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Jeff Coffin
Takes on Jazz


Focus Session

Unlocking the Power of

the Triplet in the
College Classroom

Basic Training
Using Tone Rows
in Composition






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


Jamey Aebersold Jazz

Available from your favorite music source.

Visit or call
1 (800) 456-1388 for more information.



Have th
the ti
ht t Bi
Big B
d iimaginable!
i bl ! IInstead
t d off wasting
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. .............TGM $24.95


I want the students to

know that Im going to
work just as hard as they
are and that its me that
owes them something,
not the other way around.
Jeff Coffin




Discovering the many harmonic paths opened up by

composing with 12-tone systems explored by 20th-century composers like Schoenberg and Webern. Follow in
the footsteps of Bill Evans, Leonard Feather, and Gunther




Nicky Schrire



Eugene Marlow looks into the possibilities available with a

new global service that streams live video from jazz clubs
around the world.






The widely accomplished sax player who has toured the

world with Bla Fleck and Dave Matthews talks about how
hes solidifed his career as an in-demand jazz clinician.

A great tool to spice up any tune is the triplet, a rhythmic
monkey wrench thats worked for centuries. Dr. Damani
Phillips investigates methods of helping students master
this sometimes tricky concept.

Oscar Castro-Neves 36
Cover photograph: Rene Huemer; Vienna, Austria

JAZZed Volume 8, Number 5, October 2013, is published six times annually by Timeless Communications Corp., 6000 South Eastern Ave., Suite 14J, Las Vegas, NV 89119, (702) 479-1879,
publisher of Musical Merchandise Review, School Band & Orchestra and Choral Director. Standard Mail Postage Paid at Las Vegas, NV and additional mailing offices. JAZZed is distributed
free to qualified individuals and is directed to jazz educators, music dealers and retailers, and others allied to the field. POSTMASTER: Send all UAA to CFS. NON-POSTAL AND MILITARY
FACILITIES: send address corrections to JAZZed, PO Box 16655, North Hollywood, CA 91615-6655. The publishers of this magazine do not accept responsibility for statements made by their
advertisers in business competition. No portion of this issue may be reproduced without the written permission of the publisher. Copyright 2013 by Timeless Communications Corp., all
rights reserved. Printed in USA.

JAZZed October 2013

Carl Allen, Artistic Director




Tuition-free, Performance-based
Post-Graduate program
Tailored Curriculum
Weekly Private Study

Photo: Hiroyuki Ito

Work & Perform with Renowned Guest Artists

International Tours
Apply by December 1

Coaching by
Dedicated Faculty
Benny Golson,
Artistic Consultant
Jason Moran,
Artist in Residence

Ron Blake
Joe Temperley
Steve Wilson

Kenny Barron
Xavier Davis
Frank Kimbrough

Eddie Henderson
Christian Jaudes
Joe Magnarelli
Joseph Wilder

Ron Carter
Ray Drummond
Ben Wolfe

Benny Green,
Visiting Artist

James Burton III
Steve Turre

Christian McBride,
Visiting Artist

Mark Vinci
Rodney Jones
Mark Sherman

Carl Allen
Billy Drummond
Kenny Washington
James Burton III,

publishers letter

Rick kessel

Bridging Many Gaps

recently had the opportunity to see the Orpheus Chamber Orchestra at the magnificent Mechanics Hall in
Worcester, Mass. a renowned theatre known for its
acoustics as well as its traditional architectural beauty.
Although I had heard many good reviews prior to attending, I must admit that I wasnt prepared for what I was to
see that evening when the Orpheus ensemble stepped
on stage and began playing in its standard format,
sans conductor. For a group known for its progressive programing, it was
an extraordinary feat to watch the ensemble perform in near-perfect timing
without a leader in front of them providing cues, setting tempos, establishing
rubatos, et cetera. Much of it was left to the concertmaster, and other principal players who used body movements to start, stop, and move the group
through the pieces. Obviously, this is not standard fare for classical music, but
it was quite thrilling to see the
group think more like smaller
We can all learn to help
jazz groups, who depend upon
further the cause of whatevan uncanny sense of eye contact
and other visual cues.
er type of music it is that we
According to the Orpheus
are involved with.
Chamber Orchestras web site,
they are reinventing the way the
world thinks about collaboration, outreach, and democratic leadership, and
it was certainly evident in their performance. Jazz pianist Brad Mehldau, one
of the leading jazz performers in the world today and a composer in residence
at Carnegie Hall, took the orchestra through its paces with his soloistic piano
work, also, of course without a conductor. This concert featured the U.S. premiere of his Variations on a Melancholy Theme, which Mehldau says sounds
as if Brahms woke up one day and had the blues. (Nonesuch Records web
site, October 16, 2013).
Orpheus is also very unique in its involvement in a form of arts education
that helps to develop leaders in the arts and which serves as a model for other
performing ensembles. According to their site, they provide experience in
crucial arts leadership skill sets, from methods of musical communication to
administrative problem solving. Together, Orpheus and our partner schools
are helping to train a new generation of musical entrepreneurs, prepared
to lead in an evolving 21st-century arts marketplace, by creating a unique
working environment where student musicians are empowered to make their
own artistic and career decisions. This significantly unique ensemble bridges many gaps between a variety of musical styles and performance options.
Orpheus should certainly be viewed as a model organization by which we can
all learn to help further the cause of whatever type of music it is that we are
involved with, so check out their web site for a variety of exciting, educational,
and thought provoking ideas:

October 2013, Volume 8, Number 5

PUBLISHER Richard E. Kessel
EXECUTIVE EDITOR Christian Wissmuller
ART DIRECTOR Garret Petrov
VICE-PRESIDENT William Hamilton Vanyo

6000 South Eastern Ave., #14-J

Las Vegas, NV 89119
Fax: 702-554-5340


The Official Publication of JEN


JAZZed October 2013




2013 Avedis Zildjian Company

Marcus Gilmore is part of a proud tradition of drummers

inspired by the Zildjian legacy K sound. Discover all of the
legendary dark sounds of the K Family. Warm, expressive
Ks. Complex, modern K Customs. And K Constantinoples,
famous for their perfectly blended tones.
Marcus Gilmore plays K Constantinople.


Jazz Pianist Vijay Iyer Earns MacArthur Grant
Yale College and a Ph.D. (1998) from the
University of California at Berkeley. His additional recordings include
Tirtha (2011), Solo (2010),
and Door (2008, with the
collective trio Fieldwork),
among others. He has performed his music at such
venues as Carnegie Hall,
Lincoln Center, the Walker
Art Center, the Brooklyn
Academy of Music, Chicago Symphony Hall, University of California
at Los Angeless Royce Hall, Kln Philharmonie, Musiekgebouw Amsterdam, and
Teatro Manzoni di Milano, as well as dozens of international music festivals and
jazz clubs around the world. In January
2014, he will join the Harvard University
Department of Music as the Franklin D. and
Florence Rosenblatt Professor of the Arts.

Pianist Vijay Iyer was among the 24 innovators to be awarded the 2013 MacArthur Foundation Genius
Grants this year. Iyer, who
has developed into a oneof-a-kind composer, bandleader, electronic musician,
and writer, has worked to
forge a new conception of
jazz and American creative
music through an eclectic
oeuvre that includes compositions for his own and other ensembles,
collaborations across multiple genres and
disciplines, and scholarly research on the
act of listening. An ardent investigator of
musical communities, practices, histories,
and theories, he mines core rhythmic, melodic, and structural elements from a wide
range of sources to construct richly varied,
improvisation-driven solo and ensemble
music. Vijay Iyer received a B.S. (1992) from

Berklee Online Adds First Bachelors Degree

Berklee Online, long a resource fo online courses in
music, business, and production. now offers their first undergraduate degrees online
a Bachelor of Professional
Studies with areas of focus
in Music Business and Music
Production. Berklee Onlines
current online offerings range
from individual courses to
certificate programs in specific specialties. Theyve also experimented with free classes and even recently released a BitTorrent bundle of
music lessons. Earlier this year, Berklee
Online and Southern New Hampshire
University announced a jointly offered
online MBA in Music Business drawing on specialties of each institution.
Applications for the new bachelors
degrees began on October 7, with the

JAZZed October 2013

first class starting fall 2014. Annual

tuition is $16,500, 60 percent cheaper than a traditional degree at Berklee
College of Music. In addition, both
previous college credits and life experience can be applied to the program
which is especially targeted to adult
learners who have earned previous college credit and/or associates degrees
but do not hold bachelors degrees.

Ralph Alessi and

Brian Levy Join
NEC Jazz Faculty
England Conservatorys Jazz
Studies Department has
hired two renowned musicians to join
the faculty: jazz trumpeter/composer Ralph Alessi who will teach
trumpet and improvisation and
jazz saxophonist Brian Levy who
will teach both saxophone and music history and musicology.
Im thrilled that Ralph Alessi
has agreed to join our faculty, said
Ken Schaphorst, Chair of NECs Jazz
Studies Department. His experience, both as an artist and as an
educator, will provide a tremendous resource for our students.
Schaphorst is equally pleased to
have Levy on faculty: After an exhaustive search, Im very excited to
have Brian Levy teaching at NEC.
His academic and musical training is unusual for its depth and
breadth. He will be a great asset
to both the jazz and music history departments. Jazz trumpeter
Ralph Alessi studied under the
legendary Charlie Haden at CalArts
before moving to New York, where
he swiftly became a ubiquitous
presence on the downtown scene.
He has been a frequent collaborator with such notable musicians as
Steve Coleman, Jason Moran, Don
Byron, Ravi Coltrane, Fred Hersch,
Uri Caine, and Dafnis Prieto.In addition to his work as a leader, Alessi
has appeared on approximately 75
continued on page 8

Ralph Alessi cont

New Faculty
darmon Meader
Vocal Jazz

dave Stryker

Wayne Wallace

recordings. On top of his post at NEC,

Alessi has been on the jazz faculty at
New York University since 2002 and is
the founder and director of the School
for Improvisational Music, a nonproft
entity currently holding improvisational
music workshops in New York City and
abroad. He also served on the faculty of
the Eastman School of Music.
Jazz saxophonist Brian Levy received
his Ph.D. in musicology from Brandeis
University in 2012 with a dissertation
that examines harmonic and rhythmic
interaction in John Coltranes Classic
Quartet. Previously, he earned a D.M.A.
and M.M. in Jazz Performance from
New England Conservatory and Manhattan School of Music, respectively. He
has performed widely throughout the
world and has taught undergraduate
and graduate history, theory, and performance courses in such institutions
as Brandeis University, Harvard University, and NEC. In addition to a performance and research focus on jazz, he
has studied music theory and analysis,
18th and 19th century philosophy,
and aesthetics. Levy is featured on and
helped advise the production of four instructional jazz DVDs by Jerry Bergonzi.

Jimmy Ponder
1946 - 2013

Acomprehensive program

in performance, improvisation, composition &

arranging, jazz history,
pedagogy, styles & analysis.
Large and small ensemble
playing in a thriving
cultural community.

Scholarships and
assistantships available!

Now accepting applications

for instrumental and
vocal jazz majors for
the 2014 fall semester.

For a complete list of

Jacobs School faculty,

audition dateS
January 17 & 18, 2014
February 7 & 8, 2014
March 7 & 8, 2014

L i v i n g Mus i c


Michael Spiro

Jeremy Allen

David N. Baker

Luke Gillespie

Pat Harbison

Steve Houghton

Joey Tartell

Brent Wallarab

Tom Walsh (Chair)

Ly Wilder

Steve Zegree

JAZZed October 2013

Legendary jazz
passed away, having
appeared on over
80 recordings with
his unique blend of
Wes Montgomery
octaves and bluesy
roots. Ponder released 21 albums as
a bandleader since 1969 for lables like Muse,
Highnote, Cadet, Explore and LRC. He began
his career with Charles Earland and Lou Donaldsons soul-jazz ensembles and worked as
a studio sideman for stars like Etta James,
Donald Byrd, Ray Bryant, Dr. Lonnie Smith,
and more. He performed with Dizzy Gillespie, Jimmy McGrif, and Sonny Stitt among
many others.

School of Music

Jazz Arts Program | Justin DiCioccio, Associate Dean, Chair

It is a great
you look people
are creating.
P at r i c k B a r t l e y ( B M 1 5 )
Office Of AdmissiOns And finAnciAl Aid
mAnhAttAn schOOl Of music
120 ClAremont Avenue, new York, nY 10027
917-493-4436 | ADmission@msmnYC.eDu

Barnhart Named Count Basie Orchestra Director
The Count Basie Orchestra and All That
Music Productions, LLC, recently announced the appointment of Scotty Barnhart as the new director of The Legendary
Count Basie Orchestra. He follows Thad
Jones, Frank Foster, Grover Mitchell, Bill
Hughes, and Dennis Mackrel in leading
one of the greatest and most import-

ant jazz orchestras in history. Founded

in 1935 by pianist William James Basie
(1904-1984), the orchestra still tours the
world today and is presently ending a
two-week tour in Japan. The orchestra has
released hundreds of recordings, won every respected jazz poll in the world at least
once, has appeared in movies, television

shows and commercials,

Inaugurals, and has
won 18 Grammy
Awards, the most for
any jazz orchestra.
Mr. Barnhart, born
in 1964, is a native
of Atlanta, Georgia. He discovered
his passion for music at an early age
while being raised in Atlantas historic
Ebenezer Baptist Church where he was
christened by Dr. Martin Luther King, Jr.
He has been a featured trumpet soloist
with the Count Basie Orchestra for the
last 20 years, and has also performed
and recorded with such artists as Wynton
Marsalis, Marcus Roberts, Frank Sinatra,
Diana Krall, Clark Terry, Freddie Hubbard,
The Duke Ellington Orchestra, Nat Adderley, Quincy Jones, Barbara Streisand, Natalie Cole, Joe Williams, and many others. and

NAfME Conference Set for

Nashville, Oct. 27-30

B b instruments

Mastering the Language of Jazz

Caleb Chapman & Jeff Coffin

The CD features a world-class jazz quartet: Jeff Coffin (tenor saxophone),

Victor Wooten (bass), Roy Futureman Wooten (drums), and Chris Walters (piano).

Thousands of music teachers, administrators, and students come together in

Nashville this month to attend the 2013
National In-Service Conference of the National Association for Music Education
(NAfME). The main theme for the four-day
conference is Music education orchestrates
success in school, in work, and in life. The
event will run October 27-30 at the Gaylord Opryland Resort & Convention Center.
Teachers who attend will address the proposed reauthorization of the Elementary
and Secondary Education Act, gain new
insights into how their classroom teaching
styles are being evaluated, attend dozens
of professional development workshops,
and celebrate the achievements of some
of the nations most distinguished student musicians. The 2013 NAfME National
In-Service Conference will also recognize
continued on page 11


JAZZed October 2013

Filmmakers Raising Funds for Hawkins:
A Documentary on Marshall Hawkins and IAA

NAfME Conference Set

for Nashville (cont)

The flm production team ManofGilpatrick Productions is in the planning stages of creating a documentary about renowned musician and educator
Marshall Hawkins, who has served a legendary orle
at the Idyllwild Arts Academy. Says Devon Gilpatrick
(Co-producer): Marshall has taken a chance putting
this project in our hands, because this project will
encapsulate his life and his legacy. I want to thank
Marshall for taking that chance and I want to let
him know that Ashi and I vow to do everything in
our power to make a flm that honors that legacy to
the highest degree. So I am asking you to take that
chance with MGP, to put your trust in Ashi and me,
and make this movie a reality. As far as the budget
goes for the making of this flm, we estimate a total
of $20,000 in order to bring our full artistic vision to fruition. The main costs for this flm
will go into traveling expenses. We have an extensive list of heavyweight names in the
music industry who have played a signifcant part in Marshalls story. Some of you may
know about Marshalls playing in Miles Davis band along with Wayne Shorter, Herbie
Hancock, and Tony Williams in his younger days, but a large number of professionals
know and have a lot to say about Marshall.



continued from page 10

the talent and accomplishments of

local and regional music students,
as sixteen of Tennessees most profcient musical groups, including
a university wind ensemble, high
school show choir, brass quintet,
and a symphonic band, will perform at various events open to
attendees. In addition, 670 of the
most talented and skilled music
students in the nation, representing 46 states, will perform as part
of the 2013 All-National Honor Ensembles Orchestra, Concert Band,
Mixed Choir, and Jazz Band. To see
the full agenda for NAfMEs 2013
National In-Service Conference, go

one of this countrys leading conservatories

the New York Times

Comprehensive Curriculum
Extensive Big Band and Combo Program
Jazz Listening Library with over
12,000 jazz recordings
Jazz Computer Studio
Jazz Recording Studio
Visiting Artist Series includes over
15 clinicians each year
BM in Commercial Music Production with
emphasis on song writing, production
and flm scoring.

Scholarships and graduate

assistantships available

Joshua Redman with CCM Jaz

z Students

Bachelor of Music in Commercial Music Production
Bachelor of Music in Jazz Studies
Bachelor of Music in Music Education with a concentration
or double major in jazz studies
Master of Music in Jazz Studies

Scott Belck, director of jazz
and commercial music

James Bunte, saxophone

Rusty Burge, vibraphone
Jim Connerly, piano
Philip DeGreg, piano
Marc Fields, trombone
Art Gore, drums
Bill Gwynne, recording techniques
Tom Haines, commercial music production
Aaron Jacobs, bass
Dan Karlsberg, piano
Dominic Marino, arranging, ensembles
Kim Pensyl, trumpet
James E. Smith, guitar
Rick VanMatre, saxophone
John Von Ohlen, drums
Phil Willis, guitar

for further information

College-Conservatory of Music
513-556-5463 fax: 513-556-1028

October 2013 JAZZed


Whats on Your PlaYlist?

by Christian Wissmuller
Vocalist, composer, and arranger Nicky Schrire is an expressive and compelling musician
whos been making waves of late. Schrire graduated from the Manhattan School of Music, where
she earned a Masters degree under the tutelage of Peter Eldridge, Theo Bleckmann, and Dave
Liebman. A semi-finalist in the Jazz Voices Competition (Klaipeda, Lithuania), and a finalist in
the Voicingers International Vocal Jazz Competition (Zory, Poland), Schrires irrepressible style
(LondonJazz) makes her an in-demand musician, both as a bandleader and as a sideman. She
lent her voice to New York drummer Brian Adlers Helium Project, which featured artists such
as Kate McGarry, Dave Eggar, and Ben Monder. Basak has been ascending the jazz ladder worldwide since her 2012 debut
CD Freedom Flight, which landed on numerous Best of the Year lists. The London-born, South African-raised NYC artists
adventurous spirit shines through on her newest release, Space and Time, produced by Matt Pierson and featuring Schrires wistful originals alongside fresh takes on songs ranging from Gershwin to George Harrison to Massive Attack. Joining
Schrire in these duo performances are pianists Gerald Clayton, Gil Goldstein, and Fabian Almazan.

1. Road Song Tigran Hamasyan

I was frst introduced to Tigrans music
through his album, Aratta Rebirth. He writes
such exquisite melodies and uses the voice
of Areni Agbabian so efectively in delivering these melodies. His writing neatly
straddles the lines between improvised music, soundtrack-like
harmonies, and beautifully crafted songwriting. Road Song is
quite cinematic in its development and evocative orchestration.
It really celebrates beauty. Pure and (deceptively) simple.
2. The Lady Vanishes Matt Ulerys
I was a little late to the party when it comes
to Matt Ulery. And I also discovered his music in a roundabout way, starting with his
previous album, By A Little Light (which is
fantastic). Fortunately I fnally arrived at
his recent ofering and became engrossed in the world he creates with his moody, detailed writing. His instrumentation and
orchestration is brilliant and so nuanced I discover something
new every time I revisit this album and, specifcally, this track.
3. Come Talk To Me Geofrey Keezer
Based on my previous choices, its fairly
clear that Im drawn to piano-driven music.
Geofreys rendition of Peter Gabriels song
is all at once joyous, virtuosic, and addictive. I think I might even prefer it to the
original (dont tell Peter!). He manages to unearth and highlight
the melodic essence of the song while maintaining the driving
momentum through the use of a rolling ostinato pattern. He
is also so tasteful in how he colors the harmonies they infuse
jazz into his rendition but the overall style and sound are still
contemporary and very pop-infuenced. A fantastic example of
bringing popular repertoire into the jazz realm.


JAZZed October 2013

4. We All Love Neil Young Bill Frisell

At 1:38, this tune of Bills Big Sur album is
sweet perfection. It overfows with character and quirk while presenting a straightforward but evocative melody played on
the violin by Jenny Scheinman. Its a brilliant example of less is more.
5. Like The Morning Dew Laura Mvula
Laura is getting a lot of buzz at the moment and deservedly so. Id be hard
pressed to fnd anyone else who manages
to blend memorable songwriting, full orchestral accompaniment, and four-part vocal harmonies the way she does. She trained at the Birmingham
Conservatory and her consummate musicianship and musicality
really shine through. Her concept is neatly executed with such
thought and care. And after all that analyzing, its just great music
that is fun to listen to.
6. Mousso Fatoumata Diawara
Although Fatou isnt from South Africa (she
was born to Malian parents in Cte dIvoire), there is a common thread in sound
that runs through all music from the African continent. The mere sound of the
acoustic guitar in the intro, followed by the entrance of the shaker, is enough to make me feel homesick. Its fairly typical of African music to utilize very few chords within a song and I marvel at
Fatous ability to create diferent sections and melodic variation
within these harmonic limitations. Her music also emphasizes the
power of creating a strong sense of atmosphere through writing
and delivery. Harmonic shifts, obvious rhythmic complexities and
a multitude of other devices are overrated and are often to blame
for the lack of mood in a song. Theres no shortage of ambience
in Fatous music.

7. Closer to the Source Bheki Mseleku

For many people, Abdullah Ibrahim is their
go-to South African jazz pianist. Mine is
Bheki Mseleku. He was both a technical
and lyrical player, and a prolifc composer.
Courtney Pines soprano playing on this
tune is beautifully matched with Bhekis percussive accompaniment and the interplay between them is seamless.
8. Rollercoaster Thomas Newman
(from the White Oleander Original Motion
Picture Soundtrack)
I am, without a doubt, obsessed with
Thomas Newmans work. His scores are
easily identifed through the presence of
parallel chord motion, piano-led melodies, and his skill in navigating shifts between sweeping, lush, full orchestral episodes
and contrapuntal, percussive interludes (highlighting the use of
marimbas and xylophones as in his American Beauty score). Rollercoaster is a meandering piece of music but it is orchestrated
with such care and attention to detail the tinkle of a bell fades
in and out, futes deliver brief ascending and descending phrases. Theres so much to hear in a song that doesnt seem to go
anywhere. Its a fascinating aural experience.

9. July Flame Laura Veirs

The production in this song is so gorgeous.
I also love how clever the writing is the
initial entrance of the melody doesnt necessarily match where one thinks the downbeat will be when the drums enter. This
realization never fails to amuse me. And I
love Lauras lyrics and imagery. Shes a superb songwriter.
10. A Fine Spring Morning
Blossom Dearie
Blossom was ahead of her time. Her delivery
was always unfussy and theres a contemporary air to her music regardless of whether
she was singing tunes from the 30s, 40s, or
50s due to her brilliant interpretation skills. She infused her biting sense of humor into countless standards and her understated
musicality was second to none. Ill always wish Id had the opportunity to hear/see her live before she passed away.
Nicky Schrires latest album, Space & Time (Magenta Records ARG),
was released on September 10, 2013.






P. Mauriat Saxophones and Trumpets are available through the fnest instrument
retailers. To fnd one near you visit
St. Louis Music is the exclusive distributor of P. Mauriat in North America. To fnd out more visit

October 2013 JAZZed


basic training |


Using Tone Rows in Jazz Composition Part I


rnold Schoenbergs twelve-tone technique and the use of

the tone row originated in 20th-century modern classical
music, but the tone row has rarely made an appearance in
other idioms such as jazz. Gunther Schullers compositions found
on the album The Birth of the Third Stream, Lou Harrisons Symphony on G, Bob Brookmeyers ABC Blues, Leonard Feathers Twelve
Tone Blues, and Bill Evans Twelve Tone Tune are some examples
of the application of serial music in a traditionally tonal jazz environment. Of the works listed, Bill Evans Twelve Tone Tune was
the only piece that attempted to create a tonal landscape out of
the twelve-tone system.
The methodology that I present in this article bases its foundation in techniques used by Bill Evans in his Twelve Tone Tune. Evans treatment of the tone row created a tonal harmonic context
for an atonal melody. Evans method can be used in a variety of
ways: as a compositional, a pedagogical, and as a purely theoretical tool.
Bill Evans tone row from his Twelve Tone Tune is structured as
follows: E D F# G F EH AH BH DH C AH. An analysis of his Twelve Tone
Tune reveals that Evans dissected this tone row into groups of one,
two, three and four notes. He then found various harmonic implications for the dissected note groups. For example, the frst complete measure contains the notes F# and G. Evans chose to place
these two notes in a G root note context and his harmonic choice
was a Gm(Maj7) chord. In the second measure, the C root note context for the F and EH notes resulted in a Cm7, or more specifcally, a
Cm11 chord. The following measure (Fm7) contains the AH (minor
third) and BH (eleventh) just like the chord tones of the Cm7. The
DH and C notes are placed in a BH root note context resulting in the
minor third and ninth respectively, creating a BHm7 or BHm9 chord.
The A note is harmonized with an EH root note. Evans chose the
EH9(#11) chord for the A melody note. The fnal note B is placed in
a D root note context creating a thirteenth sound. Evans selected
an altered dominant sound by placing a D7(H9) chord above the B,
essentially creating a D13(H9) chord. His choices appear to have a
foundation in the established jazz harmony practices that came
out of the 50s and 60s in that he used minor major seventh, dominant ninth sharp eleventh and dominant seventh fat nine chords.
Note Evans dissection of the tone row into two, three and four note
groups, which results in four complete measures and one pickup
measure at the beginning of the piece.
Ex. 1 Twelve Tone Tune mm 1-4

#5 #4(H5) M7

11 H3 H3 11 H3



The frst step in exploring Evans technique involves grouping

the notes of the tone row and then analyzing all harmonic possibilities of each group of notes. This will eventually create a harmonically tonal backdrop from a tone row. Before doing this, a tone row
must be created.

JAZZed October 2013

Ex. 2 Tone Row Example



This tone row occupies a one-octave register for the sake of simplifcation. This tone row also follows the rule that no note should be
repeated until the other eleven notes have been used.
The next step involved in creating a harmonic context for the series of notes is to classify note groups or cells that exist in measures.
The note cells could be divided into several numeric options. A cell
or measure could contain any number of notes in the tone row; however, divisions of one, two, three and four are most practical. As the
number of notes in a cell increase, the harmonic implications and
variables decrease. Finding a single harmonic context for six notes
is more challenging than fnding a harmonic context for two notes.
The example below demonstrates one possible note grouping of
the sample tone row. The frst four notes (F C BH A) are grouped into
one measure. The second four notes (G GH B E) are also gathered into
one measure. The next two notes (D AH) are paired into two notes per
measure and given half note values. The last two notes (EH DH) are
also coupled into a two-note cell and given half note values.
Ex. 3 Tone Row in Groups of Four and Two

Four-Note Cells

Two-Note Cells

The method for discovering all harmonic implications and permutations for each cell or measure involves examining the four-note
groups in the context of all twelve chromatic bass notes. When the
frst group of notes is placed in the context of a C root note the following chord tone implications occur:
Ex.4 Note Group 1 C Root Context

4 or 11


6 or 13

The minor seventh BH forces the harmony into various chordal

possibilities: Cm, C7, Cm7(H5). If this group of notes is considered in
the dominant seventh sonority, the F could be seen as a suspended fourth or eleventh and the A as a thirteenth (once the seventh is
introduced, the A must be considered as a thirteenth, not a sixth).
The resulting chord in a dominant seventh context would be C13sus.
Another option, in the same sonority, would be a simple C13.
Ex. 5 Note Group One C Root Context Chord
The next chromatic bass note
context is DH or C#. When the
notes from group one are
placed into a DH bass context
the following harmonic implications occur:

Ex. 6 Note Group 1 DH Root Context

The dominant context of the notes contained in group one could

also be considered an altered dominant with a sharp ninth and a fat
Ex. 8 Note Group One, D Root Context D Altered Dominant


6 or 13


Once the major seventh is a possible note, the chord sonority choices become major seventh or major/minor seventh chords. In the major
seventh sonority, the F is the obvious third, the A natural is the sharp ffth
and the Bb is the thirteenth. The resulting chord is a DHMaj13(#5).
D is the following chromatic bass note and the notes from group
one contain two possible sonorities: minor seventh and dominant
seventh. The minor third, ffth and minor seventh could create a minor sonority. The minor third could also be considered a sharp nine,
which then creates an altered dominant sonority. The BH would then
be considered the fat thirteen. Once the ffth is established with the
A note and the seventh is established with the C natural, the BH must
be considered as a fat thirteen, not a sharp ffth. The D minor possibility becomes a minor seventh with a fat thirteen. Some would call
it an Aeolian chord because the fat sixth is being exploited in the
chord itself. Two chords are the ninth.
Ex. 7 Note Group 1 D
Bass Context D Minor







When EH is the root note context, two harmonic possibilities occur:

EH69 and EH13.
Ex. 9 Note Group One EH Root Context

6 or 13


The subsequent ascending chromatic root note E could be thought

of as a Locrian chord because all melody notes are consistent with E
Locrian or F major. Also, the fat nine, eleven and fat thirteen are all
acceptable colorations over the Locrian or half diminished chord.
Ex. 10 Note Group One, E Root Context






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We emphasize blues-based improvisation with highly focused mentorship and intensive scholarly
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Professional performance opportunities

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Etienne Charles, trumpet Michael Dease, trombone Randy
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and jazz studies Diego Rivera, saxophone Reginald Thomas,
piano Rodney Whitaker, bass and director of jazz studies

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October 2013 JAZZed


basic training |
The ensuing root note context, F, is far less
complex since the F triad is found within the
four notes of the group. The only concern
here is the BH note. In this case, the pure F
major triad or an F suspended chord could
serve as a viable harmonic background for
the four notes in the cell.
Ex. 11 Note Group One, F Root Context


The F# root note could suggest either

a polychord or a slash chord. The slash
chord would be an F triad with an F# root
(F/F#). Once again, the BH would have to
exist in the melody and not in the harmony. This chord also creates an F# diminished sound because the major third and
perfect ffth of the F major triad (A C) become the minor third and diminished ffth
of the F# triad.

Ex. 12 Note Group One, F# Root Context

A G root note creates a simple Gm11

chord. The presence of the guide tones F
and BH imply a minor seventh chord, with the
added nine and eleventh.
Ex. 13 Note Group One, G Root Context

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The AH root context becomes problematic because of the presence of both the natural and fat nine. It is extremely rare that
the natural and fat nine appear in the same
harmonic situation, so the AH is pushing the
boundaries a possible root note.
Ex. 14 Note Group One, AH Root Context


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played the amazing Phaeton Piccolo.



An A root note creates another occurrence of the altered dominant context. The
A root note is present in the four-note cell.
Ex. 15 Note Group One, A Root Context




The BH root note implies two harmonic

possibilities: BHMaj9 and BHm(Maj9).
Ex. 16 Note Group One, BH Root Context

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JAZZed October 2013

The B root note is problematic since the

major seventh (A#) and the minor seventh (A)
are both present. As both the major and minor seventh are absent in common jazz chords
there is no utility in the B root note context.
Look for Part II of Using Tone Rows
in Jazz Composition in the next issue of
Paul Musso is an assistant professor and
area head of Music Performance in the Music
and Entertainment Industry Studies Department at the University of Colorado Denver. He
is the author of three Mel Bay publications for
jazz guitar: Fingerstyle Jazz Guitar/Teaching
Your Guitar to Walk, Graded Fingerstyle Jazz
Guitar Solos, and Fingerstyle Jazz Chord Soloing. His recent CD release, Tonescapes, is
available for download on iTunes.

lessons learned


V Cameras in Jazz Clubs:

The Educational Potential
by Eugene Marlow, Ph.D.

rian Gruber, founder and CEO of, is traveling

the world putting remote controlled television cameras in jazz clubs. As of March 2013, his company had
installed television and audio technology in 10 clubs in four
countries in New York City, San Francisco, Seattle, Los Angeles, Milan, London, and Sao Paulo (Brazil).
Says Gruber: By the end of 2013 we want to be in 30 clubs.
By 2015 we want to be in a 100 clubs. We think volume is important. This is about choice and the sharing of new music. You
can hit your iPad, sit on the couch, and club hop between fve
and 10 clubs. You might only want to watch three minutes and
share that with a friend, and then go from one club to another, city by city. Eventually, our vision is a 24/7 service to clubs
all around the world anytime you want to watch live music instead of listening to recorded music.
Right now the investors are paying it. Our vision is for a $5/
month, all-you-can-hear service. And a revenue share to the
artist and the venue, with all of the costs falling to us. The artist
and the club will each get 25 percent of revenue.
Gruber estimates his business needs 50,000 subscribers to
break even: Were looking for fve million subscribers in fve
years worldwide which we think is very conservative. Its all
about: Can we deliver great product or not? Great audio and

It Is no secret that the current

generatIon has no clue about
amerIcas cultural gIft to the
video over a great network. A really smart selection of clubs.
Great experience with interactivity and a great social experience.
Theres a potential huge educational component to Grubers
technological vision up and down the demographic scale. People who have never stepped into a jazz club might experience
a jazz performance, be engaged by it, and begin to experience
it in the fesh, so to speak. Moreover, if Gruber is successful in
installing his technology into hundreds of clubs, this will then
become a global experience. As the Internet continues to penetrate countries all over the world (even in China, where Internet
penetration is now 40 percent and growing leaps and bounds),
this could well mean that populations for which jazz is a foreign
experience (no pun intended) could become exposed to Americas indigenous music with the resultant efect of perceiving
America in a more favorable light, given the metaphorical and
musicological connection between jazz and democracy.
Another educational aspect is the potential impact on students K-12 and at the college level. It is no secret that the current generation has no clue about Americas cultural gift to the

world. They have little understanding that jazz (and its roots)
is the foundation of much of contemporary musichip-hop
and rap did not come into existence by immaculate aural conception. Contemporary musical styles grew out of rock that,
in turn, grew out of swing, and so on. Teachers from many academic disciplines will now be able to assign a streamed jazz
performance for discussion the next day. A jazz performance
could form the basis of a review of Americas early history, of
racism, of the Civil Rights Movement, of the relationship between jazz and Latin music, of the amalgamation of jazz and
Latin music in the Bronx in the 1940s, and so on.
For college students, especially, having streaming access
to a jazz performance would mean not having to deal with
drinking age issues, travel issues, or, most importantly, fnancial issues. As jazz club audiences know only too well, the cost
of attending a live performance at a club of any repute has become expensive, some might say exorbitant. This one factor
alone is a major reason for the diminution of attendance at
jazz clubs, resulting over the last few decades in the closure of
clubs all over the country. This, in turn, has afected the reduction in the number of jazz radio stations and in some instances
in jazz critics working in print media. Jazz musicians (as well
as musicians in other genres) have all had to scufe to fnd
non-traditional venues to perform in. It has all resulted in paltry income for jazz musicians. Just ask the folks at the Future of
Music Coalition. It is all part of the whole.
The teaching opportunity at the college level could be
enormous. Not only could students experience a local jazz
performance or one in another part of the country, they could
also beneft from experiencing a jazz performance in another
country. That alone would be an educational event!
There are other issues related to Grubers vision, such as
copyright ownership of the streamed performance and concomitant royalty rights, the impact of the technology on the
clubs physical environment, and the pecuniary behavior of
club owners, among others. Only time will tell what the outcomes will be. But if the experience in the sports world over
the last 50-60 years is any gauge, seeing a jazz performance in
a virtual setting could create a strong demand for experiencing it in person.
Eugene Marlow, Ph.D., is an award-winning composer/arranger, producer, presenter, performer, author, journalist,
and educator. He has written over 200 classical and jazz
compositions for solo instruments, jazz and classical
chamber groups, and jazz big band. Under the MEII Enterprises label, he has produced six CDs of original compositions and arrangements. His big band chart, El Ach de Sanabria (en Moderacin),
appears on Bobby Sanabrias Grammy-nominated album Big Band Urban Folktales (2007 Jazzheads).
October 2013 JAZZed


Jeff coffin



on Jazz Clinics
By MaTT Parish

The star saxophonist of Bla Fleck and the Flecktones,

Dave Matthews Band, and the Jeff Coffn MuTet talks
about his growing contributions to the world of jazz

t wasnt long before Jef Cofns frst-ever pedagogy jazz clinic that he fnally
realized what hed actually be teaching. I had thought about it for about nine
months and I still wasnt sure what I was going to do, says the veteran saxophonist
over the phone from a gig in Amarillo, Texas. I was standing in the shower the
morning of the clinic thinking, Im screwed.
But then it came to him fundamentals.

Cofn realized that to get nearly any student on his or her feet,
hed only have to get them to focus on a few broad concepts that
could, in turn, open pathways to almost every corner of jazz. I
came up with what I call The Big Five, he says. At the top of that
is listening, which is the blanket over the top. The other four are
tone and dynamics, rhythm and time, harmony, and articulation.
Ive yet to fnd anything fundamentally that doesnt ft under one
of those things.
Cofn established himself as one of his generations premier
saxophonists years ago as a member of the pioneering jazz/jamband Bla Fleck and the Flecktones. Hes since formed his own
stellar group (the Mutet) and become a regular member of the
Dave Matthews Band. But in recent years, Cofn has also built a
reputation as great jazz clinician. With his streetwise sense of performance, real-world experience, and afrming attitude toward all
hopeful young jazz musicians, Cofn has become a model for professional performers looking to reach out to the next generation.

JAZZed October 2013

I call it corrupting Americas youth, he says with a laugh.

Were trying to help shape them. Were trying to give them
some tools, so that when they get out there in the world, it
wont be a huge shock to them.
Cofn has lived in Nashville since 1991, traveling the world
with a number of diferent groups ever since he moved there.
He graduated with a music degree from the University of North
Texas, performing with that schools famous One OClock Lab
Band and studying with Joe Lovano on an NEA grant. He began touring with Bla Fleck in 1997, going on to win three
Grammy awards with that group as well as having his song
Zona Mona nominated for Best Pop Instrumental Composition. Cofn joined the Dave Matthews Band in 2008.
Throughout that time, he collaborated with everyone from
Branford Marsalis to DJ Logic; Maceo Parker to Lynyrd Skynyrd.
In 2001, he branched of into education after a few colleagues had contacted him about the idea. Caleb Chapman

I want the students to

know that Im goIng
to work just as hard
as they are and that
Its me that owes them
somethIng, not the
other way around.

was an early motivator, and Cofn still works closely with him.
I did a few classes early on and felt like I was connecting with
the students pretty well. Id go from Coleman Hawkins to Ornette Coleman and talk about the recordings and what they
were hearing.
After working with Bob Mintzer in learning how to get his
own tunes published as big band charts, Cofn began emulating that veteran educator in his clinics. Bob is such a warm
and gentle human being, he says. The way he interacts with
people is really inspiring as well. Hes what we call a triple threat
composer, player, and teacher. Ive tried to round out all three
of those areas to be able to present my music to people and
to present my ideas and educational thoughts, and its really
worked out well in that sense.
In fact, the most difcult part in his evolution as an educator still seems to have been that frst clinic, which was a breeze
once Cofn realized his concept of the Big Five. I remem-

bered something I heard from John Whitman, who is a great

friend from Yamaha, which I endorse and act as one of their
performing artists and clinicians, remembers Cofn. He said
that students can remember three main things when you present a clinic to them.
In keeping with that attitude, Cofn designs his presentations and interactions with students with as much positivity in
mind as possible: No berating students; No being down on the
scene. Its one thing to be honest and tell kids that this is going to be difcult, he says. But its another to just tell people
they shouldnt try. I come from a place of real positivity and
encouragement and advocacy for the students. I dont like the
negativity that surrounds certain clinicians, as if they somehow
hung the moon. They didnt. None of us did.
I want the students to know that Im going to work just as
hard as they are and that its me that owes them something,
not the other way around.

October 2013 JAZZed


spotlight jeff coffin

Saxophonist and futist Gary Thomas

chairs Peabodys Jazz Studies program
For information, contact
the Ofce of Admissions
Toll Free 800-368-2521
In Maryland 410-234-4848
1 East Mount Vernon Place
Baltimore, MD 21202

In turn, Cofn suggests that artists

thinking about moving into the world
of jazz clinics seriously assess their feelings toward the idea. For me, its been a
calling and I feel its the most important
thing I do, he says. I think sometimes
musicians get called in to do these things
because theyre well known, and it can
be detrimental sometimes.
Cofn brings along the members of
his Mutet to the clinics whenever possible, meaning participating students
have the opportunity to interact with
not only Cofn but a variety of worldclass musicians, including Roy Wooten,
Felix Pastorious, Bill Fanning, and Chris
Walters. The experience helps to roll up
expertise in several areas performance,
education, and the unique skills require
as a clinician for every member of the
Its been a career changer. The Mutet
has steadily gained experience while
Cofn has racked up over 300 clinic appearances from Maine to Rio de Janeiro (and even as far as Perth, Australia).

Cofn has also recently fnished up a new

method book with Caleb Chapman for
Alfred Music Publishing titled The Articulate Jazz Musician. Its full of new tunes
that utilize Chapmans syllabic method
of education [see JAZZeds cover story on
Chapman in our September 2011 issue]
and comes with an accompanying CD
with backing band performances by Roy

Information/Audition Dates:

Te Colorado State University Jazz Studies Program develops
the knowledge and skills required to excel in performance and
education. Dynamic faculty are leading educators, maintaining
national and international performance schedules. Renowned
international artists are regularly in residence, collaborating
with faculty and students. Scholarships available.


JAZZed October 2013


Bachelor of Music in Jazz and
Contemporary Music with
concentrations in vocal or
instrumental performance
(B.M., 2012)
Bassist with Jamie
Lono from The Voice

Cast member, Glee
Project II

Study with accomplished faculty, who include Chicago Symphony and

Lyric Opera orchestra members, Metropolitan and Lyric opera sensations,
renowned soloists, Grammy-winning jazz musicians, and award-winning
composers. Enjoy opportunities to perform in professional venues. Live,
learn, and perform in downtown Chicago.

Wooten on drums, Chris Walters on piano, and Victor Wooten on bass.

This thing will revolutionize how
jazz bands sound in schools, he says.
Chapman has been using the method
for years at his renowned jazz school in
But regardless of where the students
are, Cofn fnds that theyre all looking
for the same thing.
They want to be recognized and
they want you to know that they can
play well, he says. Theyre just barely
out of childhood and trying to gain momentum personally and spiritually and
musically and artistically.
Beyond that, Cofn notes that some
of the best education will come once
the students venture beyond the classroom walls. In efect, it brings his role
in a students development full circle. I
tell them to get out there and experience and about the power of yes.
I mean, Ive played some terrible
gigs, man! he says. I rode on a road
case with a cape while someone shot
confetti over the top of me with a snowblower. I mean, Ive done some bad
gigs. So I tell [students] that whatever
you go up there and do, its an experience. Sometimes the bad ones are the
best because you dont want to go back
to them.
Its a motivational tool, for sure.
(312) 341-6735
Text CCPA to 57711

October 2013 JAZZed


A Message from Jazz Education Network President Andrew Surmani
Dear friends of jazz,
Every semester when I prepare to teach my Introduction to Jazz class to general
education students at California State University Northridge, I think to myself, how am
I going to possibly inspire these students, who grew up on rap and hip-hop, to learn to
appreciate one of the greatest musical art forms ever created? Its a hard thing to do in
a sterile classroom. Yes, you can play lots of audio examples, show videos and lecture
about the major periods, styles and musicians in the history of jazz, but to truly experience jazz beyond playing jazz, is to see it live. I do require my students to go out and see
live jazz in the Los Angeles community and then write two concert reports about their
experiences with a little bit of extra jazz history research added into the reports. My goal
is always to at least bring a new experience into their lives and hopefully have them attend live jazz concerts and
buy jazz recordings. If I accomplish that I feel that Im doing my small part to advance this incredible art form
into the future. Were all trying to do that. Most of our students will not go on to be professional jazz musicians,
but if they can be a part of the jazz audiences of tomorrow; weve accomplished something very important.
Speaking of live jazz and jazz education, where else on the planet can you find an experience that the Jazz
Education Network has to offer every January? The 2014 conference in Dallas is no exception and weve got
an incredible lineup of student groups, pro groups, workshops, and exhibitors to make this an experience of a
Not only will we be featuring some fantastic groups from Texas and the Southwest, but we will have a broad
selection of instrumental and vocal jazz ensembles and clinicians throughout all four jam-packed days of the
event from all over the U.S, but as far away as Korea, Turkey, Mexico, and Israel. You will see just some of the
amazing groups that are performing in this conference in the pages ahead. But please also visit the Conference
Central tab on for a complete listing of professional ensembles, school ensembles, community
ensembles, clinics, research presentations, panel discussions, exhibitors and JENerations Jazz Festival participants. You cant find a better concentration of jazz anywhere in the world.
This year were very excited to launch a new Keepers of the Flame LeJENds of Latin Jazz Award at JEN
2014 by honoring the legendary Candido Camero. At 92 years young, Candido has seen it all, performing with
everyone from Duke Ellington, to Tommy Dorsey, Dizzy Gillespie, Sonny Rollins, Art Blakey, Tito Puente,
Chano Pozo and Machito, plus hundreds of others. Latin Jazz plays a critical part in the history of jazz and we
are so lucky to have a living legend such as Candido at our conference to accept this honor.
Dont forget to register for the conference and book your hotel room on our website at I look
forward to seeing you all in Dallas!

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./; Bookkeeper: Lynda Chavez


JAZZed October 2013


News from the 2014 Conference

The JEN Annual Conference would not be possible
without the generous help of our sponsoring partners.
We thank those who have signed up to help us present
the various components of our conference. To find out
more, visit
2014 Conference sponsors include:
LeJENds Stage: Jupiter/Mapex/XO
Visions Stage: Berklee College of Music
New Voices Stage: Ella Fitzgerald Charitable
JENerations Jazz Festival: DAddario
Inspirations Stage: Yamaha
Presenting Sponsor: Timeless Communications
Available Sponsorships:
Conservatory Stage, Exhibitors Welcome,
Presidents Founders Reception,
LeJENds Gala Reception

Each year, JEN hosts the JENerosity project to

collect donations of instruments and materials to a
local organization in need. To date, we have collected
more than $28,000 of donations in our last four conferences. This year, we are asking you to participate
again by nominating organizations/schools in need, as
well as donating materials. It is important to us
to help enrich the local
community of our host
city by bringing together
our JEN partners and
local music programs.
To nominate a Dallas-area school or organization as
a possible recipient for the JENerosity project, please
email To be eligible, schools
must be located in Dallas and able to pick up their
donations at the conference.
Donate materials by bringing them to the JENeral
store during the conference, before 4 p.m. on
Saturday, January 11, 2014.

Each year, the conference is run entirely on volunteer staff, from registration desk to stage crew, and
everything in between. To be part of the JEN family and volunteer your time at the conference, visit
Featured Conference Volunteers:
Dan Gregerman,

Ryan Adamsons,

Conference Offce Coordinator

On-Site Assistant Production


When I was asked to be on

the founding team for JEN,
I was moved and honored.
Volunteering allows me to
spread the word of jazz and
to educate audiences beyond
the walls of where I teach.
Sometimes it is hard to explain
when something moves you so deeply that you want
to share it with all of the many people you come in
contact with. I fnd great satisfaction in knowing that
what I do allows more people to experience and learn
about jazz. As for the conference, my favorite part is
watching the energy and excitement at each show. It
is awesome when you see the light bulbs constantly
going off as people learn and get excited for new
ventures in jazz.

Ive been involved with JEN

as a volunteer since our frst
conference in St. Louis, when I
managed the student performance
stage. I had a great time, so Ive
been involved with the production
side of the conferences ever since.
This year, I will be passing off my stage manager responsibilities so that I can take on a bigger if less visible
role behind the scenes helping to make sure everyone
has the equipment they need to make every performance
special. My favorite part of the conference is seeing
everyone come together across subgenres, ability levels,
and ages to enjoy and appreciate what we can all bring
to the music.

October 2013 JAZZed




Brad Leali Jazz


The New Collection

HSPVA Jazz Combo I ,

with Dennis Dotson

California State
University Long
Beach: Pacifc
Standard Time
Jef Cofn &
the Mutet

Brecker Brothers Revisited:

Caleb Chapmans Crescent
Super Band with Randy
Brecker, Ed Calle


JAZZed October 2013


Bob Mintzer, Dave Stryker, Peter
Erskine, John Clayton Quartet

JJovino Santos Neto

Quinteto, with
JJohnaye Kendrick

Jim Widner Big Band


Bass Extremes w/Victor

Wooten, Steve Bailey, and
DeRico Watson

University of North Texas

One OClock Lab Band with
guest artist TBA

Vertical Voices

For a complete concert and clinic listing, visit

Artists and programming subject to change.

October 2013 JAZZed




Sing it First,

Vocal Jazz Concepts for

Young Choirs,
Natalie Wilson

Lead Trumpet Playing With

The Count Basie Orchestra,
Michael Williams


The Evolution of the

Jazz Rhythm Section,
Daniel Glass

Receive Graduate Credit

through the University of
Miami for attending the 2014
Conference. Details available

Indian Ridge Middle School Jazz Ensemble

Dan Haerle

Berklee College Vocal Jazz Ensemble


JAZZed October 2013

HKIED Jazz Ensemble


Michael Abene & Richard
Advanced Music Mainz
Aebersold Jazz Aids
African American Jazz Caucus
Alfred Music (F)
Andreas Eastman
Antigua Winds
Avedis Zildjian Co.
Bakers Jazz and More
Berklee College of Music
Brook Mays Music
Buffet Crampon
Buffet Group USA
Cannonball Musical
Capital University
Conservatory of Music
Chamber Music America

C.G. Conn
Columbia College Chicago (F)
Conn-Selmer, Inc.
Antoine Courtois
Cultural Tour Consultants, Inc.
DAddario Strings
DownBeat Magazine (F)
Disneys All-American
College Band
ejazzlines/Jazz Lines
Fuzzy Music LLC
Getzen Company Inc.
Grammy Foundation
Guitar Center
Hal Leonard Corporation (F)
Hans Hoyer
International Association of
Schools of Jazz
Jazz Apps Mobile
Jazz Conception Company

JAZZed Magazine (F)

Jazz Times
JodyJazz Inc.
K. Keilwerth
Kendor Music, Inc. (F)
Make Music, Inc.
Manhattan School of Music
Music & Arts
North Eastern Music
Publications, Inc.
Penders Music Company
Romeo Music
Routledge Publishing
Rovner Products
Saxquest, Inc.

Selmer Paris
Sher Music Co.
Sierra Music Publications, Inc.
Timeless Communications
University of Miami Frost
School of Music
University of Michigan
University of North Texas
College of Music
University of the Arts
Vic Firth Company
Meinl Weston
Wichita State University
Woodwind & Brasswind
Yamaha, Inc.
More exhibitors added daily!
(F) = Founding Member


Stell Band

Temple High
School Blues

Ensemble I

Carroll Senior High School (TX)

For a complete concert and clinic listing, visit

Artists and programming subject to change.

October 2013 JAZZed


Networthy News from JEN Members
Here is how JEN members are serving the jazz arts community by advancing education, promoting
performance, or developing new audiences. For a chance to be included in print or online, send your own
Networthy news in 100 words or less, along with a high-res photo to
School ensembles: want your music played on the
radio and streamed worldwide? Send them to Jim
Compton-Schmidt, a DJ in Fresno, CA from jazz station KFSR-FM, who plays the music of student groups
during his weekly radio show. In his 12-hour set on
Thursdays, the noon-2 pm hour is dedicated entirely
to school jazz ensembles of all levels: middle school
to university, vocal and instrumental. DJ Jim says, I
am blessed by playing a genre of jazz that very few
people have a chance to listen to. School jazz groups
are exciting! Dont think twice, just send YOUR
groups CD to me and Ill be happy to give it a listen!
I love this music and love young folks performing it! I
am of the opinion that doing an hour or two each week
of music that has been left out of Americas classical
music (jazz) for far to long... I usually get a call during
that program asking Who was that great vocalist on
Summertime and what was the great band? and it
gives me pleasure to say, That was Michal Milner, she
was a junior at Lincoln high school in Sioux Falls, SD
when this was recorded. the program was under the
direction of Bob Carlson!
Send CDs to:
Jim Compton-Schmidt, KFSR
1326 West Kramer Ridge Road
Reedley, Ca 93654
(559) 637-0165
Among many interesting recent projects, former
scholarship recipient Laila Smith (MA) recently
released a new album titled Polenta. The album
includes a unique collaboration with Sacramento poet,
and NEA Fellow, William ODaly, and his translations
of Nobel Laureate Pablo Neruda.
Carmen J. Cartiglia (FL) recently founded and
produced the Miami Beach Jazz Festival, which
will be held on November 16, 2013 in Miami Beach,
Florida. The festival will feature headliner Michelle
Coltrane, vocalist and daughter of jazz legend John

JAZZed October 2013

Scott Whitfield (CA) and The Scott Whitfield Jazz

Orchestra West were featured as part of the unique
event Jazz Themes from Hollywood festival,
sponsored by the Los Angeles Jazz Institute on
October 26, 2013 in California.
The U.S. Army Blues (DC) launched an exciting
project for their new album, Something Old, Something
New: Yours to Borrow. The recently-released album
includes an online component with mp3 tracks online,
downloadable charts, and play-along PDFs. This is
part of their initiative to provide accessible versions of
charts as a resource for school music programs.
Trumpeter Dan Miller (FL), who has played with
Harry Connick Jr., Wynton Marsalis, Maynard
Ferguson, and Tom Jones, headlined a concert
celebrating Dizzy Gillespie and Tadd Dameron with
the Flying Horse Big Band and The Jazz Professors on
October 25th, 2013 at the University of Central
Florida campus.
JAZZ2U grant recipient Napoleon Revels-Bey (NY)
added a jazz component to the 21st Century
Community Engagement and Development programs
in Elmont, NY on October 19, 2013, with Afro-Cuba,
Caribbean Jazz Music. The event was created to unite
the arts with socially-responsible organizations.

Congratulations to Josh Rey (Canada), who received a

scholarship from JEN in collaboration with MusicFest
Canada. Josh plays tenor saxophone and is enrolled at
Humber College in Toronto, Canada. The scholarship
was presented at the 2013 MusicFest Canada event.
Josh received a cash award and enrolled in the JEN
mentor program.

New Award for LeJENds of Latin Jazz LeJENds of Jazz Education:
Paris Rutherford and Ed Soph
As part of
our LeJENds
of Jazz Education award, JEN
has created
a new honor
called Keepers
of the Flame:
LeJENds of
Latin Jazz.
The awards
inaugural honoree will be Latin Jazz LeJENd,
Cndido Camero. An NEA Jazzmaster, this
celebrated percussionist is known for pioneering the
technique of playing multi-percussion
simultaneously with specifically-tuned instruments,
which is widely used by congueros today. He has
played with celebrated musicians including Charlie
Parker, Dizzy Gillespie, Machito and the Afro-Cubans, Tito Puente, Billy Taylor, Sonny Rollins, Stan
Kenton, Duke Ellington, Tony Bennett, and many
We are excited about this new addition to the JEN
conference because Latin jazz is so important to the
art of jazz, said JEN Board Member Rubn Alvarez,
who was instrumental in creating the award. We are
looking forward to honoring Cndido as a true living
LeJENd and to recognizing more figures in Latin jazz
for years to come.
The award is sponosored in part by a generous
donation from Latin Percussion.
Cndido Camero, Paris Rutherford, and Ed
Soph will be honored during the LeJENds of
Jazz Education Gala at the 2014 Conference.
Reserve your tickets at

JEN is happy to honor Paris Rutherford and Ed Soph

as the 2014 LeJENds in jazz education.
Ed Soph is internationally
recognized as an author,
teacher, and musician. As a
performer/recording artist, he
has played with the big bands of
Stan Kenton, Woody Herman,
Bill Watrous, and Clark Terry.
Small group credits include
Joe Henderson, Bobby Shew,
Carl Fontana, Clark Terry, and
David Liebman. Soph is currently recording, touring,
and teaching at the University of North Texas. Having presented clinics internationally and nationally at
major professional conventions, he is the recipient of
the Percussive Arts Societys Lifetime Achievement in
Education Award and the Yamaha Lifetime in Musical
Excellence Award. He is an Artist Clinician for Yamaha drums, Zildjian cymbals, Innovative Percussion,
and Evans drumheads.
Paris Rutherford, Regents
Professor Emeritus in Jazz
Studies at the University of
North Texas, has taught vocal
jazz and jazz composition and
arranging for over three
decades. In earlier days, he
was trombonist in the Dallas
Symphony Orchestra, area jazz
bands, and was a writer/producer
of commercial and film music in
Dallas, Los Angeles, London and Munich. Currently,
Rutherford directs The New Collection (a 30-member
vocal jazz ensemble), who will perform at the 2014 Conference. A Founding member and former board member
for JEN, he is published by Hal Leonard Corporation.

Focusing On Business: New JEN Committee

The music industry is ever-evolving, particularly in recent years. The advent of digital technology has revolutionized the creation and distribution of music, generating both new challenges and opportunities for doing business. Yet jazz as a genre has historically had its own challengesfrom niched audiences to biased perceptions
about its identitythat impact business operations.
JEN is creating a new Music Industry committee to serve as a forum for exploring the business of jazzfrom
legal matters, like copyright and contract law, to developing business models. To express interest in membership
on the committee please contact Cheryl Slay Carr at or attend the informational meeting
during the 2014 conference on Saturday, January 11, 2014, from 4-5 pm in the Bryan Beeman room.
October 2013 JAZZed


focus session


Unlocking the Power of the Triplet

in the College Classroom
Yielding Maximum Potential from Basic Concepts
by Dr. Damani Phillips

s educators, we pride ourselves on imparting as many new skills and techniques as we responsibly can
to our students during the time that they are under our tutelage. Though quantity of information is an
important part of our mission, that pedagogical approach can often result in overlooking an important

consideration that of helping our students squeeze the maximum amount of variety and effectiveness from
the skills/knowledge that they already possess.
The exercises included in this article came about as a result of this teaching philosophy, which strives to
give both teacher and student a means of building upon simple, rudimentary concepts in ways that help them
unlock refreshing new options. The careful manipulation of something as simple as a triplet can be used to
significantly expand the creative palette of the emerging (and even the established) improviser in a way that is
completely relevant to trends in modern improvisation. Heres my method for introducing my students to the
hidden potential of this rhythmic device:

Basic Rules
With the exception of appropriate treatment of
eighth notes (swung or straight), notes should not be stylized
and the prescribed rhythm of focus should not be altered in
any way (with exception of making space to breathe). Also, all
notes should be slurred together unless indicated diferently
below. Removing these expressive aspects from the exercise
allows the student to focus exclusively on the sound and feel of
the rhythm being used, making quality note choices, and proper application of articulation (when necessary).
In the beginning, note choices should be primarily
diatonic, with only the occasional use of chromatic passing
tones or leading tones. This forces the students to consider
both rhythm and harmonic/melodic content as equally important. Once rhythmic mastery and harmonic accuracy are
demonstrated, this rule can be relaxed.
Avoid the use of digital patterns. Many popular patterns will work well in this context, but this concept works best
when applied to lines that are based in linear melody.
Avoid repeated notes.

The Process
If you havent already tried this with your students, steps
1 and 2 are a great way to get them thinking about connecting chord changes in a new way. I suggest that the exercises below be applied over a slower standard tune (120
b.p.m. or less) that you and/or your students are already

JAZZed October 2013

very familiar with. This will allow students to focus their

mental energy on the rhythmic challenges of the exercise
with diminished concern for potential issues in grappling
with the harmonic progression of the tune. Only after
achieving complete comfort in applying these exercises at
slower tempi should they be attempted over faster tunes. I
have chosen a simple major ii7-V7-I as the backdrop for the
examples given here.
Step 1: First, establish a baseline comfort with the rules
listed above (and your chosen tune) by working to generate a line of flowing quarter notes over your chosen chord
progression. Chromatic approach tones are permitted, but
should be kept to a minimum as you acclimate yourself to
this process:
Step 1

If playing running quarter notes initially proves to be diffcult for your students, it is also acceptable to start with half
notes as your frst step in the process and gradually work towards quarter notes.
Step 2: Once comfort in developing a consistent and harmonically accurate quarter note line is demonstrated, move on
to constructing the same type of line in running eighth notes.
Remember, no deviation from the eighth note rhythm or stylizing of notes (scoops, bends, articulations, etc.) is permitted.

The careful manipulaTion of someThing as simple as a TripleT can

be used To significanTly To expand The creaTive paleTTe.
Step 2

Step 3: Once you have a comfortable grasp of those

rhythms that we would expect to see/hear in simple meter,
move on to quarter note triplets. As is customary in the use of
this rhythm, begin by phrasing the triplets in groups of threes.
Take care in avoiding the natural inclination to place a heavy
accent on the frst note of each triplet group. You want to preserve the linear integrity of the lines construction, and heavy
accenting of these notes will make each of the phrased groups
feel more like segmented pieces of a line that are pasted together than one long linear phrase. Use this step in the process
to help your students truly acclimate themselves to the sound
and feel of the quarter note triplet. Playing 6 over 4 can initially
be awkward for some, so work to help your student fnd a balance between the use of their mathematical, aural, and tactile
sensibilities in developing a comfortable relationship with this
Step 3

er the randomness of the pattern used, the use of a slightly

heavier accent is acceptable as a means of giving each grouping clearer aural defnition. This approach has the potential to
generate an infnite number of possible phrased triplet combinations that both stay within and run across the barline, representing a signifcant expansion of options for the improviser. In this step, the selection of triplet phrase groupings itself
becomes a part of the improvisers creative process. Here is an
example of the application of this concept:
Step 6

Further Consideration:
The approach to manipulating the quarter note triplet discussed in this article can be applied to the phrasing of both
half note and eighth note triplets, depending on factors such
as song tempo, the performers technical ability and the rhythmic sensibilities of the improviser. The examples provided here are
only the frst phase in the exploration of the potential of the triplet. The introduction of rests in strategic places further broadens
the palette of options available to the improviser. Heres a sneak
peek at one efective option that this approach can generate:
Step 7

Step 4: Once comfortable with phrasing in groups of 3s,

move on to phrasing the quarter note triplets in groups of
2s. Light accenting of the frst note of each group should be
applied to bring out the 3 over 4 polyrhythm created by the
phrasing used, and should be executed with the use of legato
tonguing (du, not tu or ta).
Step 4

Step 5: Now, extend the phrasing of the triplets to groups

of 4, which generates metrical dissonance that carries over the
bar line in mm. 1 and 3, but resolves itself every 2 measures.
Again, light accenting of the frst note of each group is necessary to bring out the implied 3 over 8 polyrhythm generated
by this phrasing pattern.
Step 5

Step 6: Once comfort is demonstrated in phrasing the triplets in the fxed numbers outlined above, explore the possibilities aforded to the improviser when phrasing the triplets in
random groups of twos, threes, or fours. In an efort to count-

While the procedure discussed here may seem somewhat

formulaic, the real value of this approach is found in taking this
concept a step further by bending the rules outlined above.
While the literal application of the exercises outlined here
should generate a host of new ideas for the improviser to work
with, the true hipness of this concept is unleashed in learning to seamlessly shift between triplet-based ideas and those
based in the quarters and eighths that one would expect to
see/hear in simple meter. If you choose to explore this concept further, a new world of possibilities awaits the inquisitive
Dr. Damani Phillips currently serves as assistant
professor of Jazz Studies and African-American
Studies at the University of Iowa, where he
teaches applied jazz saxophone, directs jazz
combos, and teaches courses in African-American music, jazz history, theory, and improvisation. An active performer, pedagogue, and composer, Phillips has
taught and performed throughout the United States, England,
and Japan. He has previously served on the faculty of Grinnell
College, Oakland University (Rochester, Mich.), and Macomb
Community College (Macomb, Mich.), and is actively sought as a
guest artist, clinician, and adjudicator.
October 2013 JAZZed



Dr. Larry Ridley, Executive Director. Bill Myers, President

James Weldon Johnsons Black Manhattan, Pt 1

An Introductory look at famed African American historian
James Weldon Johnsons acclaimed book, Black Manhattan. The
following excerpt is a reprint of the Introduction by Ms. Sondra
Kathryn Wilson of the Johnson Memorial Foundation, NYC, in the
1991 version by Da Capo Press, Inc. Some minimal editing is by Dr.
Larry Ridley, 2013:
If you ride northward on Manhattan Island, go through
Central Park and exit at 110th Street and Lenox or Seventh Avenues, you cannot help marveling at the sensational change in
your surroundings the beginning of black Manhattan. In his
story of the African American in New York, James Weldon Johnson describes this setting as a black city located in the heart of
white Manhattan composed of more blacks to the square mile
than any other spot on earth. Johnson adds, It strikes the uninformed observer as a phenomenon, a miracle straight out of
the skies.
In Black Manhattan, James Weldon Johnson traces the activities of African Americans in New York from 17th-century
Dutch New Amsterdam
down to the Harlem Renaissance of the 1920s.
He combines the merits
of frst-hand knowledge
with cultural commentary to describe the development of African
American music, art, and
literature with unusual critical insight, and fnally ofers a sound
evaluation of Harlem in the 1920s and its probable future. By
that time, there were more African American journalists, intellectuals, poets, composers, singers, musicians, dramatists, and
actors of note and distinction in Manhattan than in all other cities put together in the country. Harlem had become the black
Mecca of the world.
James Weldon Johnson was born into an economically secure family on June 17, 1871, in Jacksonville, Florida. His parents, James and Helen Dillet Johnson, nurtured his artistic inclinations with languages, literature, and music. In 1887 they
sent him to Atlanta University to complete his high school and
college training. Following his freshman year at the university,
he decided to teach summer school in rural Georgia. For three
months he lived in the backwoods, communicating with only
the members of his race. These natives of Hampton, Georgia,
did not care to know of his family background, his interests, his
character, his title. About this education, he wrote, I was anxious
to learn to know the masses of my people, to know what they
thought, what they felt, and the things of which they dreamed;
and in trying to fnd out, I laid the frst stones in the foundation
of faith in them on which I have stood ever since. This experience marked the beginning of his knowledge and interpretation of the Black Experience, the beginning of his conversion

Harlem Had
become tHe
black mecca
of tHe world.


JAZZed October 2013

citizen to African
American citizen. In
his autobiography,
Along This Way, he wrote, The race problem is paradoxical; and,
with all my inexperience I could not fail to see that this superior
status [of whites] was not always real, but often imaginary and
artifcial, bolstered up by bigotry and buttressed by the forces
of injustices. His training at Atlanta University prepared him
to assume the role of race leader, emphasizing service. Race
was not a part of the schools curriculum. Nevertheless, it ftted
into a particular system of which race was always the center in
University-sponsored speeches, essays, and debates. Johnson
graduated in 1894, and the same year he was appointed principal of Stanton School in Jacksonville. Being the chief administrator of the largest colored school in Florida meant that he, a
black man, was already at the top.
During the next three years, James Weldon Johnson founded the frst high school for blacks in the state of Florida; became
the frst black lawyer to pass the Florida bar exam; and founded and edited the Daily American, the frst daily newspaper for
black Americans. In 1900, he found time to write the lyrics to
the Negro National Anthem, Lift Every Voice and Sing. For
several summers, at the end of the school year, Johnson traveled to New York, where he collaborated with his brother, J.
Rosamond Johnson, and vaudevillian Bob Cole to produce
over 200 successful popular songs. With such hits as Under
the Bamboo Tree and Aint That Scandalous, Cole and the
Johnson Brothers ultimately became one of the most famous
musical teams in the history of American music. At the turn of
the (20th) century, most of the well-known dramatists, lyricists,
vaudevillians, and pugilists met at Jimmie Marshalls Hotel on
West 53rd Street to trade stories and to discuss the race problem of the Negro in show business. Johnsons ability to participate and observe interchangeably served him well, for he
may have anticipated using these experiences on Broadway to
shape this story of the Negro in New York.
In 1901 James Weldon Johnson was nearly lynched in a local
park for stepping out of his place. He began to fnd the provincialism of Jacksonville stifing. Moreover, he had outgrown
Jacksonville in cultural, intellectual, and artistic achievement.
This led to his break with Florida in 1902. Johnson realized that
other than a number of essays, he had not written anything on
the race problem. He wrote, I now began to grope toward a
realization of the importance of the American Negros cultural
background and his creative folk art, and to speculate on the
superstructure of conscious art that might be reared on them.
This insight caused him to bring a higher level of artistry to the
ole coon songs. It also led him to Columbia University, where
he studied with the distinguished professor and critic Brander
Matthews. He was particularly impressed by Matthews infor-

mal classroom and his practical knowledge of the theater. While
Johnson engaged in his studies at Columbia University and continued his music career, he joined the New York Colored Republican Club. In 1905 he succeeded Booker T. Washington loyalist
Charles Anderson as president of the club. Through this experience, he learned that allegiance is a powerful force in American
politics. And in this political system, he
gained an appointment from President
Theodore Roosevelt as United States Consul to Venezuela in 1906. By 1909, Roosevelt had promoted him to Nicaragua.
Because of the change in political parties
and race prejudice, he knew his chance
for a European post was slim. The fact that
he had an outstanding record was inconsequential. As a black man, he was at the
top of the diplomatic feld. He resigned
from the consular service in 1913. From
that time forward, he put forth all of his
skills and talents to the creation of African
American literature and culture.
During his tenure as a diplomat in Nicaragua, Johnson wrote his only novel, The
Autobiography of an Ex-Colored Man, in
1912. This classic exemplifes Johnsons
contention that the real substance of
black life should be the prime source for
black fction. Johnson returned to New
York, and in 1914 he joined the staf of
the New York Age, the oldest of the New
York black papers. Writing a column under the masthead, Views and Reviews,
he attacked such issues as lynching, employment discrimination in the Federal
Government, and the atrocities perpetrated against black servicemen. His column
attracted the attention of NAACP Chairman of the Board J.E. Spingarn. As a participator in building the early civil rights
movement, Johnson ended up spending
fourteen years at the NAACP living out his
Atlanta University ideals of service to his
race. To date, James Weldon Johnson is
considered one of the most efective leaders in the history of the NAACP. In 1930 he
resigned to become the Adam K. Spence
Professor of Creative Literature at Fisk University in Nashville, Tennessee. Four years
later, New York University ofered him a
similar position, making him the frst African American professor in the institutions
history. He held both positions concurrently until 1938, the year of his death.
James Weldon Johnsons search for an
Afro-centric Tradition for black American
literature and culture was unintentional at

frst. His awakening to the Black Experience was often difcult.

Born into a comfortable world steeped in high Western values,
Johnson ultimately discovered another world, replete in black
mass values. His exposure to these values cleared a path, for
himself and other writers, to a hidden treasure of native folk art.
Look for Part II in the next issue of JAZZed

October 2013 JAZZed


Crash Course in Chords from Hal Leonard
This theory and performance workbook
is designed to ofer in-depth knowledge
about chords to intermediate-level students.
Pianists and non-pianists will beneft from
written exercises covering theory from basic
triads and 7th chords to inversions, transposition, harmonization, and more. Author Lee
Evans explains concepts in basic language,
then applies them to a variety of performance
exercises and lead sheet examples.
Fingerstyle Jazz Guitar Essentials from Stringletter
This 84-page book and audio package by
Sean McGowan is a comprehensive course in
learning the art of fingerstyle jazz guitar, taught
by a world class jazz guitarist and instructor.
From building chord vocabulary to separating
bass and melody voices and to developing
improvisation techniques, McGowans approach
will help readers learn to play a variety of dynamic solo fingerstyle arrangements. The book
includes 12 lessons on chord voicings and inversions, building jazz arrangements, and more, with over 120 musical
examples, exercises, and songs, with audio. Retail price: $19.99.

Capital University
Conservatory of Music
Jazz Studies at both the
and Graduate levels
3-Summer, 5-Week Graduate Program
Study with internationally acclaimed faculty

Ensembles include:
Capital Big Band
Savoy Little Big Band
Jazz Consort, Vanguard Septet
World Music Ensemble
Fusion Band, C.U.R.E. Rock Band
Jazz Guitar Ensembles
and many more!

Education in jazz and

music technology
that will help you
attain your goals,
delivered in a challenging
liberal arts setting

JAZZed October 2013

For more information, contact

Susannah Mayo,
Undergraduate Music Admission

Graduate Music Admission


LP City Series Wood Congas and Bongos

The new LP City Series Congas feature 10 and 11 drums crafted from
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P. Mauriat Pro-Contoured Saxophone Cases

The P. Mauriat Pro-Contoured
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JodyJazz 9* Model Tenor Mouthpiece

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October 2013 JAZZed



Oscar Castro-Neves

Makes it Easy

ossa nova guitarist and

orchestrator Oscar Castro-Neves died in Sep-

tember in Los Angeles at the

age of 73. Castro-Neves first
achieved fame at the age of
16, and went on to tour with
Dizzy Gillespie, Stan Getz,
and Sergio Mendez. A Brazilian-born guitarist who helped
to create the cool, sensuous
rhythms of bossa nova, Castro-Neves also orchestrated
music for movies including
L.A. Story and Dirty Rotten
Castro-Neves was noted for

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JAZZed October 2013

Toots Thielemans.

Education: Learn from expert clinics, seminars, & industry discussion groups.
Networking: Connect with record labels, instrument manufacturers,
journalists, performing arts presenters, managers, publishers,
colleges/universities, & more.
Gear: Visit industry exhibitors for the latest products.
Live Concerts: Attend concerts by the worlds top professional jazz
musicians, school & community ensembles.

The Jazz Education Network is dedicated to building the

jazz arts community by advancing education,
promoting performance, and developing new audiences.


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