Downbeat 10 October 2021
Downbeat 10 October 2021
Downbeat 10 October 2021
VOLUME 88 / NUMBER 10
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CONTRIBUTORS
Senior Contributors:
Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough
Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago:
Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul
Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson,
Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan:
John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New
Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart,
Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne
Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison,
Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia:
Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise
Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John
Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France:
Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones;
Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow.
Á
4 DOWNBEAT OCTOBER 2021
OCTOBER 2021
ON THE COVER
JIMMY AND DENA KATZ
20 Pat Metheny
Side-Eye
BY SUZANNE LORGE
20
coming players. “It’s been hard
to be an American in the past
few years and not have a kind of
side-eye look at ourselves during
this incredibly bizarre time,”
Metheny says in this month’s
cover story. “To me, the only
possible way to survive it is to Meet Side-Eye, Pat Metheny’s latest project
with Joe Dyson (left), Metheny and James Francies.
just raise an eyebrow.” Cover photo by Jimmy and Dena Katz
w
vie
Re H
tar H
5-S HH
H
FEATURES
28 JD Allen
Finds Purpose
BY JOHN MURPH
41 Kenny Garrett 44 Barre Phillips 44 Prism Quartet 48 Butcher Brown
STEVEN SUSSMAN
Lost in Space?
It seems that guitarist George Freeman (94
Poll Watcher
Just got the Readers Poll [ballot] and found
years old) is totally forgotten. [He’s in] Chica-
that Art Farmer was, once again, omitted from
go, an outstanding jazzman, a Hall of Fame ca-
the list of Hall of Fame candidates. Please ex-
nidate. [Freeman], the rising star pianist/com-
plain why you repeatedly overlook this stellar
poser Baba Irving, the rising star vibraharpist
musician.
Thadeus Tukes, the rising star alto saxophonist
Rajiv Halim — all forgotten by the 69th Annual BEN PHILLIPS
SENT FROM HIS PHONE
Critics Poll (August). Where are you? Space?
Editor’s Note: Thanks for the note, Ben.
AL CARTER-BEY
JAZZ RADIO HOST, WDCB Unfortunately, Art Farmer, who we love,
has never garnered enough votes to be
listed. Perhaps, your note will begin a
write-in campaign to correct it!
One More Alligator!
You asked for favorite Alligator albums. I love
quite a few, but Buddy Guy’s Stone Crazy
(from 1979) holds a special place in my heart.
I was DJing on campus radio at the time, and
the album got played a lot by announcers
hosting different types of shows. When Buddy
came to Ottawa to play a club, the promoter
asked me if I wanted to emcee. I gave Buddy
a warm welcome. He gave me a warm hug,
and then burned the place down. Very early
the next morning, a bunch of us from the radio
station piled into my station wagon and drove
to Toronto for the Canadian debut of Ornette’s
Prime Time (Bern Nix, et al.). What a weekend! Corrections & Clarifications
The band name Bright Dog Red was bun-
JAMES HALE
AUTHOR, JOURNALIST, DOWNBEAT CRITIC gled in the August issue’s Hot Box review
column. DownBeat regrets the error.
Here’s the album cover, with the correct
name. Check out Bright Dog Red’s new
5 Stars for XXXX? album, In Vivo (Ropeadope).
The announcement of the 5-star review of In a September issue review of Alchemy
the album XXXX by Michael Wollny et al. on Sound Project, Afrika Love (Arc), trum-
your September cover got my attention. The peter/composer Samantha Boshnack’s
review by Howard Mandel was certainly ef- name was omitted from the album credits.
fusive. So, I went to Bandcamp to listen to it. DownBeat regrets the error.
I’m grateful I got a preview and didn’t buy it.
Look, your wonderful magazine gave Bitches Have a Chord or Discord? Email us at [email protected]
Brew 5 stars 50 years ago, which was richly de- or find us on Facebook & Twitter.
ANNA WEBER
Sands returned again and again to a single
concept: simplicity. He started internalizing
the notion that art can be fulfilling without
being complicated.
“Especially as jazz musicians, we have a
knack for trying to be complicated,” he said.
“We are people who love challenges. But we
need to think about simplicity and how much
power it has.”
Communicating these truths to students
— many of them enchanted with out-of-con-
text complexity — is a challenge Sands accepts
with enthusiasm and humor. As artist-in-res-
idence, he simultaneously guides students
through his own pedagogy and leads them
by example; his duties include running edu-
cational clinics and playing with the festival’s
Next Generation Jazz Orchestra, led by musi-
cal director Gerald Clayton.
“We break things down,” he said. “You
can’t tell a story at a million words a minute
unless you’re Lin-Manuel Miranda, and even
Christian Sands serves as artist-in-residence for this year’s Monterey Jazz Festival. then — simplicity. It comes from understand-
ing how words work.”
L
his mentors allow their personalities inform
ast summer, Christian Sands charted he was learning to walk. The sudden, forced their music, he’s learned to accept tendencies
the virtual program landscape as art- retreat from performance left him disoriented. in his own artistry. A pivotal apprenticeship
ist-in-residence for the Monterey Jazz “That resonance between the audience was his tenure with Christian McBride.
Festival. The pianist-composer delighted and myself is one and the same,” he said. “So “Christian’s sound is a big sound, but
international viewers with the festival’s first when that is gone, how does one react? How when you talk to him, he’s a big personality,”
web series, Welcome to the Sands Box, fea- do you live? How do you cope?” Sands said. “When I was studying with Dave
turing video interviews with the likes of Dee He spent the year exploring, leaning into [Brubeck], he was this classic elegant man who
Dee Bridgewater, Monty Alexander, Vijay meaning behind his 2020 release Be Water loved challenges. His music was very much
Iyer, Helen Sung, Jason Moran, Miho Hazama (Mack Avenue) for insight. “Being water that. Dr. Billy Taylor: highly intelligent, super
and Ali Shaheed. But the focus was on con- became a real-life exercise,” he said. “It was a soulful. That was him. We would talk about A
versations about creativity more than creative way to [wonder] about how to adjust and still Tribe Called Quest and Mary Lou Williams in
expression. As this year’s artist-in-residence, be in control of everything that we need to be the same sentence, and he would make com-
Sands will teach, perform and present in per- in control of, and how to relinquish control for parisons. Being around these leaders, wheth-
son, sharing ideas he’s refined and truths areas we can’t do anything about.” er playing with them or breaking bread and
he’s realized during his 15 months of relative Through orchestration, Sands began communing with them, you find that element
solitude. deconstructing his own ideas and composi- of themselves in the music.”
The pandemic shifted Sands’ self-percep- tions, disassembling them until he could iden- Despite its in-person reopening, Monterey
tion. Away from the stage — for the first time tify what about them was elemental. “It was will continue presenting certain events online.
since age 7 — he grappled with who he is as a really taking my ideas apart, dissecting them, Sands looks forward to engaging viewers from
person and artist. “With that [break] came a focusing on what they mean, what they stand around the world. “For me, being artist-in-res-
lot of identity questions,” he said. “There came for — who they stand for — where they come idence means [I have the] honor of represent-
a lot of musical identity questions.” from,” he said. “There are moments when you ing the Monterey Jazz Festival as a place where
Sands had been playing for his whole life. start focusing on a certain chord or a certain artists can be themselves fully, and present
He started learning piano at the same time structure or a certain rhythm, and you really their truths fully.” —Stephanie Jones
Newport’s
Glorious
Return
IT WAS A NEWPORT JAZZ FESTIVAL LIKE NONE OTHER IN ITS 67-YEAR HISTORY.
Newport has seen seemingly everything — from frigid cold and extreme heat to torrential
downpours — but mostly glorious, sunny days packed with amazing music. Perhaps noth-
ing was more glorious than the fact that the festival was able to go live this year, albeit with
limited capacity crowds, COVID vax cards or testing required, and a large number of fans
choosing to mask up (even though it wasn’t required). Atendees were treated to some of the
Pianist Kenny Barron brings a touch of style and grace to the proceedings
best that jazz the world has to offer. Photographer STEVEN SUSSMAN was there to cap-
with the Kenny Barron & Dave Holland Trio featuring Jonathan Blake. ture it. Here are just a few scenes he caught throughout the festival weekend of July 30–Aug. 1.
Melissa Aldana joins the Jazz Gallery All-Stars, a OCTOBER 2021 DOWNBEAT 15
collective of burning, young artists.
PHOTOS BY JOSEPHINE ZEITLIN
Zeitlin maintains his “hunger” for what electronic music can do. Marsh at his acoustic drum kit.
Zeitlin at his “mission control“ setup “Co-explorers” preparing for the next adventure.
BARON WOMAN
Sun Ra and many other free-jazz pioneers.
cially John Coltrane, moved toward experimen-
tation as their careers unfolded.
The bulk of the film digs into the New York
scene through the advent of the loft jazz move-
ment in the 1970s. Surgal also acknowledg-
es the achievements of the Association for the
Advancement of Creative Musicians (AACM) in
Chicago and the Black Artists Group (BAG) in
St. Louis, as well as briefly examining the com-
munity of free-jazz musicians that exploded in
Europe in the late 1960s. There’s an extended
passage about the Sun Ra Arkestra.
In the end it feels a bit like a love letter to a
lost time, yet Surgal generally maintains an
inquisitive demeanor that avoids sweeping
judgments. A couple of heavy-handed interti-
I
n mid-March 2020, Pat Metheny and his band flew
into South America from the Asia-Pacific, just
days after his latest album, From This Place
(Nonesuch), landed in stores. The quartet from that
record was starting the Latin American leg of its tour
with two dates in Argentina, where President Alberto
Fernández, an amateur musician and Metheny buff, was
to meet the visiting guitarist.
But the night before that appointed meeting, Fernández
canceled.
“He got up the next morning and closed Argentina,” Metheny
recalled in a remote chat from his home in upstate New York. The
rest of that tour — Brazil, Chile, Peru, Mexico, Cuba — was can-
celed, too, as COVID-19 spread throughout the world.
to take a group and push For Francies, too, the rapport with Metheny
happened easily. “I’ve been using my left hand
as an actual bass player since high school,” he
said. “Bass players were hard to find, but I still
Q
ueen City (Savant), JD
Allen’s latest album and
his first solo-saxophone
release, is an ambitious endeav-
or that he hadn’t planned
on making until later in his
career. “This was supposed
to be a much later project
— recorded maybe when
I’d turn 60 or 65 years
old,” Allen explained via
Zoom in July.
MR. LABEMBIKA
Nubya Garcia
Joe Magowan
BY TINA EDWARDS
the road and hear Afrobeat, reggae or grime 1991 by Janine Irons and bassist Gary Crosby doesn’t mean that momentum is slowing down.
that’s truly authentic,” says drummer and pro- OBE, the first jazz musician to be awarded the The U.K. sound continues to evolve and reach
ducer Moses Boyd. “Because of that melting Queen’s Medal for Music. Aptly, it was Crosby’s larger audiences.
pot, U.K. jazz has benefited.” Equally aware of outfit Jazz Warriors that was significant in an Bring yourself up to speed with the low-
the scene’s eclecticism, trumpeter Emma-Jean earlier British jazz revival. down on some of the artists, organizations,
Thackray describes the U.K. sound as “pop It’s not just London that deserves the lime- venues and cities within the U.K. that are mak-
music using jazz language.” light for pushing forward the U.K.’s sound; ing history today.
Unlike 10 years ago, it’s no longer surpris- Bristol stirs up electronica, funk and explorato-
ing for British audiences to see the likes of ry music with a DIY attitude. The catalog of art-
Thackray on the BBC’s long-running Later ... ists on Matthew Halsall’s Gondwana Records
with Jools Holland show, or to spot Shabaka reads as a Who’s Who of Manchester’s enviable
Hutchings’ Comet Is Coming in the world- scene — with GoGo Penguin, Portico Quartet STEAM DOWN
famous Glastonbury Festival lineup along- and honorary Mancunian Allysha Joy, to name Led by multi-instrumentalist, composer
side huge pop stars. While the U.K.’s music a few. and producer Wayne “Ahnansé” Francis,
media are now embracing a whole host of DJ and producer Rebecca Vasment’s debut STEAM DOWN is the name given to both
game-changing musicians, the groundwork album, With Love, From Glasgow (Rebecca & a weekly live music jam and the perpetual-
has been laid over a number of years. Nathan), features a host of rising Scottish art- ly evolving collective of artists who perform
“The momentum for [the U.K. jazz scene] ists, while the likes of Belfast’s Robocobra there. Even saxophonist Kamasi Washington
hasn’t happened by chance,” says Justin Quartet shows us that jazz musicians of has swung by to play.
McKenzie, co-founder of label and live event Northern Ireland also dare not play it safe.
Jazz re:freshed, which was founded in 2003. While each artist that makes up the com- MOSES BOYD
“We were battling against the attitudes of the munity is unique in their own way, there’s a “What sets London’s jazz scene apart,” says
established jazz scene in this country — we seemingly shared belief system; a respect for drummer and producer Moses Boyd, “is the
were doing it our way.” what and who came before, with a desire to be beautiful remixing gumbo of the diaspora.”
Not to belittle the traditional vanguard, the free from the shackles of expectation. Boyd’s music highlights the culturally
U.K. has an admirably healthy relationship It’s been five years since a few notable U.K. diverse sounds that the U.K. has to offer. An
with its jazz elders. Master classes and mentor- jazz releases marked some creative forks alumni of Trinity Laban Conservatoire and
ship are a significant part of the development in the road: Yussef Kamaal’s Black Focus Tomorrow’s Warriors, he’s carved a unique
of the current crop of young artists, with sax- (Brownswood Recordings) demonstrated an career as a musician and BBC host across TV
ophonists Evan Parker, Gary Bartz and the late intersection between jazz and “London music,” and radio. Having collaborated with Zara
Tony Allen all having close working relation- encompassing elements of dub, grime and bro- McFarlane, Soweto Kinch and even Beyoncé,
ships with some of the U.K.’s brightest young ken beat. Channel The Spirits (The Leaf Label) he’s a drummer who can’t be defined — each
players. Many rising musicians are already from Comet Is Coming further forwarded an project varying wildly from the last. His most
passing on their knowledge to the next gener- experimentation with electronics, club culture recent album, Dark Matter (Exodus Records),
ation of up and comers. and pop music, whilst the eponymous EP from received recognition from the U.K.’s most pres-
Collaboration is a key ingredient to the Nérija — including members Rosie Turton and tigious awarding bodies, including the Hyundai
scene’s success, with organizations and venues Sheila Maurice-Grey — delivered a sound that Mercury Prize and the AIM Awards — one of
providing valuable space for music making. If respected tradition while sounding remarkably the many signs that Boyd and his peers have
musicians such as Hutchings and Nubya Garcia fresh with gentle groove. Looking back to 2016 brought jazz to the U.K.’s mainstream.
are a breath of fresh air in the British music and onward, it’s challenging to place anoth-
scene, then Tomorrow’s Warriors are surely the er five-year period in the history of British jazz NUBYA GARCIA
heartbeat. The organization was co-founded in that has reached so far across the globe. But that Since emerging with the septet Nérija in 2016,
YAZZ AHMED
Arabic and Western influences can be
heard throughout Yazz Ahmed’s inspiring
body of work. The trumpeter’s most recent
album, Polyhymnia (Ropeadope), is a celebra-
tion of female courage, determination and cre-
ativity, presented through her ambitious and
expertly executed compositions. Ahmed’s goal?
To change perceptions about women in jazz
and people of Muslim heritage.
EZRA COLLECTIVE
The five-piece group is the U.K. jazz scene’s
primary party-starter. On the side, charismat-
ic drummer Femi Koleoso is a BBC broadcast-
er, while keyboard player Joe Armon-Jones also
leads his own band with influences from dub
and sound-system culture.
GOGO PENGUIN
Manchester-based trio GoGo Penguin had
humble beginnings when they released their
debut album, Fanfares (Gondwana), in 2013. It
was a showcase at SXSW four years later that
would accelerate their visibility on the interna-
tional plain. The left-field piano trio has released
three critically acclaimed albums on Blue Note,
and continues to toe the line between jazz and
dance music, further punctuated by their remix
album, GGP/RMX (Blue Note).
KOKOROKO
Afrobeat, West African rhythms, jazz and a
healthy dose of grit are some of the ingredients
in KOKOROKO’s sound. The octet expanded
its audience when its 2017 hit “Abusey Junction”
— part of Brownswood’s We Out Here compila-
tion — went viral; it has more than 45 million
hits on YouTube alone. Since then, the band, led
by trumpeter Sheila Maurice-Grey, has been
unstoppable.
SHABAKA HUTCHINGS
The cover star of DownBeat’s May issue,
Hutchings is something of a young forefather
to the current U.K. crop of game-changing
musicians. As part of several outfits — Shabaka
and the Ancestors, psych-electric trio Comet
YUSSEF DAYES
In the early 2010s, promoter LU.K.e Newman launched “Steez,” a jam Drummer Yussef Dayes performs with the charisma of a rock
night that attracted producers, DJs, poets and musicians. It served as star. Dayes is behind two records that form major milestones in the
a major influence on the U.K. jazz scene. development of the U.K. jazz sound: Galaxies Not Ghettos (12 Tone)
with United Vibrations, and Black Focus (Brownswood), recorded
with Kamaal Williams.
2011 United Vibrations, one of the earliest bands to represent
a shift in British jazz, releases its debut album, Galaxies
Not Ghettos (12 Tone).
Kenny Garrett
moves into rarefied territory. throughout Sounds From The Ancestors, he’s Personnel: Kenny Garrett, alto saxophone, vocals (2), electric
piano (2–4, 6), piano (7); Maurice Brown, trumpet (2); Vernell
The piece — a long, serpentine journey — selfless in providing Bruner with showcases on Brown Jr., piano; Johnny Mercier, piano (3), Fender Rhodes (4),
organ (3); Corcoran Holt, bass; Ronald Bruner, drums; Rudy Bird,
draws inspiration from both jazz warriors and the churning “What Was That?” and a tribute percussion, snare drum (6); Lenny White, snare drum (6); Dreiser
the Black volunteers who defeated Napoleon’s to drummers Art Blakey and Tony Allen. Durruthy, bata (1), vocals (1); Pedrito Martinez, congas (7), vocals
(7); Jean Baylor (1), Linny Smith (2, 3), Sheherazade Holman (2, 3),
troops in the Haitian Revolution. It’s an In sum, this is a rare artwork that has a Dwight Trible (7), vocals.
extraordinary performance, not just for its clear conceit yet doesn’t sound contrived. In Ordering info: mackavenue.com
John
Critics James Hale John Murph M cDonough Ammar Kalia
Critics’ Comments
[Editor’s note: John Murph recused himself from reviewing this record because he wrote press
materials for the label in conjunction with its release.]
Themes are thin and often grow overstretched and repetitious. That aside, Garrett is in buoyant
form on alto, here and there bordering on frenzy rather than get run over by Bruner’s some-
times hyper-hectic drumming. —John McDonough
An intuitively emotive exploration of music of the soul by Garrett, taking cues from the spiritual
sounds of John Coltrane, Aretha Franklin, Marvin Gaye and more. Highlights come on the guest
vocals of Dwight Trible, while Bruner provides a powerhouse of rhythm to back up Garrett’s
deftly melodic lines. —Ammar Kalia
There’s a steeliness in Rosnes’ new compositions that extends beyond the tensility of the Mc-
Bride/Allen rhythm team. She’s kicking COVID to the curb with a vengeance. —James Hale
Does music need thematic cover? I think not. These nine unsentimental, sometimes gentle, at
times agitated originals speak for themselves — some with angular staccato snap; others, an
echoing simplicity. But too sophisticated and emotionally ambiguous to be pinned down to
Kinds Of Love. That distraction aside, practiced work all around. —John McDonough
A lyrical collection on the theme of love. Potter provides a burning kineticism to “Silk,” while Mc-
Bride excels in a downtempo interplay with Rosnes on “Kinds Of Love.” A charming, if somewhat
unadventurous, exploration of the record’s defining concept. —Ammar Kalia
A very traditional-sounding album from a piano master too often overlooked. Cables’ dedication
to compositional and sonic beauty is a balm for stressful times. —James Hale
With an underlying theme on the definitions of love, this piano trio outing delights in jazz mas-
tery and, resilience and gleeful optimism during the pandemic. —John Murph
A hard-swinging addition to pianist Cables’ lengthy and formidable catalog. There are few
surprises here, but in the piano-and-bass and piano-and-drums duets of “For All We Know” and
“Crazy Love,” Cables’ understated ingenuity shines. —Ammar Kalia
Solipsistic by nature, the success of ambient music relies on how well the artist connects the
listener to the subject matter. “Mama Bet” sets the bar here; other pieces feel more gestural than
fully realized. —James Hale
By creating imaginative inner sonic voyages such as this, it’s easy to anticipate Dawid crafting
scores for numerous Afrofuturistic films. —John Murph
A disappointing counterpoint to a disturbing history. Dawid’s mostly chalumeau clarinet sounds
amateurish, fluttering aimlessly over synthesized backgrounds and indistinct recitations. As
performance art, this may spark timely conversation. Meanwhile, let her study Sidney Bechet, Ed
Hall and Jimmy Hamilton for the storms inside the clarinet. —John McDonough
Organist Mike LeDonne refreshes familiar into something more ominous and satisfying in
HHH1/2
grooves on a too-brief album so relaxed and an unexpected way. —CarloWolff These jazzy renderings of Led Zeppelin tunes
authoritative, you could swear you’re in a favor- are swinging. Comparisons to the original Zep
It’s All Your Fault: It’s All Your Fault; Matador; Rock With You;
ite club. With five tunes by LeDonne’s big band, Still; Party Time; Bags And Brown; Biggest Part Of Me; Blues For renditions are preposterous. The title track,
Jed. (43:43)
three by the Groover Quartet, this vivid album, Personnel: Mike LeDonne, organ; Jim Snidero, Steve Wilson, alto for instance, is rendered as a slyly syncopated,
produced at the Van Gelder Recording Studios, saxophone; Eric Alexander, Scott Robinson, tenor saxophone; Jason medium-tempo shuffle-swing “sung” by pow-
Marshall, baritone saxophone; Joshua Bruneau, Jon Faddis, Frank
rings with presence and authority. Greene, Joe Magnarelli, trumpet; Steve Davis, Mark Patterson, erhouse tenor saxophonist Bob Franceschini
Doug Purviance, Dion Tucker, trombone; Peter Bernstein, guitar;
It’s All Your Fault blasts off with the title John Webber, bass; Joe Farnsworth, drums. (a frequent foil for guitarist Mike Stern). The
track, an homage to veteran organist Dr. Ordering info: jazzdepot.com descending figure on “Dazed And Confused” is
handled nicely by bassist Orlando Le Fleming
while pianist Kevin Hays supplies the harmon-
ic colors beneath Franceschini’s wailing tenor
Matthew Shipp/ solo here.
Whit Dickey Hays’ delicate, highly impressionistic take
Reels on “Immigrant Song,” or the quartet’s defanged
BURNING AMBULANCE MUSIC version of “Custard Pie,” may be downright
HHH1/2 disorienting to fans of the Zep. But between
Obed Calvaire’s marvelously interactive
On pianist Matthew Shipp and drummer Whit
drumming, Hays’ ethereal keyboard explora-
Dickey’s latest recording, Reels, the duo explores
tions and Jarrett-inspired improvisations, and
place and texture across 10 pieces that run the
Franceschini’s unrestrained soaring on saxes,
gamut from tonal jazz to swinging bebop and
there is plenty here for adventurous listeners.
blues-forward improvisation. They warm up
That said, their approach to “Kashmir”
with furtive piano lines and scattered percus-
seems more contemplative than crushing (I
sion in “Lattice” before diving into driving
much prefer Lenny White’s collaboration with
melodic piano and chaotic swing in “Cosmic
bassist-singer Foley on the funky remake of
Train,” a song that previously appeared on a
that classic Zeppelin tune from the drummer’s
Burning Ambulance compilation disc in 2020
Taken together, the songs on Reels consti- 1999 album Edge). And their version of “In My
under the title “Staircase.”
tute a conversation that oscillates between fre- Time Of Dying,” originally a tortured, cathar-
Dickey’s drums seamlessly integrate with
netic discourse, synergetic exchanges and tic slide guitar blues, would be right at home in
Shipp’s changing motifs, his the artfulness
shared silences. “Silent Ice” is in dialogue a piano bar during happy hour, were it not for
is most palpable on “Hold Tight,” a spright-
with “Moon Garden,” similarly somber. “Fire the authoritative, earthy tenor saxophone work
ly-yet-cerebral piece with textural hi-hat beats
Dance” and “Vector,” on the other hand, are of Franceschini. Those borderline new-agey
and tonal snare wrapped around crescendoing
frenetic and unrelenting, with swinging motifs interpretations, like some of the aging original
piano melodies. On “Moon Garden,” a sparse
and driving rhythms. Reels illustrates the inti- Zep fans still around, lack teeth.
and industrial tune, Dickey’s pacing is deliber-
mate and expansive rapport that Shipp and —Bill Milkowski
ate and expressive, forcing Shipp’s languorous
piano lines into formation and harkening back Dickey have developed over three decades, one Whole Lotta Love: The Music Of Led Zeppelin: Whole Lotta Love;
to the reticent notes of “Lattice.” methodical and intuitive. —Ivana Ng Dazed And Confused; Immigrant Song; Ten Years Gone; Kashmir;
For Your Life; Battle Of Evermore; In My Time Of Dying; Custard Pie;
Shipp and Dickey’s creative partnership Reels: Lattice; Cosmic Train; Hold Tight; Moon Garden; Fire Dance; No Quarter. (63:00)
Vector; Magma; Silent Ice; Reels; Icing. (56:02) Personnel: Kevin Hays, piano; Bob Franceschini, tenor and sopra-
throughout the record is tightly integrated, but Personnel: Matthew Shipp, piano; Whit Dickey, drums. no saxophone; Orlando Le Fleming, bass; Obed Calvaire, drums.
they do take turns exploring solo improvisation. Ordering info: burningambulancemusic.bandcamp.com Ordering info: chesky.com
Brian Jackson JID008 with the lovely “Invalid Data” and “Schlaflied,” Widereröffnung; Menschen Tiere Sensationen. (45:31)
Personnel: Vincent Meissner, piano; Josef Zeimetz, bass; Henri
which feel more like tone poems than thought Reichmann, drums.
JAZZ IS DEAD
explosions. This is a good start. He has time and Ordering info: actmusic.com
HHH1/2
Brian Jackson JID008, the latest offering from
Ali Shaheed and Adrian Young for Jazz is Dead,
is steeped in the scintillating energy of oppo-
sites. The album’s eight tracks reflect this coin-
cidental coalescence with multi-instrumen-
talist and composer Brian Jackson, through
Shaheed and Younge’s rising record series.
Jackson’s wisdom and budding enthusiasm as
a solo artist made him the ideal candidate for
the collaboration.
Every facet of Brian Jackson JID008 exem-
plifies something Jackson uniquely contrib-
utes to the album. Appreciation for other artists
comes through directly in homages like “Nancy
Wilson.”
“Bain De Minuit” gives respect indirectly
— but with no less sincerity — by channeling
parallel instrumental and melodic energy: A
gentle Rhodes line and inclusion of ample open
space evoke sentimental echoes of Jackson and
Heron’s work on pieces like “A Very Precious
Time.”
Songs like “Under The Bridge” play with
textural sounds, including shakers and well-
timed Rhodes high notes seemingly emulating
bells of passing trains.
These subtleties show Jackson creating
from a lighthearted and imaginative place,
unburdened by any self-imposed pressure from
his ingrained reputation. Brian Jackson JID008
is the best of both worlds: a record inspired by
thoughts of the future and informed by experi-
ences of the past.
—Kira Grunenberg
Weedie Braimah
The Hands Of Time
STRETCH MUSIC
HHH1/2
The globally-minded artistry of
percussionist Weedie Braimah on,
The Hands of Time, resonates per-
fectly with Christian Scott aTunde
Adjuah’s vision for his label Stretch
Music, which is to encourage music
appreciation beyond genre.
Whether examined through a performative or socio-cultural lens,
Braimah’s work reveals an ability to provoke enthusiasm and curiosi-
ty. The record proposes contemplation with muffled spoken-word sam-
ples at the start of “Full Circle,” with bits that stand out: “Francis Bebey,”
“History Of The Drum,” “Pan-African Experience.” From there, Munir
Zakee takes up an emcee role amid a crisply mixed flurry of percussive
instruments played uptempo. With Braimah’s djembe, the modernized
production and diverse arrangement aims to show the beauty and rele-
vance of West African folkloric music in a contemporary context.
“Express Trane to Bamako” excels, as dunun, sangban and djembe
combine with Moog synthesizers and electric guitar. The gallop-
ing rhythm Luke Quaranta plays on karignan adds an amusing touch:
The pipe-like instrument emulates wheels against train tracks. Though
Braimah’s relationship with the djembe long proceeds this album, The
Hands Of Time reveals Braimah is nowhere near the ceiling of creative
potential for the drum or himself. —Kira Grunenberg
The Hands Of Time: Full Circle; Weediefoli; Express Trane To Bamako; Sackodougou; Back To
Forward (An Ode To Bontuku); Bongo Genie; Hippos In Space; When Clouds Kissed; Send For Me; Ships
Come In (A Lullaby); Rompe El Cuero; Sworn To The Drum. (69:19)
Personnel: Weedie Braimah, djembe, congas, dunun, sangban, kenkeni, bells, cabasa claps; Luke
Quaranta, dunun, kenkeni, tambourine, sangban, calabash, claps, bells, karignan, triangle, djembe, bell
(1–5, 9, 11, 12); Shea Pierre, clavinet, Rhodes, organ, piano, Moog synthesizer, backwards piano (1, 3, 5, 8,
9, 12); and many more.
Ordering info: ropeadope.com
DOWNBEAT ARCHIVES
odd question: “How good a trumpet player
was Louis Armstrong?” Peterson seemed as-
tonished that anyone would ask such a ques-
tion. But Armstrong had been dead eight
years and a generation had come of age with
no memory of his powers as a musician.
Fifty years after his death, readers of
this magazine may be forgiven for ask-
ing similar questions. Armstrong can be
difficult for serious young ears. His most
Jeremiah Cymerman
groundbreaking work is trapped in the
technology of the ’20s and early ’30s, cov- Citadels & Sanctuaries
ering its splendors under a musty, time- 5049 RECORDS
clock veneer. He spent much of his Decca HHHH
Louis Armstrong
period fronting a big band. The technol-
The New York-based clarinetist and sound engi-
ogy was better, and sometimes the trum-
pet. But the trap now was popularity. The later by Satch Plays Fats. John S. Wilson of neer Jeremiah Cymerman operates at the edge
whims of juke box fashion came with a the Times wrote that “they are among the of genres. His recordings include improvisa-
time stamp and short shelf life. In 1946–’47, high points of his recording career, compa- tions with Nate Wooley and Evan Parker, elec-
Armstrong decamped from the big band, rable … to his youthful work with the Hot tro-acoustic creations of painstaking post-pro-
made a movie called New Orleans and built Five and Hot Seven.” And time has not un- duction, and, most recently, a set of darkly
the streamlined New Orleans-style sextet done a word of it. lyrical instrumentals performed with avant-
that would be his home until the end. Mosaic devotes nearly four of its sev- rock multi-instrumentalist Charlie Looker.
The Complete Louis Armstrong Co- en CDs to the original albums and nearly Cymerman recently turned 40, and Citadels
lumbia And RCA Victor Sessions 1946– twice that to alternate and rehearsal takes.
& Sanctuaries shows the reflection of someone
1966 (Mosaic; 77:55/79:55/79:42/78: It takes us into the creative process and
reaching a landmark. It was made during a stu-
51/78:48/76:32/75:39 HHHHH) spans Armstrong and Avakian’s roles in it. It was
that arc, adding new detail to particular a complicated process because once the dio residency at Pioneer Works, which allowed
periods of the journey. Some is amusing- sessions were over, the scissors went to Cymerman to integrate his approaches. The
ly off-beat (“Music To Shave By”), some work. Avakian freely intercut pieces from heart of the album is a single take, performed on
merely academic. The Real Ambassadors different takes to produce “perfect” per- clarinet, which let him explore melodic develop-
was Dave Brubeck’s try at a cold-war jazz formances. His edits were as ubiquitous as ment to a greater degree. But each performance
musical. Columbia reluctantly recorded it, they were invisible, which is why Riccardi’s has been transformed by overdubbed synthesiz-
but it sounds like a high school revue. Ear- detailed notes are a necessary roadmap er drones and percussive accents, as well as elec-
nest lines like “always be a credit to your to anyone who wishes to reverse engineer tronic interventions. On “Spheres Of Humanity
government” now smell of false patriotism. Avakian’s original masters.
(For Alvin Lucier),” for example, he pushes long
And Armstrong’s trumpet has little of the For those content to just listen, you
tones and intakes of breath far into the red. They
majesty that flowed so freely. The set docu- will hear Armstrong play with an almost
ments the death rattle of the big band, the arrogant assurance, flawless phrasing and seem to harmonize with an overdubbed jolt.
ad hoc stirrings of Armstrong’s small group flammable passion. Familiar blues become Each track honors an artist who has
renaissance and a final, much diminished arias of operatic scope without straining. inspired or assisted Cymerman. The shifts
Armstrong (“Canal Street Blues”). “The St. Blues” was still a cornerstone of in timbre and grain and the hall-of-mirrors
Why, then, such a princely rating? the classic repertoire and gets deluxe at- echo treatments on “Conscious Faith (For
Because in the middle of it all, producer tention. But the more modest “Beale St. Evan Parker)” can be related to the dedicatee’s
George Avakian managed to catch Arm- Blues” is the most perfect, simultaneously own work with little trouble. But the connec-
strong in his pinnacle moments. Modern spectacular and intimate. Elsewhere, Trum- tion between “From The Metaphysical To The
technology at Columbia, mature technique my Young is rugged and brash. His solos
Transcendental (For Bill Smith)” and the late
from Armstrong and fresh repertoire con- start where most trombonists end. And
clarinetist’s own work is more abstract. Still,
verged to capture two masterpieces. Crit- Barrett Deems delivers a swashbuckling
ics who had abandoned all hope of ever kick that give Armstrong his best rhythm Cymerman’s melancholy lead line speaks vol-
hearing Armstrong play up to his legend section since Sid Catlett. My only regret is umes for his sadness over Smith’s passing early
were astounded. Recorded in the summer that clarinetist Ed Hall wasn’t there for the in 2020. —Bill Meyer
of 1954, Louis Armstrong Plays W.C. Handy Handy and Waller dates. His reedy growl
projected such unmitigated confidence burns like a sparkler and helps make the Citadels & Sanctuaries: From The Metaphysical To The Tran-
and power, modern critics took the trum- “Mack The Knife” ride outs such a joy. scendental (For Bill Smith); Spheres Of Humanity (For Alvin Lucier);
The Absolute And Its Tearing (For Horatio Radulescu); Broken
peter seriously again. In the Dec. 1 Down- Peterson’s answer to Cavett’s question Language (For Morton Feldman); Between Always And Forever (For
Beat (not Dec. 4, per the notes), Nat Hentoff was, “fantastic.” If you’ve ever wondered Toru Takemitsu); Knot Of Breath (For Mario Diaz de Léon); For As
Long As Grass Grows (For Tony Scott); With The Old Breed (For Nate
delivered five stars, calling it “one of the what all the Armstrong talk is about, this is Wooley); Manifesto (For Iancu Dumitrescu); Conscious Faith (For
greatest recordings not only of the year, what Peterson had in mind. DB Evan Parker). (47:09)
Personnel: Jeremiah Cymerman, clarinet, synthesizer, electronics,
but of jazz history.” It was followed a year Ordering info: mosaicrecords.com percussion.
Ordering info: 5049records.com
Wynton Kelly swings hard on his “Freddie Freeloader” solo from Kind Of Blue.
career, Davis showed us that it’s not just about constantly coming up
with new melodic ideas. It’s about expressing your ideas well.
Example 2: Miles Davis’ “Autumn Leaves” solo
Jazz Practical
From day one I tell my students we’re not in Jazz Theory class: it’s
Jazz Practical class. Every concept we explore is then to take into the
practice room and composing/arranging studio so as to make it part
of our toolbox of expressive options. Thanks again to VCU students
Minjee Jang and Wes Eldridge for bringing me two long-familiar solos
1)RightConcentration(samyaksamadhi):
“To cultivate a mind that is one-pointed.” Our
minds when we play music can behave in the
way called “Monkey mind” in Buddhist writ-
ings, unsettled and shifting from one thing to
the next. The most difficult thing to do some-
times is to do just one thing. To prepare this atti-
tude, it is most important to begin a practice ses-
sion with one note, and really learn to live in that
one note. This is why we do long tones. There is
a physical element to it as well of course, but
for me the fundamental benefit of playing long
tones is to put the mind into that one note, and
live and breath there for as long as it takes until
you are really there. Only then can you begin to
think about connecting notes together.
Guide for a Musical Practice say that listening is not the same as judging, and
T
constant self-evaluation can be one of the most
he “Eightfold Path” is a set of practices in life, and in music. destructive impulses for a musician. Rather, if
as laid out in Buddhism as part of the I like the word “practice” — yes, musical we speak/play in a loving way, and listen deep-
greater concept of Buddhist Dharma. practice, but also used the way a doctor or a ly and without judgment, we can bring joy and
While in the middle of the worst period of the lawyer or a yogi has a “practice.” In that usage, happiness to ourselves and begin to relieve suf-
pandemic last summer I found myself drawn “practice” is not something done to improve fering for others as well.
to this concept of personal practices as some- one’s skills, or attain a specific goal. Rather, it
thing I could do, or at least aspire to do. Maybe is something that one does because of who one 3) Right Effort (samyak pradhana): “If we
it was an overall sense of questioning every- is — that’s it. Over the years I have developed a have joy, ease and interest our effort will come
thing and a lack of center that many of us were musical “practice” routine that feels more like naturally.” Many of us have been told through-
experiencing at that time that prompted me to that usage of the word, rather than the sense of out our entire musical training that learn-
return to these ideas I had first encountered “I’ve got to practice” today. ing to make music is hard work, which will be
as a comparative religion student at Oberlin In preparing music for a very spontaneous rewarded by mastery, or control of our instru-
College years ago. These ideas drew me in last recording outside (in the rain) with my ment. The paradigm in the third law of Dharma
summer as a guide for doing something rather Sunwatcher Quartet last summer (Jamie Saft is entirely contrary to that idea: If we play with
than a grand scheme of understanding: Often, keyboards, Matt Wilson drums, guest Steve joy, ease and curiosity in our practice, we will
the road to understanding is paved with doing Swallow on bass), I made quick musical sketch- exude those characteristics in our performance
Apogee Symphony
Desktop Interface
Digital Conversion Plus Plug-Ins
A
pogee’s Symphony Desktop USB Audio Interface inte-
grates the company’s world-renowned digital conversion
hardware with professional audio plug-ins and a variety of
highly productive-workflow options. Recording with Symphony is fairly straightforward, and the quality is
The Symphony Desktop is a compact unit that can sit on the desktop exceptional, but it’s the added features that really impressed me. Apogee
and transports easily. It can connect via USB to any Mac, Windows or iOS provides three plug-ins for mic preamp emulation: the SD-MP native pre-
device. Symphony Desktop features two analog input channels running amp, which is basically a clean option, as well as AP-66, a Neve 1066 emu-
Apogee’s quality SD-MP mic preamps and optical in and outs capable of lation, and the AP-57 base on an Ampex Tube preamp. A complete Apogee
handling eight discreet channels. Two main outs handle your monitor FX plug-in bundle is included.
speakers, and the unit provides two separate ports for headphones, each Apogee’s plug-ins all run natively on their hardware DSP chip, which is
fine tuned to work with your specific model’s impedance. Professional stu- a huge deal and solves any latency issues. Plug-ins are loaded into Apogee’s
dio headphones require a different amount of power to drive them effi- FX wrapper, which divides into two options: Print FX for plugins such as
ciently compared to the earbud-type devices that are popular today. This preamp emulation that are directly printed onto the incoming track, and
feature improves your overall monitoring accuracy. The unit houses a Monitor FX for plug-ins that only affect the monitoring of your track and
touch screen and single encoder wheel in a rugged box. are non-destructive. All options can be configured from either the hard-
The hardware is extremely compact considering its rich feature set. At ware, desktop app or within your DAW with all settings syncing up across
the heart of the Symphony Desktop are its top-shelf converters. But as all three. One of its slickest features is DualPath monitoring, which allows-
Apogee’s Roger Robindore said, “Conversion is still at our core, but we virtually latency-free monitoring for the artist while still maintaining a
are trying to do a lot more.” The unit can be completely controlled via the standard playback workflow for the engineer.
internal touch screen. Connecting to your workstation, the Symphony The Symphony Desktop is a pro-quality interface that proves its worth
Desktop can be run via the Apogee Control software. It can also be con- in terms of both its audio quality and rich feature set. —Keith Baumann
trolled directly within your DAW utilizing Apogee’s DualPath Link. apogeedigital.com
T
he new Drake VR Sanborn alto saxophone mouthpiece, designed piece designs, and had no intention of re-creating the iconic Dukoff alto
in collaboration with David Sanborn and crafted using a mouthpieces that were part of Sanborn’s signature setup
ceramic-infused Vintage Resin recipe, has all the sizzle and tonal for so many years.
flexibility as the company’s original Sanborn Masters “A lot of my attention is going to right at the tip of
Series mouthpiece in silver-plated brass. the mouthpiece,” Drake said. “There’s the facing, and
The Vintage Resin version provides extra play- then there’s a three-tiered baffle system. For the ini-
ing comfort and supports evenness of scale and a tial baffle, we discovered that Dave was able to achieve
rich spectrum of tonal characteristics. The mouth- the best possible attack with that being polished. The
piece is a high-baffle-lover’s dream come true, secondary baffle and the third are both in a satin-type
designed for alto players who want to cut through finish. And then there’s a reverse-taper-type bore in
the mix, create dramatic swells and soar into the the chamber that’s like a venturi-type effect, which
altissimo-sphere. compresses the air and helps to speed it up. I have suc-
The VR Sanborn features an immediate response cessfully used that concept on a several of my mouth-
and precise attack, with just the right amount of resis- pieces in the past.”
tance to develop rich tonal color and allow total free- The VR Sanborn retails for $297 — considerably
dom of expression. It is exceptionally free-blowing more affordable than the original metal version ($575)
and allows the player to employ a complete range of — and is currently available in three tip openings: 6 (.08
dynamics, from the bottom to the top of the instru- inches) 7 (.085) and 8 (.09).
ment. It projects like a rocket, with excellent intona- Each David Sanborn VR model includes a Custom
tion and a lush core sound that surpasses what many Drake Quad point ligature, a Rovner L-1M ligature, a
other high-baffle powerhouses are capable of. Drake branded cap, three Drake bite plates, a velvet
Mouthpiece craftsman Aaron Drake said that he was pouch and a drawstring carrying case. —Ed Enright
going for something different with his Sanborn Masters Series mouth- drakemouthpieces.com
1. Keyboard Bags
Roland has added a number of new keyboard
carrying cases and bags. Suitable for performing
musicians and available in three different sizes,
the SC-G series of semi-rigid keyboard cases
offers protection for both local gigging and
home storage. The CB-B88V2 Keyboard Bag,
designed for an 88-note portable piano or 1
synthesizer keyboard, has a rugged exterior,
thick padding and soft fleece materials that
shield the instrument from bumps and bruises,
while the large front pocket holds sheet music
and accessories. The CB-GO61KP Keyboard Bag
is a companion for 61-note keyboards models in
the Roland GO series.
More info: roland.com
3. DSP-Armed Mixer
Elite Acoustics Engineering has debuted the
GigMix 4-1, a four-channel mini digital mixer
that can be used on table top or mounted on
a stand. It offers similar processing capabilities
as the StompMix 4, but in a lighter aluminum
enclosure and without footswitches. GigMix 4-1
is powered by a 32-bit, 100MHz DSP engine.
It arms users with a range of utility functions,
including input level monitoring, compressor,
limiter, mid-sweepable EQ, notch filter, phase
reverse and high-pass filter.
More info: eliteacoustics.com
4. Recording School
In Hal Leonard’s Recording Method, veteran
studio engineer Jake Johnson takes readers
through the fundamentals of audio recording,
from gear and setup through mixing and
mastering, sharing tips along the way. The
book features audio demonstration tracks and
video tutorials that can be accessed online.
More info: halleonard.com
ISL TINGS
FOR MORE
THAN 20
SCHOOLS!
Keelen Wright, as a jazz student OCTOBER
at Northern
2021 Illinois University
DOWNBEAT 63
The USC Thornton Jazz Orchestra, under the direction of Bob Mintzer
Darden Purcel
Conrad Herwig
COURTESY OF DARDEN PURCELL
Janice Borla
ROBERTO CIFARELLI
Bob Mintzer
Since mid-March 2020, the COVID pandemic has altered the landscape of jazz
education at universities and colleges across the United States. The transition
from in-person classroom teaching, rehearsals and performances to remote
teaching, online rehearsals and virtual concerts happened almost overnight, as
jazz studies programs improvised and adjusted to meet the challenge.
D
ownBeat recently spoke with five jazz rhythm section would play along to cre- Kentucky, was able to keep full, in-person
educators from around the country to ate rough tracks. The second week, we called rehearsals for students in place this past year.
explore how their programs adjusted, refined track, and the students would play “We used social distancing and masks and
lessons learned in that process and strategies in against each other, finding nuances and com- moved large ensembles to the concert hall stage
place for a hopeful return to in-person teaching ing up with ideas. At the very end the rhythm so they could spread out,” he said. “We even
for the coming academic year. section could come back, feel that interaction had large vocal groups spread out in the seat-
Trombonist Conrad Herwig, head of jazz and freshness and add the final touches.” ing area of the 1,200-seat hall to safely rehearse.
studies at Mason Gross School for the Arts at For Darden Purcell, director of jazz studies For combo rehearsals, I found a room with the
Rutgers University, discussed how the immedi- and voice instructor at George Mason right capacity, measured out six feet — nine feet
ate transition to remote learning in spring 2020 University, it was important to try to get back for trombones — and placed the saxes closer in
laid the foundation for how the program pre- in person as much as possible for the 2020–’21 a U-shaped situation. We were pleased with the
pared for the 2020–’21 academic year. academic year. way it turned out.”
“We were a traditional jazz conservatory “Certain aspects of online teaching have In terms of lessons learned from teaching
model, and had to transition overnight to emer- specific strengths,” Purcell said. “But I like to jazz studies last year, Janice Borla, direc-
gency remote learning,” Herwig said. “Over the teach in person and see smiling faces behind tor of vocal jazz at North Central College in
summer, we wanted to move to what we call a masks. There’s so much about posture and Napierville, Illinois, noted the challenges as
21st century online curriculum. Instead of an breathing involved in teaching vocalists, and well as the opportunities offered by online
emergency Band-Aid, we wanted to reinvent that you can’t see through a computer screen. technology.
how we wanted to teach. We set up a three-day We ran ensembles one day in person and one “Our students were all over the place as far
jazz technology camp for students that focused day online each week, moved ensembles to as technology,” Borla explained. “Some were
on audio and video technology and sent out large stages that had better HVAC systems and even using their phones. We were all using
items like USB mics and visual interfaces rotated rooms to air them out between classes. Zoom and Vox to function, with a focus on
beforehand. Many of the students had Garage We had hoped we could fully get back in per- pre-recorded and live-stream concerts. And the
Band or Logic, and we started working with a son, but stayed in hybrid mode all year, which I faculty expressed how much more time-con-
digital online collection portal called Band Lab. think was a good decision.” suming preparation for classes became,
“Every two weeks we would start with a Miles Osland, director of jazz studies and because they had to come at things in a very
tune, lay down basic guide tracks and the professor of saxophone at the University of different way.
New York, New York Auditions: Visit duq.edu/jazz. George Mason University
Student Body: 16,544. 80 jazz students (65
Financial Aid: Visit [email protected].
undergraduate/15 graduate). Fairfax, Virginia
Scholarships: Visit [email protected].
Tuition: Undergraduate: In-state, $3,365/ Student Body: 39,000, 40-plus jazz students.
semester. Out-of-state, $600/credit. Apply by: Priority, Dec. 1. Audition by March 1,
2022. Tuition: Undergraduate: In-state, $13,014.
Graduate: In-state, $5,385. Out-of- Out-of-state, $37,410.
state, $830/credit. Contact: Tom Carsecka, Director of Music
Enrollment, musicadmissions@ Graduate: In-state, $693.25/credit.
Jazz Degrees: BM in Jazz Studies, MM in Jazz duq.edu. Out-of-state, $1,581/per credit.
Studies.
Jazz Degrees: Minor, Bachelor of Music, Master of
Faculty: Steve Wilson, Suzanne Pittson, Mike
Holober, Ray Gallo, Ed Neumeister, The Eastman School of Music Music and Doctor of Musical Arts
(Jazz Emphasis).
Jeb Patton, Carolyn Leonhart,
Ben Kono, Kenny Wessel, Adam Rochester, New York Faculty: Wade Beach, Graham Breedlove,
Cruz, Carl Allen, Vincent Herring, Student Body: 550 undergraduates, 400 graduate Regan Brough, Jim Carroll, Glen
Amy London, Nasheet Waits, Scott students, 40 jazz students. Dewey, Aaron Eckert, John Kocur,
Wendholt, Sean Smith. Kevin McDonald, Xavier Perez,
Tuition: Undergraduate: $58,520. Graduate:
$40,040. Victor Provost, Darden Purcell,
Jazz Bands: Small ensembles, large ensemble, Shawn Purcell, Rick Whitehead.
jazz vocal ensemble, Brazilian jazz Jazz Degrees: Bachelor of Music, Master’s of
ensemble. Music, Doctorate of Musical Arts. Jazz Bands: Two big bands, combos, steel pan
ensemble, jazz vocal ensemble,
Alumni: Ira Gershwin, Stanley Kubrick, Faculty: Jeff Campbell, Gary Versace, Clay Latin American ensemble, Braddock
Frank Loesser, Yip Harburg, Theo Jenkins, Bob Sneider, Charles Road Brass Band.
Bleckmann, Alan Mednard, Vitor Pillow, Rich Thompson, Mark
Goncalves, Antonio Ciacca, Aidan Kellogg, Dariusz Terefenko, Dave Alumni: Victor Provost, Dustin Mollick,
Carroll, Jamile Staevie. Rivello, Bill Dobbins. Regan Brough, Cristian Perez,
See jazz.ccnysites.cuny.edu/ Ricky Parrell, Leigh Pilzer, Brendan
Auditions: Jazz Bands: Eastman Jazz Ensemble, New Jazz
auditions. Schnabel, Juan Megna.
Ensemble, Lab Band Ensemble,
Financial Aid: See ccny.cuny.edu/financialaid. Eastman Studio Orchestra. Auditions: Visit music.gmu.edu/auditions-2.
Scholarships: See ccny.cuny.edu/admissions/ Alumni: Ron Carter, Chuck Mangione, Steve Financial Aid: Visit gmu.edu/financial-aid.
scholarships-awards. Gadd and Maria Schneider. Scholarships: Merit- and talent-based
Apply by: Feb. 1. Auditions: Preliminary recording and scholarships available, contact
application materials are due Darden Purcell at dpurcel2@gmu.
Contact: Music Department: 212-650-5411. December. Final auditions in edu for details.
Undergraduates: [email protected]. February 2022. Apply by: Jan. 15, 2022 (freshman applicants),
edu. Financial Aid: [email protected]. March 1, 2022 (transfers), Feb.
Graduates: [email protected]. Scholarships: [email protected]. 1, 2022 (graduate). Freshman
For more information: jazz.ccnysites. applicants who wish to be
Apply by: Dec. 1. considered for merit-based
cuny.edu.
Contact: Danielle Arnold, darnold@esm. scholarships must apply by the
rochester.edu. priority deadline of Nov. 1.
Contact: Duquesne University
columbia.edu Darden Purcell, Director of Jazz
Mary Pappert School of Music Five Towns College
Contact:
Studies, [email protected].
Pittsburgh, Pennsylvania Dix Hills, New York
Student Body: 300 music, 60-plus in jazz studies. Contact: ftc.edu The Hartt School
Tuition: $48,592. Howard University University of Hartford
Jazz Degrees: BM Performance, Jazz Emphasis, Washington, DC West Hartford, Connecticut
MM Performance, Jazz Emphasis.
Student Body: 10,000. 25 jazz students. Tuition: $42,000.
Faculty: Mike Tomaro, Joe Negri, Jeff Bush,
Tuition: $30,000. Jazz Degrees: Bachelor of Music, Master of Music.
Paul Thompson, Tom Wendt, Max
Leake, Eric Susoeff. Jazz Degrees: Bachelor of Music in Jazz, Master of Faculty: Javon Jackson, Steve Davis, Rick
TEMPLE UNIVERSITY
Jersey City, New Jersey
Student Body: 8,000. 400 music majors, 50 jazz
majors.
Tuition: In-state, $12,000. Out-of-state,
$21,000.
Jazz Degrees: Bachelor’s degree, Master’s degree.
Faculty: Gabriel Alegria, Jeff “Tain” Watts,
Garry Dial, John Benitez, Omar
Hakim, Rachel Z, Allen Farnham,
Mark Whitfield, Jay Anderson, Nick
Biello, Nate Eklund, Sherrie Mostin.
Jazz Bands: The NJCU Jazz Orchestra, NJCU
Salsa Orchestra, The Afro-Peruvian
Connection, The Miles Davis
Aesthetic, Bebop & Straight Ahead,
NJCU Jazz Choir, many more small
ensembles.
Alumni: Lakecia Benjamin, John Benitez,
Juanga Lakunza, Freddie Hendrix,
James Eubanks, Conrad Zulauf.
The Temple University Jazz Band under the direction of Terell Stafford. Auditions: Candidates are encouraged to
first schedule a phone call here:
go.oncehub.com/njcujazz. If NJCU
is a good fit, a video with three
the admissions process are Auditions: Recorded video audition (pre-
contrasting audition selections will
automatically renewed each screening) as described by the
be requested.
year the same level as long as jazz audition requirements. Online
the student maintains their application, including, unofficial Financial Aid: NJCU has a debt-free promise to
academic standing. A very small transcript, short essays, artistic students and holds one of the
percentage of scholarships are resume, recommendations, English lowest student-to-debt ratios in the
awarded for merit only. Contact proficiency documentation, country. Students will automatically
[email protected] for more application fee ($125). While we be considered for all forms of
information. did not hold in-person auditions financial aid.
in 2021, if we resume in-person Scholarships: Scholarships are available based on
Apply by: Dec. 1.
auditions for the upcoming both need and merit. Scholarships
Contact: Emma Davis, [email protected] cycle, students who pass the are also available for international
or [email protected]. pre-screening round will be students.
invited to campus in February
2022 to audition in-person for Apply by: Rolling admissions. Response time
New England Conservatory of Music the faculty panel. Pre-screening of 48 to 72 hours guaranteed on
and in-person audition repertoire admission video submissions.
Boston, Massachusetts and requirements are outlined on Contact: Gabriel Alegria, Director of Jazz
Student Body: 750 our website under the audition Studies and Entrepreneurship,
information section. [email protected]. All applicants are
Tuition: $50,460.
Financial Aid: NEC awards federal and state encouraged to schedule a phone
Jazz Degrees: Bachelor of Music, 5-year, Dual- call for inquiries. Visit go.oncehub.
funding to eligible students based
Degree options with Tufts and com/njcujazz.
on financial need and institutional
Harvard, Undergraduate Diploma,
funding based on student talent/
Master of Music, Graduate Diploma,
merit and demonstrated financial
and Doctor of Musical Arts in Jazz need. Institutional funding is The New School, School of Jazz
Performance or Jazz Composition. available to all domestic and and Contemporary Music
Faculty: Ralph Alessi, John McNeil, Jerry international students who
Bergonzi, Jimmy Giuffre, Steve complete the NEC financial aid
New York, New York
Lacy, Billy Hart, Nasheet Waits, Fred application within the online Student Body: 270.
Hersch, Jason Moran, Dave Holland, application. Domestic students who Tuition: $49,980.
Cecil McBee, Bob Brookmeyer, wish to be considered for federal Jazz Degrees: BFA Jazz and Contemporary Music,
Dominique Eade. and state funding are required to BA/BFA dual degree program
complete the free application for with Lang College of Liberal
Jazz Bands: Jazz Composers Workshop
Federal Student Aid. Arts, BFA/MA Arts Management
Orchestra, Jazz big band and
several jazz ensembles including Scholarships: More than 90% of students receive and Entrepreneurship
Brazilian, Songwriting, Gospel, renewable scholarships. NEC dual degree pathway, MM
Standards, Early Jazz, Free/Improv broadly distributes scholarship Performer-Composer.
Jazz Workshop. resources to allow the equitable Faculty: Reggie Workman, Jane Ira
support of as many students Bloom, Vic Juris, Dave Glasser,
Alumni: Darcy James Argue, Bruce Barth, as possible while continuing to
Richie Barshay, Jamie Baum, Don Jimmy Owens, Faye Victor, Mary
maintain a high caliber of talent Halvorson, LaTanya Hall, Ingrid
Byron, Regina Carter, Freddy Cole, across the institution.
Marilyn Crispell, Dave Douglas, Jensen, Matt Wilson, Darcy James
Dominique Eade, Marty Ehrlich, Apply by: November/December. Please refer Argue, Allison Miller.
Anton Fig, Ricky Ford, Satoko Fuji, to website for updates on the exact Jazz Bands: 80 per semester, including The
Roberta Gambarini, Jerome Harris, date in the fall. New School Studio Orchestra,
Fred Hersch, Roger Kellaway, Sunny Contact: Shanell Percy, shanell.percy@ Afro-Cuban Jazz Orchestra, Live
Kim, Cecil Taylor. necmusic.edu. Electronica Orchestra, numerous
ensembles (Americana, Brazilian, Contact: Amanda Hosking, Director of in Jazz, Master of Music in
gospel, Indian, progressive rock, Admission, College of Performing Instrumental Performance: Jazz
R&B, standards, vocal blues and Arts, [email protected], Instrumental Performance, Artist
more). (212) 229-5150, performingarts@ Diploma in Jazz Instrumental
Alumni: Brad Mehldau, Chris Tordini, Robert newschool.edu, newschool.edu/ Performance, Doctor of Philosophy
Glasper, Becca Stevens, Jose James, jazz. in Music Performance and
Larry Goldings, Alan Hampton, Composition: Performers.
Avishai Cohen, Gilad Hekselman, New York Jazz Academy Faculty: Dave Liebman, Chris Potter, Lenny
Peter Bernstein, Marcus Strickland, New York, New York Pickett, Rich Perry, Billy Drewes,
E.J. Strickland, Jazzmeia Horn, Student Body: 600 Dave Pietro, Dave Schroeder, Alex
James Francies, Linda Briceño. Sipiagin, Michael Rodriguez, Alan
Tuition: $2,000 to $10,000.
Auditions: No pre-screening audition Ferber, Ed Neumeister, Adam
Jazz Degrees: No degrees are offered. Rogers, Peter Bernstein, Wayne
required. Final audition: live on-
campus, regional/international Faculty: Javier Arau, David Engelhard, Krantz, Brad Shepik, John Scofield,
auditions or recorded auditions. Peck Allmond, Tom Dempsey, Ron Alan Broadbent, Gil Goldstein,
Students are asked to prepare McClure, Pete Zimmer, Sirintip, Michael Wolff, Rich Shemaria, Mike
Carolyn Leonhart. Richmond, Ron McClure, Martin
three songs: one traditional jazz
standard and two pieces of their Wind, Drew Gress, Dezron Douglas,
Jazz Bands: Big bands, small ensembles, vocal Lenny White, Billy Drummond,
choice. There are no restrictions on programs and more.
Tony Moreno, Ari Hoenig, Rogerio
the style, genre or arrangement.
Alumni: Carly Rose Sonenclar, Svetlana Boccato, John Hadfield, Tim Keiper,
Students auditioning live will play
Shmulyian, Esteban Castro. Patricia Brennan.
with a live rhythm section (bass,
drums, piano) provided by The Auditions: Auditions are required for select Jazz Bands: 30-plus small-group ensembles,
New School and should come programs, but not all programs. John Scofield Ensemble & Guitar
prepared with charts. Applicants Financial Aid: Financial aid is available. Workshop, Chris Potter Ensemble,
submitting recorded auditions Dave Liebman Ensemble, NYU
Scholarships: Tuition subsidies are available. Jazz Orchestra & Repertoire Nonet,
are highly recommended to
perform all tunes with a live Apply by: Rolling admissions. Brazilian & World Music Ensembles,
rhythm section. If you do not Mingus Ensemble, NYU Wayne
Contact: Javier Arau, (718) 426-0633, nyja@
have access to a rhythm section Shorter Ensemble.
nyjazzacademy.com.
for recorded auditions, applicants Alumni: Wayne Shorter, Brian Lynch, Todd
may use backing tracking or
accompany themselves. For more
New York University Coolman, Dave Pietro, Martin Wind,
Dave Lalama, Ron Blake.
information, visit newschool.edu/
(NYU Steinhardt)
Auditions: In-person undergraduate auditions,
jazz/how-to-apply/bfa. New York, New York online or video auditions for
Financial Aid: Available. Contact finaid@ Student Body: 100 jazz students. undergraduate and graduate
newschool.edu. Tuition: Undergraduate: $54,880. programs.
Scholarships: Available. Contact performingarts@ Graduate: $1,942/credit. Financial Aid: 212-998-4444, financial.aid@nyu.
newschool.edu. edu.
Jazz Degrees: Bachelor of Music in Instrumental
Apply by: Jan. 15. Performance with a Sequence Scholarships: Office of Undergraduate
FREAR HOOK
Apply by: See fredonia.edu.
Contact: Nick Weiser, [email protected],
(716) 673-4640.
SUNY Purchase
Conservatory of Music
Purchase, New York
Student Body: 4300. 80 jazz (60 undergraduate).
Tuition: Undergraduate: In-state, $7070.
Out-of-state. $16,980.
Graduate: In-state, $11,310. Out-of-
state, $23,100.
In the music studio with Noah Cole (second from left) at University of Maine. Jazz Degrees: BM, MM, Performer’s Certificate
(post-baccalaureate) and Artist
(518) 580-5447, cstephen@ $16,320. Diploma (post Master’s).
skidmore.edu. Jazz Degrees: Bachelor of Arts in Jazz Studies. Faculty: Pete Malinverni, David Hazeltine,
Apply by: March 15, 2022. Faculty: Nick Weiser, John Bacon, Alec Dube, Andy LaVerne, Doug Weiss, Richie
Contact: Coleen Stephenson, (518) 580- Kieran Hanlon, Elliot Scozzaro. Morales, Kenny Washington,
Pasquale Grasso, Jon Faddis,
5447, [email protected]. Jazz Bands: Fredonia Jazz Orchestra, Ingrid Jensen, Ralph Lalama, Gary
Visit skidmore.edu/summerjazz. Fredonia New Jazz Ensemble, Smulyan, John Mosca, Alexis Cole,
instrumental jazz combos, vocal David Dejesus, Adam Birnbaum,
SUNY Fredonia jazz combo. Ugonna Okegwo, Matt Wilson.
Fredonia, New York Alumni: Don Menza, Joe Magnarelli, Bob Jazz Bands: Purchase Jazz Orchestra, Purchase
Student Body: Approx. 500 music majors, approx. McChesney. Latin Jazz Orchestra, 15 small jazz
25 jazz majors. Auditions: See fredonia.edu. combos.
Tuition: In-state, $6,700. Out-of-state, Financial Aid: Available. See fredonia.edu. Alumni: Cyrille Aimee, Spike Wilner, Bruce
Syracuse University
Setnor School of Music
Syracuse, New York
Student Body: 95 jazz students (music and non-
music majors).
Tuition: $55,920.
Jazz Degrees: Bachelor of Arts, Bachelor of Music
(Music Education, Music Industry,
or Sound Recording Technology).
All options are compatible with Jazz
and Commercial Music Applied
Study and/or a Jazz Performance
Minor. The Jazz Performance Minor
is also compatible with non-music
majors.
Faculty: John Coggiola, Marianne Solivan,
Irene Ialenti, Mike Dubaniewicz,
University of Connecticut
Storrs, Connecticut
Student Body: 200 music, 20 jazz.
Tuition: In-state: $15,030. Out-of-state:
$37,698.
Jazz Degrees: Bachelor of Arts with Jazz Emphasis.
Faculty: Earl MacDonald, John Mastroianni,
Doug Maher, Gregg August.
Jazz Bands: Two big bands, five combos.
Alumni: Gary Versace, Brian Charette,
Mark Small, Bill Longo, Alexandra
Eckhardt.
Auditions: See music.uconn.edu/programs/apply.
Financial Aid: See financialaid.uconn.edu.
Scholarships: Visit admissions.uconn.edu/
cost-aid/scholarship.
Additionally, the Department
of Music offers scholarship
opportunities based on talent,
departmental need and donor
specifications.
Apply by: Jan. 15, 2022: Storrs Campus
application deadline. Visit
admissions.uconn.edu/apply/
first-year/deadlines.
Contact: Earl MacDonald, Director of Jazz
Studies, earl.macdonald@uconn.
edu (for inquiries from prospective
students only).
University of Maine
Orono, Maine
Student Body: 11,561. 130 music.
Tuition: In-state and Canada, $11,744.
NEBHE: $18,224. Out-of-state,
$32,534.
Jazz Degrees: BA with concentration in jazz
studies; minor in jazz studies.
Faculty: Dan Barrett, Mike Bennett,
Jay Bregman, Jack Burt, Scott
Cleveland, Daniel Fisher-Lochhead,
Ross Gallagher, Stuart Marrs, Mark
Tipton, Jim Winters.
Jazz Bands: Two big bands, six combos.
Alumni: David Demsey, Craig Skeffington,
Mike Bennett, Melissa Hamilton,
Scotty Horey, Thomas Schmidt.
Auditions: Live or recorded auditions accepted.
Financial Aid: FAFSA required; umaine.edu/stuaid.
RICHARD ANDERSON
Jazz Degrees: Bachelor of Music, Jazz Studies.
Faculty: Tim Powell, Thomas Baldwin, Steve
Fidyk, Chris Gekker, Jennifer Krupa,
Gerard Kunkel, Jon Ozment.
Jazz Bands: UMD jazz ensemble, UMD jazz lab,
university jazz band, UMD chamber
jazz combos.
Auditions: University and School of Music
applications are due Nov. 1.
Live auditions are held in early
December.
Financial Aid: Visit financialaid.umd.edu.
Scholarships: Visit scholarships.umd.edu.
Apply by: Early action: Nov. 1. Regular
decision: Jan. 20, 2022.
Contact: [email protected].
University of Massachusetts
The Peabody Jazz Ensemble performs at Johns Hopkins University.
Amherst
Amherst, Massachusetts
Auditions: AS Degree: no audition. BM Degree: Contact: Anita Jerosch, (207) 621-3179, Student Body: 28,000. 250 music, 30 jazz.
video audition, two pieces of music [email protected] (email
with contrasting styles. They can is preferred). Tuition: In-state, $8,219. Out-of-state,
be unaccompanied or with backing $18,482.
tracks or a live band. University of Maryland Jazz Degrees: Undergraduate: Jazz Studies
Financial Aid: See [email protected]. School of Music (Bachelor of Music, Bachelor
of Arts), plus Music Education,
Scholarships: See [email protected]. College Park, Maryland Performance, Composition, History,
Apply by: No deadline, rolling admission. Student Body: 41,000. 450 in School of Music. Theory; Minor in Music. Graduate:
University of Pittsburgh
Pittsburgh, Pennsylvania
Tuition: Undergraduate: Visit payments.pitt.edu/
tuition-rates-fees.
Jazz Degrees: Minor in Music, Bachelors of Arts in Music (Jazz Track),
PhD in Jazz Studies.
Faculty: Nicole Mitchell, Michael Heller, Aaron Johnson, Yoko
Suzuki, James Johnson Jr., Ralph Guzzi, Mark Strickland,
John Maione, Jeffrey Mangone, Frank Cunimondo,
James Johnson III, Kenneth Powell, Sandra Dowe.
Jazz Bands: Jazz Ensemble (big band), Jazz Combos (small band).
Alumni: Geri Allen, Kent Engelhardt, Gary Fineberg, James Moore.
Auditions: Auditions for the jazz ensemble are held at the
beginning of the fall semester.
Financial Aid: Contact 412-624-7488, [email protected].
Scholarships: Contact Jazz Studies Office, [email protected],
412-624-4187.
Apply by: See pitt.edu/admissions.
Contact: Jazz Studies Office, 412-624-4187, [email protected].
Aaron Flagg
David Schroeder
MARIANA MERAZ
JOHN ABBOTT
O
f the six schools surveyed for this piece, SUNY Purchase College: There’s that old allowed to remain on campus. If you had labs
responses to COVID-19 varied wildly line: “talking about music is like dancing about or were emergency personnel, that was OK. But
in 2020. While some remained closed architecture.” I teach an improv class and for everyone else had to shift to remote learning.
through that historic pandemic year, resorting improvisation you really have to play togeth- Teaching remotely was definitely a challenge
exclusively to Zoom and other media network- er. Many of the theory classes were online last — first adapting to it, then doing it over a long
ing software to link students for at-home instruc- fall, but the stuff where you actually have to play period of time. Just to maintain the interest
tion, others found ways to continue in-person together — our combo, big band and improv level for the students was a challenge because
teaching in the classroom by enacting extraordi- classes — we had to do them in-person. We they’re doing every class online. You know,
nary safety protocols. By maintaining social dis- were on our hands and knees measuring six- they get Zoomed out. I think we all get Zoomed
tancing in ensemble practice rooms while ensur- feet squares between the students because we out. So you have to find ways to make it inter-
ing that trumpet and saxophone players were didn’t want anybody getting sick. So, we did esting and as engaging as possible. But Zoom
fitted with special masks allowing for mouth- meet in person last year, but with really strict has its limitations, especially if students do not
pieces to slip through and placing specialty bags protocols. Everybody had masks on, we had the have good Wi-Fi connections at home. Some
around the bells of their horns to reduce aero- plexiglass shields up between you and the next students I had were literally attending class in
solization, resourceful institutions were able to person six feet apart. And, we had weekly test- their vehicles on their phones. So they’re fight-
push beyond the limitations of remote learn- ing. All of our students adhered very strictly to ing all kinds of conditions that may not be the
ing and get students back to playing in a room the mask mandates and nobody got sick. I kept most favorable.
together, feeling the vibration of instruments, telling them how inspired I was by them. There was some upside to the pandemic in
hearing the blend and reacting in the moment; So last year everybody was taking the tack terms of students and teachers having to learn
the way jazz has always been played. that we’re all in the same boat: I protect you, some of this new technology, which is here
In the face of such adversity, some educa- you protect me. If we want to be together, this is to stay. These new modes will continue to be
tors and administrators have emerged as heroes what we have to do. And man, they took it seri- adapted and modified and be a part of the par-
in their uncommon efforts to keep their stu- ously. It was wonderful to see how much they adigm going forward. We also received some
dents fully engaged with in-person classes. cared, how supportive they were of each other. funds at the end of the spring semester to
Others, who were shut out of that intimate pro- I cannot wait for our first day back to class- upgrade one of our larger multifunction rooms
cess when their campuses closed, were — at the es [Aug. 30]. I love these kids, and it’ll be really to do streaming classes and presentations and
time of this writing — anticipating emotional nice to see the bottom half of their faces again. concerts and lectures. That’s a room we’re going
reunions with students after more than a year to be preparing to adapt to this COVID situa-
and a half apart. Here are their stories: Steve Wilson, director of jazz studies, tion, but it will probably take most of this aca-
City College: When this pandemic hit in demic year for the room to get outfitted.
Pete Malinverni, head of jazz studies, March last year, only a few programs were We’ll be doing hybrid learning in the fall of
NEW SCHOOL
Pete Malinverni Keller Coker
2021. We will be offering a remote option for dents and faculty on campus. They had air over their faces. The trumpet players had to
students that, for whatever reason, can’t get vac- cleaners installed in every room and they re-did have shower caps on their bells and have special
cinated or maybe couldn’t get their student visa the whole system of changing up the air every masks where their mouthpieces were fitted in.
to travel to New York City to attend classes. All few minutes, like how it works on an airplane. I mean, we tried our best to cover every avail-
of the lecture classes will be exclusively online. I And we followed all the regulations of how long able appendage but in the end you can’t cover
don’t expect full-on, in-person teaching at City you could be in a room and how many people every breath that’s coming out of the saxo-
College until the spring semester of 2022. This could be in a room, based on the Johns Hopkins phone. There’s too many holes. But that’s where
is going to be a very crucial period we’re com- guidance. We had a few scares where students the social distancing came in. It was all very
ing into. Given the delta variant, it’s still a very got sick going out at clubs or going to parties challenging for them, but what was fascinating
fluid situation. and just getting a little too risky, so then they was just to see how adaptable everyone was to it.
would have to be quarantined for a while. And We took so much for granted before all of
Ingrid Jensen, interim dean, director because of a lot of students on campus were liv- this. Of course, playing live was the biggest
of jazz, Manhattan School of Music: ing in the dorms, and the dorms were very orga- thing we took for granted. But spacing — peo-
Right after lockdown, I began doing Zoom nized, there were no real outbreaks. So that was ple being able to see each other and the inti-
classes. But I started going in and teaching part of the system that kept things going. It was macy of our music — became a new challenge
in-person a few months later. I just said, “You just a huge team effort by students, faculty and for the students. Playing at a distance of 10
know what? We’re going to mask up, we’re administration. It was like we were all riding in feet between a saxophone player and a trum-
going to go 30 minutes at a time and we’re going this big boat together, and it kept listing from pet player in a big band or 12 feet between the
to get more done in a small window of time port to starboard and we were like, “Everybody, piano player and the bass player; that’s unheard
than we do trying to reach some sense of com- hang on!” But we never had to really shut down of for the way we play. Normally, we’re always
munication on Zoom.” It was exhausting but completely, which was just amazing. like smelling each other’s sweat. But I saw peo-
it worked. And the community element of all The teachers had to shift through all of the ple finding things in themselves they didn’t
of it was another eye-opener, too, for both the materials that they used to bring in person to know existed and they began making incredi-
students and me. I noticed that the older stu- handout and upload it all to this system called ble music together. I think those students that
dents became much more mentor-like and car- Canvas. And they were on big TV screens in the had to stay on Track D, and be totally remote
ing of the younger students because they were classroom, rehearsing students from the safety the whole time, missed out on some of that
kind of like, “This is the situation. We’re all in of their own homes. And there were two-hour magic of us being in our little bubble together.
it together.” rehearsals for groups, but they would play in
We were in-person most of last year. All of one room for an hour and then shift to anoth- David Schroeder, department of
our performances classes were in-person and er room, so nobody was ever in the room for music chair and former director of
we also did concerts. That all happened in real longer than an hour. The students were play- jazz studies, NYU Steinhart: First we got
time with real people, masked up and socially ing live music together, jamming like crazy in hit with COVID, then we got hit with George
distanced. It was based on some very detailed, those rehearsal rooms. We had full big bands Floyd and Black Lives Matter and all the stu-
scientific-based theories that have nothing to doing reading sessions playing a bunch of Thad dents demonstrating in Washington Square
do with playing the blues or writing contempo- Jones music. And I programmed 13 or 14 work- right across from my office. So it was pretty
rary jazz standards. The main scientific direc- shops where we had guests Zooming in from crazy all last summer. We were locked down for
tive to every choice that MSM made came from all over the place. We were in our little bubble, about four months at the beginning of the pan-
Johns Hopkins. And, boy, did it ever work out. and it was great. The singers were really belting demic in 2020, then we came back to our offic-
MSM extended a massive effort to keep stu- out their songs with this muted piece of cloth es last August. By September, we were here with
$35,338.
Jazz Degrees: Bachelor of Science or Arts in Music
with concentration in jazz studies.
Faculty: Lindsey Sarjeant, Longineu Parsons,
Carlos Vega, Brian Hall, Robert
Griffin, Darryl Tookes.
Jazz Bands: Jazz Ensemble, Latin Jazz Ensemble,
Jazz Combos.
Alumni: Cannonball Adderley, Nat Adderley,
Scotty Barnhardt, Wycliffe Gordon,
Ron McCurdy.
Auditions: Held January–March.
Financial Aid: Available. Jan. 1 priority deadline.
Contact Office of Financial Aid,
(850)-599-3730, [email protected].
University of North Texas One O’Clock Lab Band with guest Scott Tixier on violin.
Scholarships: Audition- and merit-based.
Apply by: May 1, 2022.
Dwan Hill, Alvin Love, David Contact: Robert Griffin, Director of Jazz
SOUTH Rodgers, Chester Thompson. Studies, [email protected],
Auditions: Required. See: belmont.edu/cmpa/ (850)-412-7144, or Department of
music/apply. Music Office, (850)-599-3024. See
Augusta University Financial Aid: Available. See: belmont.edu/sfs/aid. famu.edu/departmentofmusic.
Augusta, Georgia Available.
Student Body: 9,565; 10 jazz students.
Scholarships:
Florida International University
Apply by: March 1, 2022. School of Music
Tuition: In state, $4,416/semester; out-of-
state, $12,105.
Contact: Admissions coordinator, Emily Miami, Florida
Murphy, (615) 460-8116, Student Body: Undergraduate, 230, Graduate, 50.
Jazz Degrees: Bachelor of Music in jazz studies. [email protected].
Faculty: Wycliffe Gordon, Robert Foster. Tuition: Undergraduate: In-state, $3,084/
AU Jazz Ensemble, AU Jazz Combo. East Carolina University, semester. Out-of-state, $9,283.
Jazz Bands:
ECU School of Music Graduate: In-state, $4,101/semester.
Alumni: Travis Shaw. Out-of-state, graduate: $9,015.
Greenville, North Carolina
Auditions: Online application and audition Student Body: Undergraduate, 300. Graduate, 40. Jazz Degrees: Bachelor of Music, Master of Music.
upload to augusta.edu/pamplin/
music/apply.php. Tuition: In-state, $7,400; out-of-state, $23,600. Faculty: Jamie Ousley, Gary Campbell,
James Hacker, Rodolfo Zuniga,
Visit augusta.edu/finaid. Jazz Degrees: Bachelor of Music with music
Financial Aid: Thomas Lippincott, Juan Tobon,
performance concentration
Scholarships: Submit online application, audition Lisanne Lyons, Francisco Dimas,
with emphases in jazz studies,
video by March 15, 2022. Contact Felix Gomez, Ruben Caban, Roxana
instrumental and jazz studies,
Angela Morgan at amorgan1@ Ahmed.
vocal; Bachelor of Music with a
augusta.edu with questions. concentration in jazz performance. Jazz Bands: Jazz Combos, Jazz Guitar Ensemble,
Apply by: July 1, 2022. Jazz Vocal Ensemble, Jazz Big Band,
Faculty: Jeff Bair, Carroll V. Dashiell Jr., Scott Latin Jazz Ensemble.
Contact: Wycliffe Gordon, (706) 737-1453 or Sawyer, Dan Davis, Ryan Hanseler,
[email protected]. Evan Roberson. Alumni: Jean Caze, Tony Succar, Aaron
Lebos.
Jazz Bands: Jazz Ensemble A, Jazz Ensemble B,
Belmont University numerous combos. Auditions: Pre-screening required. After
Nashville, Tennessee passing, you will be invited to a live
Alumni: Chris Bullock, Mitch Butler, Rick audition. Visit music.fiu.edu.
Student Body: Music: 825 undergraduate; 55 Latham, Chip Crotts, Matt Roehrich,
graduate; 475 commercial music. Evan Roberson. Financial Aid: Available.
Tuition: Undergraduate, $38,400. Graduate, Auditions: Contact ECU to apply and audition Scholarships: Available.
$1,350/credit hour. for the School of Music. Apply by: See admissions.fiu.edu.
Jazz Degrees: Bachelor of Music in Commercial Financial: Music scholarships based on Contact: [email protected].
Music in: Performance, Composition audition, university scholarships.
& Arranging, Music Business, Music Visit scholarships.ecu.edu.
Technology, Songwriting, Media
Florida Southern College
Scholarships: Audition by Feb. 28, 2022. Apply to
Writing. ECU by Oct. 18 for Honors College; Lakeland, Florida
Faculty: Jeff Adams, Anthony Belfiglio, by Jan. 15, 2022, for university Student Body: 3,500, 25 jazz students.
Bruce Bennett, Bruce Dudley, scholarships. Tuition: $38,980.
Sandra Dudley, Matt Endahl, Apply by: June 30, 2022; Early, Feb. 19, 2022.
Marcus Finnie, Alex Graham, Jeff Jazz Degrees: Bachelor of Music with Jazz Track.
Kirk, Todd London, Tony Moreira, Contact: Judy Barber, Assistant Director for Faculty: Jeffrey Benatar, Valerie Gillespie,
Paulo Oliveira, Kate Paradise, Student Services, (252) 328-4281, Jimmy Moore, Jay Mueller, Ian
Michael Valeras and Roy Vogt. [email protected]. Goodman, Paul Butcher, Brian
Jazz Bands: Jazz Band I, II. Small Groups I, II, Brink.
III. Jazz String Quartet. Jazz String Florida A&M University Jazz Bands: Jazz Ensemble, Chamber Jazz
Septet. Jazzmin (vocal ensemble). Ensemble, Jazz Workshop
Guitar Ensemble. Bass Ensemble. Tallahassee, Florida Ensemble.
Alumni: Cory Caudill, Melinda Doolittle, Student Body: 10,000. Alumni: Former faculty: Nat Adderley.
DAVID MORTON
scholarships-financial-aid.
Scholarships: Same address as above.
Apply by: See music.gsu.edu/academics/
how-to-apply-button-info.
Contact: Gordon Vernick, Director of Jazz
Studies, [email protected].
RANDY BERGERON
“Saxsmo” Gates, Brian Miller, Dr.
Brian Horton, Mavis Swan Poole,
Chip Crawford, Ameen Saleem, Eve
Cornelious.
Auditions: Audio or video accepted, live
audition preferred. Graduate
Arranging, Composition applicants
must submit scores.
Financial Aid: Available. Merit- and need-based,
graduate assistanships.
Scholarships: Visit nccu.edu/cash/music/jazz-
studies/jazz-scholarships. NCCU is
an Ella Fitzgerald Memorial Scholars
Southeastern Louisiana University Jazz Ensemble with director Micheal Brothers. in Jazz School.
Apply by: Undergraduate: Oct. 15 (1st priority),
Jazz Bands: Three jazz ensembles, six combos, Songwriting and Music Business. Nov. 15 (2nd), Jan. 15, 2022 (3rd).
Afro Cuban Ensemble, Jazz Vocal Jamey Simmons, Don Aliquo,
Faculty: Graduate: Currently closed.
ensemble, Studio Orchestra. David Loucky, Jonathan Wires,
Contact: Baron Tymas, [email protected];
Alumni: Rick Margitza, Ellis Marsalis, Charles Matt Endahl, Chip Henderson, Lalo
Lenora Helm Hammonds, lhelm@
Pillow, Mark Mullins. Davila, Brian Mueller, Cedric Dent,
nccu.edu.
Auditions: Online or in person. Ashley Kimbrough.
Financial Aid: Available. Jazz Bands: Jazz Ensembles I, II, combos; salsa Northern Kentucky University
band, MTSU Singers, steel bands,
Scholarships: Merit- and talent-based. commercial music ensembles. Highland Heights, Kentucky
Apply by: Visit loyno.edu. Student Body: 15,687, 30 jazz.
Alumni: John Blount, Mark Douthit,
Contact: Gloria Hill, [email protected]. Marcus Finnie, Socrates Garcia, Tuition: In-state: $5,196/semester, out-of-
Elizabeth Johnson, Matt Lund, state: $10,224.
Chris McDonald, Ryan Middagh, Jazz Studies, Bachelor of Arts in
Miami Dade College, Chris Munson, Shawn Purcell,
Jazz Degrees:
Audio Production.
Wolfson Campus Tisha Simeral, Jim White, Jonathan
Wires. Faculty: William Brian Hogg, John Zappa.
Miami, Florida Auditions: In-person, Feb. 5 & 19, 2022. Virtual, Jazz Bands: Jazz Ensemble, Jazz Combo, Latin
Student Body: 27,000, 35 jazz. mtsu.edu/music/scholarships.php. Jazz Combo, Vocal Jazz Ensemble,
r&b Combo.
Tuition: In-state, $1,418; out-of-state, $4,830. Financial Aid: Available. Need- and merit-based.
Auditions: Apply and audition schedule online.
Jazz Degrees: Associate of Arts. Scholarships: Available. Based on audition.
Scholarships: GSA Scholarships and EDGE award,
Faculty: Michael Di Liddo, Mark Small, Apply by: Dec. 1 for academic awards; apply.nku.edu.
Mike Gerber, Rodolfo Zúñiga, Gary March 1, 2022, for School of Music
Thomas, Sandy Poltarack, John admission and audition. Apply by: Feb. 15, 2022.
Normandin. Contact: William Brian Hogg, hoggw1@nku.
Contact: Jamey Simmons, Director of Jazz
Jazz Bands: Six jazz combos. Studies, [email protected], edu, (859) 572-5885.
Alumni: Henry Paz, Kemuel Roig. (615) 898-2724.
Auditions: Audition required for combo
Oklahoma State University
placement in first week of classes. Stillwater, Oklahoma
North Carolina Central University Student Body: 24,600, 220 music majors.
Financial Aid: Available. Contact 305-237-3544.
Scholarships: Available. Contact Office of Durham, North Carolina Tuition: Undergraduate: in-state, $23,180;
financial aid, 305-237-3544. Student Body: 8,207, 55 jazz (37 undergraduate, out-of-state, $38,700.
Apply by: See mdc.edu/admissions. 18 graduate), 107 music majors. Graduate: in-state, $19,230; out-of-
Tuition: Undergraduate: in-state, $4,660/ state $29,560.
Contact: Michael Di Liddo, 305-237-3930,
[email protected]. semester; out-of-state, $11,000/ Jazz Degrees: Jazz minor.
semester.
Faculty: Tommy Poole, Howard Potter, Jack
Middle Tennessee State University Graduate: in-state, $2,370/semester; Helsley, Igor Karaca, Bill Repavich,
School of Music out-of-state, $8,847/semester. Brian Belanus, Paul Compton, Joe
Murfreesboro, Tennessee Jazz Degrees: Bachelor of Music in Jazz Cooper.
Student Body: 25,626. 286 music majors, 30 jazz; Performance, Master of Music Jazz Bands: Orchestra, ensemble, combos.
87 music industry. in Jazz Studies (Performance or
Auditions: Must be admitted by university
Arranging and Composition).
Tuition: Undergraduate: in-state, $9,232, first. Sign up for an audition at
out-of-state, $28,264. Faculty: Branford Marsalis, Joey Calderazzo, music.okstate.edu.
Baron Tymas, Lenora Helm
Graduate: In-state, $10,818; Out-of- Financial Aid: Available. Visit go.okstate.edu/
Hammonds, Brian Horton, Albert
State, $27,432. scholarships-financial-aid.
Strong, Arnold George, Robert
Jazz Degrees: Bachelor of Music Performance Trowers, Jim Crew, Damon Brown, Scholarships: Need- and merit-based, plus
in Jazz Studies, Master of Music Thomas Taylor, Mavis Poole, Aaron graduate assistantships. Audition
in Jazz Studies, Bachelor of Music Hill. by March 1, 2022.
in Music Industry with minors in
Jazz Bands: Jazz Ensembles I, II, Vocal Jazz Apply by: Rolling admissions. Visit go.okstate.
Entrepreneurship or Recording
Ensemble, Jazz Combos I, II, III, edu/admissions.
Industry; degrees in Music
Education and Composition. Guitar Ensemble. Contact: Tommy Poole, tommy.poole@
Audio Production, Commercial Alumni: Grady Tate, Leon Pendarvis, Ira okstate.edu.
Tulane University
The Georgia State University Jazz Band New Orleans, Louisiana
Note: This program no longer uses the
None. term jazz, opting to use the term
Southeastern Louisiana University Jazz Degrees:
University of Arkansas
Fayetteville, Arkansas
Student Body: 315 music.
Tuition: In-state, $250/credit hour; out-of-
state, $800.
Jazz Degrees: Bachelor of Music, Performance,
Concentration in Jazz Studies. Students follow COVID protocols and still perform at Jacksonville University.
Faculty: Jake Hertzog, Joon Park, Rick
Salonen, Fernando Valencia, Lauren
Clare, Claudia Burson, Nikola Radan. University of Georgia Auditions: Dec. 4, Jan. 22; Feb. 12 & 26, 2022.
Athens, Georgia Financial Aid: See louisville.edu/financialaid.
Jazz Bands: Jazz Orchestra, jazz combos, Latin
American Music Ensemble, World Contact: music.uga.edu Scholarships: Merit- and talent-based.
Music Ensemble, Arkansas Soul Apply by: Feb. 15, 2022, priority deadline.
Band, Songwriter’s Ensemble.
Auditions: See fulbright.uark.edu/musicapp.
University of Kentucky Contact: Laura Angermeier, (502) 852-
1623; laura.angermeier@louisville.
Financial Aid: See finaid.uark.edu. Lexington, Kentucky edu; [email protected];
26,000, 75 involved in jazz courses. louisville.edu/music/academics/
Scholarships: Available. Student Body:
areas-of-study/jazz.
Apply by: Feb. 15, 2022. Tuition: Contact [email protected].
Contact: Jake Hertzog, jhertzog@uark. Faculty: Miles Osland, Raleigh Dailey, Brad University of Memphis
edu, or Justin Hunter, Director of Kerns, Jason Dovel, Alan Robinson,
Eli Utal-Veroff, Paul Deatherage.
Memphis, Tennessee
Admissions, [email protected].
Contact: memphis.edu
Jazz Bands: Three jazz bands, three combos.
University of Central Oklahoma Alumni: Brad Goode, Glenn Kotche, Bryan
University of Miami
Murray, Rob Parton.
Frost School of Music
Oklahoma City, Oklahoma Auditions: Contact [email protected].
Student body: 375 music majors, 80-plus Financial Aid: Contact [email protected]. Coral Gables, Florida
undergraduate jazz students, 20- 730, music. 98 music studio and
Scholarships: Contact [email protected]. Student Body:
plus graduate jazz students. jazz students (28 graduate and 70
Apply by: Contact [email protected].
Tuition: Undergraduate: in-state, $301/credit undergraduate).
hour; out-of-state, $664. Contact: Miles Osland, miles.osland@uky.
Tuition: Undergraduate, $52,000. Graduate,
edu.
Graduate: in-state, $368/credit $39,000.
hour; out-of-state $785.
University of Louisville–Jamey Jazz Degrees: Bachelor of Music in Studio Music
Jazz Degrees: Minor in Jazz Studies, Bachelor Aebersold Jazz Studies Program and Jazz, Master of Music Jazz
of Music in Jazz Performance, Performance, Master of Music in
Master of Music in Jazz Studies, Louisville, Kentucky Jazz Pedagogy, Master of Music
Performance or Music Production. Student Body: 375 music, 35-plus jazz. in Studio Jazz Writing, Doctor of
Faculty: Brian Gorrell, Lee Rucker, Jeff Tuition: Undergraduate: in-state, $12,174; Musical Arts in Jazz Performance,
Kidwell, Grant Goldstein, Clint Rohr, out-of-state, $28,520. Doctor of Musical Arts in Jazz
David Hardman, Michael Geib, Composition.
Graduate: in-state, $13,524, out-of-
Dennis Borycki, Zachary Lee, Ryan state, $27,638. Faculty: Shelly Berg, John Daversa, Martin
Sharp, Jack Helsley. Bejerano, Chuck Bergeron, Etienne
Jazz Degrees: Masters of Music, Concentration
Jazz Bands: Large Jazz Ensembles I, II, III, IIII; Charles, David Chiverton, Stephen
Jazz Performance; Masters of Music,
Jazz Composers Combo, 5th Street Guerra Jr., John Hart, Tim Jago,
Concentration Jazz Composition/
Strutters Combo, Conjunto de Dante Luciani, Brian Lynch, Dafnis
Arranging; Bachelor of Music in Jazz
Jazz Latino Combo, Jazz Repertory Prieto, Errol Rackipov, Kate Reid,
Performance; Bachelor of Music
Combos I, II, III; Chamber Singers Gonzalo Rubalcaba, Stephen
Education, Jazz Track; Bachelor of
Vocal Jazz Ensemble. Rucker, Marcus Strickland, Leon
Music Therapy, Jazz Track; Bachelor
Foster Thomas, Will Wulfeck, John
Alumni: Sharel Cassity, David Gibson, David of Arts, Emphais in Jazz Studies.
Yarling, Gonzalo Rubalcaba (Artist-
Anderson, Vince Norman, Aidan Faculty: Michael Tracy, Jerry Tolson, Ansyn in-Residence), Maria Schneider.
Carroll, Clyde Connor. Banks, Chris Fitzgerald, Gabe Evens,
Craig Wagner, Mike Hyman, Samir Jazz Bands: Frost Concert Jazz Band, Frost
Auditions: First Saturday in February and
Kambarov. Studio Jazz Band, Frost Latin Jazz
March, or by appointment.
Orchestra, Frost Henry Mancini
Financial Aid: Available. Contact Financial Aid Jazz Bands: Jazz Ensemble; Jazz Lab; Repertoire Institute Orchestra (not Jazz
Office, (405) 974-3334. Ensembles; Combos; Guitar and specific), Frost Jazz Sextet, Frost
Saxophone Ensembles. Extensions, Frost Jazz Vocal I, Frost
Scholarships: Tuition waiver and cash awards
available to qualified applicants. Alumni: Delfeayo Marsalis, Renato Jazz Vocal II, XJB (Repertoire Jazz
Vasconcellos, Jim Lewis, Chris Big Band), Stamps Jazz Quintet,
Apply by: Dec. 1 for spring.
Fitzgerald, Jonathan Epley, Anderson 1959 Ensemble, Accompaniment
Contact: Brian Gorrell, Director of Jazz Pessoa, Colby Inzer, Lorenzo Trujillo, Ensemble, Art Blakey Ensemble,
Studies, (405) 974-5285, bgorrell@ Ochion Jewell, Terry O’Mahoney, Bass Desires, Billy Strayhorn
uco.edu. Jimmy Walker, Mike Tracy. Ensemble, Blue Note Ensemble,
UNC Asheville
Asheville, North Carolina
Student Body: 3,300; Music 100, Jazz 30.
Virginia Commonwealth
University
Richmond, Virginia
Student Body: 250 music, 20 jazz majors.
Tuition: In-state, $14,710; out-of-state,
$36,048.
Jazz Degrees: Bachelor’s of Music in Jazz
Studies, BA music.
Faculty: Antonio García, Tony Martucci,
Rex Richardson, Eric Wheeler,
Coco Barez, Taylor Barnett,
Michael Ess, Wells Hanley, Emre
Kartari, J.C. Kuhl, Filipe Leitão,
Toby Whitaker, Thomi Hairston.
Jazz Bands: Two jazz orchestras, six small jazz
ensembles.
Alumni: Steve Wilson, Alvester Garnett,
Al Waters, James Genus, Victor
Goines, Mark Shim, Alvin Walker,
Daniel Clarke.
Auditions: January/February. See jazz.vcu.
edu.
Financial Aid: (804) 828-6669.
Scholarships: (804) 828-1167.
Apply by: Dec. 1, rolling admissions
thereafter.
Contact: Music Admissions, (804) 828-1167;
[email protected]; jazz.vcu.edu.
One of the clear victories for jazz is in the field of education. Many predominant-
ly white institutions of higher learning have credentialed jazz programs, which
is not the case for most Historically Black Colleges and Universities. The HBCU
Jazz Education Initiative (HBCU-JEI) was formed to narrow that gap.
C
reated last year, and incorporated as a Calderazzo serving as artists-in-residence, the program. Some of the musicians who studied
501(c)(3) nonprofit organization in June initiative largely stemmed from Dr. Wiggins’ in this program include Wallace Roney, Greg
in North Carolina, the HBCU-JEI was, conversations with colleagues about jazz at Black Osby, Warren Shadd and Geri Allen. Today,
according to its mission statement, created “to schools. “I wanted to make everybody aware of with 45 jazz students, the program features pia-
enhance the status of jazz on HBCU campus- the situation currently in the country, in terms nist Cyrus Chestnut as an instructor, as well as
es and to be a vehicle for those educators to of jazz studies and curricula being underrep- Connaitre Miller, who leads the highly decorat-
communicate and explore ideas.” The organi- resented at HBCUs,” Wiggins says. “The Black ed vocal jazz ensemble Afro Blue.
zation’s goal is to increase funding for HBCU student deserves to have this type of training. For Dr. Fred Irby III, director of the Howard
jazz departments, create stronger networks for I wanted to make sure everybody understood University Jazz Ensemble and an HBCU-JEI
HBCU jazz graduates and forge pipelines of why we needed to do something like this … that board member, the initiative can ease the tension
education for students in and out of school. The we address the situation, because if we don’t do that at times exists between the larger school fac-
tools for implementing the initiative’s goals are it now, in 10 years, it may be too late.” ulty and the supporters of the jazz curriculum.
its website, Facebook page, Zoom meetings and The university’s jazz program — the only “Dr. Byrd really wanted to have a jazz pro-
a GoFundMe campaign. one functioning in the state when it started — gram here,” Irby says. “But the people on the
The initiative was primarily the brainchild was co-founded in 1977 by trumpeter/educa- faculty, the deans, didn’t want him to have the
of Dr. Ira Wiggins, the retired director of jazz tor Donald Byrd, who created the jazz-funk program. They hired Dr. Byrd, but they didn’t
studies at Durham-based North Carolina group N.C.C.U., which released the album give him the support that he needed. He ran the
Central University (NCCU). With about 40 jazz Super Trick that same year. The group was mod- big band, taught jazz history and improvisation
music majors, and alumni that include drum- eled on an ensemble Byrd created in 1973 at … you couldn’t get a better jazz historian than
mer Grady Tate and trumpeter Al Strong IV, Howard University in Washington, D.C., called Donald Byrd, but he needed help.”
NCCU offers bachelor’s and master’s degrees in the Blackbyrds, which were Byrds’ students in Irby notes that although HBCUs were late to
jazz performance and jazz studies. the jazz program he created there, making it offer jazz studies programs, those schools still
With Branford Marsalis and Joey the first HBCU with a jazz-degree granting played major roles, albeit informally, in the for-
The Northern Illinois Jazz Orchestra with director Reggie Thomas Capital University
Columbus, Ohio
Contact: capital.edu
Jazz page link: Visit bgsu.edu/musical-arts/area/
College of DuPage
MIDWEST Faculty:
jazz.html.
David Bixler, Jeff Halsey, Ariel Glen Ellyn, Illinois
Kasler, Daniel Piccolo, Charles Student Body: 26,000. 50 jazz students.
Augustana College Saenz. Tuition: In-district: $138/credit in-district.
Two jazz lab bands, multiple jazz Out-of-district $325/credit.
Rock Island, Illinois Jazz Bands:
combos/chamber ensembles, Jazz Degrees: Associate of Fine Arts–Music,
Contact: augustana.edu jazz guitar ensemble, vocal jazz Associate in Arts–Music, Associate
ensemble. in Applied Science–Music Business,
Ball State University Alumni: Tim Hagans, Rich Perry. Audio Production Certificate.
Muncie, Indiana Matt Shevitz, Dave Rice, Rich
Auditions: In-person preferred. Faculty:
Student Body: 21,567. Armandi, Ben Wahlund, Steve
Virtual auditions: Jan. 22, 2022 (Jan.
Tuition: Visit bsu.edu. 3, 2022, reservation deadline), Feb. Ramsdell.
Jazz Degrees: Bachelor of Music in Jazz Studies. 18, 2022 (Jan. 31, 2022, reservation Jazz Bands: College of DuPage Jazz/Pop
Faculty: Mark Buselli, Amanda Gardier, deadline) Ensembles, DuPage Community
Cassius Goens, Freddie Mendoza, In-person auditions: Jan. 29, 2022 Jazz Ensemble.
Scott Routenberg, Joel Tucker, Nick (Jan. 3 reservation deadline), Feb. Alumni: Mike Aquino, Anthony Perry, Josh
Tucker. 19, 2022 (Jan. 31, 2022, reservation Berman, Josh Gumina.
Three big bands, seven combos. deadline), Feb. 26, 2022 (Feb. 7,
Jazz Bands: Financial Aid: Visit cod.edu/costs/financial_aid.
2022, reservation deadline. This
Auditions: Visit bsu.edu/academics/ is also the final music scholarship Scholarships: Limited $1,000 annual merit-based
collegesanddepartments/music/ deadline). scholarships are available.
ensembles/jazz-ensembles/
Financial Aid: Need-based. Apply by: See cod.edu/registration.
jazz-lab-ensemble.
Contact: Call 419-372-2651. Contact: Matt Shevitz, (630) 942-2369, (630)
Financial aid: Visit bsu.edu.
791-0196, [email protected].
Scholarships: Need- and merit-based. Scholarships: General university and music
scholarships available.
Apply by: Feb. 1, 2022.
Admissions: Contact 419-372-8577, Columbia College Chicago
Contact: School of Music, 765-285-5400. [email protected].
Apply by: July 15, 2022; Scholarship deadline, Chicago, Illinois
Benedictine University Jan. 15, 2022. Student Body: 6,769.
Lisle, Illinois Contact: David Bixler, Director of Jazz Tuition: $26,610.
Contact: ben.edu Activities, (419) 372-2953, dbixler@ Jazz Degrees: BA and BM degrees in
bgsu.edu. Contemporary, Urban and Popular
Bowling Green State University Music, BM in Composition and
Butler University School of Music Production.
Bowling Green, Ohio Faculty: Scott Hall, Gary Yerkins, Sebastian
Student Body: 20,000. About 400 undergraduate Indianapolis, Indiana Huydts, Bill Boris, Sharel Cassity,
music majors, 150 graduate, 25 jazz. Student Body: 4,698 undergraduate. 150 music Peter Saxe, Raphael Crawford,
majors. Charles Heath III, Ruben Alvarez,
Tuition: In-state: $12,547. Out-of-state: Martez Rucker, Jarrett Hicks, Chris
$20,535. Tuition: $42,410 undergraduate tuition. Forte, Chuck Webb, Typhanie
Jazz Degrees: Bachelor of Music, Jazz Studies, Jazz Degrees: Bachelor of Music in Jazz Studies, Monique Coller, Jeff Morrow, Nick
Master of Music, Jazz Studies. Jazz Emphasis in Jazz Studies, Minor in Tremulis, Derek Fawcett, Ellen
Studies minor. Jazz Studies. Winters, Cassandra O’Neal.
DePauw University
Greencastle, Indiana
Student Body: 2,000.
Tuition: Tuition and fees, $53,816.
Jazz Degrees: Minor in Jazz Studies.
Faculty: Steve Snyder.
Jazz Bands: One jazz big band, several combos.
Alumni: Pharez Witted.
Columbia College’s Fusion Ensemble getting it done virtually.
Auditions: See depauw.edu/audition.
Financial Aid: Need-based assistance is available.
Jazz Bands: Jazz Combos, Columbia College Faculty: Steve Enos, Jackie Warren, Jim Scholarships: DePauw offers Music Performance
Jazz Ensemble (big band), Chicago Rupp, Dave Sterner, Dan Bruce, Awards, up to full tuition.
Vox (vocal jazz ensemble), Fusion Demetrius Steinmetz, Brian Kozak,
Ensemble, Guitar Ensemble, Latin Dominick Farinacci. Apply by: Early action (non-binding), Dec.
Ensemble, Pop/Rock Ensemble, 1. Regular decision, Feb. 1, 2022.
Jazz Bands: Jazz Workshop, BeBop, Jazz Fusion/ Audition, March 1, 2022.
Blues Ensemble, R&B Ensemble, Pop, Brazilian Ensemble.
Hip Hop Ensemble, Gospel Band, Contact: George Palton, (765) 658-4118,
Recording and Performance Alumni: Dominick Farinacci, Sean Jones, [email protected].
Ensemble (original music projects), Curtis Taylor, Aaron Kleinstub.
New Music Ensemble. Auditions: Hartt School of Music Auditions
Alumni: Aaron Koppel, Sarah Marie Young, in December and Berklee World Elmhurst University
Larry Bowen, Martez Rucker, Sam Scholarship Tour every February.
Trump, Sam Cerniglia, Jonathan Students interested in Tri-C Jazz Elmhurst, Illinois
McReynolds, Endre Rice, Sidewalk Studies should apply at tri-c.edu. Student Body: 3,400. 200 music, 35 jazz.
Chalk, Isaiah Oby, Milton Suggs, Financial Aid: Visit tri-c.edu/paying-for-college/ Tuition: $39,100.
Reggie Drake, Rebecca Bruner, financial-aid-and-scholarships/
Jackson Shepard, Imani Williams, Jazz Degrees: Bachelor of Music in Jazz Studies,
index.html.
Michael Hilgendorf. Minor in Jazz Studies, Minor in
Scholarships: Visit tri-c.edu/paying-for-college/ Music Production.
Auditions: In person: Feb. 26, 2022. Online financial-aid-and-scholarships/
video submissions are accepted Faculty: Neal Alger, Gayle Bisesi, Carey
scholarships/index.html.
as well. BA auditions for talent Deadman, Tom Garling, Kirk Garrison,
scholarships are accepted by Apply by: August. Jeremy Kahn, Dan Nicholson, Mike
video submission only. The video Contact: Steve Enos, Tri-C Jazz Studies Pinto, Jon Rarick, Bob Rummage,
submission deadline is Jan. 15, Director, [email protected], Chris Siebold, Mark Streder.
2022. (216) 987-4256. Jazz Bands: Two big bands, eight jazz combos,
Financial Aid: Available. Contact admissions for two electric guitar ensembles, two
vocal jazz ensembles.
information, 312-369-7130. DePaul University School of Music
Scholarships: Both need- and merit-based Alumni: Fred Gretsch, Kris Myers, Chris
scholarships are available. Students Chicago, Illinois Siebold, Typhanie Monique.
who apply and are accepted Student Body: Approx. 400. Auditions: By appointment. See elmhurst.edu/
to Columbia College Chicago music.
are eligible to receive creative Tuition: Undergraduate, $42,651. Master’s
degree, $21,912. Certificate Financial Aid: Available.
merit scholarships based upon
an in-person audition or video program, $16,434. Scholarships: Available. Need- and merit-based.
submission. Priority scholarship Jazz Degrees: Bachelor’s and Master’s. Apply by: Open. See elmhurst.edu/music.
deadline is Jan. 15, 2022. Dana Hall, Neal Alger, Scott Burns,
Faculty: Contact: Gayle Bisesi, music.admission@
Apply by: BM deadline is Jan. 15, 2022. BA Dennis Carroll, Sharel Cassity, elmhurst.edu.
degrees have rolling admissions Typhanie Coller, Scott Hesse,
with a May 1, 2022, priority date. Jeremy Kahn, Thomas Matta, Chad Gustavus Adolphus College
Scott Hall, [email protected]; or Gary McCullough, Jim Trompeter, Bob
Contact:
Palmieri. Saint Peter, Minnesota
Yerkins [email protected].
Student Body: 2,250. 45 jazz.
Jazz Bands: Jazz Workshop, Jazz Ensemble, Jazz
Orchestra, Vocal Jazz Ensemble. Tuition: $48,250.
Cuyahoga Community College,
Tri-C Jazz Studies Program Alumni: Dana Hall, Marquis Hill, Rudresh Jazz Degrees: Bachelor of Arts in Music, Bachelor
Mahanthappa, Orbert Davis. of Arts in Music Education,
Cleveland, Ohio Departmental Honors offered
Auditions: All jazz applicants submit a pre-
in Performance, Composition or
Student Body: 9,000. 25–30 jazz. screen by Dec. 1. Auditions occur
History-Literature, Minors offered in
See tri-c.edu/paying-for-college/ during weekends in February.
Tuition: Arts Administration and Music.
tuition-and-fees/index.html. Financial Aid: Available. Contact
Faculty: Dave Stamps, Masayoshi Ishikawa,
AA degree with transfer capabilities [email protected] for
Jazz Degrees: Krissy Bergmark, Jonathan
to Berklee College of Music and information.
Brandt, John Engebretson, Rolf
University of Hartford, Hartt School Scholarships: 99% of students receive aid. Erdahl, Johnathan Moeller, Scott
of Music, Jackie Mclean Jazz Contact musicadmissions@depaul. Moore ( (trombone), Adam Rappel
Institute. edu for information. (drums).
Lawrence University
Appleton, Wisconsin
Student Body: 1,500.
Tuition: $48,822.
Jazz Degrees: Bachelor of Music: Major in
Performance (Piano, Strings,
Guitar, Percussion, Winds)
with Emphasis in Jazz and
Improvisational Music,
and Major in Composition
with Emphasis in Jazz and
Improvisational Music.
Classical audition required
in addition to jazz audition.
Bachelor of Musical Arts:
Jazz and Contemporary
Improvisation track. No
classical audition required.
Faculty: Patty Darling, José
Encarnación, Matt Turner,
Mark Urness, Dane Richeson,
Tim Albright, John Daniel,
Steve Peplin, Bill Carrothers,
Janet Planet.
Jazz Bands: Lawrence University Jazz
Ensemble, Lawrence
University Jazz Band, Jazz
Combos, Jazz Workshop,
Improvisational Group of
Lawrence University.
Alumni: James Hall, Adam Meckler, Jeff
Ostroski, Fred Sturm, Javier
Arau, Garth Neustadter, Sam
Genualdi, Laura Caviani, Alice
Peacock.
Auditions: Interested students must
participate in the jazz jam
during on-campus auditions
or submit a jazz video
recording. See lawrence.edu/
admissions/conservatory/
audition_guidelines.
Financial Aid: Need-based financial aid is
available. See lawrence.edu/
admissions/afford.
Scholarships: Available. Merit-based
scholarships are determined
by quality of application
and audition. See lawrence.
edu/admissions/afford/
scholarships.
Apply by: Oct. 31 (early action and
early becision), Jan. 15, 2022
(regular decision).
Contact: Kate Bittner, Director of
Conservatory Admissions, 920-
832-6993, katelyn.m.bittner@
lawrence.edu.
Lindenwood University
St. Charles, Missouri
Student Body: 7,000. 30 music business and
entrepreneurship with and
Concentration.
Faculty: Joe Lill, Christopher White, Audrey
Morrison, Darren Scorza, Scott
Hesse.
Jazz Bands: One jazz ensemble, two jazz
combos.
Alumni: Anders Nordstrom, Deborah
Wanderly dos Santos, An Tran,
Michele Thomas, Matt Lundgren,
Wei Yu, Marvin Curtis.
Auditions: Auditions Feb. 12 & 26, 2022.
To sign up, visit northpark.edu/
auditions.
Financial Aid: Erin Matonte, ematonte@
northpark.edu.
Scholarships: Erin Matonte, ematonte@
northpark.edu.
Apply by: Rolling admissions.
St. Xavier University’s Jazz Ensemble Contact: Rebecca Ryan, (773) 244-5623,
[email protected].
Northwestern University,
Bienen School of Music
Evanston, Illinois
Student Body: 600. 25 jazz.
Tuition: $60,276.
Jazz Degrees: BM in jazz studies, MM in jazz
studies.
Faculty: Victor Goines, Jeremy Kahn, John
Moulder, Willie Jones III, Carlos
Henriquez, Brad Mason, Tom
Garling.
Jazz Bands: Jazz orchestra, jazz small ensembles.
Alumni: David Sanborn, Orbert Davis,
Vernice “Bunky” Green, Rufus Reid.
Auditions: Pre-screening materials required.
Auditions by invitation only and
will take place in mid-February. See
music.northwestern.edu.
Financial Aid: A variety of financial aid options
are available, contact musiclife@
northwestern.edu or call
847-491-3141.
Scholarships: Need- and merit-based scholarships
and assistantships available,
Faculty: Shawn Salmon, Stacy McMichael, Scholarships: Contact Jeremy Fox, fox@swcciowa.
Carl Kennedy, Lara Regan, Brett edu.
Baxter. Apply by: April 1, 2022.
Jazz Bands: Jazz ensemble, Jazz-X Ensemble, Contact: Jeremy Fox, 641-782-1466,
jazz combos, electric guitar [email protected], or visit
ensemble. schoolformusicvocations.com.
Alumni: Junius Paul.
Auditions: Jan. 22, Feb. 26, March 26, 2022, Southern Illinois University
by appointment or online video Carbondale
submissions. Carbondale, Illinois
Financial Aid: Available at linktr.ee/sxujazz. Contact: siu.edu
Scholarships: Merit, $16,000 to $20,000. Music,
need-based and other music Southern Illinois University
awards, $5,000 to $14,000. Edwardsville
Apply By: Rolling admissions. Edwardsville, Illinois
Student Body: 14,000.
Contact: Shawn Salmon, [email protected],
773-298-3420. Tuition: In-state, $12,219, offered for all 50
states.
The School for Music Vocations Jazz Degrees: Bachelor of Music in Jazz
(The SMV) at SWCC Performance, Master of Music
in Performance (jazz emphasis),
Creston, Iowa Bachelor of Arts in Music (jazz
Student Body: 30. emphasis), Bachelor of Music in
Tuition: $8,000. Music Business, Minor in Music (jazz
emphasis).
Jazz Degrees: Associate of Applied Arts
(Vocational Degree) in Professional Faculty: Jason Swagler, Garrett Schmidt,
Music. Miles Vandiver, Rick Haydon,
Zebadiah Briskovich.
Faculty: Jeremy Fox, Tobi Crawford,
Ryan Howe, Kathryn Fox, James Jazz Bands: Jazz combos, concert jazz band, jazz
Kennedy, Tommy Boynton, Ryan lab band, guitar ensemble.
Stier, Lauren Brown, Cindy Taylor, Auditions: Held in February. Visit siue.edu/
Doug Greene. music.
Jazz Bands: Jazz combos, vocal jazz ensembles, Financial Aid: Visit siue.edu/financialaid.
jazz strings/vocal combo, popular Scholarships: Need-based and merit-based
music ensemble. available.
Alumni: Jeremy Fox, Loren Battley, David Apply by: Dec. 1.
Thorne Scott, Michelle Mailhot,
Tommy Boynton, Ryan Howe, Contact: Jason Swagler, [email protected].
James Biehn, David Lane, Jennie
Laws, Tomas Cruz, John Knutson, St. Olaf College
Michael Giles, Tanya Fitzgerald, Northfield, Minnesota
Daniel Thatcher, Taylor O’Donnell.
Student Body: 3,100. 275 music.
Auditions: Two or three stylistically varied
selections on major instrument, Tuition: $51,450.
plus interview with faculty. Jazz Degrees: Bachelor of Arts in Music, Bachelor
Financial Aid: Contact Jeremy Fox, fox@swcciowa. of Music in Jazz Piano Performance.
edu. Faculty: JC Sanford, Sarah Burk, Phil Hey,
Apply by: Early action (non-binding), Nov.1, Contact: Ben Kenis, 312-355-1735, bkenis2@
otherwise, Feb. 1, 2022. uic.edu.
University of Kansas
Lawrence, Kansas
Contact: ku.edu
University of Michigan
School of Music, Theatre and Dance
Student Body: 1,103 students. 60 jazz.
Tuition: Undergraduate: In-state, $16,148. Out-of-state, $52,532.
Graduate: In-state $25,466. Out-of-state, $50,768.
Jazz Degrees: Bachelor of Music, Jazz and Contemporary Improvisation;
Bachelor of Fine Arts, Jazz and Contemplative Studies;
Bachelor of Music Jazz and Contemporary Improvisation
with Bachelor of Music Music Education dual degree;
Master of Music, Improvisation; Doctoral of Musical Arts,
Improvisation.
Faculty: Andrew Bishop, Michael Gould, Marion Hayden, Robert
Hurst, Bill Lucas, Andy Milne, Miles Okazaki, Ellen Rowe,
Ed Sarath, Dennis Wilson.
Jazz Bands: Jazz ensemble, jazz lab ensemble, Latin jazz ensemble,
creative arts orchestra, small jazz ensembles, campus jazz
ensemble, digital music ensemble.
Alumni: Vincent Chandler, Gerald Cleaver, Matt Bauder, David
Cook, Amy K. Bormet, Melissa Gardiner, Jeremy Kittel,
Colin Stetson, Sachal Vasandani.
Auditions: Pre-screening videos followed by a live, in-person or
online audition. Academic application is required for
eligibility.
Financial Aid: Available. FAFSA and CSS profile required to establish
eligibility. Grants, work-study, and loan funds available.
See finaid.umich.edu.
Scholarships: Available. All admitted students are considered for
scholarship funds: smtd.umich.edu/admissions.
Apply by: Dec. 1.
Contact: Rachel Dion, SMTD Admissions Counselor, 734-764-
0593, [email protected], smtd.umich.edu.
UMKC Conservatory
Kansas City, Missouri
Student Body: 16,000 at University of Missouri at Columbia. 530 in
conservatory, 50 in jazz studies.
Tuition: See umkc.edu/cashiers/tuition-fees/index.html.
Jazz Degrees: BM, jazz studies, MA, music.
Faculty: Mitch Butler, Carl Allen, Danny Embrey, Stan Kessler,
Marcus Lewis, Gerald Spait, Roger Wilder and more.
Jazz Bands: Two big bands, small combos.
Alumni: Hermon Mehari, Eddie Moore, Nate Nall, Bob
Brookmeyer, Clint Ashlock.
Auditions: Feb. 5, Feb. 21, March 4, 2022. Visit conservatory.umkc.
edu for more information.
Financial Aid: Available. See umkc.edu/central/financial-aid.html.
Scholarships: Merit-based. Auditions serve as screening for merit
awards. Conservatory considers academic record for
scholarships. Contact [email protected].
Apply by: Dec. 15.
Contact: Mitch Butler, [email protected] or butlerdm@
umkc.edu.
University of Toledo
Toledo, Ohio
Student Body: 16,000.
Tuition: In-state, $10,650. Out-of-state,
$20,010.
Jazz Degrees: Bachelor of Music: Instrumental Jazz
or Bachelor of Music: Vocal Jazz.
Faculty: Gunnar Mossblad, Norman
Damschroder, Jay Weik, Olman
Piedra.
Jazz Bands: Jazz ensemble, jazz combo, Latin
jazz combo.
Auditions: Visit utoledo.edu/al/svpa/music/
degrees/audition.
Financial Aid: Visit utoledo.edu/financialaid.
Scholarships: Music scholarships available
for talented students. All who
audition will be considered for a
music scholarship. Other types of
university and federal financial aid
are possible as well. See utoledo.
edu/financialaid.
Apply by: See audition website.
Contact: Lee Heritage, [email protected].
UW-Stevens Point
Stevens Point, Wisconsin
Student Body: 300 music.
Tuition: In-state, $8.270.
Jazz Degrees: BM jazz studies. jazz minor.
Faculty: Brent Turney, Myles Boothroyd,
Pat Lawrence, Kelvin Kaspar, Dave
Story, Ryan Korb, Tim Buchholz,
Mathew Buchman.
Jazz Bands: Two jazz ensembles, three-to-five
combos/vocal jazz ensembles.
Alumni: Marlin McKay, Wayne Salzmann,
Danny Mitchell.
Auditions: Visit uwsp.edu/music/pages/
forstudents/auditions.aspx.
Financial Aid: Visit uwsp.edu/finaid/Pages/default.
aspx.
Scholarships: Merit-based scholarships awarded
by audition. Contact: mbuchman@
uwsp.edu.
Apply by: March 6, 2022, for full
consideration.
Contact: Mathew Buchman, director of jazz
studies, [email protected].
Webster University
St. Louis, Missouri
Student Body: 125 music, 20 jazz.
Tuition: $28,500.
Jazz Degrees: BA in Music, BM in Performance
with an Emphasis in Jazz, BM in
Composition with an Emphasis
in Concert Music or Songwriting,
BMEd with an Emphasis in
Instrumental Music, MA in Music,
MM in Jazz Studies.
Faculty: Paul DeMarinis, Kim Portnoy.
Jazz Bands: Jazz combos, big band jazz
collective, jazz singers.
Alumni: Erin Bode, Chris Cheek, Peter
Mayer, Linda Presgrave, Butch
Thomas, Chris Walters.
Auditions: On-campus on virtual auditions
STEVE MUNDINGER
Lehman, Bennie Maupin, Chris
Speed, Larry Koonse, Darek Oles,
Alphonso Johnson, Vinny Golia,
David Roitstein.
Jazz Bands: Focus on small ensembles. Faculty
plays together with students
in all ensembles, with frequent
performance and recording
opportunities. 30 years of original
compositions by CalArts students
recorded at Capitol Records
(jazzarchive.calarts.edu).
Alumni: Ralph Alessi, Tony Austin, Lauren
Baba, Amino Belyamani, Adam
Benjamin, Michael Cain, Scott
Colley, Ravi Coltrane, Gene Coye,
John Daversa, Peter Epstein,
Pedro Eustache, Danny Grissett,
Herbie Hancock Institute of Jazz Performs at UCLA. Barbara Gruska, Willie Jones III,
Greg Kurstin, James Brandon Lewis,
Sam Minaie, Qasim Naqvi, Tina
Saints). $6,120/semester, $3,060– Raymond, Stephanie Richards,
WEST per term (non-LDS).
Graduate: $3,850/semester, $1,926–
Todd Sickafoose, Asdru Sierra, Clark
Sommers, Gavin Templeton, Yunior
per term (LDS). $7,700/semester, Terry, Nedra Wheeler, Nate Wood,
$3,850–per term (non-LDS). Marcelo Zarvos.
American River College
Bachelor of Music in Commercial Auditions: Recorded auditions only. See
Sacramento, California Jazz Degrees:
https://calarts.edu/admissions/
Music (electives focused on jazz
Contact: arc.losrios.edu studies), Master of Arts and Master portfolio-audition-requirements/
of Music (areas of specialty offered music/graduate/jazz for details.
Arizona State University within each). Financial Aid: Sarah Melnick, music admissions
Tempe, Arizona Faculty: Raymond Smith, Mark Ammons, counselor, [email protected].
Student Body: 820 music students, 45 jazz. Ron Saltmarsh, Aaron Merrill, CalArts Financial Aid Office, finaid@
Tuition: In-state, $11,338. Out-of-state, Nathan Hofeins, Steve Erickson, calarts.edu.
Todd Campbell, Kristen Bromley,
$29,428. Scholarships: Sarah Melnick, music admissions
Jay Lawrence.
Jazz Degrees: Bachelor of Music in Performance, counselor, [email protected].
Jazz Bands: Synthesis (big band), Jazz
Master of Music in Performance. Apply by: Priority deadline, Dec. 1.
Ensemble, Jazz Lab Band, Jazz
Faculty: Michael Kocour, Jeffrey Libman, Legacy Dixieland Band, Salsa Contact: David Roitstein, jazz program
Benjamin Hedquist, Steven Combo, five traditional jazz director, [email protected]; or
McAllister, Dominick Moio, Dennis combos, Syncopation Vocal Sarah Melnick, music admissions
Monce, Lewis Nash, Bryon Ruth. Ensemble, Commercial Music counselor, [email protected],
Jazz Bands: Concert Jazz Band, Jazz Repertory combos. 661-255-1050, calarts.edu.
Band, Latin Jazz Band, Percussion Auditions: All entering students must pass
Jazz Ensemble, Jazz Combos. a performance audition on their California Jazz Conservatory
major instrument. Live auditions
Alumni: Allan Chase, Tony Malaby, Tim Ray,
are held on the last Saturday of Berkeley, California
Joey Sellers, Phillip Strange, Bob
January. Ensemble auditions are
Washut. Student Body: Approx. 50 jazz.
usually held the first Wednesday of
Auditions: Audition scheduled after applying the semester. Tuition: Instrumentalists/Vocalists: $10,900/
to ASU and the school of music. Financial Aid: Visit enrollment.byu.edu/ semester, $885/credit (part-time).
Financial Aid: Available. Recommend all financialaid. Private Instruction: $1,875; Trio
applicants file a FAFSA at students. Ensemble: $1,250.
Scholarships: Visit enrollment.byu.edu/
Visit asu.edu/financial-aid. financialaid/scholarships. Jazz Degrees: M.M., B.M., A.A. in Jazz Studies.
Scholarships: All applicants automatically Apply by: Dec. 1. Faculty: Jeff Denson (Dean of Instruction),
considered for music scholarships Matt Clark, Gerald Cleaver, Anthony
upon audition. Additional Contact: web: music.byu.edu, email: music@byu. Brown, Mimi Fox, Amikaeyla
scholarships available. Email: edu; 801-422-8903. Gaston, John Gove, Erik Jekabson,
[email protected]. Jason Levis, Frank Martin, Aaron
Apply by: Graduate students, Dec. 1.
Brigham Young University–Idaho Mobley, Susan Muscarella, Romain
Rexburg, Idaho Pilon, Edward Simon, Marcos Silva,
Undergraduates, Jan. 5, 2022. Michael Zilber, Dann Zinn.
Contact: Rachel Robichaud, Contact: Byui.edu
Jazz Bands: Small and large ensembles (jazz
[email protected]. and related styles).
California Institute of the Arts
Brigham Young University (CalArts) Alumni: Nick DeRyss, Michael Echaniz,
Ian Faquini, Tyler Harlow, Isaiah
Provo, Utah Harwood, Casey Mattson, Henry
Valencia, California, USA
Student Body: 36,002. 392 music, 57 commercial Moser, Susana Pineda, Lu Salcedo,
music. Student Body: 250-300 music, 30-40 jazz. Chris Sullivan, Dillon Vado.
Tuition: Undergraduate: $3,060/semester, Tuition: $26,425/semester. Auditions: Contact Jeff Denson, [email protected].,
$1,530–per term (for Latter Day Jazz Degrees: BFA, MFA. 510-845-5373.
UNIVERSITY OF IDAHO
ensembles, eight jazz combos.
Alumni: Josh Nelson, John Patitucci, Eric
Marienthal, Chad Wackerman,
Andy Martin, Tom Kubis, Mark
Turner, Larry Carlton, Cecilia
Coleman, Jay Anderson, Jeff
Kashiwa, Sal Lozano, Jay Mason.
Auditions: Required. Visit web.csulb.edu/
depts/music/prospective-students.
Financial Aid: Available.
Scholarships: Available.
Apply by: Nov. 30.
A big jazz night at the University of Idaho. Contact: Jeff Jarvis, Director of Jazz Studies,
[email protected].
Financial Aid: Contact Karen Shepherd, karen@ Graduate Assistantships are also
cjc.edu. available. Contact rgiddensjr@mail. California State University,
Scholarships: Contact Jeff Denson. fresnostate.edu. Los Angeles
Apply by: June 1. See [email protected]. Apply by: Visit fresnostate.edu/studentaffairs/ Los Angeles, California
are/apply/fall.html. Contact: calstatela.edu
Contact: Jeff Denson, [email protected].
Contact: Richard Lloyd Giddens Jr., Director
of Jazz Studies, rgiddensjr@mail.
California State University, East Bay fresnostate.edu. California State University,
Hayward, California Northridge
Student Body: 12,728. California State University, Fullerton
Tuition: $7,000. Fullerton, California Northridge, California
Student Body: 40,200. 400 music, 50 jazz. Student Body: 38,400. 60 jazz.
Jazz Degrees: BA, MA with a Jazz Emphasis.
Tuition: Undergraduate: In-state: $6,800. Tuition: In-state, $7,038. Out-of-state,
Faculty: Dann Zinn, Colin Hogan, Wally $18,900.
Schnalle. Out-of-state, $18,804.
Graduate: In-state, $8,304. Out-of- Jazz Degrees: B.M. Jazz Studies, M.M. Jazz
Jazz Bandss: Big band and numerous combos. Studies (starting fall 2023), B.M.
State, $17,900.
Alumni: Mike Olmos, Steve Moretti, Doug Commercial and Media Writing, B.A
Beavers. Jazz Degrees: BA liberal arts, BM jazz/commercial, Music Industry Studies, B.A Music
MM jazz/commercial. Therapy, B.A. Music Education, M.A.
Auditions: Live auditions in the first week of
classes. Faculty: Bill Cunliffe, Rodolfo Zuniga, Kye Music Industry Administration.
Palmer, Damon Zick, Jeff Ellwood, Faculty: Tina Raymond, Gary Fukushima,
Financial Aid: Call 510-885-3135. Francisco Torres, Ron Eschete, T.K. Wayne Bergeron, David Robaire,
Scholarships: Call 510-885-3135. Gardner, Michael O’Neal, Luther Don Kasper, Scott Whitfield,
Hughes, Paul Kreibich. Michael Mull, Shai Golan, Ido
Apply by: February 2022.
Jazz Bands: Fullerton Jazz Ensemble, Chamber Meshulam, Matthew Harris, Howie
Contact: Dann Zinn, daniel.zinn@csueastbay.
Jazz Ensemble, Latin Ensemble, Shear, John Pisano, Jamie Rosenn,
edu.
various combos — new music, Gene Coye, Luis Conte, Jason
Brazilian, traditional jazz, r&b. Harnell.
California State University, Fresno
Alumni: Tom Ranier, Grant Geissman, Gwen Jazz Bands: A Band, B Band, faculty-directed
Fresno, California Stefani. combos, Latin jazz ensemble,
Student Body: 22,000. 300 music, 10 jazz. jazz trombone choir, jazz guitar
Auditions: fullerton.edu/arts/music/students/
Tuition: Undergraduate: $6,589/year. auditions.php. ensemble, vocal jazz ensemble.
Graduate, $8,023/year. Alumni: Gordon Goodwin, Clayton
Financial Aid: fullerton.edu/financialaid.
Jazz Degrees: BA in Music, Jazz Studies option; Cameron, Ralph Humphrey,
Scholarships: fullerton.edu/arts/students/ Ron Blake, George Stone, Josef
MA Performance, Jazz Studies
scholarships.php#divC. Zimmerman, Genevieve Artadi, Shai
emphasis.
Apply by: Dec. 1 for fall 2022 entrance; Golan, Leland Sklar, Andy Summers,
Faculty: Richard Lloyd Giddens Jr., Director
midyear entrance possible. Diane Warren, Nick Grinder, Tim
of Jazz Studies, Benjamin Boone,
Weisberg.
Alan Durst, Max Hembd, Jaz Contact: Bill Cunliffe, bcunliffe@fullerton.
Sawyer, Craig VonBerg. edu, 818-903-5523. Auditions: Pre-Screen videos due in January,
Jazz Bands: 2 big bands, several jazz combos. live auditions February and March
Hamada, Paul Lucckesi, Les Nunes, Long Beach, California Financial Aid: FAFSA, private education loans,
Paul Shaghoian, Tim Shaghoian, Student Body: 38,000. 600 music, 75 jazz. California Dream Act. Contact
Benny Torres. Financial Aid & Scholarship
Tuition: Undergraduate, $6,798. Graduate, Department: 818-677-4085,
Auditions: Required, see fresnostate.edu/ $8,232. [email protected].
artshum/music/degrees-programs. Jazz Degrees: BM and MM in Jazz Studies. Scholarships: Herb Alpert Foundation, Ella
Financial Aid: https://www.fresnostate.edu/ Faculty: Jeff Jarvis, Christine Guter, Chad Fitzgerald Foundation, Chuck
studentaffairs/financialaid. Wackerman, Jimmy Emerzian, Bob Anderson, Garth Brooks, Chuck
Scholarships: Need- and merit-based scholarships McChesney, Bill Riechenbach, Kye Niles, Jazz Scholarship Endowment,
available. Contact Thomas Palmer, Sal Lozano, Jay Mason, Weinpahl, Sandy and Ron Zacky,
Loewenheim, tloewenheim@mail. Eric Marienthal, Bruce Lett, Andy and Benny Golbin. Contact:
fresnostate.edu for MA–Teaching; Langham, Mike Higgins, Ray Briggs. Financial Aid & Scholarship
FRESNO STATE
Studies), Mike Scott, Jamie Shew,
Jeremy Siskind, Chad Willis.
Jazz Bands: 2 Jazz Bands, 3 Combos, 2 Vocal
Jazz Ensembles.
Alumni: Dave Carpenter, Kye Palmer, Sheila
Gonzalez, Mike Scott, Francisco
Torres, Alan Palmer, Steve Dillard,
Matt Johnson, Wendell Kelly,
Charlie Peterson.
Auditions: Held during the first week of the fall
semester.
Financial Aid: Available. Visit fullcoll.edu.
Scholarships: Available. Visit fullcoll.edu.
Apply by: Open enrollment.
Richard Giddens directs the Fresno State Jazz Ensemble.
Contact: Mike Scott, [email protected].
Department: 818-677-4085, Financial Aid: Visit [email protected]. Herbie Hancock Institute of Jazz
[email protected].
Performance at UCLA
Scholarships: Visit [email protected].
Los Angeles, California
Apply by: Nov. 30. Apply by: Open enrollment. Student Body: 6–8 students.
Contact: Tina Raymond, Director of Jazz Contact: Dr. Anthony Fesmire, afesmire@
Studies, kristina.raymond@csun. Tuition: Full scholarship.
collegeofthedesert.edu.
edu. Jazz Degrees: M.M. in Jazz Performance.
Contra Costa College Faculty: Herbie Hancock, Wayne Shorter,
California State University Billy Childs. Artists-in-Residence:
Sacramento (Sacramento State) San Pablo, California
Christian McBride, Terri Lyne
Contact: contracosta.edu.
Sacramento, California Carrington, Dick Oatts, Jerry
300 music, 50 jazz. Bergonzi, Danilo Pérez, Terell
Student Body:
Cornish College of the Arts Stafford.
Tuition: Undergraduate, $6,900/year.
Graduate, $7,200/year.
Seattle, Washington Jazz Bands: Combo.
Contact: cornish.edu.
Jazz Degrees: B.M. Jazz Studies in Performance Alumni: Ambrose Akinmusire, Lionel Loueke,
or Jazz Education. M.M in Michael Mayo, Gretchen Parlato,
Performance with a Jazz Emphasis.
Eastern Washington University Walter Smith III, Dayna Stephens,
Faculty: Brian Landrus, Steve Roach, Joe
Cheney, Washington Helen Sung.
Gilman, Gaw Vang Williams, Contact: ewu.edu. Auditions: Required. See hancockinstitute.org.
Mike McMullen, Rick Lotter, Jon Full scholarship. Daniel Seeff,
Hatamiya, Steve Homan, Gerry Fresno City College Financial Aid:
West Coast Director, dseeff@
Pineda, Melissa Fulkerson. Fresno, California hancockinstitute.org.
Jazz Bands: 2 Jazz Ensembles, multiple Jazz Student Body: 25,000. Scholarships: Full scholarship. Daniel Seeff,
Combos, 3 Vocal Jazz Ensembles. Tuition: $46/unit. West Coast Director, dseeff@
Alumni: Steve Turre, Bobby McFerrin. Jazz Degrees: A.A. with emphasis on Jazz Studies/ hancockinstitute.org.
Auditions: csus.edu/college/arts-letters/music/ Commercial Music; Certificate in Apply by: The next incoming class will be
admissions.html. Jazz Studies. accepted to start in fall 2023. The
Financial Aid: Available. Contact Mark Allen: Faculty: Paul Lucckesi, Chris Brady, Joe new application will be posted
[email protected]. Lizama, George Ramirez. online in summer 2022.
Scholarships: Available. Contact Steve Roach, Jazz Bands: Jazz Ensemble, Jazz Combos, Latin Contact: Daniel Seeff, West Coast
[email protected]. Jazz Ensemble. Director, 310-206-9700, dseeff@
hancockinstitute.org.
Apply by: Nov. 30. Alumni: Gilbert Castellanos, Pete Ortega,
Steve Roach, Director of Jazz Rick Helzer, Jimmy Emerzian.
Contact:
Studies, [email protected]. Auditions: Contact Paul Lucckesi, paul.
Idyllwild Arts Academy
[email protected].
Idyllwild, California, USA
College of the Desert Financial Aid: Contact Paul Lucckesi. Student Body: 15.
Palm Desert, California Scholarships: Contact Paul Lucckesi. Tuition: $68,432 (with room and board);
Student Body: 18,000. 50 jazz. Apply by: See fresnocitycollege.edu. $30,000 (tuition only).
Tuition: $46/unit. Contact: Contact Paul Lucckesi, Paul Jazz Degrees: Jazz Certificate.
Jazz Degrees: AA-T in Music with a focus on Jazz Lucckesi, 559-442-8260 ext. 8462, Faculty: Marshal Hawkins, Paul Carman,
Studies; AA in Commercial Music. paul.lucckesi@fresnocitycollege. Tom Hynes, Joey Sellers, Clayton
Faculty: Anthony Fesmire, Christopher Reba, edu. Powell.
Jenne Carey, Keegan Anglim, Scott 2 jazz combos.
Smith. Fullerton College Jazz Bands:
STANFORD UNIVERSITY
Financial Aid: 360-442-2322.
Scholarships: 360-442-2680.
Apply by: Aug. 21, 2021.
Contact: Ryan Meagher, 917-971-2775.
MiraCosta College
Oceanside, California
Contact: miracosta.edu
BRINGING DOWN THE HOUSE AT STANFORD UNIVERSITY
Riverside, California Financial Aid: Shirley Gutierrez, svalenci@mail. Auditions: Visit sjsu.edu/music/admissions/
sdsu.edu, 619-594-6032. auditions.
Contact: rcc.edu, rccjazz.com
Scholarships: Shirley Gutierrez, svalenci@mail. Financial Aid: Visit sjsu.edu/faso.
Saddleback College sdsu.edu, 619-594-6032. Scholarships: Visit sjsu.edu/music/admissions/
Mission Viejo, California Apply by: Nov. 30 (undergraduate). auditions.
Student Body: 10,000. 46 jazz. Applications are more flexible for Apply by: generally by Nov. 30. Visit sjsu.edu/
graduate students. admissions.
Tuition: $500/semester.
Contact: Bill Yeager, [email protected], Contact: Aaron Lington, 408-924-4636,
Jazz Degrees: Associate in Music; Certificate in 619-594-4680.
Music Production. [email protected].
Faculty: Joey Sellers, Ron Stout, Jerry Pinter, Santa Rosa Junior College
Jamie Rosenn, Adam Bravo, Luther San Francisco Conservatory
Hughes, Paul Johnson. of Music Santa Rosa, California
Jazz Bands: Big Band, Jazz Lab Ensemble, 8 Student Body: 23,000.
combos. San Francisco, California Tuition: $46/unit.
Alumni: Lauren Baba, Matt Heath, Craig Student Body: 460. 40 jazz. Jazz Degrees: Associate of Arts in Jazz Studies, AA
Cammell, Paul Carman, Ron Stout. Tuition: $49,300. in Digital Media.
Auditions: Contact Joey Sellers, jsellers@ Jazz Degrees: Bachelor of Music–Jazz Faculty: Bennett Friedman, Peter Estabrook.
saddleback.edu. Performance, Bachelor of Music– Jazz Bands: Three Combos, Big Band.
Financial Aid: Visit saddleback.edu/fao. Jazz Composition, Professional
Studies Certificate. Alumni: Liberty Ellman, Ben McKee, David
Scholarships: Talent-based after first semester. Balakrishnan, Eric Crystal.
Visit saddleback.edu/fao/ Faculty: Joshua Redman (Artistic Director),
Jason Hainsworth (Executive Auditions: Beginning of semester.
scholarship-information.
Director), Carmen Bradford, Matt Financial Aid: Contact [email protected].
Apply by: Loose deadline, one month prior to Brewer, Carlos Caro, Clairdee, Steve
each semester. Scholarships: Available by audition, contact Jody
Davis, Jeff Cressman, Julian Lage,
Benecke, Chair, Music Department.
Contact: Joey Sellers, jsellers@saddleback. Chad Lefkowitz-Brown, Rebeca
edu. Mauleón, Michael Rodriguez, Mario Apply by: Aug. 12.
Guarneri, David Sanchez, Edward Contact: Bennett Friedman, bfriedman@
San Diego State University Simon, Randy Vincent, Matt Wilson, santarosa.edu.
Warren Wolf.
San Diego, California
Student Body: 37,000. Jazz Bands: Six combos (seminar ensembles), Sonoma State University
Big Band, Latin Jazz Ensemble.
Tuition: $6,866. Rohnert Park, CA
Performances are Side by Side
Jazz Degrees: BM, MM Jazz Studies (also Artists Concerts featuring students and Student Body: 8,000; 20 jazz.
Diploma and Jazz Minor). faculty in combined ensembles. Tuition: $8,000/year.
University of Colorado–Denver
Denver, Colorado
Student Body: 500.
Tuition: In-state, $5,670/semester. Out-of-
state, $14,010/semester.
Jazz Degrees: Bachelor of Science in Music, with
concentration in Music Business,
Recording Arts, Singer/Songwriter,
Performance.
Faculty: David Bondelevitch, Benom Plumb,
Leslie Soich, Sean McGowan, Paul
Musso, Peter Stoltzman, Owen
Kortz.
Jazz Bands: Jazz Combo, Claim Jumpers, Voz de
la Clave.
Alumni: Issac Slade, Tim Kimmel, Luke
Mossman, Derek Vanderhorst,
Bridget Law, DJ Chonz.
Auditions: Pre-screen audition video through
website.
Financial Aid: Contact 303-556-2400.
Scholarships: Available. One-time audition for
entering freshmen.
Apply by: April 5.
Contact: Music and Entertainment Industry
University of Northern Colorado Auditions: Dec. 5 (early action) or Jan. 23, Feb.
6 or Feb. 13, 2022. Live auditions
Greeley, Colorado preferred, recordings accepted.
Student Body: 11,500. 400 music, 100 jazz. Financial Aid: Contact Jessica Siena, jsiena@
Tuition: Undergraduate: In-state, $11,000. pacific.edu.
Western States, $18,500. Out-of- Scholarships: Need- and merit-based. Contact
state, $24,000.
Jessica Siena, 209-946-2418. Apply
Graduate: In-state, $11,500. Out-of- by Jan. 15, 2022.
state, $22,000.
Contact: Jessica Siena, 209-946-2418 or
Doctoral: In-state, $12,000. Out-of- [email protected]. See go.pacific.
state, $23,000. edu/jazzstudies.
Note: Western Regional Graduate
Program lets Western States qualify
for resident tuition. USC Thornton School of Music
Jazz Degrees: Bachelor of Music: Jazz Studies,
Bachelor of Music: Business (jazz Los Angeles, California
track), Bachelor of Music Education Student Body: 46,000. 1,000 music, 85 jazz.
(jazz track), Graduate Performance
Tuition: Undergraduate: $60,446.
Certificate (Jazz), Master of Music:
Jazz Studies, Doctor of Arts in Graduate: $32,560.
Music: Jazz Studies. Visit music.usc.edu/admission/
Faculty: Dana Landry (Director of Jazz finaid.
Studies), Jim White, Erik Applegate, Jazz Degrees: Undergraduate: Bachelor of Music.
Steve Kovalcheck, Brian Casey, (Instrumental and vocal.)
Drew Zaremba, Socrates Garcia,
Greg Gisbert (Artist-in-Residence), Graduate: Master of Music, Graduate
Andrew Janak (Artist-in-Residence), Certificate, Doctor of Musical
Marion Powers (Artist-in- Arts. (Instrumental only for these
Residence), Shawn Williams degrees.)
(Artist-in-Residence). Faculty: David Arnay, Adam del Monte,
Jazz Bands: Three Big Bands, 12 Combos, Vocal Peter Erskine, Russell Ferrante,
Jazz Ensembles, Funk/Soul Band. Bruce Forman, Sara Gazarek,
Alumni: Bill Frisell, Steve Owen, Connaitre Jason Goldman (Jazz Studies
Miller, Ryan Middagh. Program Chair), Kathleen Grace,
Alphonso Johnson, Tim Kobza,
Auditions: Visit arts.unco.edu/music. Edwin Livingston, Andy Martin,
Financial Aid: Visit www.unco.edu/financial-aid. Ronald C. McCurdy, Roy McCurdy,
Vince Mendoza, Bob Mintzer,
Scholarships: Contact [email protected].
Darek Oles, Alan Pasqua, Frank
Apply by: Open admissions. Auditions are in Potenza, Aaron Serfaty, Bob
February and early March. Sheppard, Richard Smith, Michael
Contact: Dana Landry, [email protected]. Stever, Nick Stoubis, John Thomas
Steve Trovato. Visit music.usc.edu/
University of Oregon faculty.
University of Utah
Salt Lake City, Utah
Student Body: 344 music. 25 jazz.
Tuition: Undergraduate: In-state, $5,584/
semester. Out-of-state, $16,507/
semeseter.
Graduate: In-state, $4,660/
semester. Out-of-state, $13,379/
semester.
See fbs.admin.utah.edu/income/
tuition.
Jazz Degrees: Bachelor of Music in Jazz
Composition or Jazz Performance,
Master of Music in Jazz Studies.
Faculty: Denson Angulo, Brian Booth,
Randall Clark, David Halliday,
Reed LeCheminant, Geoffrey
Miller, John Petrucelli, Donn
Schaefer, Patrick Terry, Dan
Waldis, Kelly Wallis.
Jazz Bands: Jazz Ensemble, Jazz Repertory
Ensemble, Jazz Guitar Ensemble,
Jazz Small Groups.
Alumni: Dave Chisholm, Kelly Eisenhour,
David Halliday, Christoph Luty,
Melanie Shore.
Auditions: Jan. 29 and Feb. 12, 2022. See
music.utah.edu.
Financial Aid: Contact Financial Aid Office,
financialaid.utah.edu.
Scholarships: Need- and merit-based. See
financialaid.utah.edu/types-of-aid/
scholarships/index.php. For School
of Music scholarships, see music.
utah.edu.
Apply by: Undergraduate: Dec. 1 , Priority
deadline (admissions.utah.edu/
apply/#freshman). Feb. 1, 2022,
need-based scholarships, transfer
students (admissions. utah.edu/
apply/#transfer) and scholarship
priority. April 1, 2022, final
Willamette University
Salem, Oregon
Contact: willamette.edu
Paris, France
Contact: imep.pro
RICHELLE FORSEY
of Minnesota, U.S., $5,400 (CAD).
International, $18,900 (CAD).
Graduate: Visit umanitoba.ca/
student/records/fees.
Jazz Degrees: Bachelor of Jazz Studies, Post Bacc.
(Jazz Performance), Master of Music
(Jazz Performance).
Faculty: Will Bonness, Karly Epp, Derrick
Gardner, Jon Gordon, Karl Kohut,
Fabio Ragnelli, Larry Roy.
Jazz Bands: Small ensembles, jazz orchestra,
jazz vocal ensemble.
Alumni: Jocelyn Gould, Joanna Majoko,
Curtis Nowosad, Luke Sellick.
Auditions: Visit umanitoba.ca/faculties/music/
applyandaudition.html.
Financial Aid: Available. Visit umanitoba.ca/
student/fin_awards.
University of Guelph has created thinking spaces for introspection and improvisation.
Scholarships: Available. Visit umanitoba.ca/
faculties/music/prospective/index. Jazz Degrees: Jazz Performance, Jazz audition-process-and-requirements.
html. Comprehensive Studies, Jazz Financial Aid: Visit services.viu.ca/
Apply by: Undergraduate, Jan. 15, 2022. Education. Masters in Jazz financial-aid-awards.
Master’s, Dec. 1. Post-bacc., Feb. 15, Performance, DMA in Jazz
2022. Performance. Scholarships: Entrance awards and academic
scholarships. For a full list, visit
Contact: Louella Yambot, Music Admissions Faculty: Jim Lewis, Mike Murley, Terry services.viu.ca/financial-aid-awards/
Coordinator, 204-474-9915, louella. Promane, Chase Sanborn. scholarships-awards.
[email protected]. Jazz Bands: Jazz Orchestra, 12Tet, Octet, Vocal Apply by: Aug. 15, 2022.
Jazz Ensemble, Hybrid (Classical
University of Music and Performing and Jazz), DOG Improvising Contact: Ben Henriques, Music Department
Arts Graz (KUG) Ensemble, 20 Small Jazz Ensembles. Chair, [email protected].
Graz, Austria Alumni: Kris Davis, David Braid, Quinsin
York University
Student Body: Approx. 2,200, 110 jazz. Nachoff, Andrew Downing, Lina
Allemano, Nancy Walker, Ernesto Toronto, Ontario, Canada
Tuition: €750,00/semester. Cervini Student Body: 100-plus jazz.
Free for members European Union. Auditions: Video pre-screening, live and video Tuition: Residents, $7,000 (CAD).
Jazz Degrees: Bachelor’s, Master’s, Ph.D. auditions. International, $32,000 (CAD).
Faculty: Dena DeRose, Jim Rotondi, Luis Financial Aid: Available. Jazz Degrees: Undergraduate: Bachelor of Fine
Bonilla, Julian Arguelles, Olaf Scholarships: Available. Need- and merit-based. Arts and Bachelor of Arts with
Polziehn, Morten Ramsbøl, Guido pathways in Jazz Studies.
Jeszensky, Heinrich von Kalnein, Apply by: Graduate, Nov. 26. Undergraduate,
Jan. 13, 2022. Graduate: MA with concentration
Wolfgang Tozzi.
in Jazz Studies, Ph.D with
Jazz Bands: 10 combos, two big bands, Contact: Jim Lewis, jim.lewis@utoronto. concentration in Jazz Studies.
Latin ensemble, pop ensemble, ca. Graduate office: gradmusic@
utoronto.ca. Undergraduate Office: Faculty: Barry Romberg, Matt Brubeck, Karen
composers ensemble.
[email protected]. See Burke, Mike Cado, Robb Cappelletto,
Auditions: Two part, online and in-person. uoftjazz.ca. Tara Davidson, Rita di Ghent, Al
Financial Aid: Visit kug.ac.at/en/study/ Henderson, Kelly Jefferson, Noam
prospective-students/ Vancouver Island University Lemish, Lorne Lofsky, Sherie
welcome-center. Music Department Marshall, Anthony Michelli, Roy
Patterson, Artie Roth, Kevin Turcotte,
Scholarships: Visit kug.ac.at/en/study/ Nanaimo, British Columbia, Canada Sundar Viswanathan, Jim Vivian,
prospective-students/ Student Body: 16,000. 80 jazz. Ron Westray, Richard Whiteman,
welcome-center. Sacha Williamson
Tuition: Domestic, $6,000 (CAD).
Apply by: March 1, 2022. International, $18,500 (CAD). Jazz Bands: Small jazz ensembles, including
Contact: Eva Matlschweiger, +43 316 389 Jazz Degrees: Bachelor of Music in Jazz Studies, global jazz and gospel, jazz
3080, [email protected]. Diploma of Music in Jazz Studies. orchestra, r&b ensemble.
Ken Lister, Ben Henriques, Greg Auditions: Virtual, online and on-campus
University of Sydney Faculty:
Bush, Sasha Koerbler, James Mark, auditions (as possible).
Sydney Conservatorium of Music Rosemary Lindsay, Hans Verhoeven, Financial Aid: Visit futurestudents.yorku.ca/
Sydney, Australia Brent Jarvis, Lee Ellefson. funding.
Contact: sydney.edu.au Jazz Bands: Big band, jazz combos, vocal jazz Scholarships: Visit futurestudents.yorku.
ensemble and choir. ca/funding. Oscar Peterson
University of Toronto Ingrid Jensen, Christine Jensen, Pat Scholarship: futurestudents.yorku.
Faculty of Music Alumni:
Steward, Alex Coleman, Pat Collins, ca/financialsupport/awards-apply
Toronto, Ontario, Canada Ryan Oliver, Tristan Clark. Apply by: Jan. 15.
Student Body: 900 music, 125 jazz. Auditions: In-person and electronic Contact: 416-736-5186, [email protected],
Tuition: Domestic, $8,000 (CAD). video submissions accepted. or Sadie Cahill, 416-736-2100, ext.
International, $40,000 (CAD). Visit ah.viu.ca/music/ 20838, [email protected].
DB Music Shop credit cards are accepted. Deadline: Ad copy and full payment must arrive 2 months prior to DB cover date.
Send your advertisement by MAIL: DownBeat Classifieds, 102 N. Haven Road, Elmhurst, Illinois, 60126,
EMAIL: [email protected], FAX: (630) 941-3210.
Tower of Power’s
Emilio Castillo & David Garibaldi
T ower of Power is as much an institution and brand as a band. The
title of the horn-driven ensemble’s debut album, 1970’s East Bay
Grease, has also been a description of the group’s sound — a blend of
funk and r&b, rock and soul, with some jazz accents for good measure.
Co-founder and tenor saxophonist Emilio Castillo established Tower of
Power in Oakland, where ToP’s most recent album, 50 Years Of Funk
& Soul: Live At The Fox Theater (Artistry Music/Mack Avenue Music
Group, 2021), was recorded in 2018. Castillo and longtime drummer Tower of Power’s David Garibaldi (left) and Emilio Castillo
David Garibaldi took their first Blindfold Test via video chat, a few weeks
before rehearsing for ToP tour dates in August through October and next And Mike, he’s still one of my really great friends.
February and March. The pair reminisced frequently as they were pre- Castillo: Mike Clark was the star. It was all about the drums for me.
sented with some West Coast-heavy selections.
SFJAZZ Collective
“Sing A Simple Song” (Live: SFJAZZ Center 2019, SFJAZZ Records, 2020) Martin Luther
James Brown/Louie Bellson Orchestra McCoy, vocals; Etienne Charles, trumpet, percussion, arranging; David Sánchez, tenor
“September Song” (Soul On Top, Verve, 2004 reissue/King Records, 1970) Brown, vo- saxophone; Adam Rogers, electric guitar; Warren Wolf, vibraphone; Edward Simon, pi-
cals; Pete Christlieb, Buddy Collette, Maceo Parker Jr., saxophones; Bill Pitman, Louis ano, keyboards; Matt Brewer, bass guitar; Obed Calvaire, drums.
Shelton, guitar; Frank Vincent, piano; Ray Brown, bass; Bellson, drums; Jack Arnold,
percussion; Oliver Nelson, arranging, conducting. Castillo: Is that Roy Ayers?
Garibaldi: What a surprise! It sounds like Clyde Stubblefield on drums. Garibaldi: SFJAZZ, right? I know they did a Sly Stone tribute over there.
Castillo: [afterwards] OK, I know he did an album with a big band. I’m Is that Obed Calvaire playing drums? He’s a great player, man. SFJAZZ
a vocalist guy, and I think one of my favorite things is to listen to James — they do a really cool thing with all the composers and all that. It’s pret-
Brown sing ballads. And this is kind of like that in that he’s doing one of ty slick. So, yeah, they get a bunch of points on that one, too.
those old-timey kind of songs. Castillo: I used to watch Sly & The Family Stone every weekend when I
Garibaldi: Of course, I’m giving James a 5 for effort on that one. There was 16, 17 years old. He played right near my house at Frenchy’s, a really
are some things on it that I didn’t think maybe fit well together. But, I well-known nightclub in Hayward. We were underage and used to sneak
mean, come on, that’s really, really cool! in. And then we played gigs with him over the years, as well.
Castillo: I was going to give him a 5. And then I thought, I can’t give him
a 5. I’ve got to him 100. But then I rethought it. I would give him a million. Ozomatli
“Super Bowl Sundae” (Ozomatli, Almo Sounds, 1998) Chali 2na, rap vocals; Paul Living-
Garibaldi: If 5 isn’t going to be the limit, let’s give him 2 million. ston, nine-string fretless guitar; Raúl Pacheco, guitar, vocals; Asdru Sierra, trumpet,
vocals; David Ralicke, trombone, baritone saxophone; Ulises Bella, saxophones, clari-
Phil Collins Big Band nets, guitar, vocals; Jose Espinoza, alto saxophone; Wil Dog Abers, bass guitar, vocals;
“Pick Up The Pieces” (A Hot Night In Paris, Atlantic, 1999) Collins, drums; Harry Kim, William Marrufo, drums; Jiro Yamaguchi, tabla, percussion; Justin “Niño” Porée, per-
musical director, trumpet, flugelhorn; Gerald Albright, alto saxophone solo; James cussion, Cut Chemist, turntables.
Carter, tenor saxophone solo; Darryl Stuermer, guitar; George Duke, piano solo; Doug Castillo: I’m assuming it’s Ozomatli, since he said “Ozomatli” a couple
Richeson, bass; Luis Conte, percussion; Arif Mardin, arranger, conductor.
of times. My first thought is, “Where would all of us be if it wasn’t for
Garibaldi: I thought it was the WDR Big Band, but I’m not so sure. James Brown?” I mean, how many grooves, how many bands live and
Castillo: I seem to remember a version of the Average White Band song have earned money off of that? Ozomatli also has a really good live vibe.
“Pick Up the Pieces” done by the Montreux Big Band. I thought the alto Garibaldi: I dug the mix of everything, the vibe of mixing styles together.
solo might be Candy Dulfer. The tenor player, I have no idea who he is, Castillo: And the other thing is I’m not a rap aficionado. But that guy,
but he played some of the ugliest stuff I ever heard that works so well. His the way he raps, it was in the pocket. I don’t like rap that’s pasted on. It
facility was just off the chart, and on some of those notes you’re hearing just goes against everything in my grain. But when I hear rap right in the
these polyphonic tones — just awesome. pocket — Busta Rhymes is good at that — I like that much better.
Castillo: Gerald Alright? He’s one of my favorites.
Marcus Miller
Herbie Hancock “What is Hip?” (Marcus, 3 Deuces Records/Concord Jazz, 2008) Miller, bass guitar, clar-
“Chameleon” (Flood, Sony Records, 1997 reissue/CBS/Sony, 1975) Hancock, piano, inets, organ, tambourines; David Sanborn, alto saxophone; Chester Thompson, organ;
Fender Rhodes, Hohner D-6, ARP synthesizers; Bennie Maupin, tenor saxophone, per- Poogie Bell, drums.
cussion; Blackbird McKnight, guitar; Paul Jackson, bass guitar; Mike Clark, drums; Bill Castillo: Well, that’s our tune, “What Is Hip?” And isn’t that David
Summers, congas, percussion.
Sanborn’s version? I was just wondering if it was Ricky Peterson on organ.
Castillo: Who was that? [afterwards] Wow. I never would’ve thought Garibaldi: That’s Marcus, right? Is that Poogie Bell playing drums?
that was Herbie’s version. I guess they updated it for live. Castillo: We played gigs with Marcus in Europe. Great guy — really
Garibaldi: Was that Mike and Paul? down-to-earth cat. DB
Castillo: We used to play with them all the time.
Garibaldi: Mike was, I think, one of the very first guys I met after I got
The “Blindfold Test” is a listening test that challenges the featured artist to discuss and identify
out of the military, him and Paul. So I’m going to give Mike and Paul big the music and musicians who performed on selected recordings. The artist is then asked to rate
points on that one. The late Paul Jackson, he was just a fabulous musician. each tune using a 5-star system. No information is given to the artist prior to the test.