Music Schools Ltd (UK)
themusichothouse.co.uk
I AM NOT A MUSICIAN.
There, I said itand with a crowd like you, thats not easy to admit.
My Mom made me take piano lessonsbut they didnt take (of
course, my piano teacher was a grumpy man who hated his job so
its not my fault).
I AM A LIBRARIAN.
And when I got done with library school, and headed back to L.A.,
there were NO jobs for librarians. I managed to patch together some
part-time jobs and just as soon as I had accumulated the princely
sum of $25.00 (hey, this was 1978!), I went to Tower Records and
bought Ella Fitzgerald Sings the Gershwin Songbook. All 5 records,
and with that heavenly cover. Its still my prized possession.
So thats one of the reasons I love JEN. I get to sit around and talk
to people who truly understand what I did (besides getting to hang
around with the nicest group of folks on the planet).
Fran Morris Rosman, Executive Director, The Ella Fitzgerald
Charitable Foundation
ellafitzgeraldfoundation.org
To experience all the benefits that

JEN has to offer, purchase or renew
your membership at
JazzEdNet.org/membership
29
NETWORTHY NEWS
Networthy News from JEN Members
Here is how JEN members are serving the jazz arts community by advancing education, promoting
performance, or developing new audiences. For a chance to be included in print or online, send your own
Networthy news in 100 words or less, along with a high-res photo to [email protected].
JENs Virtual Outreach Series opened with
The 2013 Pacheco Festival streamed online
on November 20-22, 2013. The Bronx festival
included afternoon performances by school
ensembles and evening performances by the
Lehman College Faculty Jazz Ensemble
featuring Mike Mainieri and Kurt Gartner,
under the direction of Allan Molnar.
To learn more about viewing and participating
in the JEN Virtual Outreach series, visit
JazzEdNet.org/virtualartistseries
Mark Tonelli, a doctoral candidate at

Columbia University Teachers College, is
seeking graduates of jazz programs who are
professional jazz performers to complete a survey
(IRB protocol #14-007) measuring their perspectives
on entrepreneurship. The survey will take about 15
minutes to complete.
bit.ly/jazzsurveytonelli
Billy Strayhorn Songs has launched its offcial
website, BillyStrayhorn.com, and The Billy
Strayhorn Foundation, Inc., a nonproft dedicated to
celebrating the music and life of the composer,
arranger, pianist Billy Strayhorn and to developing
an appreciation of his music among all people. The
Foundation will serve to build relationships with jazz
educators, music teachers, and musical artists,
collaborate with organizations to promote Strayhorns
legacy and story, provide scholarships for students,
and connect with the jazz community through JEN.
The website also serves as a hub for the upcoming
2015 Strayhorn Centennial, in which they are
encouraging the jazz community to celebrate
Strayhorn by hosting a concert in his honor during
2015. Participants can register online and
discover events.
billystrayhorn.com
30
Ronald Carter, Professor and Director of the NIU

Jazz ensemble, is retiring at the end of the school year
from Northern Illinois University in Dekalb. Ron is a
legendary jazz educator and spent his early career at
East St. Louis High School where he produced
decades of stellar programs and then went on to lead
one of the most legendary college jazz programs in
the Midwest. In addition, Ron is a performer, clinician
and worked for years with the Essentially Ellington
program at JALC. JEN salutes Ron for his 38 years of
educating jazz musicians and we wish him all the best
in his retirement in Raleigh, NC!
JEN NEWS
JAZZ2U Program Thrives
GALA Tickets Now Available
We are happy to announce that JENs JAZZ2U

program was funded again for 2014 by a generous
donation from the Herb Alpert Foundation. The
application process will open at the end of January
2014. Our inaugural JAZZ2U grant received rave
reviews and was in high demand, so we anticipate
even more applications this year. Prepare for your
event in advance and become a member today, to be
alerted of the application launch.
Tickets are now available for the:

LeJENds of Jazz Education Gala
Friday, January 10, 2014
5:30-7:30 pm
Pegasus Ballroom at the Hyatt Regency
Tickets: $85
The JAZZ2U program helps to bring performers,

clinicians, and speakers to your event that helps
advance education, promote performance, and develop
new audiences. Applications are reviewed by a
committee and selected winners are asked to share
their success stories about the event.
The event will honor LeJENds of Jazz Education,

Paris Rutherford and Ed Soph, as well as our inaugural
LeJENd of Latin Jazz Keeper of the Flame, Cndido
Camero. The University of North Texas Latin Jazz
Ensemble will perform before dinner.
Each Gala ticketholder is entitled to a gourmet
dinner and one raffle ticket (additional raffle tickets
may be purchased for $10 per ticket or $50 for a pack
of 10). Prizes include:
Learn more at JazzEdNet.org/JAZZ2U
Strategic Plan Completed

The JEN board has completed its development of
the official JEN Strategic Plan, which will be used to
guide JENs activities over the next few years. The
document, available in a condensed summary
version and a longer detailed version, specifies goals
for the organization, as well as a roadmap of how to
reach them. It is a living, breathing document that is
subject to change and development as the organization
moves forward.
We invite the JEN community to look through it and
join us in serving the jazz community by advancing
education, promoting performance, and developing
new audiences.
View it online at JazzEdNet.org/strategicplan
Graduate Credit Offered for 2014

Conference Attendance
Four nights shared lodging for two at the Manchester

Grand Hyatt in San Diego, January 7-10, 2015
Complimentary Registration Badges for two to
attend the 6th Annual JEN Conference
JEN Member Compact Disc Package
JENeral Store Gift Certificate
All profits from the JEN gala support Outreach and
Scholarship programs. Tickets must be purchased in
advance.
Join us for a highly-anticipated night of networking,
seeing friends old and new, and plenty of fun!
Purchase your tickets at JazzEdNet.org/lejendsgala
Reserve Your Hotel Rooms at Hyatt

Hotel rooms are selling out quickly for the 2014
conference. Book your rooms by December 18, 2013
at the Hyatt Regency to receive our preferred JEN
block rate of $139 per night. Find the booking link at
JazzEdNet.org under the Conference Central tab.
Once again, we are offering Graduate Credit for conference attendees through the University of Miami for
attending the 2014 Conference. Details are available at
JazzEdNet.org, under the Conference Central tab.
31
jazzforum
www.aajc.us
Dr. Larry Ridley, Executive Director, and Bill Myers, President
James Weldon Johnsons Black Manhattan, Pt 2

In 1901 James Weldon Johnson was nearly lynched in a local park
for stepping out of his place. He began to fnd the provincialism
of Jacksonville stifing. Moreover, he had outgrown Jacksonville in
cultural, intellectual, and artistic achievement. This led to his break
with Florida in 1902. Johnson realized that other than a number of
essays, he had not written anything on the race problem. He wrote,
I now began to grope toward a realization of the importance of
the American Negros cultural background and his creative folk
art, and to speculate on the superstructure of conscious art that
might be reared on them. This insight caused him to bring a higher
level of artistry to the ol coon songs. It also led him to Columbia
University, where he studied with the distinguished professor and
critic Brander Matthews. Johnson was particularly impressed by
Matthews informal classroom and his practical knowledge of the
theater.
While Johnson engaged in his studies at Columbia University
and continued his music career, he joined the New York Colored
Republican Club. In 1905 he succeeded Booker T. Washington loyalist
Charles Anderson as president of the club. Through this experience,
he learned that allegiance is a powerful force in American politics.
And in this political system, he gained an appointment from
President Theodore Roosevelt as United States Consul to Venezuela
in 1906. By 1909, Roosevelt had promoted him to Nicaragua.
Because of the change in political

parties and race prejudice, he
knew his chance for a European
post was slim. The fact that he
had an outstanding record was
inconsequential. As a black man, he was at the top of the diplomatic
feld. He resigned from the consular service in 1913. From that time
forward, he put forth all of his skills and talents to the creation of
African American literature and culture.
During his tenure as a diplomat in Nicaragua, Johnson wrote his
only novel, The Autobiography of an Ex-Colored Man, in 1912. This
classic exemplifes Johnsons contention that the real substance of
black life should be the prime source for black fction.
Johnson returned to New York, and in 1914 he joined the staf
of the New York Age, the oldest of the New York black papers.
Writing a column under the masthead, Views and Reviews, he
attacked such issues as lynching, employment discrimination
in the Federal Government, and the atrocities perpetrated
against black servicemen. His column attracted the attention of
NAACP Chairman of the Board J.E. Spingarn. As a participator
in building the early civil rights movement, Johnson ended up
spending 14 years at the NAACP living out his Atlanta University
ideals of service to his race. To date, James Weldon Johnson
Discovering a Life in Music

In the classroom, on the stage, and throughout the city of Chicago,
our students uncover a depth and breadth of musical training that
make a North Park education so remarkable.
The School of Music offers four degrees in music: bachelors of
music in performance, music education, and music in worship, and
bachelor of arts in music, with concentrations in arts administration,
composition, jazz studies, and general studies as well as a master
of music in vocal performance. Students have ample opportunity
to perform in one or more of the Universitys ensembles, including
Jazz Ensemble and Jazz Combos.
Undergraduate Auditions
February 8 and March 1, 2014
Schedule an audition, visit campus, attend a class, experience a
performance, talk to faculty, and learn more by contacting
Dr. Rebecca Ryan, music recruiter, at (773) 244-5623 or
[email protected].
www.northpark.edu/music
North Park Universitys School of Music
is fully accredited by the National Association
of Schools of Music (NASM).
32
is considered one of the most efective leaders in the history of

the NAACP. In 1930 he resigned to become the Adam K. Spence
Professor of Creative Literature at Fisk University in Nashville.
Four years later, New York University ofered him a similar
position, making him the frst African American professor in the
institutions history. He held both positions concurrently until
1938, the year of his death.
Johnsons search for an Afro-centric Tradition for black
American literature and culture was unintentional at frst. His
awakening to the Black Experience was often difcult. Born into
a comfortable world steeped in high Western values, Johnson
ultimately discovered another world, replete in black mass
values. His exposure to these values cleared a path, for himself
and other writers, to a hidden treasure of native folk art.
Johnson understood that to probe the Black Experience, a
writer must cull what he can from the traditions and culture of
African American life in the most accurate manner possible. As
noted philosopher Alexander Crummell wrote, The attempt to
eliminate the primal qualities will only serve to make a people
factitious
Critics point to the fact that Johnson did not bother to write
about the sordid side of Harlem in this book. He responds to this
in his fnal book, Negro Americans, What Now? (1934). Thetruth
must be told about black Americans. For all the bad there is, it
is already known. Black Americans have enough good points to
overcome the bad if we can get over them. And in Along This Way,
he writes, One of my prime purposes in writing [Black Manhattan]
was to set downa continuous record of the Negros progress on
the New York theatrical stage. Johnson was awarded the W.E.B. Du
Bois Prize for Black Manhattan in 1934. The book was adjudged
the best book of prose-nonfction written in the past three years.
On the one hand, Johnson demonstrated a deep and respectful
love, indeed, a burning passion for Harlem, the city within a
city, that he so ably describes as Black Manhattan. His life work
is a powerful testament to this love. On the other hand, James
Weldon Johnson, the intellectual cosmopolitan, was excited by all
of Manhattan. He loved the thick rushing crowds, the ferry boats,
and the loud noises. But most of all, he enjoyed the dramatic
convergence on the great city. His love for New York is illuminated
beautifully by his sonnet My City:
When I comedown to sleep deaths endless night,
The threwshold of the unknown dark to cross,
What to me then will be the keenest loss,
When this bright world blurs on my fading sight?
Will it be that no more I shall see the trees
Or smell the fowers or hear the singing birds
Or watch the fashing streams or patient herds?
No, I am sure it will be none of these.
But, ah! Manhattans sights and sounds, her smells,
Her crowds, her throbbing force, the thrill that comes
From being of her a part, her subtle spells.
Her shining towers, her avenues, her slums --Her shining towers, her avenues, her slums --O God! the stark, unutterable pity,
To be dead, and never again behold my city!
You are
Converg
enCe
Talent and inspiration come together to develop a sound all your ownwhether
youre part of an ensemble or going solo. In our Jazz and Contemporary
Music program, youll work with passionate artists across all creative disciplines
because this is where art, thought, and craft collide and connect.
UArts.
Creativity Propelled.
uarts.edu
The University of the Arts

in Philadelphia
33
gearcheck
DAddario Reserve Mouthpiece Patch
The Reserve Mouthpiece Patch is designed for clarinetists and saxophonists of
all ages and abilities. The Reserve material
adheres securely to the mouthpiece, yet enables easy removal or transferal when needed. The Reserve Mouthpiece Patch prevents
the teeth from sliding on the mouthpiece
and can be a useful tool in promoting the
correct development of embouchure and
tone production, especially regarding how
much mouthpiece to take and the prevention of biting. Available in both black (.80mm thickness) and clear (.35mm thickness) options, each package contains fve mouthpiece patches.
daddario.com
Pedal Stop
The Pedal Stop works to stop keyboards sustain pedal from

shifting around on the foor, attaching discreetly to the base
of any performers keyboard stand. The piece secures the foot
pedal, keeping it in place for the duration of the playing session. The product is made of carbon steel, and is small enough
to ft into any gig bag, and it adjusts to several diferent confgurations to accommodate a sitting or standing musician. The
Pedal Step secures to most X and Z style keyboard stands,
extends six inches to accommodate various foot positions.
pedalstop.com
LP Cajon Throne
Designed to support up to 300
pounds, the 10-diameter LP Cajon
throne (LP1445) mounts quickly to the
top of any cajon. The cajon throne rotates a full 360 degrees, allowing the
player to transition between their entire percussion setup without moving
the cajon. The padded seat on the cajon
throne is covered with a removable and
washable cover, and is mounted on a
non-slip rubber base for added stability.
lpmusic.com
34
Yamaha CP4 Stage Piano

The CP4 Stage 88-key piano features a selection of 45 voices from
Yamahas Premium hand-crafted grand pianos, including the CFX,
CFIIIS and S6, 47 vintage electric pianos with Virtual Circuit Modeling efects and a wide
variety of 321 sounds based on the
fagship MOTIF synthesizer.
The CP4 Stages slim
and lightweight
design
combines portability
with style, with
large lighted buttons for splits and layers.
4wrd.it/cp4dropbox
RS Berkeley Legends Series Mouthpiec-
Made in the U.S.A., Legends Series mouthpieces are ofcially licensed mouthpiece reproductions modeled after the original
mouthpieces used by iconic musicians like Stan Getz, Charlie Parker,
Dexter Gordon, and James Moody. Mouthpieces are built from 3D
scanning of the artists original mouthpieces. Each model is available in two distinct tip openings, which include Stan Getz tenor saxophone mouthpiece (.075-inch and .095-inch); Charlie Parker alto
saxophone mouthpiece (.060-inch and .075-inch); Dexter Gordon
tenor saxophone mouthpiece (.080-inch and .100-inch); and James
Moody tenor saxophone mouthpiece (.105-inch and .115-inch).
RSBerkeley.com
Sonor Martini Kit

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Classifeds
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Jamey Aebersold Jazz Aids
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Jody Jazz, Inc.
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North Park University
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PJLA Music Products
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Pearl Corp.
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Roosevelt University
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Smart Chart Music
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St. Louis Music Inc.
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University of the Arts
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uarts.edu
Vic Firth Company
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Pub lish in g
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Walrus Music Publishing

Jazz Print Specialists
Big Band, Little Big Band, etc.
Check the wonderful charts
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JAZZeds
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35
CREDIT: TOM MARCELLO
Backbeat
Frank Wess
1922-2013
ioneering jazz futist and tenor sax player Frank Wess passed away on October 30, 2013 of heart
failure at the age of 91 years old. Wesss long and varied career carried him from the big band era
through bebop and pop and his innovative playing was largely responsible for popularizing the
fute in modern jazz.
Wess was born in Kansas City and moved to Washington, D.C. when he was 13. He played sax and clarinet in the Army during World War II and later joined Billy Eckstines big band, which also featured Miles
Davis and Art Blakey. After then working for a year with Bull Moose Jacksons R&B combo, Wess enrolled
at the Modern School of Music in Washington under the GI bill in 1949. There he was tutored by Wallace
Mann, the National Symphony Orchestras fute soloist, and ultimately earned his degree.
He joined Count Basies band in 1953 and it was with Basie where he truly became a high-profle soloist. Wess played alongside fellow saxophonist Frank Foster in the Count Basie Orchestra and the duo
gained international recognition for their duets and tenor battles, with Wess taking the softer lines,
while Foster assumed the tough guy persona. Basie realized Wesss abilities as a fautist deserved to be
featured extensively on record and in live performance this is evidenced on the iconic Atomic Mr. Basie
album, recorded in 1957. Wess was the last surviving member of that legendary ensemble.
Wess would go on to play in house bands for Dick Cavett and Sammy Davis Jr.s television programs,
as well as providing session work as an accompanist for Sarah Vaughn, Anita ODay, and Frank Sinatra.
Frank Wess was named an NEA Jazz Master in 2007 and he continued to perform until earlier this year.
36
Five Years... and Moving Forward!

Jazz Education Network 5th Annual Conference
Jan. 8-11, 2014 Dallas, TX
Evening concert
highlights include:
Mintzer, Erskine, Clayton, &
Stryker Quartet
Jef Cofn & The Mutet
Caleb Chapmans Crescent
Super Band with Randy
Brecker & Ed Calle
Bass Extremes featuring Victor
Wooten & Steve Bailey
Jim Widner Big Band
Vertical Voices
Jovino Santos Neto Quinteto
University of North Texas One
OClock Lab Band
California State Long
Beach-Pacifc Standard Time
Brad Leali Jazz Orchestra
Houston High School for the
Performing Arts Jazz Combo I
The New Collection
Register today!
Performer schedule subject to change.
View complete listing at JazzEdNet.org
The Jazz Education Network is dedicated to building the

jazz arts community by advancing education,
promoting performance, and developing new audiences.
JazzEdNet.org
THE RETURN OF PERFORMANCE
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Available in classic high gloss lacquer fnishes, Sequoia Red, Piano Black and Sheer Blue.
www.pearldrum.com

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NOVEMBER/DECEMBER 2013

THE JAZZ EDUCATORS MAGAZINE

FOR BIG BAND & PIANO

THE BIG BAND BIBLE!

MOVING QUARTAL VOICINGS & RELATED STRUCTURES

THE GENERAL METHOD

JAZZ-BLUES WITHIN AMERICAN POP CULTURE 10

Trombonist and publisher Mike Treni explores the evolution of

The second installment of Paul Mussos three-part analysis

WHATS ON YOUR PLAYLIST? George Cotsirilos 8

TONE ROWS IN JAZZ PART II 12

ExPLORING CUBA FIRSTHAND 14

JAZZ EDUCATION NETWORK SECTION 24

One of the most widely regarded musicians performing today,

BACKBEAT: Frank Wess 36

Cover photograph: Manny Iriarte

JAZZed November/December 2013

2013 Avedis Zildjian Company

Marcus Gilmore is part of a proud tradition of drummers

ne summer day in early July a number of years

6000 South Eastern Ave., #14-J

JAZZ EDUCATION NETWORK

The Official Publication of JEN

JAZZed November/December 2013

Marsalis to Become Director of Jazz

In late October, The Juilliard School and Jazz at

increased access to Jazz at

Bassist Eddie G mez Awarded

Legendary jazz bassist and Grammy

Monterey Jazz Fest

new international campus in Spain. The

The 56th Annual Monterey Jazz

Lenora Zenzalai Helm Launches Vocal Jazz

JAZZed November/December 2013

Whats on Your PlaYlist?

1. Five Centuries Of Spanish Guitar

4. Live In Europe 1967 The

2. The Complete Village Vanguard

5. The Complete Riverside

3. Whisper Not Keith Jarrett,

JAZZed November/December 2013

6. First Edition George Shearing

7. Blue Trane John Coltrane

9. Question and Answer Pat Metheny,

Carl Allen, Artistic Director

Photo: Hiroyuki Ito

November/December 2013 JAZZed

within American Pop Culture

o most people, pop culture and the

JAZZed November/December 2013

Advancing the Blues Art Form

beginning student to improvise on the

The Blues: A Bridge to Wider

mercially successful cross-over hits Watermelon Man and Cantaloupe Island.

The Blues in Music Education

Using Tone Rows in

Harmonic Worksheet Table for Note Group Two

Summary of Harmonic Possibilities - Note Group Three of Tone Row

Note Group Two