JazzEd 2013

AUGUST / SEPTEMBER 2013
THE JAZ Z EDUC ATOR S NE T WORK
Dr. David
Fodor
Music is Both a
Personal and a
Collective Experience
The Official
Publication of
Focus Session
Composing vs.
Arranging
Basic Training
The Diminished
Scale
FOR BIG BAND & PIANO

NEW FROM
AEBERSOLD
JAZZ
CHORDS IN MOTION
MOVING QUARTAL VOICINGS & RELATED STRUCTURES

This new book by well-known pianist Andy Laverne satisfes a longawaited need: a method for moving voicings melodically, dramatically,
and gracefully over the entire keyboard through various harmonies!
Firmly rooted in contemporary theory and tradition, the emphasis is on
practical performance application, illustrated by comping choruses over
fve standard harmonies. Make your comping come alive! Replace static
chords with voicings that move. 156 pages, spiral bound.
CIM ............... $24 95
THE GENERAL METHOD

A NEW METHODOLGY FOR A TIGHTER BIG BAND
TGM .............. $24 95
Available from your favorite music source.

Visit www.jazzbooks.com or call
1 (800) 456-1388 for more information.
Have th
the ti
tightest
ht t Bi
Big B
Band
d iimaginable!
i bl ! IInstead
t d off wasting
ti
valuable
l
time by rehearsing and learning each chart individually, Mats Holmquist
explains the simple rules that apply universally for all charts rules
for articulation, dynamics, balancing, blending the sections, playing
with the rhythm section, etc. Also includes valuable information on other
important Big Band considerations such as recording techniques, setting
up for public performance, delegation of authority, dealing with disparate
personalities, and the roles/responsibilities of each chair and the rhythm
section. For both players and band leaders. 120 pages.
www.jazzbooks.com
18

contents
There are many ways
one can use what is
inside the song.
AUGUST/SEPTEMBER 2013
GUEST EDITORIAL:
THE JAZZ FOUNDATION OF AMERICA 13

Esteemed jazz journalist Nat Hentoff highlights the
great work being done by the Jazz Foundation of
America.
BASIC TRAINING:
UNDIMINISHED IMPORTANCE 14
Dr. Steven Snyder offers a few methods designed to
help get students and improvisers more comfortable
with diminished scales and dominant chords.
SPOTLIGHT:
DR. DAVID FODOR 18

The longtime Illinois director of bands refects on a
life of jazz education and performance.
departments
PUBLISHERS LETTER 3
NOTEWORTHY 6
WHATS ON YOUR PLAYLIST? Deborah Latz 12
JAZZ EDUCATION NETWORK SECTION 22
JAZZ FORUM 32
GEARCHECK 33
CLASSIFIEDS 35
BACKBEAT: Carline Ray 36
FOCUS SESSION:
ARRANGING 30
Jazz professor Pete McGuinness dives into a variety
of handy approaches to spice up your arrangements.
JAZZed Volume 8, Number 4, August/September 2013, is published six times annually by Timeless Communications Corp., 6000 South Eastern Ave., Suite 14J, Las Vegas, NV 89119, (702)
479-1879, publisher of Musical Merchandise Review, School Band & Orchestra and Choral Director. Standard Mail Postage Paid at Las Vegas, NV and additional mailing offices. JAZZed is
distributed free to qualified individuals and is directed to jazz educators, music dealers and retailers, and others allied to the field. POSTMASTER: Send all UAA to CFS. NON-POSTAL AND
MILITARY FACILITIES: send address corrections to JAZZed, PO Box 16655, North Hollywood, CA 91615-6655. The publishers of this magazine do not accept responsibility for statements made
by their advertisers in business competition. No portion of this issue may be reproduced without the written permission of the publisher. Copyright 2013 by Timeless Communications Corp., all
rights reserved. Printed in USA.
JAZZed August/September 2013
publishers letter
Rick kessel
Making an Indelible Mark
hat greater motivator is available for students

than to have an opportunity to learn from and
perform with a professional jazz musician? It
is nearly unheard of to fnd a classical pianist or violinist
going to a local high school to perform with the school
band, but, thankfully, its not uncommon to see a top pro
jazz musician working closely with the jazz ensemble,
whether its for a single day or multi-day session. Perhaps
these top players are willing to go the extra mile due to the sense that jazz is
somewhat of an underdog and needs to be passed along to the next generation, or maybe its the rampant kindness that jazz musicians tend to exude?
Regardless of the reasons, the benefts to the students are multi-fold
and I continue to hear stories of so and so coming to play with a high
school band and motivating a particular student to the point that he or
she wants to pursue a career
in music or music education.
Jazz is somewhat of an
The power and authority with
underdog and needs to be
which a professional musician
plays is something that most
passed along to the next
students fnd inspirational and
generation.
motivating, especially when its
so up-close and personal. The
reaction of most students is immediate, as they begin to internalize what
they hear and reproduce to whatever degree they are capable, but it is certainly a positive change and the effects are often long-term. Although it is
a form of imitation, our cover interviewee this month refects Dizzy Gillespies famous quote that musicians move from imitation to assimilation to
innovation. This is a great way to get to step one!
Dr. David Fodor, one of the top high school jazz educators in the country, is an example of someone who was motivated by a visit from a pro
during his early college education when trumpeter and band leader Don
Ellis spent some time at his school in a residency. He still fondly mentions
a very specifc incident while trading licks with Ellis, which made a significant impact on his musical life. Fodor obviously went a long way in his
career, and had tremendous success in building a school jazz program that
is now a model for many others around the USA.
Another area that makes an indelible mark on most students is the opportunity to perform for a festival with professional adjudicators who provide a
wealth of motivation, knowledge, and feedback. The JEN organization has
recently made its festival component of the annual conference a key part
of providing an educational platform where any ensemble at any level can
get insightful, clear, and positive ideas to help the students, ensemble, and
director move to the next level. The effect of having top level, professional
musicians interact with students is one of the best ways to step up any
program to higher plane. If you havent checked into all of JENs important
offerings,
g , take a look at: www.JazzEdNet.org... you wont be disappointed!
August/September 2013
Volume 8, Number 4
PRESIDENT Terry Lowe
tlowe@timelesscom.com
PUBLISHER Richard E. Kessel
rkessel@timelesscom.com
Editorial
EDITORIAL DIRECTOR Kevin Mitchell
kmitchell@timelesscom.com
EXECUTIVE EDITOR Christian Wissmuller
cwissmuller@timelesscom.com
ASSOCIATE EDITOR Eliahu Sussman
esussman@timelesscom.com
ASSOCIATE EDITOR Matt Parish
mparish@timelesscom.com
Art
ART DIRECTOR Garret Petrov
gpetrov@timelesscom.com
PRODUCTION MANAGER Mike Street
mstreet@timelesscom.com
GRAPHIC DESIGNER Tony Calvert
tcalvert@timelesscom.com
GRAPHIC DESIGNER Jay Savage
jsavage@timelesscom.com
Advertising
ACCOUNT MANAGER Matt King
mking@timelesscom.com
CLASSIFIED SALES Erin Schroeder
erin@timelesscom.com
Business
VICE-PRESIDENT William Hamilton Vanyo
wvanyo@timelesscom.com
CIRCULATION MANAGER Erin Schroeder
JAZZ EDUCATION NETWORK
The Official Publication of JEN
RPMDA
JAZZ EDUCATION NETWORK
rkessel@timelesscom.com
@
August/September 2013 JAZZed
GILMORE
IS LEGACY
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inspired by the Zildjian legacy K sound. Discover all of the
legendary dark sounds of the K Family. Warm, expressive
Ks. Complex, modern K Customs. And K Constantinoples,
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Marcus Gilmore plays K Constantinople.
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SOUND LEGACY
noteworthy
Wallace Appointed to IU Jacobs School of
Music Jazz Faculty
DAVID BELOVE
The Indiana University Jacobs School of Music

recently announced that
jazz trombonist Wayne
Wallace has joined its faculty as professor of practice in jazz. He is a fvetime Grammy nominee.
Wallace is known for
the use of traditional
forms and styles in combination with contemporary music and has
earned wide critical acclaim. He has
received grants from the Creative Work
Fund, the National Endowment for the
Arts, the Lila Wallace Foundation, and
the San Francisco Arts Commission.
I am honored to join the excellent
faculty at the Indiana University Jacobs
School of Music, said

Wallace. I am looking
forward to building on
the tradition of this storied institution and sharing my passion for music
with the students.
Widely respected as
a teacher and historian,
Wallace has taught at
San Jose State University,
Stanford University and
the Jazzschool in Berkeley. He has conducted lectures, workshops, and clinics in the Americas and
Europe since 1983. In addition, he is a
member of the advisory committees of
the San Jose Jazz Society and the Stanford Jazz Workshop.
info.music.indiana.edu
Montreal Jazz Fest Sizzles

There are few places around the world
where the jazz afcionado can take in performances by both legendary artists and new,
upcoming groups in one location like the
Montreal Jazz Festival. The Festival, now in
its 34th year, ran from June 28 to July 7 and
featured over 500 concerts, including 300
free performances at the Place de Festivals
which resides in the center of Montreal. The
economy appeared not to impact this years
festival as hundreds of thousands of people
packed the center of Montreal along with
street vendors, musicians, dancers, and other
acts that kept the attendee busy throughout
the event.
This years event included Joshua Redman, Ravi Coltrane, John Abercrombie,
Wayne Shorter, Wynton Marsalis, Alain
Caron, Bill Frisell, and others. Virtuoso bassist Caron became the frst artist in the history
of the Montreal Jazz Festival to receive the
Oscar Peterson award twice, once in 1991,
and once again this year. Other awards presented included the Miles Davis award going
6
to composer/instrumentalist, Charles Lloyd,

the Ella Fitzgerald award going to vocalist
Holly Cole, the Antonio Carlos Jobim award
to Amadou & Mariam, and the Bruce Lundvall award going to legendary producer Tommy Lipuma.
Student groups also made their presence
known by bringing their A-game to the festival, including ensembles from La Petite
Ecole du Jazz (The Little School of Jazz), The
Universite Du Quebec a Montreal, and numerous others.
montrealjazzfest.com
Crowds gather at an outdoor concert at the 2013

Montreal Jazz Fest.
2014 NEA Jazz Master

Honorees Include
Aebersold, Jarrett,
Braxton, and More
The National Endowment
for the Arts has announced the
2014 NEA Jazz Masters. The organization said that whether its
Richard Davis and Keith Jarrett
bringing their jazz background
into other musical genres such
as classical music and rock
and roll, Anthony Braxtons
avant-garde creations, or Jamey
Aebersolds development of an
interactive jazz education tool,
these artists all show how the
art form is evolving and growing
in our country. These musicians
and educators are recognized
for their lifetime achievements
and exceptional contributions
to the advancement of jazz.
They will each receive a onetime award of $25,000.
NEA acting chairman Joan
Shigekawa said, I am proud to
announce the newest class of
NEA Jazz Masters. The NEA is
committed to supporting this
uniquely American art form,
whether its through educational materials such as NEA Jazz in
the Schools, supporting performance and educational activities by the Jazz Masters through
Jazz Masters Live, or in this
case, honoring the individuals
who have devoted their lives
and careers to mastering, sharing, and expanding this music.
nea.org
Study with resident artist faculty

Perform in premiere ensembles
Share your passion
eaStmaN JaZZ and CoNtemPorary medIa faCuLty

Jeff Campbell, department chair, double bass
Harold Danko, piano
Bill Dobbins, composition/arranging
Clay Jenkins, trumpet
Mark Kellogg, trombone
Charles Pillow, saxophone

Dave Rivello, ensembles
Bob Sneider, guitar
Dariusz Terefenko, theory
Rich Thompson, drumset
Apply Now for Fall 2014
Deadline December 1
esm.rochester.edu/apply
noteworthy
Minnesota Jazz Matriarch Jeanne Arland Peterson Dies at 91
WCCO musician and Minnesota
jazz personality Jeanne Arland Peterson died this summer in Eden
Prairie, Minn. at the age of 91.
Peterson spent 22 years in the
WCCO Radio house band and three
years as the Minnesota Twins organist. She performed with George
Benson, Bob Hope, Perry Como, and more while raising five
children. She was a force on the Minnesota scene since the
1940s, reported the Minneapolis Star Tribune. Jeanne is one
of the best pianists in the Twin Cities. Shes very underrated,
Dakota Jazz Club proprietor Lowell Pickett said in the 1990s.
Ive heard her burn things up. She was even playing piano
in the nursing home until two weeks ago before her death,
Paul said.
Wells Fargo Advisors Donates

$100k to Jazz St. Louis
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Jazz St. Louis

announced that
Wells Fargo Advisors will serve
as the presenting
sponsor of the
2013-14 Jazz at
the Bistro Season. Wells Fargo Advisors
$100,000 contribution marks the third
year the company has made a leadership
gift to St. Louiss premier jazz organization.
In a city where jazz is such an integral part our heritage, few organizations
play as important a role as Jazz St. Louis
does in sustaining and strengthening the
civic and cultural fabric of our community, said Danny Ludeman, president
and chief executive offcer of Wells Fargo
Advisors.
Jazz St. Louiss Jazz at the Bistro Season features eighteen international jazz
stars on its Subscription Series and showcases a dozen regional artists on its Spotlight Series. The intimate Grand Center
venue regularly garners praise and accolades from the likes of trumpeter Wynton
Marsalis, USA Today, CNN, and DownBeat Magazine which named Jazz at the
Bistro one of 150 Great Jazz Venues in
the world in its February 2013 issue.
Jazz St. Louis also maintains an annual
education and outreach calendar which
involves nearly every national and international artist appearing on the Bistro
stage. These artists spend time in area
schools conducting master classes, clinics, and occasionally private instruction
with area jazz students. The Jazz St. Louis education program reaches more than
10,000 students annually.
jazzstl.org
FOR MORE INFORMATION CALL 1.888.830.0474

WWW.KESSLERMUSIC.COM
noteworthy
Percussive Arts Society Announces 2013
Hall of Fame Inductees
The Percussive Arts Society
Hall of Fame will induct four
top percussionists during the
39th Annual Percussive Arts Society International Convention
(PASIC) in November. The Hall
of Fame Induction Ceremony,
honoring the four newest members, will be held before the PASIC Thursday
Evening Concert at the Indianapolis Convention Center. The Class of 2013 includes
Clifford Alexis, Harold Jones, Dr. Gary Olmstead, and Salvatore Rabbio.
Alexis has performed all over the world
for Queen Elizabeth II, the Emperor of Ethiopia, and President Senghor of Senegal.
Moving to the United State in 1965, Alexis
became an important educator and clinician, ultimately becoming co-director of the
Northern Illinois University Steelband.
Jones is a prolifc jazz drummer noted for
his straight-ahead style of playing during the
big band era. Jones has performed with many
of the top names in the jazz industry throughout his career, including Count Basie, Sarah Vaughan,
Tony Bennet, Frank Sinatra, and
many others, in addition to many
symphony orchestras around the
world.
Olmstead is a highly regarded
percussion educator who built the Indiana
University of Pennsylvania percussion studio
from a nascent program to a leading educational organization with alumni placed in
many top university teaching positions, orchestras, military bands, and music industry
positions.
Salvatore Rabbio is a noted world-class
performer, clinician and educator. He served
as principal timpanist with the Detroit Symphony Orchestra from 1958 until his retirement in 1998, touring and recording extensively with the worlds greatest conductors
and many top record labels.
pas.org
Jenkins Wins JJA Lifetime

Achievement Award
Arts administrator and jazz writer
Willard Jenkins was
awarded the 2013
Lifetime
Achievement in Jazz Journalism from the Jazz
Journalists Association at the organizations awards party
at the Blue Note Jazz Club in New York
City. Jenkins was executive director of
the National Jazz Service Organization
from 1989 to 1994 and has worked as
a jazz fundraiser. He began his writing
career in the early 70s at the Cleveland
Plain Dealer and was later published
throughout the jazz writing world. He
also served as an educator, teaching jazz
history at Cleveland State University
from 1979-1984.
Jenkins currently contributes to the
Open Sky Jazz website.
openskyjazz.com
JAZZ
DOES NOT BELONG
TO ONE RACE OR CULTURE
BUT IS A GIFT
THAT AMERICA HAS GIVEN THE WORLD
THIS IS OUR GIFT BACK
P. Mauriat Saxophones and Trumpets are available through the fnest instrument
retailers. To fnd one near you visit www.pmauriatmusic.com.
St. Louis Music is the exclusive distributor of P. Mauriat in North America. To fnd out more visit www.stlouismusic.com
10
Proudly Announces
Newly Appointed
Music Faculty
Kate Reid
Associate Professor and

Vocal Jazz Program Director
The Frost School of Music

will elevate your artistry
and prepare you for todays
professional world of music
Outstanding Jazz
Scholarships and Graduate
Teaching Assistantships
Available. Inquire Today.
Application Deadline: December 1
Email: admission@music.miami.edu
www.music.miami.edu
Institutional member of NASM since 1939
Whats on Your Playlist?

by Christian Wissmuller
Vocalist Deborah Latz came to jazz after an acclaimed career in dramatic and musical theater, during which she garnered a Best Actress Award at the Jerzy Grotowski Theatre
Festival in Poland for her one-woman performance of Juliet,
and recorded the original song, Im Neurotic Over You for
the off-Broadway comedy, High Infdelity. She also received
rave reviews in New York and Europe, and has earned praise
as one of the most compelling new vocalists on the scene.
Her recent release, Fig Tree featured Jon Davis on piano,
John Hart on guitars, Ray Parker on bass, Willard Dyson on
drums, and special guest saxophonist/futist/percussionist Peter Apfelbaum and guest
vocalist Abdoulaye Diabate, and is her breakout performance as vocalist, songwriter,
and arranger. The disc showcases an outstanding range of technique and creative musicality that places her at the forefront of jazz today.
1. Dream of Nite David Liebman
I am a huge fan of Dave Liebman. This album was given to me in Florence, Italy
where it was recorded live in 2005. The Italian rhythm section is pianist Roberto Tarenzi, bassist Paolo Benedettini, and drummer
Tony Arco and they sound really, really good.
Liebmans Tomorrows Expectations is truly
a beauty.
Bebop Recordings, 1949-1952, Prestige.
2. Too Damn Hot Dr. Lonnie Smith

Dr. Smith knows how to lay down a groove,
and his energy is over the top! I smile
through each track and especially on Your
Mamas Got A Complex a great hook! All
of the songs are just too good.
7. Water Music David Soldier and Richard Lair

Mother Earth is naturally musical: wind,
rain, and the sea. On this disc, Thai elephants are recorded live playing giant manmade instruments. These elephants show
their rhythmic instincts and prove they have
big ears. I fnd their music calming and inspirational.
3. Love, Peace and Jazz! Live at the Village

Vanguard Al Foster
Before Foster even takes his seat you already
know youre in for a ride by the way his
drum set is arranged with cymbals up high.
When you see Foster live its electrifying and
it comes through on this disc with saxophonist Eli Digibri, pianist Kevin Hays, and
Doug Weiss on bass. It was a huge thrill for
me to sit practically next to Al Foster when
they played at the Vanguard.
4. Time Was - Time Is Ray Barretto
One of the last albums Ray Barretto recorded, which was nominated for a 2005 Grammy. His playing makes you move from your
core. The closer, Caper For Chris, was
written for his son and its Rays voice you
hear singing. So charming and full of love.
Like Ray.
5. Personal Appearance - The Sonny Stitt Quartet
Sonny Stitt
One of Bebops original saxmen. Yes! In my
continuous journey to learn about the jazz
greats I cannot get enough of Sonny Stitt. His
original, Original? is a standout for me. Im
also listening my way through Stitts Bits The
12
Photo by todd Weinstein.
Frost School of Music
6. Travelling Without Moving Jamiroquai

Although this British jazz-funk band has
been around for a while, I just discovered
them. The beats are infectious and Jay Kays
original lyrics are very clever. Listen to Cosmic Girl. Barbarella fans will defnitely get a
kick out of it.
8. Promised Land Omar Sosa

This is an album I come back to again and
again. Mr. Sosas arresting compositions and
piano playing coupled with spoken word
and multi-media is very rich. He tells the
story with clarity and emotion. Track fve,
Across Africa [Arrival], really gets to me.
9. Christian aTunde Adjuah Christian Scott
He tells like it is on this two-disc release. In
the liners, trumpeter Christian Scott talks
about, ...others imposing their thoughts
or opinions of what artists should and
should not do. Scott defnitely respects
his elders, and at the same time he explores his craft and vision with a deep
insight. I keep coming back for more.
10. Tanto Tempo Bebel Gilberto
Most of the music and lyrics on this album
are written by Bebel. She is a frst-class storyteller.
Deborah Latz most recent album, Fig Tree
(June Moon Productions), was released on May
7, 2013. www.deborahlatz.com
guesteditorial
BY NAT HENTOFF
Jazz Foundation Moves

Gigs to the Future
As a longtime reporter, when a story is living
and valuable, I update it. So here is more about
The Jazz Foundation of America, which keeps
this regenerative music alive by focusing on the
physical and fnancial well being of its creators.
Both its continuing programs and its burgeoning innovations provide incentives to local
and regional jazz support groups to go farther
and also can be of use to jazz educators.
As Jazz Foundation executive director Wendy Oxenhorn notes in Lectures from Living
Legends:
There is a treasure house of remaining original jazz/blues pioneers who are still able to travel
and lecture and tell stories that any jazz educators would dream for their students, so that the
message could be carried into this century.
Theres a wealth of history that would make
the legends we all know and love come alive and
become real to any audience. The Jazz Foundation can connect them to universities and lecture
halls while they are still with us to tell the tales.
Also being planned by the Foundation is
The Gig Fund. This has to do with the recognition that in the past fve years we have
seen signifcant change in the profle of the
kinds of musicians coming to us for help.
The plan is to create free concerts for the public who are all in need for some healing, too.
The Gig Fund would be a source of steady reliable income and re-establish live music as part
of our cityscape. Again, Oxenhorn:
Our goal would be a million dollar annual
fund that could create monthly gigs for more
than 500 musicians (to start with) around the
country to reach an audience of over 100,000
listeners.
Meanwhile, the Foundation hasnt forgotten
musicians it has aided to fnd out their present
state of being and playing. Dig this:
In March of this year, fve staff members
went to New Orleans to connect with some of
the musicians we have helped since Hurricane
Katrina. It had been three years since The Jazz
Foundation made a staff trip to New Orleans,
though we have had a staffer there for the past
two years.
We made home visits to several musicians
and found out things we could never have discovered over the phone. One musician had a
storehouse of music on an external hard drive,
but no computer with which to attach it. Another
musician is now 76 years old and has been playing on a broken trombone.We visited a musician whose spinal chord was severed three years
ago and, although he is unable to speak, his eyes
lit up when we came in and spoke to him about
music and his friends. We shared a wonderful
lunch with a musician who had a stroke last
November and is now on the road to recovery.
The experience of going down to New Orleans

and reconnecting with
musicians who are so proud, yet still struggling
showed us that it is very important to continue
to be a presence in the region.
Its amazing what comes up in an atmosphere of love and laughter and while enabling
musicians to retain their integrity we are able
to fnd out what is needed and make miracles
happen.
I often speak and write of the jazz family
and this account of The Jazz Foundations visit to its family members in New Orleans gives
that depiction and warmth and depth that Ive
experienced in many other gatherings of jazz
musicians.
A longtime member of The Jazz Foundations jazz family is one of my oldest and dearest friends, Clark Terry. In the Winter 2012 Jazz
Foundations newsletter, we learn:
In recent years, Clark has had many serious health problems, including the amputation
of both of his legs and a surgery to remove his
stomach. He is undergoing physical therapy
and needs 24-hour health care. His amazing
wife Gwen never left his side and has kept him
from the nursing home by devoting her life to
him.
Jazz Foundation of America has been helping Clark now for years by providing home
health aides and paying for his oxygen.
A fnal note about the reach of The Jazz
Foundation. At one of its annual A Great Day
in Harlem concerts at the Apollo Theater, Tad
Hendrickson told of hearing this from that evenings musical director, Steven Bernstein:
I was talking to someone at the JFA and
happened to mention a legendary jazz musician who does not live in NYC, but is going
through some fnancial problems and he said
[The Jazz Foundation] were already on it. Thats
amazing.
Every day at The Jazz Foundation.
To be a member of The Jazz Foundations family,
the address for contributions is:
322 West 48th Street
6th Floor
New York, N.Y. 10036
Frost School of Music

Proudly Announces
Newly Appointed
Music Faculty
John Daversa
Assistant Professor and Chair,
Department of Studio Music & Jazz
The Frost School of Music

will elevate your artistry
and prepare you for todays
professional world of music
Outstanding Jazz
Scholarships and Graduate
Teaching Assistantships
Available. Inquire Today.
Application Deadline: December 1
Email: admission@music.miami.edu
www.music.miami.edu
Institutional member of NASM since 1939
Nat Hentoff is one of the foremost authorities on

jazz culture and history. He joined DownBeat
magazine as a columnist in 1952 and served as
that publications associate editor from 1953-57.
Hentoff was a columnist and staff writer with The
Village Voice for 51 years, from 1957 until 2008,
and has written for The Wall Street Journal, Jazz
Times, The Atlantic, and The New Yorker,
among many other publications.
13
basic training
THE DIMINISHED SCALE
Undiminished Importance
Getting familiar with the diminished scale and dominant chords

By Dr. Steven Snyder
The diminished scale is a great choice for creating colorful melodies and lines on dominant seventh chords. It provides many
opportunities for linear and arpeggiated use, and includes color
tones that are central to the jazz improvisers vocabulary.
There are at least fve names that are used to identify this scale.
It is most commonly referred to as the diminished scale, although
this name does not specify exactly what interval content is referred to. Sometimes this scale is called the whole half scale, or
the half whole scale. This name is derived from the alternating
whole step and half step intervals in the scale. While this name
offers some more specifc information about how the notes in
the scale are ordered, it still does not allow someone to positively
identify which notes are in the scale. This is because starting with
the whole step at the top of the scale and descending results in a
different set of notes than starting with a whole step at the bottom of the scale and ascending. A similar problem results when
referring to the scale as a half whole scale. Probably the least used
name among jazz musicians is the one that I feel offers the most
specifc way of identifying which collection of notes are being referred to, and involves numbering pitches. C is 0. C# is 1. D is 2.
D# is 3. The scales are then named by which two pitches a half
step apart are appearing in the scale. [0, 1] is an octatonic scale
that contains the pitches C and C# regardless of where the scale
begins and ends, or to what scale the chord is being applied.
14
Example 1.
By using this integer notation method we can order the scales

and chords into three scales that are each associated with four
dominant chords. The pitch C is numbered 0, C# is 1, D is 2 and
EH is 3. Each scale is identifed by an interval of a half step using
these four numbers. Octatonic scales are then classifed as [0,1]
(the group of scales which contains the notes C and C#), [1,2]
(the group of scales which contains the notes C# and D), or [2,3]
(the group of scales which contains the notes D and EH). [0, 1]
will match the dominant chords C7, EH, F#7 and A7. [1, 2] will
match the dominant chords C#7, E7, G7, BH7. [2, 3] will match
the dominant chords D7, F7, AH7, B7.
The application of this scale to a dominant chord is one of the
most typical choices a jazz improviser makes. The scale is consonant with a dominant sonority that features a H9, #11 and natural
13th as color tones. The scale must contain the H9 and root of the
dominant chord in question to be a match. Thus, we can con-
struct the scale staring with a half step from the root to the H9 and
then alternating whole and half steps from there until the root is
reached again at the top of the scale. Thinking about the scale in
a descending format would mean starting at the root of the dominant seventh chord and beginning a descent down with a whole
step frst and then alternating half steps and whole steps until the
root is reached at the bottom of the bottom scale. Another convenient way to think of the scale is that it is comprised of the frst
four notes of two descending mixolydian modes whose root notes
are a tri-tone away from each other.
Example 3.
Example 2.
The following arrangement of notes was often used by John

Coltrane, and is derived from the octatonic scale.
Because each scale is consistent with four chords of the same
quality, we can then think of the chords themselves as simply
groups of notes that are extracted from the scale, and are applicable to any of the other chords in the group for which a diminished
scale is consonant.
Example 4.
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15
Here are a few examples of musicians using the octatonic scale

during an improvisation. In the frst two examples the soloist is
using [0,1] over an A7 harmony. Both of these feature [0,1] in a
scalar format.
Example 7.
Eric Alexander (High Note Records Alexander The Great) Soft
Winds bar 40.
Example 5.
Michael Brecker (Stunt Rielatin) Bessies Blues bar 80.
Example 6.
Clifford Brown (EmArcy Jam Session, Los Angeles, August 14,
1954) It Might As Well Be Spring bar 28.
In example 7, the soloist is using [0,1] over a C7 harmony. In

this case the scale has been divided into arpeggios of an A triad
and a Gb triad in addition to a few small linear segments.
Practice tips for use with a ii-V-I

Start by grouping the four keys together that use the same octatonic scale for the V chords. C major (G7H9, #11, 13 ), EH major
(BH7H9, #11, 13), F# major (C#7H9, #11, 13 ), and A major (E7H9,
#11, 13 ) will all use the [0,1] octatonic scale for the dominant
seventh chord. C#, E, G, and BH major will use the [2, 3]. D, F, AH,
B major will use the [1,2]. This grouping begins to reveal a way
to overcome some of the challenges of thinking in strictly vertical
terms. The major scale (in its dorian mode form) is used over the
ii, followed by the octatonic in use for the keys V7, and then return to the major scale for the I chord. In four keys the octatonic
scale will remain the same and the major scale for that key will be
used to match the ii and I chords respectively. Practice running
eighth notes, triplets or sixteenth notes consistently through all
three harmonies while changing from the major scale to the octatonic and then back to the major scale.
It is also possible to apply all four of the dominant chords associated with an octatonic scale to a single V chord in a key (see
example 7 above). Practice using arpeggios of BH7, DH7, E7 as well
as G7 on the V chord of a ii-V-I in C.
Then move to the key of EH and practice
using DH7, E7, G7 as well as BH7 on the
V chord of an ii-V-I in EH. Continue this
until all of the V chords associated with
an octatonic scale have been used in each
T I VA L
MUSIC FES
S AVA N N A H
14
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2
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SWING C
MA RC H 28 , 20 14
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WE DN ES DAY, MA
LINE EXTENDED TO
APPLICATION DEAD
zz.org
ingcentralja
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16
The application of this scale to

a dominant chord is one of the
most typical choices a jazz improviser makes.
of the four keys for that grouping. Then
move on to the next octatonic scale and
continue this practice pattern. Working
this way will help to create a strong mental link between the three octatonic scales
and all of the dominant chords to which
they apply. Strive to seamlessly move
through all three harmonies of the ii-V-I
while maintaining a fow of eighth notes,
triplets or sixteenths.
In the next examples, the line features
an arpeggiation of one of the dominant
seventh chords in the same octatonic grouping as the V chord in the progression. The remaining notes in the V
chord measure are from the octatonic
scale, leading to a resolution note on the
I chord.
Example 8.
The following link provides another explanation prepared
by Dr. Aleck Brinkman of the octatonic scale and the numbering system discussed in this article.
http://theory.music.temple.edu/~aleck/Courses/theory.
IV/Notes/Octatonic.Notes.pdf
Example 9 is another way to practice grouping these chords

together. This pattern borrows an idea from the bebop scale by
inserting a half step between the root and dominant seventh of a
chord.
Example 9.
For further reading:

1. Walt Weiskopf, Understanding The Diminished Scale: A
Guide For The Modern Player (New Albany: Jamey Aebersold
Jazz, 2012).
2. Eric Alexander, Improvising with the Diminished Scale
(New York: Skeef Music, 2012), accessed July 24, 2013,
www.ericalexanderjazz.com/study_with_eric/eBook_detail/
Dr. Steven Snyder is professor of Jazz

Studies at Morehead State University in
Morehead, KY. He holds Bachelors and
Masters Degrees in Jazz Piano Performance
from the University of North Texas, and a
DMA in Piano Performance (Jazz Emphasis) from the University of Texas at Austin.
His work as an organist and pianist is documented on 16 recordings found on independent releases over the past 20 years.
You are
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17
spotlight FO D O R
Dr. David Fodor
Music is Both a Personal

and a collective exPerience
BY christian WissMuller
n June of this year, Dr. David Fodor stepped down from his longtime position as director of bands for Evanston (Illinois) Township High School (ETHS).
While Dr. Fodors duties had him overseeing all ensembles at the school, the jazz program, in particular, achieved
great success and Fodor himself considerable acclaim as one of the nations premier jazz instructors at the high school
level. Expanding from a sole jazz band in 1990 when he frst arrived to the current count of three jazz bands and nine
combos, ETHSs jazz ensembles have performed internationally under Fodors direction and his students have been
treated to numerous guest lectures and teaching sessions from some of the genres contemporary greats.
As he closes this signifcant chapter of his professional career, JAZZed checked in to learn more about Dr. Fodors own
evolution as a jazz scholar, performer, composer, and educator.
JAZZed: Can you discuss your own early experiences as a

music student? What got you interested, who were some infuences?
Dr. David Fodor: In eighth grade, I had a friend who invited me
over to his house one day to hear a recording that he insisted I would
love. He placed the needle on the last 10 minutes of this one track,
and I experienced hearing Buddy Rich for the frst time, playing his
drum solo on West Side Story. We listened to the solo over and over
in amazement. I went right out and purchased my frst album the
1967 West Side Story recording by the Buddy Rich Band. My parents
took my friend and me to hear Buddys band that year, and Ill never
forget the power and energy from standing in front of that band and
listening to them play live. Now I was really hooked.
During my junior year of high school, my parents took me to see
Duke Ellington and his band in concert. I remember seeing Rufus
Speedy Jones behind a drum set with double bass drums and what
seemed like a million cymbals. During the intermission, I followed
the band out into the hallway hoping to snag an autograph, but they
all disappeared into the elevator. So, I waited patiently there until
they returned, and I thrust my poster at Mr. Ellington asking for his
autograph. He obliged, and I returned to my seat contently for the
second half of the concert.
18
At the end of the show, I headed up to the stage to gather some

other signatures. Rufus signed my poster, and as I stood in a cluster
of fans surrounding tenor saxophonist Paul Gonsalves, he asked for
something to draw on because he wanted to sketch a beautiful lady
standing with us in the small crowd. I handed him my poster, and as
he drew his sketch on the back of it, I realized he might give it away
to the lady he was so enamored with. Once he fnished and shared
his work with the crowd, I snatched the poster and hightailed it out
of the room before the lady could grab it. My father framed the poster
so you can see both sides one side signed by the Duke, and one side
with a Paul Gonsalves original drawing!
JAZZed: What a story! How about post-high school?

DF: During my two years at Joliet Junior College, Jerry Lewis was
growing the jazz and band program. My combo experience was expanding to include an organ trio and other small groups who were
learning all the newest music of the time, especially the music of
Chick Corea.
At JJC, Mr. Lewis was hosting shows by the Woody Herman
and Maynard Ferguson big bands, and one of the most memorable
events was a residency by trumpeter and bandleader Don Ellis. We
were able to spend several days working on tunes with him that
culminated in a fnal concert. Elliss charts

were a new experience for me, because
they were so freely interpreted and open
and it was so much fun. Ellis also played
drum set, so on the concert, he and I traded drum solos on one tune a musical
moment Ill never forget.
JAZZed: After that you were off to

the University of Illinois, yes?
DF: I headed to the University of Illinois in Champaign-Urbana for my fnal
two years of undergraduate work and
became immersed in the jazz world of
professor John Garvey. The tradition of
excellence he developed in Champaign
was already legendary by the time we arrived, and it was a privilege to become
a part of that history. It was here that I
really learned to swing through the music of Count Basie and other great swing
composers by playing in the jazz band.
There should be a book written to capture all the Garvey-isms we learned I
hope someone does that someday. I still
use his Who parked the car? onomatopoeia when teaching the eighth-quartereighth-quarter swing rhythm!
JAZZed: How did you frst arrive
at ETHS and what positions and
where had you held previously?
DF: My frst teaching job as a band
director (grades 5-12) was for the Herscher School District from 1976-82,
I was lucky enough to work with two
wonderful educators, Dale Hopper and
Joe Roman. Dale helped me to publish
my frst drum music for marching band
with C.L. Barnhouse, and started me on
clinic and judging circuits. By the time
I left Herscher in 1982, the music program was running a successful marching band competition, we had won the
Illinois Sweepstakes frst place overall
award three times, the jazz band had
won the Oak Lawn Jazz Festival, and the
marching band had won both the Illinois
State Marching Band Competition and
the MBA Summer National Competition.
Dale left to become director of bands at
Western Illinois University (where our
paths would cross again) in 1978, and
Joe left to complete his masters degree at
Colorado State University in 1980. Two
years later, I left to complete my masters degree in percussion performance at
WIU from 1982 to 1984.
JAZZed: After which you remained as a teacher.

DF: From 1984-88 I was assistant director of bands at Western Illinois University.
At WIU, I also learned about hiring music professionals, managing a large marching band
competition and popular jazz festival, managing a summer music camp, and planning trips
for the marching, jazz, and concert bands. Dale was a master recruiter and caring teacher
who made sure that every one of these events went smoothly and had memorable moments.
Through my years at WIU, I increased by network of fellow ducators and musicians in every
area, and I became involved in my professional music organizations at the state level.
JAZZed: Following WIU, you went to Northwestern for your Doctorate?
DF: Yes. And while I was a Ph.D. student at Northwestern University [1988-1990],
my offcial title was graduate assistant in Music Education. My dissertation was a qualitative study of the learning process in a jazz combo setting. For fve weeks, I analyzed
the verbal and musical interactions of four high school age combos both in coached and
non-coached settings. Findings revealed the effects of creative coaching techniques, and
the presented the effects of allowing students to be more self-directed as they interact
over time.
JAZZed: Can you talk about you your frst experiences taking a high school
group on the road, as well as any signifcant experiences or lessons garnered
through those journeys?
DF: My previous experience at WIU managing a European jazz band trip gave me some
insight into the needs of a traveling ensemble transportation, housing, venues, backline,
meals, deadlines, et cetera. However, our frst ETHS trip abroad came through invitation
from our sister
school in Urasa,
Japan. Our Japanese
language
instructor
approached me after
a music assembly for the school, and asked if I would be interested in putting together an
arts event we could present in Japan at the 1995 All-Japan Cultural Arts Festival. We would
be one of only three international groups honored to perform. She also invited fve dancers, so the combo musicians composed a 10-minute work, recorded it, and gave it to the
dancers to choreograph so we could perform it together. The experience of having students
compose a multi-movement work was daunting, especially given the need for the dancers
to have time to choreograph it, and for us all to have time to rehearse it.
We were fortunate regarding logistics. This trip was sponsored completely by the Japanese government, so all arrangements for the trip were taken care of. We were treated
like rock stars the entire trip I will never forget the reaction of the ETHS kids when we
pulled up to rehearse for the opening ceremony: the Japanese students stormed the bus
and formed a tunnel of screaming, cheering fans as we entered the hall.
The trip to Switzerland and Italy in 2000 was a joint effort that I undertook with Mary
Jo Papich, who at that time was the director of the Peoria Jazz All Star Big Band. We were
familiar with each others work through the Illinois Music Educators Association and we
were both looking to take our groups to Europe the following summer. When we arrived
in Montreux, I mentioned to the coordinator that if there were any additional opportunities for the ETHS combo to perform, wed be happy to do so. About three hours later, a
phone call came requesting us to travel up the mountainside to perform at a small village
festival, so we took everyone up the hill and had the time of our lives, performing in a
small town square, and sharing the stage with both Peoria and Evanston musicians. It
never hurts to ask!
Since 9/11, our out-of-country trips have been curtailed. However, we have performed throughout the United States. Each of these events brings memorable moments
for the students, and raises the bar for a higher level of performance through interacting
with guest artists, or being pumped up by playing in front of enthusiastic and focused
audiences.
Jazz is a unique thread that intertwines

through most pop music.
19
spotlight FO D O R
JAZZed: Talk a little bit about organizing jazz events festivals.

DF: My hope of bringing professional talent directly to the students was frst realized though an invitation by Ron Modell, the
legendary director of the Northern Illinois University Jazz Band.
He asked to bring his great college band to perform at the school
with trumpeter Red Rodney. After the kids and community got a
taste of this kind of experience, it was easy to repeat. By my third
year at ETHS, I was looking to develop a trademark event for the
jazz program, so I started a Jazz Cabaret night, where all the jazz
groups performed in a nightclub setting, with hors doeuvres and
beverages (non-alcoholic, of course).
Twenty years later, our Cabaret Concerts have transformed into
multiple night events, held in local performance venues with special guest artists. Finding the right guest artist was always a matter
of fnding a great musician/clinician, and selecting an instrumentalist who might create interest in a needed area for that year.
Ten years ago, I decided to try running a non-competitive jazz
Sing With
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festival for school bands and combos, with a culminating evening

concert. Running a festival required building a parent/student/
community committee, reserving facilities, hiring clinicians and
adjudicators, hiring professional talent, and much more. We invited a successful jazz festival chair to come and speak to a group
of our own interested parents about their experiences, and we
moved forward excitedly from there.
Since then, weve grown the festival to fve performing venues
for 45 school bands and combos, with adjudicator/clinicians for
every group. Weve expanded our clinic offerings to include individual improvisation lessons, hands-on technique workshops,
technology sessions, jazz history and business lectures, and much
more.
The event has allowed us to involve all of our jazz groups as
performers, and also as festival workers, where kids get the chance
to interact with other school groups, adjudicators, clinicians, and
guest artists.
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JAZZed: How do you arrange visits

from great artists? What are the biggest upsides to having pros come
and teach younger students?
DF: Arranging visiting artists may seem
daunting, but if you use your network of
friends and colleagues, it becomes easier
to do. The community of professional musicians is actually quite small, and getting
to know people is fun and easy to do. For
me, I began this process by watching and
helping my mentor and colleague hire people for events at WIU. Through my active
involvement in IAJE, and now JEN, I have
met and talked and worked with many fne
educators and musicians. As a performer
myself, Ive been able to call on my community of local musicians for assistance, as
well. Ultimately, you need to pick up the
phone and call someone and ask for their
interest in working with your students.
Often, the opportunities will come to
you. I have been asked by noted jazz artists
and teachers if they can come and give a
workshop or clinic. Be sure to take advantage of these opportunities as they come
along as well.
Of course, there needs to be a fnancial
system in place to support clinicians and
musicians who come to your school. As
mentioned earlier, our jazz festival helps
to create revenue to support this kind of
activity.
I found the most inspiring moments to
be the times I witnessed musical greatness
in a live setting. When students are able to
witness live performers, and have the opportunity to talk to the musicians about
what theyve heard or get advice on how to
play or practice or listen, then Im passing
on what hooked me into loving this unique
music, and much more.
JAZZed: You teach all the bands at
Evanston Township whats uniquely
challenging about teaching jazz to high
school students?
DF: High school kids generally are ready
to make the connection between technique
and personal expression. Dizzy described
how jazz musicians move from imitation to
assimilation to innovation. I observed this
progression in my dissertation research,
and this awareness has served me well in
helping my students progress in their study
of jazz performance.
At ETHS, weve made a point of offering
a variety of jazz experiences for our students. Big bands serve as an entry point for many
players, who learn about jazz style performance and ensemble techniques as they move from
lab band to jazz band, and eventually to jazz ensemble. Combos have grown to between nine
and eleven groups each year, and focus more on improvisation skills, learning tunes, and
creating arrangements.
Within this extracurricular program, we try different methods of teaching in non-performing settings. Since our jazz program starts up in mid-October, some years we have offered
weekly after school jazz clinics in September or early October on improvisation, listening,
technology, and history. More recently we have tried to integrate some of these topics into the
combo program by doing mini-sessions during the rehearsal time.
continued on page 34
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I highly recommend the Sax Dakota

Saxophones. Pete and his team have
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The guys over at Phaeton horns have
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Out of all these pockets, the only one I

wish I would have kept was the Phaeton
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21
PRESIDENTS LETTER
A Message from JEN President Andrew Surmani
Dear JEN Members,
July 1, 2013 began JENs 6th year of existence. Weve come a long way in these formative years and the organization is contributing in so many ways to building the jazz arts
community. This would not be possible without the countless hours of volunteer work put
in by committee members, board members, and conference workers. In fact, if you really
want to get involved in JEN, there is no better way than to join a JEN committee. It is
through the work of committees that JEN business is done, and it also gives you great
exposure to other leaders in the organization as you may consider running for a board
position in the future.
One of the ways in which JEN contributes to the jazz arts community was created in
part by a JENerous donation from the Herb Alpert Foundation. JEN was able to launch its JAZZ2U program
where 24 groups went out into the community in the United States and presented jazz concerts and clinics for
young students. This benefited not only the music students at these local schools, but also those students not in
the music program by exposing them to this creative art form. With additional funding in the future, we hope to
expand this program to more schools, including in other countries as well. You can donate to help fund programs
like this by going to our website (JazzEdNet.org) and clicking on Support Us in the top menu bar.
By the way, JAZZ2U scholarship donor Herb Albert was recently honored by U.S. President Barack
Obama as one the 12 recipients of the 2013 National Medal of Arts. This is the highest honor bestowed on artists
and arts patrons by the U.S. government.
Finally, Im honored to recognize the 2014 NEA Jazz Masters: Jamey Aebersold, Richard Davis, Keith
Jarrett, and Anthony Braxton. These jazz legends will be honored at a special awards ceremony and concert at
Lincoln Center in New York City on January 13, 2014. You can learn more about this program and this years
recipients by going to nea.gov/honors/jazz.
I look forward to seeing you at our 5th Annual Conference at the Hyatt Regency Dallas at Reunion,
January 8-11, 2014. Be sure to visit our website and click on Conference Central in the top menu bar to register
for the conference, secure housing, consider sponsorship opportunities, apply for a scholarship or award, or apply to have your jazz group perform in the JENerations Jazz Festival.
Sincerely,
Andrew Surmani | JEN President
JEN Board of Directors (201314): Rubn Alvarez, Paul Bangser, Bob Breithaupt, Cheryl Carr, Caleb Chapman (Vice President),
John Clayton, Jos Diaz, Dr. Lou Fischer (Immediate Past President), Dr. Darla Hanley, Dr. Monika Herzig (Secretary),
Judy Humenick, Rick Kessel (Treasurer), Mary Jo Papich (Past President), Bob Sinicrope (President-Elect),
Andrew Surmani (President). Office Manager: Larry Green; Webmaster: Gene Perla; Marketing & Communications:
Marina Terteryan; Web Hosting: AudioWorks Group, Ltd./JazzCorner.com; Bookkeeper, Lynda Chavez
22
JEN VIDEOS
Participate in JEN Conference Videos
At each years conference, the JEN official videographer, Bret Jazz Video Guy Primack captures the
JEN experience from conference attendees and JEN members. For the 2014 Conference, we want to hear from
you! Sign up to be one of the featured interviewees in Dallas by emailing bretprimack@gmail.com.
I am a perpetual student, as
we all are... were always striving to find something new.
One of the things I like about
jazz education is watching the
students grow.
Jon Faddis, The Conservatory of
Music at Purchase College-SUNY
Jon Faddis
Teaching combines my two

passions because it requires some
degree of psychology and my
knowledge of music.
Dave Pietro, NYU Steinhardt
Nilson Matta and Dave Pietro
JEN is promoting... community, relationships,

trust, and legacy. Thats whats really important
about this music.
Matt Wilson, Drummer/Educator
Matt Wilson
Screen shots courtesy of Bret Primack
Scan this code or visit

youtube.com/JazzEdNet to
watch these and other videos
from past JEN conferences!
23
ADVICE FROM MUSIC TEACHERS

How to Start off Your School Year Successfully
Students and teachers, start your school year off on the right note! JEN-member educators share their best tips
on how to set yourself up for success. Share your own best tips with us on our Facebook page:
Facebook.com/JazzEdNet.
The start of a new academic

year is the perfect time to reflect
on where youve been and where
youre going as an artist and
person. All of us, but especially
students, should sit down and
write a frank annual selfassessment, both musical and non-musical, reflecting personal growth
and learning, and re-informing
and re-stating plans, ambitions
and goals, both short and long
term. Doing this every year can
be a great roadmap for improvement and progress.
Martin Mueller, Executive Director, The New School
for Jazz and Contemporary
Music
My goal is to present materials that set students on a trajectory where they are preparing
for the world at large in a broad
way, establishing sound musical
Listen to a recording of one

song/performance that you love,
over and over again, every day
all semester. Study the song, too
form, melody and chord
progression. Wait for the results!
Shelly Berg, Dean of the
University of Miami, Frost
School of Music
Photo: Susan Rosmarin
Shelly Berg performs at the 2013

JEN Conference.
principals and a varied skillset

(playing, writing, arranging,
band leading, ensemble playing,
repertoire). Its a great challenge
to keep refining the teaching
process, and
I believe
I learn as
much from
the students
as they do
from me.
Photo: Chuck Gee
Bob Mintzer performs with the USC Thornton Jazz

Orchestra at the 2013 JEN Conference.
24
Bob
Mintzer,
Chair of the
Jazz Studies
Department,
University
of Southern
California
Variety is the spice of life, so try

something NEW this year with
your jazz program. Here are a
few ideas to consider:
Start up a jazz combo
program, if you dont already
have one.
Start a monthly open jam
session, or a monthly listening
sessionor both!
Offer some after school jazz
theory or history workshops.
Plan an in-school performance
on a shared topic with a
humanities or history class.
Encourage student composing
or arranging projects and
perform the works.
Begin a school Fakebook with
student entries and share in print
or online.
Dave Fodor, Director
of Bands (Retired), Evanston
Township High School (IL)
GORDON GOODWIN ON MUSIC ADVOCACY

Time to Push Back
By: Gordon Goodwin
It seems like I have been
apologizing for my activities
in music since the very beginning. As a kid in first grade,
I got teased for having to go
home after school to practice the
piano, instead of playing with the
neighborhood kids all afternoon.
When I fell in love with jazz in
Gordon Goodwin
the 8th grade, I remember being
surprised that not all of my peers
shared my affection for that music, which became clearer
still as I got into high school and experienced my towns
focus on athletics over the arts. But it was after graduating
from college that I started to understand the depth of the
issue. As I started my career as a professional musician, I
would get hired to play or compose music in a variety of settings, and it was obvious that playing jazz was fairly low on
my employers wish list.
Indeed, it seemed like writing and playing jazza
skill set that I had devoted so much time and resources to
develop, was a skill set that commanded very little economic
value. And while I would not have thought this possible way
back in 1980, its economic value would continue to decline
as my career went on. The sad fact is that music of content
garners little respect in our current culture. You can watch,
as with each passing decade, pop music in America devolves
more and more, with each incarnation stripping away more
elements of value.
Let me state that the larger issue here is not about
my career, or my desire for jazz or classical music to reign
supreme and sell millions of records. (and yes, in my naivete,
I do hold that desire!) The larger concern is the deleterious
effect that our corse artistic culture is having on our society
at large. I do not have to preach to the readers of this publication about the values that an understanding of the arts brings
to a young and developing mind. Many of you know far better than Iand have seen it up closehow music can change a
young persons life for good. But it goes beyond our schools
producing new jazz musicians. Jazz could disappear tomorrow and life would go on. We dont really need it. But what
we do need are people that can problem-solve, people that
can see shades of gray, people that have empathy, people that
understand nuance, people that can work together, people
that understand delayed gratification, people that know how
to set short and long term goals. All this, and more, is what
we are losing when we deny students substantive exposure
to an arts education.
But you all know this. You all know how music
programs are getting decimated by budget cuts at an

alarming rate all over this country. The question becomes:
what now?
And while I am tempted to go full-on Howard
Beale on the problem (Google it, kids) that may not be the
most persuasive solution. This problem was not created overnight and will not be solved quickly. I remember my dad,
who was a conservative guy and loved the idea of getting his
taxes cut, saying that Prop 13 (passed in 1978) was going to
be a real problem for the schools in CA. And boy, was
he right.
I think it is up to all of us to take small steps on a
daily basis to bring this problem to light. Did your kid make
the honor band? Why wasnt that listed in your school paper?
Did your band place well at a recent festival? Why wasnt
that covered in the local paper? Did one of your students
work hard to master a difficult passage? Give them praise
in class, or post it on your Facebook page. Acknowledging
achievements is important, but sometimes you gotta call out
the bad stuff too. Did somebody miss rehearsal without a
really good excuse? You gotta call him out! And not just the
director, the whole band needs to hold him accountable. How
dare you miss rehearsal, this is MUSIC, man! This is important! Set up a culture of excellence, of high expectations.
Do you have a friend that steals music off the internet? Do we really have to explain again that this is wrong?
Mom and Dad, exactly when was the last time you bought
a CD? You cant listen to your old stuff forever, you know!
And speaking of accountability, imagine the impact of every
kid in the music program, along with their parents, marching
into a district board meeting to demand How dare you cut
our program? Do you have any idea what you have done?
Because many of them do not. I believe many administrators have only a rudimentary understanding of what an arts
education can achieve. These administrators have a tough
job trying to make their numbers crunch, no doubt, but it
is squeaky wheel time, folks. And we, as musicians tend to
have an inherent response to just go inward with our problems and not make waves. But this approach has brought us
away from the public focus for too long. Music and the arts
in general are much more than an extracurricular activity or
some cheap entertainment at halftime. We need to step up
and reclaim our place in our culture. It is time to push back.
Have ideas or comments? Want to hear an audio
version of this article? Find me on Facebook, YouTube,
Twitter (@bigphatbandhq).
JEN member Gordon Goodwin is a Grammy- and
Emmy-winning composer, performer and leader of Gordon
Goodwins Big Phat Band. Their newest recording, Life in
the Bubble, will be released in early 2014.
25
COMPOSITION SHOWCASE
2014 Composition Showcase Accepting Submissions
Now in its fourth year, the JEN student Composition Showcase, gives current students an opportunity to
have an original composition recognized and performed at the international level. The composers will be invited
to attend the conference and hear their pieces performed by a professional group during the 2014 conference and
receive detailed feedback. Apply by October 4, 2013 at JazzEdNet.org/CompositionShowcase.
Having the
opportunity
to perform an
original composition at the
JEN Conference with such
phenomenal
artists from the
Emily Merrell
Alan Baylock
Jazz Orchestra
was an amazing honor and privilege for me. It was
also such a pleasure to meet and talk with all of
the other brilliant young composers featured at the
Showcase, and to hear their inspiring work. I am
personally very passionate about jazz education and
am thrilled with the work JEN is doing to keep the
music alive. I cant wait to see this fantastic organization continue to growwe can all expect great
things from JEN!
Emily Merrell, 2012 Recipient
Being a part
of the JEN
Composition
Showcase really
helped broaden
my scope as
an arranger
and composer.
In addition to
having a great
band perform
Tyler Mire
my work, I was
able to hear
students from all over the country play and perform
their own original music. It was a great experience
and very inspiring. It gave me the confidence to
work on my own big band project.
Tyler Mire, 2012 Recipient
26
As a composer,
JENs Student
Composition
Showcase gave me
the opportunity
to have my music
performed by outstanding musicians
before a knowledgeable audience,
which allowed me
artistic freedom
Dr. Socrates Garcia
to explore music
without restricting my creative process. It was a blast! The JEN
Conference is a great place to interact with the best
musicians in the jazz world, offering a great environment for professional networking. Furthermore,
it is an amazing place to see remarkable concerts
and clinics. These aspects make the JEN, undoubtedly, the most important event for jazz educators.
Dr. Socrates Garcia, 2012 Recipient
My experience with the JEN Composition Showcase was encouraging, supportive, and inspiring
from beginning to end. The highly individualized
feedback I received was influential in improving
my composition skills and hearing my music performed by incredible jazz musicians at the showcase was a very special and exciting moment in my
career. It was a true highlight in my progression as
a composer.
-Kate Skinner, 2012 Recipient
It was an honor to have my music critiqued by
some of my idols in the jazz composition idiom. In
addition, having members of the Alan Baylock Jazz
Orchestra perform my music was surrealmany
of the performers I had listened to obsessively on
some of my favorite recordings.
Brett McDonald, 2012 Recipient
SCHOLARSHIPS /AWARDS
2014 Scholarship & Awards Applications Available
With the help of our individual and organization sponsors, JEN has been proud to provide dozens of
deserving students and teachers with educational scholarships. Read about our past winners and submit a
nomination by October 15, 2013 at JazzEdNet.org/ScholarshipsAwardsPrograms.
Winning
the scholarship meant
much more
than simply
getting a
monetary
award. I was
able to attend
a jazz camp,
take private
lessons with
Kim Aubuchon
some of the
top trumpet
teachers in the country, and put money towards a
new trumpet. Beyond the initial monetary
benefits, Ive built upon the knowledge Ive
gained, stayed in touch with the mentors I studied
with, and I still love the horn I was able to buy.
Winning that scholarship opened countless doors
in my music career, and Im deeply grateful.
Kim Aubuchon, The Mary Jo Papich JEN
Co-Founder Women in Jazz Scholarship
(2010 Winner)
I really
enjoyed receiving my
scholarship
in Atlanta
last January.
During the
conference
I was not
only able
to attend
clinics, but
also I was
able to go
behind the
Caitlan Bryant
scenes with
performing ensembles and watch them rehearse.
I picked up a lot of great rehearsal strategies from
watching the professional groups. I was also able

to meet tons of great people and make a lot of
great connections out of the conference and out
of the JEN organization. I hope to be involved in
JEN for the remainder of my musical career.
Caitlan Bryant, The Mary Jo Papich JEN
Co-Founder Women in Jazz Scholarship
(2013 Winner)
Receiving the Hal Leonard scholarship was truly
an honor. The scholarship granted funding that
supported my education and also fostered an ongoing relationship with the JEN board. Since then,
I have strengthened those relationships by volunteering with JEN registration, serving as an intern
for the Fundraising and Development Committee
and working with the Outreach Committee.
Kathleen Hollingsworth, Hal Leonard
Collegiate Scholarship (2011 Winner)
Our program booklet cover

design contest is now open
to high school and
college students!
27
NETWORTHY NEWS
Networthy News from JEN Members
Check out how JEN members are serving the jazz arts community by advancing education, promoting
performance, or developing new audiences. For a chance to be included in print or online, send your own
Networthy news in 100 words or less, along with a high-res photo to NetworthyNews@JazzEdNet.org.
We congratulate JEN founding member
and sponsor Jamey Aebersold, who was honored by the National Endowment for the Arts as
one of four 2014 NEA Jazz Masters. Recipients will be presented at an awards ceremony &
concert on January 13, 2014, at Jazz at Lincoln
Center in New York City, which will be webcast
live. Also honored were Richard Davis, Keith
Jarrett, and Anthony Braxton.
We are happy to see that JEN member
Antonio Garcas A Jazz Bridge to Greater
Photo: Tricia Williams
Understanding grant was chosen as the 2013
The Louisville Leopards perform under the guidance of
recipient of the Virginia Commonwealth UniverDiane Downs.
sity Community Engagement Award for Research. The $100,000 grant brought American
We are happy to celebrate The Louisville
and African citizens together last academic year.
Leopard
Percussionists 20th anniversary! Founded
VCU traveled to the University of KwaZulu-Natal in
by JEN Outreach Committee Member Diane Downs
Durban, South Africa and vice-versa, commissioned
in 1993, The Leopards are an ensemble of kids ages
new musical works, rehearsed over the Internet and in
7-14 from Louisville, Kentucky. For the past 20 years,
person, performed on both continents, and recorded
the Leopards have performed throughout Kentucky
live for a joint CD, Leap of Faith, out this Fall.
as well as nationally and have performed with some
Along with UKZN Jazz Director Neil Gonsalves, the
of the worlds top musicians including: Dave Samumusical teams also researched the parallels in racial/
els, Joe Morello, Chick Corea, Louie Bellson, Ndugu
cultural divides in their respective cities.
Chancler, Nnenna Freelon, Giovanni Hidalgo, My
Morning Jacket, and Mucca Pazza. The Leopards
were featured in an HBO special, The Leopards
Take Manhattan, which airs periodically on the
HBO Family channel.
A big congratulations to JEN sponsor Herb
Alpert, who was recognized by President Barack
Obama for his lifetime contributions to the arts, with
Photo: Debbie Mari
UKZN and VCU students perform with South African folk
one of the 12 Medal of Arts bestowed annually by
music legend Madala Kunene (left) under the direction of
the White House. Alpert is a music icon, accomVCU Jazz Studies Director Antonio Garcia (center).
plished sculptor, painter and philanthropist, and
through his creativity and inspiration, he has
significantly enriched and influenced our cultural
Congratulations to JEN Vice President Caleb
life. The National Medal of Arts awards were estabChapman, who was honored by Utah Governor Gary
lished by Congress in 1984 to honor artists and patrons
Herbert with the 2013 Governors Performing Artist
of the arts. It is the highest award given to artists and
Award, which is given to one individual annually.
arts patrons by the United States government and winThe award was presented at a dinner reception at the
ners are recommended to the President by The NationGovernors Mansion and featured a performance by
al Council of the Arts and the Arts Endowments
the Caleb Chapman Crescent Super Band.
advisory council.
28
JEN NEWS
Caleb Chapman Appointed
Vice President
Board member
Caleb Chapman
has been appointed
Vice President for
2013-2015. Chapmans vision and
accomplishments
have marked him
as a rising star both
domestically and
internationally, with
Caleb Chapman
a unique perspective as an educator, author, and performer. As the President of Caleb
Chapman Music, he directs more than 150 of Utahs
most talented young musicians in nine elite ensembles,
including the Crescent Super Band, which has frequently been hailed as one of the best youth big bands
in the world. In 2011, Chapman was named the John
LaPorta Jazz Educator of the Year, and in 2013, he is
a finalist for the inaugural Grammy Music Educator
Award.
Chapmans students performed recently for
a full house at Carnegie Hall and have been honored
with 22 DownBeat Awards and seven consecutive
Best of State awards as Utahs Best Professional
Band in any genre. He has been named Utahs Best
Educator and Utahs Best Music Educator.
Graduates of his program are on scholarship
at many of the nations top music schools, including
Berklee College of Music, University of Southern
California, University of Miami, Juilliard, and University of North Texas.
Cheryl Carr Appointed to the Board

of Directors
Cheryl Carr
JEN member and

attorney Cheryl Slay
Carr has been appointed to the JEN Board
of Directors. Her experience with the jazz
arts community stems
from interaction with
the music industry in
several spheres: as a
faculty member, performer, and entrepreneur/researcher.
As Assistant Professor of Music Business for

Belmont University, her areas of expertise and academic focus are largely derived from her experience as
an entertainment and intellectual property (IP) attorney, and as an author and presenter on a range of IP
and entertainment industry topics.
With multiple service to various organizations, Carr is author of Music Copyright Law (2012);
has authored a number of publications concerning
music business and law in various journals and books,
and has presented workshops across the United States.
Having presented research at the Atlanta Conference,
Carr is a member of the Copyright Society of U.S.A.,
Tennessee Jazz & Blues Society, and the Music and
Entertainment Industry Educators Association.
Connect with Us Online

Join JENs social media community of teachers, artists, industry professionals, and more!
facebook.com/JazzEdNet
facebook.com/groups/jazzeducators
youtube.com/JazzEdNet
twitter.com/JazzEdNet
LinkedIN Group:
Jazz Education Network
29
focus session
ARRANGING
Jazz Arranging Session
Blurring the Line

Between Composing and Arranging
BY PETE MCGUINNESS
One of the many joys of the art of jazz arranging is the creation of the introduction. There are seemingly countless ways
of approaching this art. Some arrangements even have no intro
whatsoever. Think of Marty Paichs masterful chart on Round
Midnight from the classic LP, Art Pepper Plus Eleven.
As the melody begins, one is not sure if it is part of an intro
or if the tune has begun. Other arrangements may have a simple
vamp fgure or something that merely establishes the songs key
and style. Still others may use something as simple as a solo
drum fll.
A highly creative approach for creating an introduction can
come from using specifc musical elements within the song - melodic, harmonic, and/or rhythmic. There are many ways one can
use what is inside the song to remind the listener of what we
are about to hear. As my colleague John Fedchock puts it, If
an intro is effective, the appearance of the actual melody should
feel familiar. One of the most obvious ways of doing this is by
simply quoting an entire phrase of the song, making it clear what
song is about to be presented. Though a seemingly simple way
to go, there is always room for cleverness and invention through
such techniques as melodic variation or reharmonization.
Example #1 is based on the well-known standard Love
Walked In by George Gershwin. Here Ive created an intro so
the last eight-bar phrase of the song is presented as a highly syncopated and rewritten melodic line (think strong/swinging big
band tutti-style). Also note the use of alternate chords to further
enrich the phrase, which helps to clearly and dramatically set
the intro apart.
4 w
&b 4
Original
Swing q = 120
^
4 > . ^ j j b > . J
&b 4 J
f F f
C m11
Arranged
Intro
(lead line)
Example 1:
B bMa7
F 7+5
F Maj
A m7
D 7b9
& b .
D b 7alt
^
&b
F
(drums)
F9
>
C 13sus
B 13#11
G m7
C7
A 7#9
B bMa7
F Ma7
w
6
F9
( ) > .
J
D 9sus C 9sus
> ~~~ ^
~
F
E 7alt.
B m7( b 5)
(Dm7
A b 13
B b m7
E b7
B b 9sus A b 9sus
>
( ) .
J
Gm7
C7)
J b n b
f
P
G 13
C 13b9
A more subtle way of using the song as your source of material for an intro is by considering smaller elements as building
blocks for a more compositional approach. It could be harmonic, perhaps highlighting a specifc shift of chords from the songs
progression that is clearly identifable. I think of the frst two
chords of Billy Strayhorns Passion Flower as being indicative
of that song: F#9#11 to F9#11 (I once composed a 24-bar intro
for that song based purely on those two shifting chords). The
melody notes may have some unique intervals, motives or phrases that make the song special. It may be as simple as a two- or
three-note pitch cell.
30
Even without the underlying harmony, the frst three notes

of Cole Porters I Love You are instantly recognizable. This
would clearly be a motivic cell to consider when using this more
compositional approach. Perhaps something as simple as using
a number of descending major 7th intervals as found in that frst
motive mentioned would be enough to remind the listener of the
importance of that frst motivic moment of the tune.
Example #2 offers a few simplifed examples of sections from
some truly well written arrangements. The phrases appear in a
reverse fashion: The frst portion of each example is the lead line
and chords of the frst phrase of the melody chorus, followed
then by the charts intro. This was done so as to see the melody
frst, followed by seeing how the intro might relate to it.
Example 2:
This example is from an octet arrangement Bill Holman wrote

in the mid 1950s for the Dave Pell Octet. First notice the melody and chord structure of the song. Then looking at the intro,
note how Bill highlights the frst three notes of the tune in intro
bars 1 and 2, and again in bars 5 and 6. The longer note values
of each note, set in a surprising rhythmic hemiola draw special
attention to these notes/intervals. Being offset by drum flls also
helps to draw attention to this three-note cell. Consider as well
how seemingly simple the chord progression of the melody is.
Holman further sets the intro apart by harmonizing each note in
the intro with a parallel dominant-type chord. These more complicated sounding harmonic and rhythmic features of the intro
help set it apart and make the more straightforward material of
the melody feel very welcome when it arrives a nice example
of the basic concept of tension and release that make truly artful
creations work.
Example 3:
Thad Jones classic Dont Get Sassy (Example #3, scored

for big band) seems on the surface to simply have a romp-
When creating an introduction for an arrangement, think about all

the possibilities presented to you in the song being arranged.
ing-stomping intro, full of swinging riff-type shuffe fgures in
the horns. But on second glance, we see that the fgures of the
intro clearly refer to the main melody. In the frst two bars of
the melody, we see that each bar has only two notes, each fgure
based on the 6th going down a step to the 5th of each chord (fgures labeled a and a).
One of the things I love about the intro is how the melody
notes of the frst two bars are presented, yet disguised by the addition of a pickup eighth note a step above, occurring on the upbeat of beat one in both bars. This one little addition somehow
makes the entire phrase sound like a new melody. Also, note in
the intro the sax sections shuffe-type counter-fgures that occur
after the brass statements (labeled b). One could argue that
perhaps Thad just wrote some simple swinging fgures here to
show off the shuffe feel and for a call-response effect. But if we
look at bar three of the melody, we see this shuffe-type fgure,
with the same short-long pattern in the eighth notes on beats
three and four. This fgure clearly stands out in the melody, so
Thads presenting some version of it in the intro is probably more
than just a coincidence. POOP
Example 4:
For contrast, Example #4 starts with the intro then moves

into the melody. Fedchocks exciting intro to his wonderful composition is full of references to several aspects of his song, all
done in a concise eight-bar phrase. The sheer power of the large
tutti voicings in the intro is nicely contrasted by the relaxed presentation of the melody at letter A (simpler and more fowing
rhythmic fgures, the thinner texture of unison saxes, softer dynamic, et cetera).
If we look deeper into the intro, we also see references to the
melody. Note the frst three notes of bar one of the intro outline a
major triad (C), as does the melodys frst statement (BH triad) set
in a different rhythmic structure. Several of the key notes of the
melody are highlighted in the intro note how special attention
is drawn to the highest note of the intro: the AH in intro bar two.
This same pitch is the also the highest note of the frst eight-bar
phrase of the melody, an important aspect about the overall contour of the melody. If you were to listen further to the melody
(fnd it on Fedchocks CD No Nonsense), youll notice the chords
used in the four-bar phrase of bars 11-14 of the songs form also
serve as the chords for the frst four bars of the intro yet another subtle and unexpected connection Fedchock was able to
make between the intro and material from the melody.

When creating an introduction for an arrangement, think
about all the possibilities presented to you in the song being
arranged. This kind of creativity blurs the line between arranging and composing. One might feel they are swinging back
and forth between the two worlds when writing an intro in this
manner, but that is actually half the fun. Find those gems in the
song that will give you ideas and material for a rich and clever
introduction. Happy hunting!
Pete McGuinness is professor of Jazz
Arranging at William Paterson University in Wayne, N.J. and is a Grammy-nominated and NEA grant-winning big band composer/arranger. He
has written music for ensembles including The Dave Liebman Big Band, The
Lionel Hampton Orchestra, Bill Mobleys Smoke Big Band, and The Westchester Jazz Orchestra. McGuinness
also leads the New York City-based big
band The Pete McGuinness Jazz Orchestra. His big band scores and
compositions are published by Kendor Music.
OUR EDUCATION
IS HOW YOU WILL
BE HEARD.
Every class is infused with Music,
Our Journalism is Music Journalism,

Our History is World Music Cultures,
Our Science is how your Voice is made.
visit mcnallysmith.edu
VISIT OUR CAMPUS
19 Exchange Street East

Saint Paul, Minnesota 55101
p: 651.291.0177
info@mcnallysmith.edu
31
jazzforum
www.aajc.us
By Dr. Larry Ridley, Executive Director, and Bill Myers, President
Mutual Musicians Foundation Completes First of Annual

Conversations on Jazz In America
Offering the BM, MM,
and DA in Jazz Studies!
~ Award-winning ensembles with
over 100 DownBeat Awards
~ 2013 Winner, Graduate College
Large Jazz Ensemble,
UNC Jazz Lab Band I
~ Now offering an undergraduate
degree in Music Business
UNC Jazz
Press
~ uncjazzpress.com
UNC/Greeley Jazz
Festival presented by
Jamey Aebersold
~ uncjazzfest.com
501 20th Street, Campus Box 28, Greeley, CO 80639
phone: 970-351-2577 fax: 970-351-2536

Email: jazzstudies@unco.edu
uncjazz.com
32
This past spring, The Mutual Musicians

Foundation (MMF) held the frst of a series
of conversations concerning jazz as an economic, education, and preservation tool.
The event was one of 100 being presented
in Kansas City in celebration of the founding of the organization in 1917 as Local
627, or the colored musicians union.
Jazz Center Stage: The Economics of
Audience Development, spoke to the dire
importance of redefning audiences and
allowing jazz to expand within an international scope, said Anita J. Dixon, vice
president of the MMF and panel moderator. The included world famous bassist and
educator, Dr. Larry Ridley; Bill Myers, president of the African-American Jazz Caucus,
Inc (AAJC); and Chuck Haddix, director
of the University of Kansas Citys (UMKC)
Marr Sound Archives. Presented in part by
the City of Kansas City and the American
Jazz Museum, Jazz Center Stage spoke to
aligning collaborative efforts between tourism, higher education, and historic preservation to demonstrate jazz as an economic
development tool. Plus, as an entre, work
toward introducing American jazz to new
and diverse concepts globally. The twohour video can be seen by sending an
email request to ugrrlady@aol.com or by
phoning (816) 612-0864. We will ship a
DVD for only shipping and handling cost,
Dixon says.
For more information go to facebook/
Mutual Musicians Foundation.
zation will create a social media marketing presence for international education
programs, international guests, corporations, and small businesses wishing to
invest in Kansas Citys cultural landscape.
The long-range economic development
plan will expand on the opportunities for further development of the districts historic buildings and structures.
A New Focus for the MMF

The MMFs newest focus is to use its 93year presence as the basis of an interpretive
center. This will be achieved by creating a
hub center that showcases the organization
as an international tourism destination
located in one of the most famous neighborhoods of African American historical
signifcance, 18th & Vine. The MMF will
be a one-stop shop enhancing the lives of
area musicians with health and wellness
programs, affordable housing units, and
assistance with lifeline applications services
(such as food stamps, Medicaid, Medicare,
et cetera).
Working with port of entry cities to
direct them to Kansas City, the organi-
A City within a City

The African American community was
known as a city within a city. African
American musicians and entertainers used
the union hall as their gathering place
during the day for rehearsals, social gatherings, and to fnish out the night after
the gig.
The downstairs area of union hall was
opened to the public on the weekends and
everyone attending the late night sessions
would jam themselves into the small
space, thus the term jam session. In
1970, Local 627 was ordered by the American Federation of Musicians to de-segregate the union and the white union and
black are merged as 34/627.
The Community Nurtures the Sound

of Kansas City Jazz
The MMF grew out of an organic gathering of people of color from all parts of the
United States. It was within this selected
set apart known as segregation that the
sound of Kansas City jazz became renown
throughout the world. The Swing Era had
begun and its luminaries will forever be
enshrined and at home at 1823 Highland
Ave.
During the height of segregation, there
were hundreds of private homes, shops,
and churches within a three square mile radius. The last remnants of how the neighborhood housing was connected to the
church and to the MMF can be seen directly to the west of the MMF building. These
homes demonstrate the close proximity between the church and the now demolished
RT. Coles High School where many of the
local musicians were taught the fundamentals of music. This compaction of a people
produced the Kansas City sound; bluesbased, gospel tinged, and swingin.
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Nady PSS-300 Portable Sound System

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The PSS-300 includes two fullrange 8 speakers and one 8-channel
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Features include: Recessed speaker mount for easy transport; 8 woofer and 1 titanium high
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Grover Pro Professional Castanet Mounting Frame
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n o r t h w e s t e r n u n i ve rs i t y
Bienen School of Music

The Bienen School of Music offers
Conservatory-level training combined with the
academic fexibility of an elite research institution
Traditional BM, BA, MM, PhD, and DMA degrees
as well as innovative dual-degree, self-designed,
and double-major programs
Close proximity to downtown Chicagos
vibrant cultural landscape
A new 152,000-square-foot facility to open in
summer 2015
Jazz Faculty
Victor Goines, director; jazz saxophone
and clarinet
Carlos Henriquez, jazz bass
Willie Jones III, jazz drums
Jeremy Kahn, jazz piano
Christopher Madsen, composition
and arranging
Bradley Mason, jazz trumpet
Elliot Mason, jazz trombone
John P. Moulder, jazz guitar
The Bienen Schools new facility will include the Mary B. Galvin Recital Hall
(pictured above), the Carol and David McClintock Choral Rehearsal and Recital
Room, an opera black box theater, teaching studios, practice rooms, classrooms,
and administrative offces.
847/491-3141
www.music.northwestern.edu
33
spotlight FO D O R
continued from page 21
Early in the season, we teach and monitor each combo more closely, helping guide rehearsal techniques, song selection/creation, and
improvisation techniques. As the season progresses, we try to allow
the combo members to take more charge of their group until they
become self-suffcient. Our combos are built based on performance
abilities, so the less experienced groups require more attention at the
beginning, and the more experienced groups require a different level
of interaction from the coaches.
JAZZed: Whats the audition process like?

DF: The audition for placement into our jazz groups is quite simple, given that we need to evaluate over one hundred students. When
school begins in late August, we post audition dates for mid-September. Students sign up for a fve-minute audition slot, and pick up an
audition info sheet which describes what they need to bring. Students
are asked to bring a short piece to perform (from any style), be prepared to improvise over the B H or F blues (if they know how), and to
think about whether they want to play in a
big band, a combo, or both.
The award-winning UNL

Jazz Studies area is a vital
part of the University of
Nebraska-Lincoln School
of Music.
Create. Perform. Achieve.

Te University of Nebraska-Lincoln is an
equal opportunity educator and employer.
34
Offering graduate degrees

in jazz studies (MM and
DMA), the program is
designed to be an intimate
course of study, allowing
our renowned faculty to
work closely with our
students to develop them
as comprehensive teachers
and performers.
For more details, please
visit:
music.unl.edu/jazzstudies
JAZZed: Youve retired from your

position. Can you discuss what led you
to that decision, what youll miss most
(and what you wont miss), and what
your future plans are?
DF: What Ill miss the most are the people. Ill miss my wonderful colleagues who
share a vision of music education that is inclusive and always striving for excellence
while having a fun time doing it! Ill miss my
students who keep me young-at-heart and
who remind me to give my very best effort
every moment. Music is both a personal and
a collective experience, and it is impossible
to describe the bond that is created in making musical moments together. I will miss
sharing those moments on a daily basis very
much, and I look forward to fnding new
people to share with in new and exciting
ways.
As for the future, I have a few specifc
plans to start with. Personally, I look forward to spending more time with my wife
and two boys. Teaching band took me away
from my family a lot, so I look forward to
being able to see them more. Professionally,
I hope to become more of a player again,
through playing in local big bands, small
groups, and community concert bands.
I have the opportunity to conduct a
community band soon that may become a
more full time commitment in the future,
as well. I have plans to write a pedagogical
book on teaching jazz combos, because I
think there are many music educators out
there who would like the help in building
a small group program, but lack the experience of working in that area.
Finally, I hope to increase my volunteer work with JEN, through building the
Young Composers Showcase program, and
I will be looking for clinic and workshop
opportunities, as well.
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35
Backbeat
Carline Ray
1925-2013
azz instrumentalist and vocalist Carline

Ray, an active supporter of womens
rights, also a performer, educator, and
member of Saint Peters Church, died recently in Manhattan at the age of 88.
Ray was born on April 21, 1925 in New
York City. She entered the Juilliard School
of Music when she was 16 and studied
composition. There, she also frst played
jazz, joining Edna Smith, a fellow student and bass player, gradually becoming
adept on this instrument. She began her
professional career joining an incarnation
of the famed International Sweethearts
of Rhythm, an integrated and all-female
group that had originally formed in Mississippi in the 30s.
Ray later joined Erskine Hawkins and
His Orchestra in 1948 as a singer and guitarist. She continued to study, earing a masters degree in voice in 1956. In 1981 she
was awarded a grant to study the acoustic
bass under jazzman Major Holley. Some of
her performing credits as bassist include working with Sy Oliver Orchestra, Duke Ellington
Orchestra directed by Mercer
Ellington,
pianist/composer
Mary Lou Williams, trombonist-composer Melba Liston, and
singer Ruth Brown.
Ray received the Kennedy
Centers Mary Lou Williams
Women in Jazz Festival Award
in 2005. In 2008, she received
an IWJ (International Women
In Jazz) Award. Ray is also featured in the documentary flm
The Girls in the Band.
In 2013, she released her debut recording produced by her
daughter Catherine Russell, Vocal Sides.
36
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Live Concerts: Attend concerts by the worlds top professional jazz
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AUGUST / SEPTEMBER 2013

THE JAZ Z EDUC ATOR S NE T WORK

FOR BIG BAND & PIANO

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CIM ............... $24 95

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THE JAZZ FOUNDATION OF AMERICA 13

DR. DAVID FODOR 18

JAZZed August/September 2013

Making an Indelible Mark

hat greater motivator is available for students

JAZZ EDUCATION NETWORK

The Official Publication of JEN

2013 Avedis Zildjian Company

Marcus Gilmore is part of a proud tradition of drummers

The Indiana University Jacobs School of Music

School of Music, said

Montreal Jazz Fest Sizzles

JAZZed August/September 2013

to composer/instrumentalist, Charles Lloyd,

Crowds gather at an outdoor concert at the 2013

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Study with resident artist faculty

Share your passion

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Jenkins Wins JJA Lifetime

DOES NOT BELONG

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JAZZed August/September 2013

Associate Professor and

The Frost School of Music

Whats on Your Playlist?

Bebop Recordings, 1949-1952, Prestige.

2. Too Damn Hot Dr. Lonnie Smith

7. Water Music David Soldier and Richard Lair

3. Love, Peace and Jazz! Live at the Village

JAZZed August/September 2013

Photo by todd Weinstein.

Frost School of Music

6. Travelling Without Moving Jamiroquai

8. Promised Land Omar Sosa

Jazz Foundation Moves

The experience of going down to New Orleans

Frost School of Music

The Frost School of Music

Nat Hentoff is one of the foremost authorities on

THE DIMINISHED SCALE

Getting familiar with the diminished scale and dominant chords

JAZZed August/September 2013

By using this integer notation method we can order the scales

The following arrangement of notes was often used by John

join essentially ellington

eight new charts: four transcriptions of the music of Duke Ellington

Here are a few examples of musicians using the octatonic scale

In example 7, the soloist is using [0,1] over a C7 harmony. In