Summer1997

Bcrklec to day
A Forumfor Contemporary
Musicand Musicians

14 BradV~hifford 71 andJoeyKramer70:
NineLives wil:h Aerosmith
22 Lyle M~~yson Composing
Musical I
SUMMER 1997
VOLUME IX
NUMBER 1
ON THE COVER:Guitarist
Brad Whitford 71 and drum-
mer Joey Kramer 70 look
back at 25 years of living on
the edge with Aerosmith.
Contents
LEADSHEETby Gary Burton
BERKLEEBEAT
Honorary degrees for Chick Corea, Andrad Crouch, and the late Henry
Mancini,Joe Viola tribute, faculty notes:, visiting artists, and more
THE MENTOR WITH THE HORNby Rob Hochschild
Over course of his 40 years on the Berklee faculty,
Ray Kotwica taught his students muchn~tore than trumpet 12
ROCKN" ROLLSURVIVORS by Mark Small 73
After many setbacks, Brad Whitford 71, Joey Kramer 70, and
Aerosmith land on their feet with Nine Lives 14
GETTING IN SYNCby Mark Small 73
Several TVand film music insiders share their perspective on the
the state of the art and the business of post production music 19
LYLE MAYSON COMPOSING by Robert Doezema 76
A conversation with Pat Methenys cowriter
ALUM NOTES
News, quotes, and recordings of note ....... 25
CODAby Bob Mulvey
Focusing on Abilities . 36
 LEADSHEET

Brrklee t o d
A Publication
oftheOfficeof Institutional
Editor
IVlark
L.Small73
Advancement
F~ture
Copy
Editor
Lisa
Burrell
Graphics
Consultant
Plannzng
DaveMiranda

EditorialBoard Gary Burton

Executive Vice President
RobHayes
Director
ofPublic
Information
Judith
Director
Lucas
ofPublications
~~ ecently; I took a 1970s-era alumnuson a tour of our
newestfacilities. Asusual, conversationcenteredon the
impressive changes at Berklee. Changehas becomeas mucha
Lawrence
McClellan
Jr.
Dean,
Professional
Education
Division part of the culture here as chordscales and ensembleauditions.
It is also a challenge; poorly managed changeyields less than
MattMarvuglio
74
Dean,
Professional
Performance
Division optimum rest,Its. The key is successful planning.
Continuousplanning is the most important responsibili-
Donald
Puluse ty of an institutions leaders. It provides a foundationfor
Dean,
Music
Technology
Division
anticipating wherewe are going, and establishes a process for
Joseph
Smith
75 orderly transition. Reliable data are essential, as are discus-
Dean,
Professional
Writing
Division
sion, feedback, and follow-up through assessment.
As we near the midpoint in Berldees current five-year
Officeof Institutional
Advancement planningcycle, it is time to reflect on howwe are doingand
John Collins what comesnext. Webeganthis cycle in 1994-95by review-
VicePresident
for Institutional
Advancement ing our College Mission Statement, which confirms our
MarjorieOMalley commitmentto providing students with a practical educa-
Director
of Development tion in conteraporary music.
Beverly
Tryon
"82 Next, we organized our data about enrollment trends in
Director
ofCorporate
Relations various majors, our perceived strengths and weaknesses,and
a study of relevant external data on music industry sales,
Peter
Gordon"78
Director
of theBerklee
Center
inLos
Angeles population demographics, and economictrends in the coun-
tries fromwhichmost of our students originate.
SarahBodge
Assistant
Director
of Development
forAlumni
Relations Basedon this information, we drafted a vision statement
setting forth the primarygoals and initiatives we sought to
ChikaOkamoto achieveduring the five-year planningcycle. Ourvision state-
Assistant
Director
ofInstitutional
Advancement
ment, called "Shaping Our Future," and supporting docu-
Kassandra
Kimbriel mentation were widely distributed throughout our college
Assistant
Director
for Annual
Fund
communityfor feedback and final versions reflected this
input. Many members of the Berklee community have
As the alumni-oriented music magazineof Berklee
Collegeof Music,Berklee today is dedicated to inform- received someof this material.
Planningshould not be a straight-jacket, so wecontinual-
ing, enriching, and serving the extendedBerkleecommu-
nity. By sharing informationof benefit to alumniabout ly assess progress and makeadjustments as needed. Weare
college matters, musicindustry issues and events, alum- nowstarting the third year of our planning cycle, and are
ni activities and accomplishments,and musicaltopics of renewingthe cycle of information gathering. This will mold
interest, Berklee today serves as both a valuable forum our newvision statement for the period that lies ahead.
for our family throughout the world andan important It is satisfying to report that majorprojects designedto
source of commentaryon contemporarymusic. meet the goals set forth in "Shaping Our Future" are pro-
ceeding and are benefiting the college. In addition to the
Berkleetoday(ISSN1052-3839) is publishedthreetimesa year obviousgains of a well organizedplanning effort, there are
by the BerkleeCollegeof MusicOfficeof Institutional Ad- hidden benefits resulting from focusing the humanresources
vancement. All contents 1997by BerkleeCollegeof Music. of our talented leadership teams and our faculty, staff, and
Sendall addresschanges,pressreleases,letters to the editor,and
advertisinginquiriesto Berkleetoday,Box333,BerkleeCol- students on our shared goals and ideals. As we look ahead,
lege of Music,1140BoylstonStreet, Boston,MA 02215-3693, the momentum of our entire communityworking together
(617)747-2325, or via e-mail:msmall@berklee.edu. Alumni are ensures our success. Weare very proud of Berklees many
invitedto sendin detailsof activitiessuitablefor featurecover-
age. Unsolicitedsubmissions are accepted. accomplishmentsand look forward to showingour visitors
the outcomeof years of creative change.
2 Berklee today Summer
1997
 GreateSt
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Here(Blue Note) 02744 (Rhino) 08087
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TOYOU (AtlanticJazz)02889(GRP) 08225 II
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Berklee b e a t
COREA,
CROUCH,
ANDMANCINI
HONORED
As the long-anticipated
warm weather finally
arrived in Bostonon the first
~eT.~s of note weekof May,so did gradua-
tion for over 500 seniors.
torn about This year, the college
awarded honorary doctor-
:own and ates to jazz legend Chick
Corea, gospel music super-
~roundthe star Andra8 Crouch, and
bestowed a degree upon the
"~orld late, great film composer
Henry Mancini. Accepting
the posthumous award for
her husband was Mrs.
Ginny Mancini.
On Saturday, May 10,
Berklees Yo TeamProduc-
tions staff and 34 student
singers and instrumentalists
(the majority of whomwere
graduatingseniors), present-
ed an unforgettable tribute
to the three honorees. The
heepskins in hand:fromthe left, Andra~
Crouch,Virginia
~lancini,andChickCoreawithPresident
LeeEliot Berk.
Jmmer1997
show featured
such Mancini
classics as the
"Peter Gunn"
and "Pink
Panther"
themes, Moon
River," and
"The Days of
Wine and
Roses." Chick
Corea was ChickCoreacongratulates a graduate.
well repre-
sented with renditions of Center, President Lee Eliot
works culled from his 35 Berk, citing Coreas 55
years as a .composer. albums and eight Grammy
Highlights were "Spain," Awards, called him "one of
"Light Years," "Hymnof the most creative jazz musi-
the Seventh Galaxy," and cians in the industry." Of
"Day Dance." In a surprise Andra4 Crouch, Berk said,
cameo appearance, Corea "He has earned an interna-
and Gary Burton took the tional reputation as one of
stage and servedup a rollick- the top gospel musicartists
ing duet version .of Coreas of our time." Crouch has
"Armandos Rhumba." penned over 300 songs,
The finale was a medley some of which have become
of three Crouchl:unes: Tll gospel standards, sold mil-
Be Thinking of You," "iMy lions of albums, and won
Tribute," and "Got Me nine Grammys.
Some Angels." Augmenting Berk called Henry
the singers onstage was the Mancini "one of the most
80-voice Berklee Reverence gifted and versatile com-
GospelEnsemble..Togetlher, posers of his era." The mas-
they brought the concert to terful composer scored 70
an inspirational climax. motion pictures, madecon-
After the show, the hon- tributions to more than 100
orees were enthusiastic. others, recorded 90 albums,
Corea simply said, "I was and received 20 Grammy
knockedout." Crouch stat- Awards, four Oscars, and a
ed, "I knewthe music would Golden Globe Award. In
be good, but I never expect- receiving the degree, Mrs.
ed that such young musi- Mancini stated, "Of all the
cians wouldbe so sensitive." awards he received in his
The next morningat the lifetime, I think this one
Commencement ceremony would have pleased him
at the Hynes Convention more than anything."
Berklee today 3
 WOODWIND
STARS
TURNOUTFORJOI-" VIOLATRIBUTE
On April 12, a number of gifted phonists, Carol Chaikin 80, Geor
saxophonistsreturned to the college to Robert 84, and Mark Gross ",
perform in a tribute concert for assembled to play the head
Professor Emeritus Joe Viola. The "Minority" and then turned it over
beloved faculty member taught at Gross whose extended solo left
Berkleefor 50 years. stone unturned. Chaikin blew en~
Vibraharpist Gary Burton kicked getic Iines in a brisk-tempoedrent
off the event in the packed Bertdee tion of "Pent UpHouse"for her sp<
Performance Center. Backed by gui- light number. Swiss alumnus Geor
tarist Mick Goodrick 69, bassist Robert, whotraveled the greatest d:
Christian Bausch 96, and student tance to appear in the concert, mast~
drummerSebastiaan de Krom, Burton fully probed the melody and cho
featured three of Violas former stu- changes to "Polka Dots
dents whohave also toured with the Moonbeams,"which Viola once co
Burton band. Tenor men Donny tided washis favorite jazz ballad.
McCaslin 88 and TommySmith 86 A new incarnation of the Berk]
dueled on "I Hear a Rhapsody." Alto Saxophone Quartet founded by Vk
player Jim Odgren 75 stepped up to in the 1960s, renderedJerry Dodgia
the mikeon "Isfahan" before all three "Thank You" with original mem
traded choruses on Chick Coreas "Sea John LaPorta (tenor) assisted by
Journey" to end the segment. Fromthe left: Tommy
Smith86, Jiim Ferrante (baritone), BruceNifong
Odgren"75, andDonny
McCaslin"88 (alto), and Jaime Fatas 92 (sopran,
Jane Ira Bloom,not a Berklee alum-
na, but a former Viola student, played Armed with his clarinet LaPol
an evocative medley of "Wee Small returned to center stage to play t
Hours" and her own "Midnight Javon Jackson and Donald angular blues head and solo on
Measure" with a rhythm section com- Harrison roundedout the first half of ownpiece "J.V."
prising pianist Vincent Bourgeyx97, the show. Jackson chose the
drummerSteve Haas 96, and bassist tune "Bolivar" to showcase
Ian Martin 96. Blooms soprano sax his musculartenor lines, while
produced striking piano harmonics Harrison played a virtuosic, a
during the medleys unaccompanied cappellaintro to a lively blues
section as she playedarpeggiosinto the
romp.
grand piano as Bourgeyxpressed the The second half opened
sustain pedal. After the applause with presentations by Lee
ended, Bloom read a tribute from Eliot Berk, Larry Monroe,and
"saxophone doctor" Emilio Lyons, Matt Marvuglioto Viola and
who learned the saxophone repair his wife Alice, who joined
trade from Viola. Although present them on the stage. Monroe
onstage, Lyons asked Bloomto read read a proclamation by Boston
his tribute, feeling too overwhelmedMayor Thomas Menino
to Alto madness:fromthe right, CarolChaikin
speak the wordshimself. declaring April 12, 1997 Joe IVlarkGross"88, andGeorge Robert 84
Viola Day in
Boston. A
congratulatoryletter For their solo numbersRichie C,
was also sent from 67 chose the ballad "Now I H~
Massachuse, tts Everything" and Andy McG~
Governor William picked "In a Sentimental Moo
Weld. Violas son before being joined by Bill Pierce :
and daughter each and LaPorta for a showdown
shared warm anec- "Oleo," the concert finale.
dotes. Before the After it was over, Viola comme
alumni took the "WhenI heard they were planning tt
stage again, grand- I thought about 50 people wouldsh~
son Robbie played a up, but there were so manyin the h
piano piece which It was great to see myformer stude
Fromtheleft: Performance
DivisionDeanIVlatt Marvuglio was dedicated to and to hear themplay so well." Con
andWoodwind DepartmentChair Bill Piercemakepre- Grandpa Viola. proceedshavebeen used to establish
sentations
to JoeandAliceViola. Three alto saxo- endowedscholarship in Violas nam

4 Berklee to day
MR. KAMENS
OPUS NEWSCHOLARSHIPS
that Baylowbegan her discussions
The triumphant spirit and emo- Scholarship funds have been
with the college, Kamen
tional conclusionthat madethe film bumpedinto recently been established in memo-
CompositionDepartmentAssistant
"Mr.HollandsOpus"a hit took hold ry of twoalumniof the college. The
of a BerldeePerformance Chair GregFritze at an off-campus Yale ThompsonScholarship Fund
Centeraudi-
event. Fritze askedKamen
ence duringa February28 visit from if he would has been created by the Thompson
come to Berklee and conduct the family in memoryof MP&E
the films composer,MichaelKamen. major
Only two days prior, Kamenhad WindEnsemble.Havingonce before Yale Thompson. The award will go
received a GrammyAwardfor the beento Ber!deeto present a visiting to a returning MP&E major begin-
movies theme, "An American artist clinic, Kamenwas eager to ning his or her final year. Thefami-
Symphony."Kamenconducted the return with Baylowto distribute the ly and friends of the late Daniel
first of manyinstrumentsthat will be Gavini 93 have established a fund
Bertdee WindEnsemblein the BPCin
presentedby the foundation.
a performanceof his winningcompo- specifically to providea scholarship
sition whilethe final scenefromthe The evening began with the 50- for a student from Holliston High
piece WindEnsemble--comprising School in Massachusetts whowill
film played on a screen behind the
Berldeemusicians. students, faculty, and four Berklee attend the Berklee Summer
Kamens City Music students--performing
visit to the college was PerformanceProgram,or for a full-
three pieces, two composedby stu-
the first stop of a four-city promo- time student from Holliston or one
dents, underthe direction of Fritze.
tional tour for his newlyestablished of its neighboringtowns. Both the
Mr. Hollands Opus Foundation Beforetaking the podiumto lead the Yale Thompsonand Daniel Gavini
(www.mhopus.org).The nonprofit ensemble through "An American scholarships will be awardedyearly
Symphony,"
foundation was created by Kamento Kamenpresented instru- starting in the spring of 1998.
ments to Oleg Gusyatin, Abeku
put instruments into the hands of Three new area alumni scholar-
Wilson, DeVronWarner, and Brent
youthacross the UnitedStates, espe- ships wereestablishedthis year with
Irvine~ All four are part of Berldee
cially in areas where budget cuts income generatedby alumniconcerts
City Music, whichprovides Boston
haveeliminated public school music in Nashville and San Francisco, and
andarts programs.Kamens youthwithafter-schoolandfull-time. from an educational programin Los
effort is
supported by Apple Computer, musiceducationat no charge. Among; Angeles presented by the Berklee
Sony Publishing ATVand BMI,the the instruments wasa guitar auto-. Center in Los Angeles.Scholarships
graphedby Eric Clapton, a saxophone will be awardedto worthystudents
Pearl, Yamaha,AvedisZildjian cor-
boughtfor the foundationby David. whocomefrom each of those geo-
porations, andby private donations.
Sanborn,anda doublebass. Irvine, a graphicareas. Thealumnichaptersin
Thefoundationsdirector is Berklee
alumnaGillian Baylow95. second-semester studentattendingthe, eacharea wilt continueto addcontri-
"When collegeon a four-year,full-tuition.,
I first begansetting up the butions to the funds through future
City MusicContinuingScholarship, concerts andother types of fundrais-
Foundation,I knewthat it wouldbe
was later invited to appear with ers, andwill be involvedin selecting
vitally importantto partnerwitha col-
Kamenon CNNto discuss how the
lege level program,"says Baylowfrom the awardrecipientsfromtheir area.
the Foundations Toluca Lake, foundations benevolence has A scholarship fund begunby Joe
enhanced
California, office. "Berldeewassuch his learningexperience. Viola to aid his woodwind students,
Withthe WindEnsemblepoised to was augmentedwith funds raised at
an incredibleplace of learningfor me,
that I immediatelyapproachedthebegin its guest conductors piece, the Joe Viola Tribute concert held
collegefor their involvement." Kamen raised his batonas a projection on April 12. [See page4 for related
screen wasloweredat the backof the story.] Thefirst recipients of this
Coincidentally, around the time
stage. For the rest of the scholarslhip will be namedduring
evening,life andart were the spring scholarship awardscere-
separated by just a few moniesin April of 1998.
feet as the Wind Thanks to the generosity of
Ensembleperformed in numerousalumni, parents, friends,
sync with a clip of the faculty, and staff, 77 percent of
moviesclosing scene, a Berklees students received some
performance of "An form of financial aid during the
American Symphony.:" 1996-97academicyear~.
At the conclusion, the Berkleehas a total of 64 named,
audience jumpedto its endowed scholarshipsthat are award-
feet, applaudingKamen ed to deservingstudentsannually.For
for his musicianshipand informal:ion about establishing an
his humanity. endowed scholarship,call Director of
ComposerMichaelKamen
(center)poseswithstu- DevelopmentMarjorie OMalleyat
dentsafterconducting
the Berklee
Wind
Ensemble. ---AllenBus,~ (617)747-2569.

Summer1997 Berkleeto doy 5

TWONEWTRUSTEES
Berklees board of trustees
Chair Will Davis announcedthe
appointment of Don Rose and
Dolores Johnson to the board.
Bothwill serve on the institu-
tional advancement committee.
Rose is president and
cofounder of Rykodisc, one of
Americasmostsuccessful inde-
pendentrecordlabels. Rykodiscs
catalog includes recordings by
artists such as Morphine,David
Bowie, King Sunny Ade, Jimi
Hendrix, Elvis Costello, Bruce
Cockburn, Frank Zappa, and
Medeski,Martin, and Wood.

DonRose
Berklee President Lee Eliot
Berksaid of Rosesappointment,
"Weare fortunate to havesome-
one on our board whohas made
such an impact on the interna-
tional musicindustry. Donsets a
strong examplefor our students
whoare planning careers in
musicbusiness."

Dolores Johnsonwas namedto the the AT&TSpecial Merit Awardfor

boardof trustees in April. Johnsonis
senior director of marketingat Lotus
DevelopmentCorporation in Cam--
bridge. She managesworldwidemar-.
keting for Lotus strategic partner-
ships with 16 international telecom
organizations.
.Johnson has received numerous
honors including the AT&Tand
HarlemY.M.C.A.Black Achievers in
Industry Awardfor outstanding busi-
DoloresJohnson ness and communitycontributions,
6 Berkleetoday
outstanding performance, and the
Digital EquipmentCorporations Top
Performeraward.Sheis listed in Whos
Who AmongAmerican Women.
President Berk stated, "I am
extremelypleased to join the board of
trustees in welcomingDoloresas the
newest member.Welook forward to
utilizing the marketingand technology
expertise she has gained through her
successful career in senior management
positionsat several corporations."
Summer
1997
Sweetw~ter Sound
first opened its doors
in 1979. Awhole lot
of othermusic deal-
ershavecome and
gone since then.but
thanks to ourinnova-
tive customer com-
munications, afford-
able prices and
friendly, knowledge-
able
sale.; engineers,
weve g~own at an
astounding rate.We
offerthousands of
products fromthe
bestnames in theindustry, likeI(org,
Al~$isI]ligid~si!lnand lascam,tonamejusta few.Soif
youre s ;opping for equipment,whynotmaketl~etigl~t
callandfindoutwhy thousandsof othermusicianshave
made Sweetwater Soundtheirfirst choicefor all their
hardwar,~ andsoftware needs?
 BERKLEES
1997 SUMMER
PROGRAMS
HEATUP
For the summerof 1997, Berklee
will present an assortment of educa-
tional offerings ranging from perfor-
mance workshops to music technol-
ogy instruction to English as a sec-
ond language classes.
A perennial favorite is Berklees
Five Week Summer Performance
Program, which runs from July 6
through August 8. Participants
receive five weeksof intensive train-
ing in performancewith Berklee fac-
ulty membersand an array of visiting
artists. The programis popular with
high school age students, and offers
plenty of performing opportunities,
and everyone a spot onstage in the
programsfinal concert series.
The 1997 Berklee Guitar Sessions
will run August 17 through August
22. The program sharpens playing
skills through intensive workshops,
style labs, ensembles,and lessons from
the guitar faculty. Professional bass
players and drummerswill be on hand
for the ensembles.
Berklees Music Technology
Division presents three days of
seminars on music production for
musicians, songwriters, and educa-
tor July 17-22. Attendees will par-
ticipate in seminars and have hands-
on access to the Berklee recording
GIVINGONEHUNDRED
ANDTENPERCENT
The item topping Larry Senibaldis
retirement summeragendaafter teach-
ing guitar at Berkleefor 34 years, is,
ironically, studyingguitar. "Ill finally
havethe time to do it," he says. "I want
to learn more tunes and work with
classical musictoo."
LarrySenibaldi
retiresafter 34 years.
8 Berkleet o d a y
studios and musicsynthesis labs.
The World Percussion Festival
runs August12-17. Its emphasisi.s on
practical playing experience througha
variety of performance activities, clin-
ics, and concertsfor all percussionists
and educators interested in world
music. Festival attendees will be
placed in groups with percussionists
of similar training andability.
The SummerString Fling, July 31
through August2, is open to all vio-
lin, viola, and cello players wantingto
developimprovisationalskills in con-
temporary idioms such as jazz, rock,
blues, and country.
The International Musicians
English Language Institute (IMELI)
For manyyears, Senibaldi taught
eight hours a day, five days a week,
and played gigs on the weekend to
support his wife and six children.
Now,the kids are grown, and he is
free to pursue just what he wants in
music. "WhenI do something, I like
to giveit myall," he says. "I feel I gave
it 110 percent here. I think I only
missed15 days of worktotal. Ill do
the samein retirement, but I will be
giving myself 110percent."
Senibaldistudied at Berkleein tlhe
1950s."I wasa student in 1957afi:er I
got out of the service," he says. "In tlhe
Armys28th Infantry Division Band, I
learned howmuchI didnt know."
After Bertdee, he played in area
clubs with various bands. He and :for-
mer Guitar Department Chair Bill
is held at the Berklee campus from
July 25 to August22, and is designed
for students who speak English as a
second language. Morningsare spent
learning English grammarand vocab-
ulary; afternoons are for exploring
the culture of the United States in
general and specific customs of
Boston and of Berklee. The curricu-
lum also includes cultural activities
near the campus.
Bet!dees Los Angeles Performance
Program is held at the Claremont-
McKennaCollege campus just outside
of Los Angeles from July 20 to 26.
This is a unique opportunity to work
with someof Berldees best faculty as
well as top West Coast alumni and
guest artists. This program offers
instrumental and vocal workshops,
and special guitar sessions, providing
plenty of performance opportunities
in ensembles with students of similar
training levels and skills.
Applicants to all programs must
be at least 15 years old to enroll, and
performers must have been playing
their instrumentfor at least one year.
Housingand meal plans are available
for each course of study. Call the
SummerHotline at (617) 747-8870
for application information and
tuition and housing costs.
Leavitt were playing the samecircuit
but had nevermet. "I finally got to play
with him in a showwhich called for
twoguitars. Shortlyafter that, he called
and asked meto teach at Berklee." The
rest, as theysay, is history.
Senibaldi taught somegreats during
his tenure. "I had MikeStern for three
years," he recalls, "and, for a few
semesters, Reeves Gabrels and John
Scofield. I even taught A1DiMeolafor
a little while. I have madea lot of
friends here over the years. Ive saved
the letters Ive gotten fromformerstu-
dents all around the world. Oncein a
while, someonelike Stern or Gabrels
mentionsme in a magazineinterview."
Nowhe dreams of leading a group,
writing music, learning violin concer-
tos on guitar... 110 percent.
Summer
1997
 A FEWMINUTESWITHSUSANBERK
Susan
Berk,wife of PresidentLeeEliot
Over the years, Susan Berk has
served the college and assisted her hus-
band in numerousquiet ways. A case
in point, she will overseepublicart dis-
plays that the college plans to set up in
several buildings in an effort to
enhancethe architecture for visitors,
staff, and Berldee students. Another
example: President Berk was recently
invited to chair the National Music
Foundations Education Committee;
Susanwas also invited to be a member.
Voluntary public service--both
inside and outside of Berklee--has
always been an important component
of Susans schedule. Educated for
public school teaching, a student of
the visual artsl and a lover of children,
Susan volunteers two days each week
at Bostons Charles SumnerSchool as
a teachers helper assisting the elemen-
tary students with reading and art.
Lee and Susan open their home
for special college events and meet-
ings. "Weentertain the trustees and
guests from around the world," she
says. "Wehave hosted events ranging
from Passover Seders and IAJE
[International Association of Jazz
Educators] receptions, to formal din-
ners with a theme. Bringing people
together and making friends for the
college in our homeand at outside
events is a very important endeavor,
and it is fun too."
A native of New London,
Connecticut, Susan Berks initiation
to the Berklee scene came in 1975.
"The summerafter I had received my
masters degree from the University
Summer
1997
of Pennsylvania," she says, "I Jill Blume in the late 1980s. "Our
took a job in Boston giving book sold well--over 17,000
tours of the city for the Boston copies--and went into second and
Aid to the Blind. Aroundthat third printings," she says. "Soonthe
time, I was introduced to Lee business was listed in popular travel
by a friend. Our first date was books published by Fodor and
at Cafe Vendome.I was a half- Frol:amer. That gave us credibility."
hour late, but Lee was still As the business grew steadily over a
there when I arrived--I 10-year period, Susan found that
thought patience was a good there was insufficient time for other
~ trait on his part. After dinner, areas of her life, particularly family
~ we walked down to the John and volunteer activities.
~ Hancock Hall where many The talents developed in her
~ Berklee concerts were held business became a college asset as
~ back then. she channeled that creativity into
~ "The concert that night was Berklee events. For a dinner wel-
coming new Berklee trustees that
Berk by Mike Gibbs Only Chrome was held on Lincolns Birthday a
Waterfall Orchestra. That was
myintroduction to Berklee. As I got few years ago, Susan found a histo-
to know Lee better, he took me rian who dressed as Abraham
through the building which is now Lincoln, mingled with the guests,
the Berklee Performance Center. The and spoke in character on episodes
basement was a bowling alley then, from Lincolns life. "I surprised
and I thought his plans to makeit a IAJE people for a planning session
first-rate theater were overly ambi- at our home," she says. "Knowing
tious. But he clearly had the vision of that their next conference would be
what it could become." in Texas, I had a Texasmotif for the
Susan and Lee were married in party and the huge cake."
October 1975. Susan then worked at One of Susans great passions is
the John E Kennedy Library, but art. "Ive always had a good eye for
after their two daughters Nancyand it," she says, "and I enjoy sketch-
Lucy were born, Susan decided to ing." Susan will balance overseeing
work out of their home. She Berktees public art installations
launched a successful tour- and with other voluntary civic and char-
events-planning business called itable commitments."I knowI cant
UncommonBoston. "It all started be a volunteer here five days a
when Lee met with a mother and son week--its not in my artistic tem-
from California," she recalls. "They perament," she jokes. "I love the
wantedto see somehistorical sites in environment at Berklee, though.
Boston, and Lee asked if I would This college is a beehive of musical
take themaround. I tailored the trip activity, and I enjoy the creative
to the high school-agesons interests. artists and students I meet here."
Later, I arranged cus-
tom tours for other peo-
ple as well. Wordgot out
and soon corporations
like General Electric
started calling meto take
their foreign visitors
around. I even worked
on a major Harvard
Business School reunion
for the fabulous Class of
1961."
Addison Wesley
published Uncommon
Boston, a book Susan Susan BerkgreetsbassistMilt Hintonat a Berklee-
co-wrote with author hosted exhibitoti his historicphotography.
Berkleet o d a y 9
 FACULTYNOTES
Associate Professor of VoiceVivian Assistant Professor of Harmony Bangkok Symphony and the Bill
Reedwas profiled in the May2, 1997 Bruce lialz played Hammond B3 organ Pierce Quintet featuring Chair of
edition of the Chronicle of Higher and piano on Transformations,the sec- WoodwindsBill Pierce (saxophone),
Education. Journalist David Wheeler ond disc he has released for the EnsembleInstructor RonMahdi(bass),
attended Reedsclasses for two days to Audioquest Music label. It features Associate Professor of Performance
write the story. PerformanceStudies Instructor lievin Studies lien Cervenka (trumpet),
Librarian JohnV0igt authored arti- Bar~(guitar) and Assistant Professor Associate Professor of Percussion
cles on Gil Evans and Morton of Bass DaveClark. dohn Ramsey(drums), and Ensemble
Feldman for a book and CD-ROM Associate Professor of Guitar Mike Instructor ConsueloCandelaria
release slated for 1998. Heplayed bass Ihdes performanceat the 14th Annual (piano).
on the CDsTri-P-Let with the Jemeel Pedal Steel Guitar Festival in Associate Professor of Ensemble
MoondocTrio and on Sabir Mateen. Burghclere, England, was so impres- MarcelloPellitteri (drums) plays
Bothdiscs are on the Eremitelabel. He sive to festival attendees that he has Celtic Tales, a new release on Sony
has also been backing Associate beeninvited backfor next years event. Recordsby Gildas Bocl685 (bass) and
Professor CarolynWilkins,street poet Associate Professor BrunoRi~berg Jean-BaptisteBocl685 (vibes).
Billy Barnum,performance artist Bea plays bass on the Myths and Beliefs Assistant Professor of Bass Joe
Licata, Thurston Moore of Sonic CDby keyboardist Mika Pohjola 93. Sanlerrehas released TheScenic Route
Youth, and guitarist Bern Nix at vari- Also heard are Roberto Dani 94 on AudioImageRecords. Featured on
ous gigs. (drums) and MickGoodrick 67 (gui- the CDare Assistant Professor of
Assistant Professor of Piano Marc tar). BruceMillard 83 was production Guitar don Finn and Woodwind
R0ssi released the CDentitled We assistant and BobPat~onengineered. Instructor Din0Gov0ni.
Must Continue for the MMC label Guitar Instructor TomoFujita has Associate Professor of Guitar
Rossi is joined on the recording by released the blues/fusion CDPut on Charles Chapmanperformed a solo
PercussionProfessor EdUribe, guitarist Your Funk Face, which features 11 guitar set at the NAMM Show in
Bruce Arnold, drummer Alan Hall, Fujita originals. The disc was named Anaheim,California, this January for
bassist Bill Urmson,and shekere play- "Demo of the Month" by Guitar Acoustic Guitar magazine.
er Syd Smart. Player magazine
Guitar Professor GarrisonFewefi in March.
and Assistant Professor of PianoLaszlo Brazilian
Gardonyreleased a live duo album vocalist and Your Source for the
titled Reflection of a Clear Moonfor Assistant Pro-
the Accurate label. The recording was fessor of Ear ]Fines/Names in
made during a live broadcast in Training l.uciana Brass & XVoodwinds
Budapest for Hungarian National $ouza released
Radio. It is Fewells third release on Quintet Music, All Major BrandsNew,Used& Vintage
alumnus Russ Gershons Accurate which features Full Line ,of Accessories
label. Gardony also performed in Associate Pro- -Trade-Ins Accepted
Norway,Finland, Belgium, and at the fessor of Wood- WeBuy UsedInstruments
Alterknit Theatre in NewYork this winds George Complete,Repairs& Restoration
spring. Garzone (saxo- -Expert Consultation
Assistant Professor of Ensemble phone), bassist WeShip WoddWide
Fred Lipsius has authored a new book John Lockwood
and play-a-long CDentitled Reading 77, pianist Dave
Key Jazz Rhythms. The CDfeatures Kikoski 81, and Bayburn
Assistant Professor of Guitar Jack Ignacio Berroa MusicalIn.,~ruments
Pezanelli, Assistant Professor of Bass on drums. The "Hubof Musicin Boston"
DaveClark, and Lipsius on keyboard. Assistant
The book is published by Advance Chair of Film 263 Huntington Avenue
Music. Scoring Michael Boston, MA02115
Professor of Guitar Lain/Senibaldi Rendish orches-
and Professor of Music Education trated Love at Tel. (617) :266-4727
DeannaKidd(vocals) are heard on the Sundown, music FAX (617) 266-1517
Paint the Town Red CDon the KTD written by the
music 1abet. The work is an original King of Thailand. Next to Sy~mphony Hall
musical theater production written He also conduct-
and produced by Berklee alumnus ed the workspre- Contact: Lee WalkowichC/ass of 81
Michael W. Donovan78. miere with the

10 Berklee today Summer

1997
 SPRING
VISITINGARTISTS
A wide range of profes- Music Hall, presented a
sionals and industry bright seminar on applying elec-
lights visited the campusto tronic percussion to vari-
share anecdotes and impart ous genres during
knowledge to Berldee stu- Percussion Weekin April.
dents and faculty members Blue Note recording
this spring. Launching the artist FareedHaque gave a
series was Lisa Moen,senior clinic on electric and classi-
director of product develop- cal guitar styles during
ment for Broadcast Data Guitar Weekin April. Also
Systems. She described new on hand for Guitar Week
systems which have revolu- activities was Manhattan
tionized airplay information School of Music Professor
gathering. R0dney30nes. Jones played
Country hit songwriter in a Performance Center
GaryBurrconducted classes concert with saxophonist
on the craft and business of Bill Pierce, bassist John
songwriting. He also con- Lockwood, and drummer
ducted a master class with Sebastian DeKrom.
TonyBrown,
president
of MCA
Records-Nashville,
in StudioL3 Trombonist Bob
student ~ongwriters.
MarkLedford,vocalist, Brookmeyer and pianist
multi-instrumentalist, stu-
dio musician, and touring TonyBrown,president of
sideman with the Pat MCARecords-Nashville
Metheny Group, presenteddivision, spoke about pro-
ducing hit country records
a clinic for students of the
Voice Department. in the morningon April 25.
Panamanian-born pianist
That afternoon, Browncon-
ducted a master class in
BaniloP~rezgave an after-
Berklees Studio L3.
noon clinic and performed
with his trio in an evening Grammy-Award-win-
concert at the Berklee ning film score composer
Performance Center. MichaelKamen spoke about
Bert H01man, Allman his career in an afternoon
Brothers Band manager, clinic preceding his evening
spoke candidly about theappearance as guest conduc- Hit countrysongwriter I~ary Burrcoaches a student.
tor of the Berklee Concert
realities of managinga rock
Wind Ensemble.
band and shared insights on
the logistics of touring. Participating in the Piano Vocalist Rebecca Paris Kenny Werner were the
Dr. CharlesFurmanand Weekactivities was Andy presented a clinic on singing Professional Writing Div-
AmeliaFurmanspoke about LaVernewhocamefor a con- jazz standards for the Voice isions artists in residence
cert and clinic on reharmo- Department.
music therapy and working for the spring semester.
nization and improvisation.
with special needs students. Boston Globe reporter They performed and held a
and Berklee alumna Alisa number of discussions on
Valdes moderate.d a lively composition, harmony,
panel discussion about and performing.
womenin the music indus- RonBoston,artist devel-
try. Panel membersinclnded opment rep for PolyGram
Boston Music Awards Group Distribution in
founder CandaceAvery, Woburn, MA, gave a pre-
Assistant Professor of sentation on how major
Guitar tauren Passacelli, labels developan artist.
songwriter DebPastemak, Bassist AverySharp,a
Rykodisc Director of A&R longtime sideman for
Erica Ruben,jazz vocalist McCoy Tyner, and jazz
Eula Lawrence,and song- violinist JohnBlakeJr.,
writer LaurieGeltman. were guest clinicians for
MarioDeCiutiis,principal the String Department in
Boston
Globe
reporterAlisaValdes leadsa paneldiscussion. percussionist at Radio City April.
Summer
1997 gerklee today 11
 FACULTY
PROFILE

The Mentor with the Horn

by Rob Hochschild

~ ay Kotwica, a memberof the Berklee faculty for 40

in reference to the floating ballroom shows. "Playing on
years, has played trumpet with some of the true
the boat was, in a way, tougher than other gigs. Whenthe
entertainment legends of this century, including Judy
boat started swaying, the tempo might change, and it
Garland, Nat King Cole, and Tony Bennett. But one wouldbe harder to read the chart. Youhad to be sure to
early music learning experience that he passes on to his
knowthe tune.. It forced me to stop relying on reading and
students came in a less conspicuous situation, aboard a
on other players."
boat in Boston Harbor in the 1940s. It is this sort of commonsense approach to 1earning
"It was a harbor cruise called Roll and Toss with Syd
music that has always informed the teaching methods of
Ross," Berklees Brass Chair Emeritus Ray Kotwica said
Kotwica, one of Berklees most popular faculty members
since joining the college in 1957.
As trumpet: chair and, eventually, Berklees first Brass
Departmentchair, Kotwicaset the tone for his department,
earning a reputation as a demandingyet caring private
instructor. Kotwicasteaching style has nurtured the talent
of manytrumpeters, including Berklee alumni Wallace
Roney, Claudio Roditi, Tiger Okoshi, and Lin Biviano.
"He is a very smart manand has an amazing capacity
for insight," said Biviano, whowent on to work with big
bands led by Count Basle, WoodyHerman, and Maynard
Ferguson after studying with Kotwica in the mid-1960s.
"A lesson with Ray was not just about playing the trum-
pet, but about howto approach the business, howto be a
well respected and well received person."
Lessons in music business began at an early age for
Kotwica, who was already playing professionally in
Bostons top vaudeville theaters by the time he graduated
from high school in 1945. Versatility was an important tal
ent Kotwicadeveloped at this time, having to provide a
musical backdrop for a range of performers, including
singers, dancers, jugglers, and even animalacts.
RayKotwica
circa1960.Hejoinedthe facultyin 1957andwas After high school, Kotwicaearned a degree in classical
named
distinguished
chairof the BrassDepartmentin 1989. trumpet at Boston University while playing big band gigs
12 Berklee today Summer
1997
at clubs, theaters, and on cruise boats.
At Blinstrubs Village in South
Boston, Kotwica accompanied stars
like Nat King Cole, Harry Belafonte,
Steve Lawrence, and Eydie Gorme.
And at a former Boston club, the
Latin Quarter, Kotwica formed a
long friendship with Woodwind
Chair Emeritus Joe Viola when the
pair played in a house band that
backed up Pearl Bailey and Billy
Eckstine, amongothers.
"Ray is the most consistent trum-
pet player Ive ever worked with,"
Viola said. "Guys would be clamming
notes all over the place, but I never
heard Ray bust any notes. He could
handle any situation."
Kotwica made his strongest mark
on the Boston musicscene in the the-
ater, particularly as lead trumpetplay-
er at the Shubert Theater. His playing
was a highlight of many Broadway
hits, including Camelot, Hello Dolly,
Cats, and A Chorus Line.
At a time when shows frequently
opened in Boston before hitting
Broadway, Kotwica became known
in the 1950s and 1960s as a reliable
lead player, a great source of musi-
cian referrals, and a consummate
theater professional.
"If you play in the theater, you
have to learn the business," explained
Kotwica. "What you can do, what
you cant do, howto get along with
conductors."
Theater contractors cameto depend
heavily on Kotwicas familiarity with
the best musicians in town, and his
ability to line up playersperfectly suit-
ed for particular gigs. "Manypeople
got their first [theater] gig on myrec-
ommendation," said Kotwica. "At
times when we were at the Shubert,
there might be seven or eight people
from Berklee in the band."
One of the many musicians
Kotwicahelped land theater gigs was
trumpeter and retired Berldee faculty
member Herb Pomeroy. "I learned
more about playing [in musicals] from
Ray than anyone," he remembered.
Sitting next to him helped me
immenselywith musicality in that situ-
ation, anticipating parts, turning pages.
Rayis very skilled in the idiom."
While Kotwica was becoming a
master of the musical, he was continu-
ing to develop as an educator; he put
Summer
1997
his distinctive stamp
on Berklees
Trumpet Depart-
ment. Kotwica
helped students
master the funda-
mentals of music
and the musicindus-
try, and coauthored
a book with Joe
Viola titled Chord
Studies for Trumpet.
"Ive always
emphasized getting BCM studentMarkGoncalves: "Raymade meawareof the
a good sound and tinylittle thingsthatmake youintoa greatplayer."
learning tunes with-
out the music,"
Kotwicasaid. But his advice to young student and faculty tutors, was
trumpeters would inevitably include strengthened in 1991 when Kotwica
tips on establishing and maintaining a vohmteered to join the mentoring
professional career. "I wouldtell them team. One student, 18-year-old trum-
to take any gigs they could get and peter MarkGoncalves, began studying
eventually someonewould hear them. with him whenhe was 12 years old.
Whether youre playing a wedding or "Ray made me aware of the tiny
Carnegie Hall, someone with a good little things that makeyouinto a great
sound always stands out." player," Goncalvessaid. "Plus, he told
One aspect of Kotwicas personal- methe facts-of-life things that you
ity that has always enhancedhis edu- need to get by. Hes a great teacher
cational style is his sense of humor. because hes given me the foundation
"Ray has a joke for every occasion," to do whatever I want in mycareer.
said Biviano. "Hewouldbe the one in. Hes like a grandfather to me."
the pit band to crack a joke and make: Kotwicas BCM efforts were recog-
everyone relax. He would make.. nized in April 1996 whenhe received
everyone feel at ease because of his; the Pro Arts Public Service in the Arts
personality." award in a ceremony at Boston City
"He has a legendary sense of Hall. The award is given annually to
humor that keeps the peace between educatorswhouse their creative talents
different factions," added Professor for communityservice.
of Trombone Phil Wilson. "I cart ]Late last year, Kotwicasuffered a
remember times I would be arguing stroke. He has been recovering at a
with John LaPorta or one of the other rehabilitation center in RhodeIsland.
faculty members about a teaching While Berklee is forced to do without
approach, and Ray would alway!; Kotwicas contributions for the time
have a funnyline to break the tension. being, current faculty memberscant
Then, no matter what the problem help but pass along their mentors
was, he would come up with a solu- wisdom.
tion right in the middleof the road." iBiviano, now a member of the
Berklee recognized Kotwica in trumpet faculty, remembers how
1989 by appointing him Distinguish- Kotwica always took Berklees trum-
ed Chair of the Brass Department:, pet students under his wing. "He
which combined the trumpet and tried to put us on the right road,"
trombone departments. Biviano realls. "So manytimes, I tell
In the last few years, Kotwicahas mystudents Im just teaching them
brought his seasonedteaching skills to what Ray taught me." ~1
youngstudents in Bostons inner-city
schools through the Berklee City Get well wishes can be sent to Ray
Music (BCM) outreach program.. c/o The Professional Performance
BCMsmentoring component, which Division, Box 135, Berklee College of
provides youngmusicians a free educa- Music, 1,140 Boylston Street, Boston,
tion by matching them with Berldee MA 02215.
Berklee today 13
 Rock n Roll S~~rvivors
Feelin lucky, Brad Whitford 7I andJoeyKramer70 go beyond
NineLives with Aerosmith,the bandthat is living for 10.
ne Lives is a fitting title for the latest
N1c D by Aerosmith, one of Americas
ongest surviving and greatest rock
bands. The new disc is the bands first under
the terms of a deal (reportedly worth as much
as $30 million) the band inked in 1991 with
Columbia, the label which originally signed
them in 1972. Fromthe first notes of the title
cut--Steven Tylers scream, the snarling gui-
tars of Brad Whitford 71 and Joe Perry, and
the thundering rhythm section of drummer
Joey Kramer 70 and bassist TomHamilton--
by Mark
its clear that this quintet of 40-something
Small "73 rockers still possesses all the fire and energyit
had 25 years ago.
Over the course of its two and a half
decades, the band has claimed its owncorner in
the pantheon of rock icons. Aerosmith has
played to packed stadiums around the world,
sold over 70 million records, won countless
awards (including three Grammys),and influ-
enced numerous up-and-coming bands. They
are also enjoying an unprecedented wave of
popularity among a generation that wasnt
even born when the band began playing. This
wide fan base supplied the fuel that rocketed
Nine Lives to the number-one spot on the
Billboard 200chart a weekafter its release.
Whifford and Kramer took a few minutes to
TOPPHOTO
OFJOEY
KRAMER
BYKEVlN
MAZUR speak with meas the band was gearing up for a
PHOTO
OFBRAOWHITFORD
8YGENE
KIRKLAND Scandinavian tour to support the new disc. In
Summer
1997
their pre-Aerosmithdays back in the early 70s,
Whitford, from Reading, Massachusetts, and
Kramer, from Yonkers, NewYork, had each
cometo Bet!dee at age 19 seeking to refine their
musical skills. "Mydesire to becomea better
drum,ner drewmeto Berklee," recalls Kramer."I
got discouraged, though, whenI knew it wasnt
going to happen. This was 27 years ago, whenthe
prima:ry focus at Ber!dee was jazz. Mydrum
teacher wantedmeto play with traditional grip,
not matchedgrip like I had been doing as a self-
taught, street-type of player."
Around that time, opportunity knocked for
Kramer when Joe Perry and Tom Hamilton,
who were putting a band together with
Kramers former high school buddy Steven
Tallarico (a.k.a. Steven Tyler), cameto Kramers
apartment on Hemenway Street to audition him
for what would become Aerosmith. "I knew
that I wanted to play," he says, "and when I
realized what was happening with the band, I
left Berklee to go and do that."
Wihitford, whostudied at the college until
early 1971, recalls, "Right after I finished the
spring semester, I went to Nantucketto play with
a friends group. Wealso played somegigs up in
NewHampshire, that is where I met the guys in
Aerosmith.Their other guitarist wasnt working
out and they came to see me play in Sunapee,
NewHampshire. Later they asked me to join.
"Westarted out playing originals and cover
Berklee today 15
 Released in January of 1973, the albumcon-
rained their first hit, "DreamOn."Critics, in
erosrnith cant makea rec- hindsight, nowpoint to that song as the first
powerballad.
It wasa rags-to-riches scenario. Themomen-
ord that soundslike that, people tumof their growingpopularity thrust the band
into high gear. Theyreleased an albumeachyear
for sevenyears andtoured almostcontinuously.
would wonder what happened. Livingwith the spoils of the bandstremendous
success, however,proveda moresevere test of
their mettle than attaining themdid. Broken
Our approach is more hard- marriages,lawsuitsover contractualissues, sub-
stance abuse of disastrous proportions, and a
host of other hazards encounteredin the fast
edged, not ne~t tidy. lane doggedthe band.
By1979,moraleand productivityhad deteri-
Brad Whitford orated to the point that Joe Perryleft to front
his ownband. Whitfordfollowedsuit in 1981.
Tyler, Kramer, and Hamilton hired replace-
ments for the two guitarists, and Aerosmith
tunes wewishedwe had written. The colleges continuedtouring and recording, but the magic
and clubs in NewHampshire and Vermont was gone. On their own, Perry and Whitford
didnt care that we werent playing top-40 discoveredstarting over wasverydifficult.
hits. In those early days werehearsedin what "Wefoundthat other projects didnt work,"
is nowthe Berklee PerformanceCenter. It was states; Whitford."All of the ingredientshaveto
the FenwayTheater back then. Weauditioned be there. It happensto a lot of peoplewhodont
there for Frank Connelly, who became our appreciate the chemistry. Thats what was
first manager.Hepaid us each a hundreddol- behind Rodgers and Hammerstein,Lennonand
lars a week whether we worked or not-- McCartney,and Steven Tyler and Joe Perry.
because he wantedus to have walking around Youcant explainthat, it just is. When youtake
moneyuntil things happened.Hehad a vision it away,it isnt -- it is oneof thoseGodthings."
of what this band could become." The original band membersreunited in 1985
Kramerrecalls, "Wewere with Connelly, after a five-year hiatus and released DoneWith
whowas promotingbig shows in Boston back Mirrors, their first albumundera newcontract
then, until about 1972. Hemovedus up to the with Geffen Records. They embarked on an
next level and got us with management in New extensive tour but had to cancel it midway
YorkCity." through when continued drug and alcohol
Brad Whitford:
All The NewYork managementteam of Steve problemsmadefinishing the tour impossible.
of theingredientsLeber and David Krebs helped Aerosmithget The groups then-managerTimCollins and the
haveto bethere. signed to their first recording contract with entire band checkedinto the CaronFoundation
A lot of people Columbiain 1972. Soon,the bandwasset up in rehab center in Pennsylvania where each
dontappreciate Bostons Intermedia SoundStudios to record achievedsobriety througha 12-step program.
thechemistry. their eponymousdebut album, Aerosmith. In control of themselvesfor the first time in
years and with renewedvigor, the bandstarted
touring again and, over the next several years,
recordedfive platinumalbumsfor Geffen. They
earned their first Grammy Awardfor "Janies
Got a Gun"from 1989s Pumpalbum, followed
by Grammys for "Livin on the Edge"in 1994,
and"Crazy"in 1995.
After finishing a major tour and delivering
Big Ones, their last albumunder the Geffen
contract in 1994, it appearedthe band could
focus its energyon their long-awaitedrelease
for Columbiaunfettered. Perhaps it was the
intense pressure to comeup with a blockbuster
underthe newmultimilliondollar contract, but
the process of makingNine Lives wasanything
but easy. Thetrouble started early in 1996,soon
after AlanisMorrisette producerGlennBallard
16 Berklee today Summer
1997
started cowriting and recording with the band
in Miami.The first casualty was Joey Kramer.
"This albumwas a crisis in progress from the
time we started until we finished," states
Kramer. "There were so manythings that hap-
pened." Kramer was overtaken by a "blue
funk," as he describes it, after receiving the news
that his father had died.
"There were a lot of things going on in my
personal life," he says, "and I went through a
deep depression. I had to go awayto take care of
it." Kramercaught a flight to Bostonin the midst
of the sessions with no word of whenhe might
be back. "Myproblems cameright after prepro-
duction and everybody had to deal with it.
Goingthrough that phase of the albumI believe
contributed to howit cameout though. If things
didnt go that way, we probably wouldnt have
the albumthat we have today. I dont knowif it
is necessary to go through that amountof pain,
but it seemsto be that wayfor us."
With the agreed-upon September1996 release
date looming, the band decided to forge ahead
with session drummerSteve Ferrone. But, as tal-
ented as Ferrone is, he didnt bring Kramers
brand of thrash to the sessions. Kramerreturned
within a few months and recur Ferrones drum
tracks. "That is part of what really helped meget
backin touch with whatit is that I do," he says.
"It was very validating to see that an Aerosmith
album couldnt be done without me. Steve is
probably 100 times the musicianthat Ill ever be
in terms of being a schooledplayer; hes just not
a rock-and-roll drummer.It just showsyou that
there is room for everybody. He does what he
does and I do what I do. I only specialize in one
thing, but I am grateful to knowthat there are
few whodo it."
By June 1996, tension in the studio between
Tyler and other band membersbegan to mount.
Onthe verge of splitting up, the band decided to
stop working and check into a rehab center in
California for conflict resolution counseling.
They emerged11 days later having decided they
needed a change in management.Summarily, Tim
Collins was fired, and WendyLaister was hired.
The band had already completed half of the
anxiously anticipated album with (Quincy
Jones protege) Glen Ballard producing when
Columbiaexecutives listened to the tracks and
said it didnt sound like an Aerosmith record-
ing. "It was difficult to hear that, being in the
middle of it," says Whitford. "I remember
going homeand listening and thinking, they are
right, this isnt the right sound. So we wentinto
a studio in NewYork with another producer,
KevinShirley, and cut everything over again. It
worked out so much better because we ended
up redoing some songs that we initially had
decided werent strong enough to be on the
Summer
1997
record. One of those was Hole in MySoul, JoeyKramer:We
whichI had thought was incredihle whenI first haveseena lot of
heard it, but someelements werent gelling. The things comeand
waywedid it the first time, it wastoo light-- like go, but we are
a pop-rock tune. Aerosmith cant makea record still here.
that sounds like that, people wouldwonderwhat
happened. Our approach is more hard-edged, not
neat and tidy."
Shirley, who has produced albums for
Silverchair and Journey, took the band back to
their rock-and-roll roots, away from the syn-
thesizers, loops, and drum machines Ballard
employed in his approach to the album.
"Shirley said, you guys are a rock band, lets do
this the way you do a performance," recalls
Whitford. "Wehave done that for other records
and there are a few waysto go at it. Youcan set
up live and just fix up the solos later, or youcan
do a lot of fixing. Shirley didnt wantto fix any-
thing. He made sure the drum sounds going to
tape were the ones that would be on the album.
He wasnt going to use a sampled sound for the
bass drum later--which we did on Pump,
Permanent Vacation, and Get a Grip. Shirley
wanted to move away from that and get an
organic sound all the way through."
"On Pumpand Get a Grip, we used a lot of
sampled drum sounds," adds Kramm;"so the
drumsare right in your face. That was goodfor
the time, and I still really like it. Onthis album,
everything is mixedto form a big picture rather
than as five separate things to be heard on their
own. It is a band sound. What contributes to
that is there are no sampled sounds--it is just
straight drums. Also, the bass drum is not
mixedout as far as before; it is blended in as a
color in the picture. That is different for us, but
it contributes more to the soundof the band."
The end result is an albumthat rocks as hard
as anything Aerosmith ever recorded. And
while it is a hard rock album,a very subtle styl-
istic nod toward the Beatles can be detected in
Berklee t o d a y 17
 Aerosmith Personally,there is a lot of strength
clockwise betweenthe five of us. Imglad that
fromthe left: I got to be a part of this album
StevenTyler, because there was a time when
TomHamilton, there wasa possibility that I wasnt
BradWhitford, goingto be a part of it."
JoeyKramer, Whitfordmuses,"It is as if obsta-
andJoePerry cles keep comingup and wego, Oh
yeah?Likea fighter, whensomeone
says were all washedup, we go
back, train harder, and comeout
fighting. Youcant always get a
recordlike this whereyou are very
pleasedwith every aspect of it. On
other albums,youmightfeel there is
a weaklink or a coupleof tracksthat
you werent one hundred percent
behind.In a band,there is alwaysa
certain amountof compromise,but
this albumseemsto makeeveryone
in the bandreally happy."
The degree of commitment
Aerosmithpossesses as a band is
someof the vocal, harmonies,the orchestrations, seldomseen and is one goodreason they are at
and in the soundsof traditional Indian instru- the top of their formafter 25 years. Whileit is
mentsblendedwith electric guitars. not unusualfor solo artists to haveperforming
"The[Beatles]influencehas alwaysbeenthere careers spanning50 or moreyears, it is rare for
for all of us in the band," says Whitford."They a rock bandsoriginal lineup to havethat kind of
werea hugeinfluenceonus, so at somepoint that longevity. Whitford recalls, "WhenI was at
wasboundto comeout in the music.I dont feel Berklee, I didnt think I wouldbe doing this
the musicis derivative,but stylistically there is whenI was 45. It makes me think of Chuck
that influence.It is not easy to get that kindof Berryshowingup to his gigs with his guitar in
magicon a record without copyingthem. the back of his car and then working with a
"Onthe songTaste of India, weoriginally pickup band." Whenasked if he foresees
thought sitar would work. Wemet a guy in Aerosmithstill goingat it whenits members hit
NewYork whoknewa lot of Indian musicians their sixties, he states, "I dont see whywe
and he suggested a sarangi player. Wegot him wouldnt. Wecan certainly continue to make
into the studioandjust let himblow.It wasfas- records, but wemighthave to modifypersonal
cinating, the initial stuff he playedwasincredi- appearances somewhat, but probably not a
ble. In the end, wedidnt needany other play- wholelot."
ers, he really gave the wholeflavor wewere Krameris morecautious. "Wehaveseen a lot
lookingfor." of things comeandgo andweare still here," he
Regardingthe orchestrations, Whitfordcom- says. "Thereis a lot of energyin the band,but I
ments, "Onour past albums, strings or other chooseto live oneday at a time. I wantto get
orchestrationsweredoneas an afterthought, not throughthis tour and this record and see what
as a part of the processof recordingthe song.We progresses. I amhappywith mypart in all of
brought[arranger] DavidCampbell in very early this. I still really enjoythe playing.This band
to the sessions. Welistened together and dis- has never been about the money."
cussed what wewantedto do before the songs "I tell peopleweare the biggestfans," says
were completed.That madeDavida part of the Whitford."Weare right there and wearent sure
process, andthose parts becamekeyelementsof what makesit work. Weknowif weshowup, it
the songs--a muchmoreintegrated sound." works. Wego to see the showtoo. There is
Onceagain buckingthe odds, Aerosmithtri- alwayssomethinggoingon -- goodor bad. It is
umphedover adversity, rising phoenix-like never boring. Wekeep comingback to see what
from the ashes to makean albumeveryone is will happennext. Ourpersonalities are just dri-
enthusiastic about. "I learned a great lesson venenoughthat wekeepat it, and are havinga
fromall of this," says Kramer."Godsometimes really goodtime doingit."
has a very weird sense of humor.Asa band, we Lookingbackover the past 25 years, Kramer
seemto function best underpressure andadver- reflects, "This has beenan educationthat goes
sity. Without it, you dont moveforward. beyondwhatyou learn in college." ~]
18 Berklee
t o day Summer
1997
 Getting in Sy~n,c

An inside perspective on the burgeoningbusiness

of pl~cing songs in movies and TV shows

"~~i~~henever you hear a song behind the part of his professionallife. Asubsequent job as
a musicsupervisorfor a company producingcar-
~i Jll / actionin a movie,or see actors oncam- toonscompleted his tutelage.
I I era lip synchingor playing instru-
ments,it is probablythe fruit of a musicsupervi- I meet with Wereskiin a dubbingroomon
sors labors. Musicsupervisionis becomingan the SonyStudios wherehe and a team of engi-
increasinglypopularcareer choicefor thosewith neers are mixingsoundeffects, dialogue, and
a musicalbackground, an eye for film, and some underscorefor an episode of "DarkSkies." "I
business and legal acumen.Duties range from amfrequentlyhired as a musiceditor, but tak-
helping a director find the right songs for a ing on musicsupervisionresponsibilities works
soundtrackand obtaining clearances frommusic to myadvantage," Wereskisays." "Part of my
by Mark publishers,to beingona movieset to coachactors deal is that theywill use musicfrommylibrary.
Small "73 and cameramento makea staged musicalperfor- The TVcomposersI work with, like Michael
mancelook real. Honik ["Dark Sldes"] or Mark Snow ["X
As a career, musicsupervisionpromisesthe Files"and "Millennium"] havejust five days to
excitementof being a part of the film, TV,and write all the underscorefor their shows.They
recordingindustries, the possibility of pitching dont havetime to write the songs, so they just
your ownmaterial for soundtracks, and a nice tell meto takecare of that.
paycheck.Whatfollows is a viewof the chal- "Wesuppliedeverythingfor E.R.in its first
lenges and rewardsof this increasinglypopular year through WarnerBrothers. Wealso did
field fromindependent musicsupervisors,a tele- NowlhereM[ana~.d most of the moviesof the
vision musicexecutive,andsongwriters. week.Alot of the directors andmusiceditors I
haveworkedwith call mebackbecausethe music
Many hats in mycatalog will workand is constantly being
MartyWereski74 wears manyhats in the updated.
television musicfield. Heworksas an indepen- "In episodicTVand moviesof the week,there
dent music supervisor and music editor, and may not be a large budgetfor music.Theycant
operates a musicpublishingbusinesswith seven pay$,25,000 to license a songby an artist of
writers contributing to his library. Wereski Madonnas stature. Theywill call meandask if I
cameto Los Angelesin 1977after a three-year have a song in the style they want. Someone
stint as a guitarist in a road band. Hestarted called me recently asking if I hadanyFrenchrap
working at MCAand made enough connec- music for E.R. Not wantingto turn themdown,
tions to start getting his original songsinto TV I said Id check. I madea quickcall to songwriter
showsand films. That launchedhis publishing Barbara Jordan in Boston. Shewentinto the stu-
business, Mar-TuneMusic, whichis nowa key dio and cut: something and got it to me by
Berklee today 19
Summer
1997
 visors have really strong business
ven whenit is a bad problem, chops. They have to knowthe business
enoughto knowup front all about pre-
records [songs to be performed on-
you learn fromit. Personally,I like camera], whenwe have to bring in cer-
tain songwriters and lyricists, what
recording studios to use, and what the
it whensomethingcomesout of left publishing issues and licensing parame-
ters are. For example, they have to
know not to bring someone on board
field, it keepsthingsinteresting. whohas a publishing deal whenwe will
need to ownthe publishing. Theyhave
to knowall this before someonewrites
David Gross,nan, V.P. of Television Music, Paramount-Viaco*n a tune which becomes a production
track with actors singing to it, and I am
unable to make the deal on the back
overnight mail. The next day they had Viacoms TV Music Division, he is end.
it on the dubbingstage. In television, responsible for the quality of all musi- "The longer someone is a music
time is a key factor. Beingable to deliv- cal elements in 33 TVshows. His duties supervisor,the better they get at antici-
er what they need quickly puts you one include reading scripts to devdop a pating problems. The exciting part of
step closer than the next guy." shows music budget and musical the job comes when you are thrown
Wereski also gets calls to solve approach, hammering out songwriter something unexpected. Even whenit is
problems the studio has encountered. or composer agreements, negotiating a bad problem, you learn from it.
"Once, for a movie of the week," he licensing fees, and solving union or Personally, I like it when something
says, "they shot a scene at a salsa club legal problems. comesout of left field; it keepsthings
to an artists CD, and no one had "I handle a wide variety of musical interesting."
checked to see if they could get the issues here," he says. "I dont go to the
license for that song. After they had sessions like I used to. I have staff Twoviewsonsongs in film
finished production, they couldnt use members going to the set when we Bonnie Greenberg has been a music
the song. The actors appeared on cam- have on-camera musicians, and music supervisorfor a decade.Sheis president
era lip synching. editors and music supervisors who of her ownmusic supervising compa-
"It was an incredible oversight attend dubbingsessions. I get directly ny, Ocean Cities Entertainment, and
because they never would have gotten involved only if they are having prob- has workedon such top movies as The
a license to use an artists original mas- lems, if the executive producers are Mask, The Long Kiss Goodnight, and
ter with another grouplip synchingit. going to be there, or if another set of The Truth About Cats and Dogs. Her
We wrote and recorded new tracks ears will help. first job, however,wasas a musicattor-
with a salsa beat at the sametempoand "We may hire an outside music ney at a record company.The opportu-
constructed our lyric to moveas the supervisor whenthere will be a lot of nity to get involved with films came
original did. Theselittle legal catches interaction betweenproducers and the whena friend askedher to do the legal
are important; every music supervisor talent, and a lot of submissions from work on a movie he was producing.
has to knowabout them." record companiesand publishers. If I "I figured I wouldlearn something
knowthe project is goingto be looking and get paid for it," she recalls. "AsI
Viewfromthe top towarda record deal, I maybring in a got involved in clearing the musicfor
In his office on the Paramountlot musicsupervisor with ties to the record the film, a little light bulbwenton and
off Melrose Boulevard in Hollywood, communityto establish a relationship I saw that the interplay of music and
David Grossman79 speaks of howin with a label to release a soundtrackfor film was where all myinterests came
his Berkleeyears all he ever wantedto the show. together. Thefirst labor-intensive film
do for a living was play drums. After "Recently, I was looking for a music that I did was Hair Spray, a John
several years of dubs, weddings, and supervisorto be a finder for an eclectic Watersfilm. I handled everything from
demo sessions around Los Angeles, mix of music for one series. I needed the licensing and legal workto perfor-
Grossman took a job at Columbia someonewith goodears to identify the mance numbers on camera. Later, I
Pictures Television in 1986as a music tracks and a goodsense of film--some-
stoppeddoing.le, gal workto do straight
supervisor. That led to his present posi- one who could watch a scene and music supervision--just the creative
tion as vice president of television music remember a song from 20 years ago issues. I dont do clearances or deal
for Paramount-Viacom. Grossman that wouldcreate a cool ambiancefor making anymore."
hasnt hung up his sticks entirely the show. That projects executive pro- I catch up with Greenberg at an
though. Onrare occasions, he might sit ducer likes things to be unexpected-- editing suite at SonyStudios whereshe
in as a substitute drummerfor an on- sounds that people dont normallyhear and two assistants are preparing a tem-
cameramusical scene. on a TVshow. porary soundtrack or temp score for
As an executive in Paramount- "I find that most good musicsuper- the upcoming film My Best Friends
2.8 Berkleet o d a y
Summer 1997
MarryWereski 79--V.P.Television Bonnie
President, DavidGrossman
"74--Owner, Greenberg--Owner,
President,
Mar-Tune
MusicPublishing Music,Paramount-Viacom Ocean
CitiiesEntertainment

Wedding.Thedirector is preparinghis a single appealsto the moviestudio." youare askedto write on spec, which
cut, and Greenberg is editing in songs Greenbergsays she is not worried can be frustrating. Theymighttell you
and segmentsculled from other film about the soundtrackissue having a theyare lookingfor an alternativerock
scores to approximatethe soundthe permanent negative impact on film songfor a certain scene. Youcall them
director wants. "Mostmoviesdont music as an art form."I like to think backafter writing one only to learn
play very well without music," she there are enoughdirectors, studioexec- that theyve decided they want an
says. "Whenthis is done, the movie utives, record companypeople, and R&B song instead.
will havean emotionalflowandcan be others in various positions whowill "At Chrysalis, whereI ama staff
shownto studio executives and other retain artistic integrityandstaytrue to writer, thereis a personwhose job is to
test audiences." the productbeingcreated. I also assume find out aboutfilm projects andthen
Greenberg has seen a recentshift in that this trend will endsomeday." find staff songwriters whosemusic
the businessregardingmusicin films. mightfit a particular scene. Hemay
"Beinga musicsupervisoris becoming Thesongwriters view arrangefor meto go to the screening
more about creating hit soundtrack Tunesmith ReedVertelney80 has a of a newfilm just goinginto post pro-
albumsthan finding musicthat works differenttake on songsin films. Asuc- duction. I will go with someother
for a movie,"she says. "Today,every cessful songwriter,Vertelneyhas writ- writers and hear the temptrack, and
record company has a soundtrackdivi- ten for manytop artists including learn whatkinds of songsthe produc-
sion, andthere are soundtrackreleases Luther Vandross. Five of Vandross er wants.I did that for OneFineDay,
for mostmovies.Before, there wasa platinum-selling records feature, andI left really wantingto get on the
soundtrackalbumif onewascalled for. Vertelneyssongs. His workis also. film. It tookmea little longerthanit
Now,in someinstances, it is the tail heard in the films First WivesClub, should haveto write something.When
wagging the dog. I did a film last year Smile, and White MenCantJump.I1~ I playedit for the film people, they
called DeadPresidents,andthe sound- the latter two, his songswerepart of really liked it, but I wasa weeklate.
track sold nearly 700,000copies, even the soundtrack,but he cowrotethe end. Youhaveto be able to workfast.
thoughthe moviewasnt too success- title songfor First WivesClub,which "If I wereto recommend sometips
ful. Therewasnosingle, just goodperi- was a hit single for vocalist Puff for getting songsinto films, I would
od musicwhichworkedvery well with Johnsonin Europe. say to be persistent withoutbeingtoo
the scenesandwasgreat for listening. "Fitmsare great if youget them," pushywith the musicsupervisors and
"There is huge pressure nowfor Vertelney says. "Getting your song others in the music division. You
musicsupervisors to help makea hit into a film can be very lucrative. They shouldstay in touch to see whatthey
soundtrack.In myopinion, the prima- paya syncfee, whichgoesto the writer, are lookingfor. If they knowthat you
ry focus of the music should be to andthat couldbe as muchas $50,000.If do quality work, they will tell you
enhancethe visual imageand help cre- yoursongis the single, the recordcom- whatthey need. Theyare waiting for
ate morevisceral impact.Thistrend for panywill shoota videowiththe artist, songs, so you have to let themknow
hit soundtracks comes from MTV. and the film company will be pushing that you mighthavewhat they want.
Everytime a single froma movieis in it too. Having two big gunstrying to Makesure they havent changedthe
rotation,it is free advertisement
for that get something happening for yoursong directionthey wantthe songto take or
film. Air timeis expensive,so gettingit is great. that theyhaventalreadygottenone. It
free from a record companypromoting "Onthe downside,a lot of times pays to becomefriendly with the

Summer
1997 Berklee
t oday 21

ReedVertelney
"80--StaffSongwriter, Barbara
Jordan--Songwriter,
ChrysalisRecords HeawHitters Music
receptionist at the film studio."
"Relationshipsfuel this business"
Barbara Jordan has seen the world
of post-production music from all
sides. She is a songwriter ("Melrose
Place," "X-Files"), a musicpublisher
(Daylight, Houseof Yes) with a cata-
log that includes her own songs and
those of writers she represents. As a
music supervisor, she worked on the
film Blind Side. She teaches advanced
songwriting at Berklee, presents
workshops on songwriting through-
out the country, and has penned
Songwriters Playground: Innovative
Exerdses in Creative Songwriting.
"Relationships fuel this business,"
she says. "I have an extensive network
of relationships with a wide range of
performers and cowriters on both
coasts. This allows me to quickly
write, produce,and deliver masters for
use in film and television.
"My broad perspective as music
supervisor, publisher, and songwriter
makesit very likely that Ill under-
stand what someoneis asking for and
nail it. This is a highly collaborative
business. You have to work under
enormouspressure and deliver prod-
uct in an almost impossibly short
period of time. Its essential that you
knowand trust the people you work
with. For example, I met Marty
Wereski when I was supervising the
music for an HBOfilm--he was a
replacementmusic editor that day. We
hit it off and have been helping each
other out ever since."
22 Berklee to day
Jazz Worksho
Bass and
by DaveWeigert
Direcltor,
Regarding becoming a rclusic
supervisor, Jordan says: "There is no
obvious career or educational path to
the field--that is pretty muchtrue of
the entire entertainment industry.
Bonnie Greenberg teaches the only
class I knowof in musicsupervision at partsand
U.C.L.A., and I cover the field in my tune.
advanced songwriting course at jazzclassicsI
Herbie Hanc~
Berklee. A music publisher or nlusic included
lawyer maysegue into music supervi- Wee<Ellis, RL ntea.o.
sion from the business end, but there
is no substitute for practical experi-
ence as a music supervisor and a good
knowledgeof music history."
Jordan has concerns about the
future for songwritersin film and tele- ~...loaded withveryImportant essential
vision. "Onething that seemsincreas- informationfor theaspiringdrummer and
ingly apparent is that license fees for bassist!It is clearlypresented andcovers
all but the biggesthit songsare shrink- vastintricasiesof playing
this music,
/azz!~(Rufus Reid)
ing. Intense competition amongsong- ,>...aninvaluable toolfor thedeveloping
writers and music publishers to place rhythm sectionplayer.~(MarcJohnson)
their material in film and television ,~This courseof studyis valuable[or edu-
and the lack of a composersand lyri- cators andstudents alike.(PeterErskine)
cists union to establish minimum fees, ~>A practical~nutsandboltsguidewhich
ensures that production companies provides a solidfoundationfor lessexperi-
can acquire musicfor next to nothing. enced playersandgreat~refresher~ mate-
Survival in this context depends, rial for experiencedplayersandteachers.~
(LewisNash)
again, primarily upon your pets(real
relationships established with people
advancemusic
in the business, and the ability to sup-
ply a broad range of material." Maier~ickerstrasse 18
D-72~.o8 Rottenbur~
Jordans advice to those wantingto Germany
explore the world of film and televi- phone; +49 " (o) 74 72 ~.8
fax; +49 o(o) 74 72 2 46 2~
sion musicis: "Learn your craft thor-
oughly and increase your network of
friends and associates in the business.
Also, rub the lucky stone every day
becausetalent is only part of what you
will need." ~1
Summer
1997

Lyle Mays on Corc.,F,
A conversation with the Grarnrny-winningcowriter
and keyboardist of the Pat MethenyGroup
Whenyou sit downto write and face an
emp~ypage, wheredo you begin?
Maybe the mostinteresting thing to say is
that I still panic.I still freakoutat the begin-
ning of any project, fully convincedthat I
will never be able to write anything ever
again,Ive lost it, andthat nothingI cancome
up with is any good.Its amazingto methat
after all these yearsof experiencing that very
thing, it surprises mewhenit happensand
by Robert
Imlockedinto that state of panicagain--its
Doezema "76
inevitable. Youjust haveto put in the time
and workthroughit.
Whattools do you use in your workas a
writer?
Beingable to use the computeras a multi-
track recorder, as a wayof archivingsounds,
manipulatingsounds,andall the other things
you can do with computertechnologytoday
has changedeverything.Themainthing I have
to sayis that I feel incrediblyfortunateto have
learnedto deal withmusicbeforethe technol-
ogy. Consequently,I can harness technology
to workon musicalideas that I amconfident
will workout rather than just divinginto the
high tech world with a kind of "gee-whiz"
attitude that leads to loopingtwobars of any-
thing togetherandsaying,"Wow, this is great."
Imstill closer to a traditionalcomposing men-
Professor Robert Doezema76 # a guitarist,
arranger,andcomposer.
Hisstudyof the life and
music of Pat Methenyand the Pat Metheny
Groupwaspublishedby Tufts University.
Summer
1997
oslng
tality than anykind of "looping"mentality.I
hopethat remains.
Youand Pat Methenyhavea musicalpart-
nerships;panningmorethan 20 years. Howis
the writingprocessdifferent whencollaborat-
ing with anotherwriter?
I think that gets moreinto the psychology
of workingwith anotherperson.In that situ-
ation, youhaveto swallowyouregoat times
becausethe personyourecollaboratingwith
will inevitably not like someof the musical
ideas you havefallen in love with and vice
versa. Its difficult at timesto face someone
yourespect as a musicianwhohas a different
musicalopinion.In a collaboration,its more
howyou deal with that situation than any-
thing else. Pat andI haveboth cometo trust
each other and to understandthat whenwe
reacha consensusthat it is the best of both
worlds.Butthat soundstoo easy, its harder
psychologically to get there.
Pat and I are very different in our
approaches.Iminterestedin getting downto
the details, inventing the musicfrom the
groundup, and in expandingthe form. Pats
muchmoreinto songs. That is whathe loves
doinga~ndhes great at it. Whatwehaveman-
agedto do togetheris to create somepiecesof
musicthat wehopecombinethe best of those
twoworldswherethere is the "hook"element
of the tune andalso the other compositional
elemen*~.Wetry to workoff each others
strengths and keep whats goodabout what
both of us do. I think thats a goodmatch.We
keeptabs on eachother so the musicdoesnt
Berkleet o d a y 23
 get too complexor too simple. Neither of us gets the end of the arrangement,as in "PhaseDance."
excessivein any particular direction. Again that is nothing new. Beethoven may
have created wavesdoing that in Viennabut it
Describe your collaboration with Methenyon shouldnt create waves when we do it now.
"Minuano (Six Eight)" from the Pat Metheny Evidentlythese techniquesstill havesomelife.
GroupCDStill Life (Talking).
In that case, Pat brought in the mainidea for The interludes you have written in place of
the tune first--the B minor F# minor section-- the secondsolo in "Minuano(Six Eight)" have
that really tapped into a Brazilian groovethat similar dramaticeffect.
bothof us really love. So it wasfertile territory, a Theyadd dramain that the propulsion of the
place that both of us were familiar with. After harmonicrhythmis upset. In the traditional jazz
that, it was myinclination to find other things form, you get an endless repetition of the chord
that were related to it. Tome, the compositional changes.After a while, that settles into an expec-
approachis a kind of search that Ive likened to tation, so whenyou upset that, it creates drama.
anthropology: you come up with an idea and Youcould achieve a similar effect by throwingin
then you instantly start asking, "Whatis related a completely different set of chord changes and
to this ?" If youliken a musicalidea to an artifact another solo, but its also interesting to play
from a culture, you want to ask questions about around with the idea of a developmentsection
howthe people lived, whatelse did they do, what wherea motivic elementof the piece is dealt with
weretheir lives like, that sort of thing. compositionally. I think people respond to that
In music, the search alwaysleads meto trying whetheror not they can analyzeit intellectually.
to find related ideas, things that are compatible,
that really flesh out the "culture" of a musical Iqow do you know when you have it right?
idea. After I heardPats original idea, I instantly Can you be objective about your own work ?
started looking for other ways to treat those Thats easy becauseits never right. Therewas
musical elements, the groove, and the mood. an artist whosaid somethingto the effect that a
That led to the opening section of "Minuano," painting is never finished but abandoned.
whichis a moodierversion of Pats original idea.
It also led to the interludes that start with the Hbwdo you know when its time to move on?
marimbasection, which is a little more of a It helps to have a goodproducerwhowill say,
Spanishtake on things, followedby the brass sec- "Okay,youve spent enoughtime on this section
tion, which continues the rhythmic displace- and its time to go to somethingelse." This is a
ments established in the marimbasection while huge problem with me. I will just go over and
providing for new chord motion and scale over, endlessly tweaking things and makingmar-
changes.Its all a searchto find related ideas. ginal changesthat no one mayever hear. But its
very tricky. If you write too quickly and dont
Describe your ideas about extending the form change anything, you may capture the moment
in Metheny/Mayscompositions. but you then maymiss the opportunity to make
I felt that in the jazz worldthere waswaytoo the musicas goodas it can be. Onthe other hand,
much attention placed on just blowing on if yon tweak endlessly, you mayend up ruining
changes--the form being an afterthought. The the original idea that madeit great.
tune is played, solo.,; are played on the chord Personally, I wouldnt want to forgo the
changesof a tune, and the tune is played again, tweaking process. Sometimesthats when you
thats the form. For me, the Europeanclassical can really makethe music sparkle. Theres no
tradition dealt with form in such elaborate ways. magicin just havingit wrong.If you go back and
It was natural for meto look for waysto expand look at the sketch books of Beethoven, he was
the tune/play-on-changesmentality. unbelievable in changing things. So whenyoure
WhatI have felt mayhave beena contribution in the recordingstudio, the trick is to find a bal-
to the jazz world has been mywillingness to ance betweentweaking the ideas and illuminat-
forgo the "second solo." In the situation where ing the ideas but stopping short of ruining what
the tune was played, the first solo has happened, was magicalabout themin the first place.
and nowits time for the secondsolo; often Im
more willing to look for a continuation of the ~at advice do you have to share with aspir-
music and forgo mysolo spot. It furthers the ing writers?
plot, propels the music, and makesit moreinter- If we could codify musicit wouldntbe this
esting. Youcan listen to what we have done and esoteric art form that baffles, puzzles, and
find numerousplaces where ]7 have forgone the delights us. Thereare no answers--therecant be.
solo to extend the form with written music. If there wereanswers,it wouldntbe an art form.
Thats part of what drawsus to it and drives us
You often introduce newmusical material at crazy at the same time. ~
Berkleetoday
Summer
1997
Alum notes

Compiled by
Trumpeter Charlie Lake
Alex Ball "97 "54 of Revere, MA,has pro-
duced a new CD by Frank
Capps Juggernaut Big
Band for Concord Records.
The disc is entitled Play It
Again, Sam and features
music penned by Sal
Nistico.
Bassist Gene Perla65 of
Basking Ridge, NJ, and his
band Stone Alliance reunit-
ed after a 13-year hiatus.
The group includes Don Fromthe left: Rykodiscrecording
artist BruceCockburn
"65,
Alias on drums, Kenny RykodiscPresident DonRose,andGaryBurton62 backstage
Kirkland on keyboards and after CockburnsApril11 conce=t
at theBerkleePerformance
MitchStein on guitar. Center.Burton playedvibeswithCockburn onthreesongs.
Composer All Clausen
"66 of Los Angeleshas cele-
brated the release of the CD collection of original songs, DrummerJim Payne73
The Simpsons: Songs in the and underscore composed, sells his book Give the
KeyofSpringfield." Originalarranged, and orchestrated- Drummer Some on the
Music From The Television by Clausen. internet. Check it out at
Series. Clausen is the com- GaryAnderso~l 69, com- www.ftmkydrummer.com
poser and conductor for the poser from Skillma, NJ, Saxophonist Remy
series. The CDfeatures a composed a tribute to the Filipovitch 74 of Germany
Paralympics. "Triumph of performed in a series of
the Spirit," was performed concerts at the Jazz Festival
by the Atlanta Symphony in Tabarka, Tunisia. He also
Orchestra. held a iazz workshop with
Trombonist James Tunisian participants.
Cunningham 71 of Pierson, Filipovitch led the Work-
FL, recently played his 25th shop Orchestra in the festi-
and final season with Clyde vals final concert.
Beatty-Cote Brothers DrummerJeffrey Meyer
Circus. 74 of NewYork produced,
Keyboardist dlohn wrote for, and performed
Novello73 of Hollywood, on New Orleans drummer
and his instrumental group Johnny Vidacovichs new
Niacin, with Novello on B3 CDentitled Bank Street.
and piano, Billy Sheehanon The album was awarded the
bass, and Dennis Chambers 1996 Best Contemporary
on drums, played a sold out Jazz Album by Offbeat
Blue Note tour in Japan and magazine.
JaniceDeBIois (left), CybillShepherd, andTonyDeBIois 96 Indonesia to promote their MichaelHatfield 75 of
onthe set of the CBS movieJourney of the Heart.Shepherdnew CD. Novel[o writes a San Francisco is co-owner
portrayedJanicein the film inspiredby eventsin the monthly column for of Hatfield and Walker
DeBIois
lives.Tony,a pianist,is a blind,autisticsavant. Keyboard Magazine Japan. continued on page 27

Summer
1997 Berklee t o d a ~ 25
 CLASSCONNECTIONS
As usual, there has been a lot going on,
Alumni Chapter both here on campus and at our alumni chap-
Presidents and ters. At Berklee during Black History Month
coordinators: in February, pianist CyrusChestnut85 received
New York a distinguished alumnus award from Orville
Tom Sheehan 75
Consultant Wright, chair of Berklees Black History
(212) 459-9150 Month committee.
Orlando At the Womenin Music celebration on
Stan Kubit 7i March3, Ear Training Department Chair Greg
Orlando Music Bad01at0 "72 presented faculty member
Teachers, Inc.
(407) 741-6006 Roherta Radley 75 with a music education
award. Later that evening, faculty pianist
Chicago
Doug Joanne Brackeen, backed by Ravi Coltrane, From theright: Tom
Sheehan 75, SueDevine,
Seth
Murphy 90 IraColeman"85, and Tony Reedus, performed. Saltzman "81, LorettaMu~oz, andJoelGoodman
The 3tar Store
(708) 343-1750 On March 17, Nashville marked a first "84, wlhoparticipatedin an AprilBerklee/ASCAP
TomCastonzo 87 when alumni co-coordinator MarkCorradetti panel discussionsponsored by the NewYork
(708) 488-1208 87 organized a Nashville alumni scholarship AlumniChapterat ASCAP headquarters.
Nashville fundraiser, called "Nashville AlumniEvening
Pamela of Music"at Club MereBulles. Special thanks
Dent 95
(615) 662-9112 go to Pamela Dent"95, MelissaLewis93, Drew alumni co-coordinator.
Mark Walen"95, Alan Powell"89, guest performer On April 17, the NewYork headquarters of
Corradetti 87 Mark Dreher, and the management at Mere
(615) 365-8052 ASCAPwas the scene of a Berklee/ASCAP
Bulles for making this a successful event. seminar and panel discussion that drewa num-
Boston Another thank-you goes to Diane ReBI ber of area alumni. Moderatedby alumni chap-
Jeannie Deva75
The Voice Studio whowas our photographer for the evening. ter president Tom Sheehan 75, the panel includ-
(617) 536-4553 The following night, alumni and students ed ASCAP personnel Seth Saltzman81, direc-
San Francisco gathered at the Bluebird Care where they tor of performances;Loretta Mufioz, assistant
Dmitri sampled hors doenvres and listened to per- vice president of repertory; Sue Devine,associ-
Matheny 89 formances by songwriters Gary Culley 89,
Penumbra ate director of film and music, and composer
(510)428-2328 Joe Doyle87, DebraAdams 89, and Hunter Joel Goodman "84 were excellent. Due to this
Moore77. I had the pleasure of presenting seminars popularity, alumni have requested
Los Angeles
Leanne the Grammy-nominated songwriting team that we present a seminar in the fall on music
Summers 88 of Gillian Welch92 and DavidRawlings92 publishing.
Vocal Studio
(818) 769-7260 with distinguished alumni awards. The Not to be outdone, Boston area alumni
evening ended with a clinicians showcase gathered at the Westin CopleyHotel on April
Puerto Rico
Ralina featuring Beth ]Nielsen Chapman and 27 for a brunch and a seminar billed as
Cardona 9I friends. On another note from Nashville, "Current Trends in Record Production." The
Crescendo
(809) 725-3690 BetsyJackson "84 has announcedshe is step- panel was moderated by Greater Boston Area
ping downas alumni co-coordinator; shell Alumni Chapter President aeannie Deva "75,
England
Lawrence be sorely missed. Pamela[Dent 95 is the new and included faculty memberMitch Benoff;
Jones80 Jim Anderson"75, vice president of Sound
Brighton,
E. Sussex, G.B. Techniques,Inc.; and Assistant Chair of Music
44-1273-707621 Production and Engineering Stephen Webber.
Rome A highlight during this event was the presenta-
Claudio tion of a distinguished alumnusaward to Tom
Zanhieri 93 "Tiger" Okoshi "75by Acting Chair of the Brass
06-7184053
Department Phil Wilson. Tiger gave a very
Tokyo warmand touching acceptance speech.
Michiko
Yoshino 90 Youcan e-mail your inquiries and requests
042-241-4347 to me in the Office of Alumni Relations at
<sbodge@ber!dee.edu>.
Greece Stay tuned for upcomingalumni events in
Mike
Acholadiotis 84 your area.
016-926019
DavidRawlings "92andGillian Welch
"92received --Sarah Bodge, Assistant Director of
distinguishedalumniawardsfromSarahB0dge. Development for Alumni Relations

26 Berkleet o d a y Summer
1997

Light and Sound, and is February.
keyboardist for the Trumpeter David
Fabulous Bud E. Luv Polansky75 of Natick,
Show. The website he cre- MA, was commissioned by
ated for Bud E. Luv Amherst Ballet Theatre
(www.budeluv.com) has Companyto arrange a 12-
won six awards, and was minute waltz medley for a
named the Yahoo "Pick of Springfield Symphony
the Week." Orchestra concert in
Pianist RobMonnsey 75 March. David also signed a
of NewYork just got back contract with Connection
from a tour of the Blue III Video of Los Angeles,
Note clubs in Fukuoka, licensing two of his origi-
Tokyo, and Osaka, Japan. nal childrens pieces for
Also, his arrangement of homevideo release.
Dan Lins "Comecar de Guitarist RinerScivally
Novo" was performed by 75 of South Pasadena, CA,
the Carnegie Hall Jazz is currently teaching at
Band under the direction both the University of
of Jon Faddis on March6. Southern California and
Trumpeter"liger Okoshi Pasadena City College.
75 of Needham,MA,per- Riner also plays in Putter
formed at Clayton State Smiths group along with
College in Morrow, GA. Ray Pizzi 64 and Kevin
The 1996-97 Concert Tullius.
Series at Clayton States Pianist MishaSegal"75
Spivey Hall was held in of Los Angeles signed on
Summer
1997
Trad
as composer and music
director for the first
Monkees special "A
Lizard Sunning Itself on a
Rock." Misha;also recently
married Joanne Markis.
Bassist FredStone"75of
Rochester, NY, received
his masters degree in jazz
history from Eastman
School of Music and has
produced recordings for
Bob DiBaudoTrio as well
as his own CD. He will
publish three bass books
next yea~:
VocalistJerryVelona 75 piano, Ken Haebich on
of Boston, and his group
JV and the Varsity Band,
(a.k.a. Bostons Hottest
R&B Band) have been
playing gigs .all over the
Boston area
Guitarist .~;teveEckels
77 of Las Cruces, NM,is
currently an instructor of
guitar at New Mexico
State University in Las
Cruces, NewMexico. He
is the author of six guitar
books published by Mel
Bay Publishing, and is a
columnist for Fingerstyle
Guitar magazine.
Saxophonist Brian
Gephart77 of Evanston,
IL, coleads the Brian
Gephart-Bob Long Quar-
tet with pianist Bob Long
70. Theyrecently released
a CDWater Logic, featur-
ing Gephart on tenor and
soprano saxes, Long on
bass, Mark Ott on drums,
and special guest, guitarist
Henry Johnson.
Guitarist Jamie Glaser
77 of North Hills, CA,
appears on Jean Luc
Pontys album Live at
Chene Park, on Atlantic
Records.
continuedon page29
Berklee t o d a y 27

Some very special memories,
both from mydays as a student and
also as a memberof the Woodwind
Department, were brought to mind
on April 12 at the Joe Viola Tribute
Concert at the Berklee Performance
Center. This marvelous evening of
music and testimonials left a clear
impression of the inspiration and
goodwill that Joe has created over the
past 52 years.
One particularly memorable
moment, among numerous excellent
performances, came from John
LaPorta, who composed a wonderful
clarinet blues especially for this event.
Formerstudents of Joe especially will
understandwhenI say that I feel very
fortunate to have studied with such a
remarkableteacher.
Another successful alumni seminar
was held recently at the Todd-AO
Studios in Hollywood. The session
was entitled "Making the Cut," and
the topic was postproduction sound.
Sound editor David VanSlyke 8:~
served as moderator, and the pan-
elists were recording mixer Hm0
Ponsdomenech "83, music editor
StephenLotwis "83, recordist and
mixer EthanChase "85, and foley edi-
tor Tammy Fearing"92.
The discussion focused on career
opportunitiesin this field, the different
career specialties and perspectives of
each panelist, and issues involved in
"Makingthe Cut" panelists (from the left): ElmoPonsdomenech"83, Tammy Peter Gordon"78, director,
Fearing92, DavidVanSlyke82, StephenLotwis83, andEthanChase
28 Berklee t 0 d a y
L,A= NEWSSRIEFS
qualifying for the union. The sound-
stage setting at Todd-AOwas perfect
for this event and the audience feed-
back was very positive. For those who
were unable to attend, video copies are
available throughthis office.
On March 22rid, the 44th Annual
Golden Reel Awards, recognizing
excellence in sound editing, were
announced. Among the nominees
were DavidBondelevitch"85, Chris
Brooks 80, Tammy Fearing,DavidlVan
Slyke, Curtis Ronsh80, Marry
Weresld74, andScott Gershin84.
Congratulations to Scott for winning
in the SoundEditing for an Animated
Feature category for his work on The
Hunchback of Notre Dame.
The recent GrammyAwards nom-
inations also featured an impressive
roster of Berklee alumni, including
TracyBonham 88, ReedVerte~ney 80,
VinnieColaiuta "75, BobJames"58,
HarveyMason 68, MikeStern75, Joe
Zawinul "59, Gi~lianWelch "82, andArif
Mardin61. Grammy winners included
Alan Broadbent 69 and QuincyJones
51. It seems there is rarely a music
industry awards event without a sig-
nificant Berkleepresence.
In a remarkable showing that
speaks volumesabout the colleges film
scoring program, last years major
EmmyAwards for television music
both went to Berklee alumni Ernest
Troost"78andHummie Mann "76. It will
85. Berklee Center in Los Angeles
be interesting to watchfor this years
nominees.
As for alumni in the news . . .
Roger Belion 75 composedand con-
ducted the original score to the
recent CBSminiseries The Last Don.
Working in collaboration with
Angelo Badalamenti, who composed
the theme music, Roger composed
and orchestrated almost 130 minutes
of musicfor this six-hour saga, all in
two weeks! Curt Sobel78 served as
music consultant and composedfour
cues withGaryShreiner "79 for the fea-
ture film Donnie Brasco. Curt was
also music producer and orchestrator
for the film Bloodand Wine, starring
Jack Nicholson. He is currently scor-
ing the new Island Pictures feature
Body Count. AlanSilvestri "69 is the
composer for the current 20th
Century Fox hit Volcano. Nicholas
Pike 77 scored the ABCremake of
Stephen Kings The Shining. Hummie
Mann scored the HBOmovie The
Second Civil War. SteveMarston"76
composedthe main title and under-
score for "Action Man," a 26-show
syndicated series. He has also scored
episodes of the A&Eseries "Ancient
Mysteries" and "The Puzzle Club"
for the Family Channel, and penned
main title music for Ultra Force and
Siegfried and Roy: The Legend of
Sarmoti for Fox. TonyDiMito 87
served as the music editor on the
Samuel Jackson film Eves Bayou.
BranfordMarsalis80 is currently
composing for the CBS sitcom
"Temporarily Yours." Frank Macchia
"80 co-composed the music for the
CBSshow "Cold Case" and is collab-
orating with composer Van Dyke
Parks on Oliver Twist for Disney. Jan
Stevens "81 continues to have success
with Mattel, having completed the
music for his seventh commercialfor
their Hot Wheels products. Rhino
Recordshas released Songs in the Key
of Springfield, a collection of cuts
from "The Simpsons" television
series. The disc features 51 quick cuts
and melodies by the series composer
AIf Clausen 66.
Thats it for now.Stay in touch.
Summer
1997
 Guitarist Malcolm Reed. He currently services more than
Granger77 of
South Yarmouth, MA,recently played 130 accounts.
at Cambridges Regattabar with the Drummer Anthony Resta "80 of
Jane Gang, a seven-piece western Westford, MA, has been heavily
swing group. involved in the new Duran Duran
Guitarist Peter Hume78 of record as part of the TV Mania pro-
duction team. He serves as mixer, pro-
Northridge, CA, has been the musical
grammer, and drummer.
director for singer Melissa Manchester
for 14 years. Over the holidays, Peter Guitarist James Robo80 of Virginia
worked with composer Craig Saran Beach, VA,is a U.S. NavyChief Petty
Officer and a guitar instructor at the
on a feature film called Stinkers. He
played guitar and assisted with theArmed Forces School of Music in
orchestration. Virginia Beach.
Bassist Ed Friedland "79 of Tucson, Drummer Bill Spoke 80 of
AZ, published his third book, Jazz Hollywood, CA, is currently playing
with the jazz-rock band Pureground
Bass, for Hal LeonardPublishing. His
and with a mainstreamjazz group. Bill
fourth, BassImprovisation, will be out
played on Jerry Mundos record on PetePrown83
next year. Ed is a contributing editor
McCRecords.
for Bass Player magazineand writes a
monthly column. Pianist Carol Welsmao"80 of
Drummer Osami Mizuno 79 of Toronto, Canada, released her debut Guitarist Jon Durant 83 of
Tokyo recently opened the Alan CDLucky to Be Me, and was named Cohasset, MA,has released a new CD
Dawson Drum School in Tokyo in 1996 FemaleJazz Vocalist of the Year Silent Extinction Beyond the Zero,
honor of the late great drumteacher.
by The Jazz Report magazine. with Tony Levin on stick and bass,
Osami also operates Shootingstar Trumpeter DennisKeating81 and and drummer Vinny Sabatino 88.
Studio. pianist Julie Keating81 of Parhump, Fellow guitarist David Torn mixedthe
SaxophonistMichaelSirkin "79 of NV,have been guest artists in the Las disc which was released on Durants
North Hollywood, CA, and the hard- Vegas area church scene. Julie has own AlchemyRecords label.
core rock band Bottom 12 will tour played with Placido Domingo and Bassist AndreasLonardoni83 of
Europein August. Michaelcan also beCrystal Gayle. Dennis is music direc- Beriin, Germany, is recording and
heard playing sax on the theme songtor at the Rosemary Clarke Middle producing the CD Bass Moods for
for the "Jenny McCarthy Show." School. They recently formed Jazzy EMI/Selected Sound. Lonardoni is
Pianist Larry Holiday "80 of Java and played on NewYears Eve at also touring with the Andreas
Covington, KY,is currently playing CommonGrounds Gourmet Cafe. Lonardoni Group and writing and
with Cincinnati-based jazz group the Saxophonist Scott Robinson 81 of producing music for radio and televi-
West NewYork, NJ, is an artist
Last Boppers. Larry also hosts a pro- sion programs.
gram titled "Jazzbeat" for Cable ofendorser for Vandoren reeds and Pianist DuncanMillar 83 of
Northern Kentucky. The show spot- mouthpieces. He has also recorded Londonhas released an album in the
and appeared with Anthony Braxton,
lights local and national jazz artists. U.K. on China Records, and has had
FloydKnightJr. 80 of Olathe,KS,Ruby Braff, and the Carnegie Hall several tracks released in the U.S. on
has completed his first year as an Jazz Band. the indie labels Moonshine and
account representative at Waddelland DrummerJosephNapolitano "82 Instinct Records.
(a.k.a. Nap) of Norton, MA,released G-uitarist Pete Prown "83 of
his solo techno CDentitled Attention Wallingford, PA, just authored the
on Spire Records. text Legends of Guitar: The Essential
Guitarist and faculty member Reference of Rocks Greatest
LaurenPassarelli "82 of Boston, has Guitarists, published by Hal Leonard
been engineering projects at Publications. Pete is also editor-in-
Wellspring Sound in Concord, MA, chief of Guitar Shop magazine.
and coproducing the band Crave at Trumpeter Bryant Allard 84 of
PassaBrown Studios with Cindy Tigard, OR, is performing regularly
Brown83. Lauren was recently named witlh his jazz quintet around the
Debut Artist of the Month by Portland area, and is working on his
Acoustic Research and Technology. first CD,whichwill be released in the
The Old St. Josephs Church choir fall. Bryant created his owncompany
in De Pere, WI, performeda piece that M.U.S.E (Musical Understanding
guitarist Benjamin Smeall"82 of Green through Sound Education), which
Guitarist JohnDurant"83 released Bay, WI, composed and arranged for offers band programs in private
Silent ExtinctionBeyond
the Zerowith the Easter mass. Benjaminwas the fea- schools.
helpfromTonyLevinandDavidTorn. tured guitarist in the performance. Bassist AndroKotula84 of Ojai,

Summer
1997 Berkleet o d a y 29
 Sur, Exiles & Dreams. His
band features bassist Oscar
Stagnaro, pianist Dart0
Eskenazi90, singer Olga
Roman 90, drummerMartin
Richards"85, percussionist
PernellSaturino 93, bassist
Lionel Girardeau"89, and
drummer Fernando
Martinez.
Saxophonist Jeff
Robinson"84 of Arlington,
MA,and his group the Jeff
Robinson Trio played Jazz
Vespers at the University
Lutheran Church in
Cambridges Harvard
Square in March. The ser-
vice featmed Andy
Cormier on wampet.
Pianist Barl~/Rocklin"84
Guitarist SergioBrandao 84 releasedthe CDManga Rosa of Revere, MA,is the musi-
cal director for The
Odyssey, a new musical
CA, is currently comanager drens series "Where in being presented in a concert
of singer/songwriter Kenny Time is CarmenSandiego." version at the Boston
Loggins. Andro is also In the shows off-season Center for the Arts and fea-
recording and performing David designs web pages tures faculty guitarist
with his progressive electric and CD--ROMs.With his Jackson Schultz.
funk fusion group Space wife Jean, he created the Bassist TomShad84 of
Bones. Merriam-Webster Hoboken, NJ, has been
Pianist DavidMasher 84 Dictiona)7 for Children. playing Chapraan stick and
of Rowley, MA, has been Guitarist Claudio percussion in. off-Broadway
extremely busy creating the Ragazzi 84 of Belmont, show Blue Man Group,
animation for the PBSchil- MA,released his third CD Tubes in New York since
IMPROVE YOUR SAX HFE
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Woodwind .Repairs
Strings Rentals
.Percussion
Your Source
For the Finest Namesin
Professionaland Brass & Woodwinds
personalserviceby
EMILIO LYONS
Servingprofessionalmusicians,
students,musicschoolsanduniversitiessince 1939.
263 HUNTINGTON AVE., BOSTON, MA 02115
(NEXT TO SYMPHONYHALL) 617-266-4727
30 Berklee t 0 d a y
January 1992.
Guitarist/composer
Sergio Brandao 84 of
Jamaica Plain, MA,
released the CDBrazilian
Landscapes with Hiro
flonshuku90 (flute), Aydin
Esen84 (piano), Steve
Langone 93 (drums),
Fernando Hueroo 92 (bass),
and Anders Bostrom"89
(flute).
Pianist EddieHorst85 of
Atlanta, GA,is composing,
producing, and recording
music for TVand film. He
did a CNNspecial called
"The Presidents," and pro-
mos for the TV show
"Xena." Upcoming pro-
jects include a feature film
shot in Atlanta and an
orchestral medleyof Elton
John songs.
damshied Sharifi "85 of
NewYork, released a CD
in June entitled A Prayer
for the Soul of Layla which
features Paula Cole 90,
Skuli Sverrisson "90, Cyril
Atef "90, Hassan Hakmoun,
and Pedro Aznar.
Composer Susan B0tti
"86 of NewYork had her
operatic work Telaio:
Desdemona for soprano,
harp, piano, percussion
and string quartet, per-
formed at the New York
Society for Ethical Culture
in May.
DrummerDaniel Cantor
86 of Watertown, MA,
guitarist StephenMayone
87, and their band
Hummer have performed
at TT the Bears in Boston
and the club CBGBs in
New York.
New York vocalist
MichaelCataldo86, is the
lead singer of Lives of a
Cell, a world beat/pop
group that has performed
throughout NewYork and
Toronto.
Pianist ChristianJacob
"86 of Van iNuys, CA,
released his debut CDenti-
tled Maynard Ferguson
Summer
1997
 Ueyama87 of Tokyo
released her debut CD
Womanin Love for the
Rubiconlabel.
DrummerBobbyBorg
88 of LosAngeles,is tour-
ing with the hard rock
bandWarrantin support of
their albumBelly to Belly
on CMC/BMG Records.
Warrant will be opening
for Alice Cooper m
Augustand September.
DrummerDaniel Foote
PianistChristian
Jacob
86 "88of Weston,MA,is in the
Boston Music Award-win-
ning group Eye 2 Eye.
PresentsChristianJacobon They have released their
ConcordRecords. second CD, Chill and
Guitarist Rudy Linka"86 Listen.
of NewYork has a new KeyboardistRich Lamb
CDon Enja Recordstitled 88 of Hoboken,NJ, is a
Always Double Czech The freelance engineer, doing
disc features Rudyon gui- sound for Blue Man
tar, 6eorgeMraz"70 on Group,Tubes, and is co-
bass, andMarvin"Smitty" producing Donya Lanes
Smith 81 on drums. newalbum.
BassistEdBroms 87 of Guitarist Joseph
Jamaica Plain has been LodespotoJr. "88 of Valley Lipman86, and drummer for theater, soundtracks,
playingthe musicof Willie Stream, NY, recently
Dixon at the Charles received a "Demoof the
Playhousein Boston. Month"review in Guitar
Pianist MarkCohen "87 Playermagazine,and wasa
of ShermanOaks, CA,is a guest columnist.
production manager for DrummerRobertPlace
films, and is producing 88 of Stoughton, MA,is
three films for his own drummer for the
company. Allstonians whoreleased
Pianist JonErnst87 of Allston Beat on Moon
LosAngelescan be seen as Records NYC.
"Pianoboy" on MTVshit
gameshow"Single Out,"
wherecontestants get the
opportunity to choose
their ideal matefroma stu-
dio audience.
PianistSatokoFujii"87of
NewYork has released
Indication, a solo piano
CD, and How Many?, a
duo albumwith trumpeter
Natsuki Tamura.
Bassist TerieGewelt87
of Oslo, Norway,plays on
drummerBilly Cobhams
CDNordic, and on a new
ECMrelease with drum-
mer Jon Christensen and Clockwise: Phil Lipman 86, ScottSherman
pianist MikaelAlperin. 86, andNolaRose Shepherd 88, a.k.a. NolaRose
Pianist andvocalist Yuk0 Thorns,released their debutcountry
Summer 1997
Saxophonist
ChristianVuust"91, Eskimo
singer/hunter
Kigutikaq
Duneq,
aadTobiasSji~gren
recorded
Thule
Spirit.
Country vocalist Nola .Roomfulof Songs, a live
Rose Shepherd88 of CDwith nine of his origi-
Brighton, MA, and her nal tunes.
band Nola Rose and the Pianist Kenny Lerum 89
Thorns releasedtheir debut of Fairview, NJ, and his
CD which is entitled wife Ellen Cabaluna "90
ThoughtI Heardan Angel. formed the publishing
Playing in the band back- companies Colourd Mu-
ing Nolaare guitarist Tom sic, Inc. and Soul Purpose
Yates86, bassist Phil Music. They have written
ScottSherman "85. and several R&Band pop
Clarinetist Harry Skoler recordings.
"88 of Haverhill, MA, and Saxophonist Silvio
his quartet releaseda trib- Messana"89 of NewYork
ute to Benn,y Goodman has collaborated on the
titled Reflectionson the Art scores for such feature
of Swing.Skolerwason the films as Ransom,Readyto
coverof the April issue of Wear and Looking for
Strictly Jazz magazine. Richard.
Vic Della Pello "89 of Bassist JamesMobius
Union, NJ, released "89 of Brookline, MA,has
released a CDof world
pop music with his band
Najarian, which performs
aroundMassachusetts.
Guitarist FrankM0bus
89 of Berlin, Germany,was
a coproducerand co-leader
on Carlos Bicas album
Azul, released by Poly-
Gram Records. He also
played on a CDby the
NedIrving Quintet 1996,
and on the Ernst Bier-
MackGoldsbury Quartet
CD At Night When You
Goto Sleep.
Drummer TatsuyaOsaki
85, Tom Yates 89 of Astoria, NY,andhis
andthe NewYork Fantasia Band
CD. were hailed by the New
Berklee today 31
 YorkTimesfor their "first-
rate playing" in backing
the cast of the musical
Primitive World.
Songwriter/guitarist
Alan Powell 89 of
Nashvillereleased Seeds,a
CDfeaturing 10 of his
originalsongs.
Keyboardist Scott
Sheriff"89of Franklin,TN,
has been touring with
Steven Curtis Chapman as
bandleader and key-
boardist. Scott recently
produced a song on the
Grammy-winningAndrad
CrouchTribute recording.
Guitarist Morris
Acevedo "90 of San
Francisco, CA,has started
a jazz guitar ensembleat
U.C. Berkeley, and has
played on Emily Bezars
CDMoonin Grenadine.
Guitarist JoyBasu"90of
North Hollywood, CA,
finished his self-titled
debut instrumental CD
which was released by
BandaiMusicin Japan.
FawnFieldDrake"90of
Hollywood, CA, appears
as calendar modelfor "Old
Hollywood Glamour,"
and for 1998 calendars
entitled "After Five" and
"Beautiful Women." She is
writing and performing
songsfor a childrens cas-
sette andbook.
TadHilton90 of Clive,
IA, launchedGreat Plains
Recording Studio two
Drummer
Bobby
Borg"88
32 Berklee
t oda y
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years ago and has just Andrew also endorses interviews with Jewish
openedtwo subsidiaries, Cappelladrumsticks, holocaustsurvivors.
Great Plains Recordsand Drummer Hans SaxophonistChristian
Feather-RockPublishing. Schumann9,13 of New 1/uust "91 of Norsgade,
PianistNickKetter 913of York,artistic director of Denmark, recorded a CD
Atlanta, GA, completed "JazzReach," debuted his which fuses traditional
editing and mixing "Will performanceoutreach pro- Greenlandic songs with
the Circle Be Unbroken?," gram for young people at pop, jazz, and classical
a 26-part radio documen- Manhattans Merkin Hall influences. Thedisc, Thule
tary for Public Radio on April 3. Performing Spirit, features Polar
International hosted by with Schumann were Eskimo singer Kigutikaq
National Public Radio pianist/composer Larry Duneqand guitarist Tobias
commentator Vertamae Goldings, saxophonist Sjagren, and was released
Orosvenor. MarkGross 88, bassist on Virgin Records.
Bassist ChrisMatheos 90 Dwayne Burno 91, and nar- Vocalist Grazyna
of Greensboro, NC,has a rator VerniceMiller. Auguscik 92 of Chicago
new bass instructional LynetteGittens 91 of recentlyreleasedher criti-
book entitled Reggae Boston has been featured cally acclaimed debut CD
GroovesFor the Electric as vocalist at concerts by titled DontLet MeGo.
Basswhichwill be released the Jazz Composers Guitarist KenBarr92 of
this summerby Mel Bay AllianceSax Quartet. Alpharetta, GA, played
Publications. Pianist Ittai Rosenbaumguitar on Nashville-based
Drummer Andrew "91of Mevaseret,Israel, has band Blu Greenes new
Payne "9g of VirginiaBeach, completedscoring a docu- CD. Ken is also working
VA, is drummingon the mentary film called Live on another CD in
1997"Its All AboutGod" Witness. The film is a Nashville withkeyboardist
tour with Christianrecord- Steven Spielberg project Jeff Bruner.
ing artist iRebecca
St. James. whichutilizes videotaped continued on page 34
Summer
1997
 RIGHTPLACE,WRITETIME
For Guitar Player magazine ducing AmyGrants Straight
Assistant Editor Andy Ellis 71, Ahead album.
returning to Berkleeon assignment "The producer was looking for
after a 26-year hiatus brought to something a little different," he
mind memoriesand realizations. recalls. "Jon recommended that he
"Comingback," he says, "I have call me to come in and play
seen a lot of ghosts. I have seen Chapman Stick. On the song
myselfin the eyes of someof the "Angels," there was a long solo
students as they wander around spot they wantedmeto play in. I
overwhelmed. But I have also seen played it and they liked it. Next
the excitementin the eyes of peo- thing I know, the song was
ple whoare learning their instru- releasedas the first single fromthe
mentandfeel thrilled by a senseof record, and the albumtook off.
discovery." "By the time this happened, I
At the college for a week in had left Nashville for familyrea-
February, Andy took private sons and was living in Eugene,
lessons, participated in ensembles, Oregon.It was one of those bit- Andy Ellis 71:"You haveto behon-
and sat in on classes to gather tersweet experiences. I had just estwithyourselfaboutwhatit is
information for a special edition movedthere, and was watchingthe thatyoureallydobest."
of his monthly "Sessions" GrammyAwardsbroadcast. Amys
instructional column. [The piece song "Angels" was nominated for
he was writing will appear in the Songof the Year. She cameout and had I not beenin Eugene,I prob-
Augustissue of Guitar Player.] A did the song with her group and ably would not be a journalist
lot has changed over the years she had two guitar players in the today.
since Andy walked the Berklee band who had worked out my "My favorite thing about
hallwaysas a teenager. solo. On top of that, she wona wor!dngat Guitar Player is meet-
"WhenI was a Berklee student, Grammy with the song! I was both ing a nonstop stream of really
I wasgoing to see Hendrix,Janis elated and totally bummed out. I excellent guitarists--all different
Joplin, and the Whoon weekends. had played on a song that wona type,,;. I get to spendquality, one-
Then on Monday,I would go to Grammy,but I was far away from on-one time with players like
myclasses and try to reconcile the industry and couldnt reap the Eric Johnson, John Lee Hooker,
that with playing some pretty benefits of that win professionally. Stew, Cropper,and others. I get
square music in guitar ensembles I learned a lesson. If you are not paid to talk with them and watch
with people playing arch-top gui- right under peoples noses in the them. play. Makeno mistake, they
tars. I left Berkleeto go out and industry, they dont have the time do not let :me in the door because
learn howto write songs and how or in manycases, imaginationto go of whoI am, it is Guitar Player
to approacha career, those things find you." magazinethat gives me the club
werent being taught. Nowcom- Philosophical rather than for- card. I amvery respectful of this
ing back26 years later, I find that lorn as he looksback, Ellis relates, privilege, I knowI wont have it
all of the piecesof the puzzleI felt "It must have beenthe right thing forever.
were missing then are here now." for me to be in Eugene because "Sometimes you have to be
Uponleaving the school, Ellis right after that I got myfirst job honest with yourself about what
and a friend whowas a drummer writing for a fledgling musicmag- you really do best. I ambetter at
went to Germanyand played in a azine. They got me a Mac and this than I wasin mymusiccareer.
band together for a few years started meout with a great salary. I Weall have dreams about how
before returning to the States. A was writing about MIDIstuff and music is going to workfor us and
fewyears after that, duringwhathe computers and learned about whatwewill get out of it. Onone
terms his "acoustic, singer/song- musicjournalismon the job. Later, hand, you need the drive, dedica-
writer phase," he lived in I began freelancing for Keyboard tion, and passionfor music;on the
Nashville from 1979 to the mid magazine and eventually I was other, you h~ve to be flexible
1980s. He knocked around wait- offered a full-time position there. enoughto let it showyou where
ing to gain a toehold in the busi- Switching to Guitar Player maga- you belong. If you are too hard-
ness. A real opportunity came zine wasjust a walk downthe hall headed, you wont see the clues
whenA-teamsession guitarist Jon [both titles are ownedby Miller that are presented to you. If you
Goin recommended Ellis to Freeman, Inc., and are under the are not open, you may miss a
BrownBannister, who was pro- same roof in San Francisco]. So great opportunity." ;~

Summer
1997 Berklee today 33
 namedpublicity assistant
Seth Freeman92 of the rock band Little John at the Rykodisc1abel.
produced a CDto benefit the NewEngland Home Guitarist R. Tony
for Little Wanderers.Kids at Heart is a compilation Morales"95 of Hollywood,
of acoustic pop tunes and ballads by 18 Boston CA, has been writing
bands. Four of the groups on the disc feature music cues for the soap
Berklee alumni. The disc is released nationally on opera "Another World."
Little Johns own Crane Mountain Records, with Tonyalso participated in
assistance from Artists Only Records. For more the ASCAP/Fred Karlin
information, you can visit the Little John website: Film Scoring Workshop.
<cranemountain.com>. Bassist Steven Taylor95
of Royal Oak, MI, has
joined the alternative rock
group Vudu Hippies,
Pianist StevenBergman on acoustic bass, drummer Image Music Productions, whose indie release
92 of Somerville, MA,had RobertoDani94, and gui- a music editing, program- Trampoline has gotten
his musicalJack the Ripper." tarist Mick Goodrick67 ming, sound design, and great reviews.
The Whitechapel Musical with Pohjola on piano. CDmastering facility. Vocalist R0hRiles ~8 of
wrap up the sixth season Pianist Dong-Sung Kim Drummer John New York, released the
for the Centastage "93 of K~vachun,Korea, has Blackwell~5 of Columbia, CD Straight Down a
Performance Group. composedand arranged all SC, can be heard on the Crooked Road and is play-
Flutist Kimberly the songs with the movie soundtrack Love ing around the northeast
Theodore "92 of Los Ukrainian Kiev National Jones, playing on the tune with Andy Fox"97.
Angeles is assistant pro- Symphony Orchestra and "Hopeless" with Dionne Guitarist GregoryHogan
gramdirector at the classi- Kiev Radio Chorus for a Farris. John played with 96 of Allston, MA, and
cal radio station KKGO- CD for the Korean the group Cameo on RichardDurkee"96 started
FM. Her programming is Historical Dramaof KBS. "Sinbads Old Funk the record label
also heard over sister sta- Guitarist Daniel Festival" which aired on Signal2Noise Records.
tions KKHI-FM in San Moncada"93 of Jamaica HBO. Their first release is a com-
Francisco and XBACH- Plain performed his origi- Pianist Kasson Crooker pilation called 2 Much
AMin San Diego. naI songs in Caracas, "95 of AIlston, MA,is doing Noise in Boston.
Bassist Jan Uwekeisse Venezuela, with his group sound design and music Engineer Brett Blanden
92 of Hamburg, Germany, TeamMalin. production for Papyrus, a "96 of Boston recorded the
is electric bassist for the Pianist NaokoSakurada video game company. soundtrack for a CD-
Germanproduction of Los "93 of Tokyo published Drummer Jon D0w~ing ROMtitled Caminantes.
Miserables, which opened Piano Play Book for 95 of West Springfield, The disc chronicles a
in Duisburg. Yamaha Music Media, a MA, has been busy con- 1,500-mile trek across
DrummerDonCorreu93 reference bookfor the peo- ducting workshops at high Mexico.AlfredoVillela "98
of KansasCity, MO,is cur- ple whostudy improvising schools and colleges in composed the music which
rently playing with rock by piano. Western Massachusetts. features faculty member
band Tezer whoare playing Guitarist Michael Vocalist Ethan Eubanks Tom Rhea playing EVI.
throughout the Midwest Chlasciak 94 of Bayonne, 95 of Boston and his band The CD has gotten rave
region. NJ, appeared in the March Redtime are playing reviews in five computer
Bassist MarcEnsign"93 97 Guitar Player maga- around New England. magazines.
of Fair Lawn,NJ, wrote an zine Spotlight column. He They have opened for Saxophonist David
instructional bass book recently finished a vocal Corey Clover; No Doubt, Ravasio96 of Imperia,
entitled Slappin: A record with Pain Museum. and Chucklehead. Italy, released BostonSkies,
Complete Study of Slap Vocalist Mirugiade Cuba Percussionist Taku a CDfeaturing six of his
Techniques for Bass pub- 94 of Oranjestad, Aruba, Hiran0"95 of Santa Clarita, jazz originals.
lished by Mel Bay released her debut CD CA, plays with vocalist Clarinetist Enrico
Publications. On the titled 9 Months. Tevin Campbell. Berklee Cerretti "~7 of Boston
accompanying CD, Ensign Pianist Cornelius alumni in the band include released his first CD,
plays bass and Eric Panyan Kreusch "94 of NewYork musical director and key- Stargazer, backed by a
"93 plays drums. toured Europe this spring boardist Jimmy Varner85, group of Berklee students
Pianist MikaPohjola"93 with his band Black Mud keyboardist ~onnWyatt84, including Christopher
of NewYork has released Sound :featuring bassist vocalist KevinMacklin87, Crocco and Theo Chou
the CD Myths & Beliefs, Anthony Cox and drum- and sound engineer Reggie (guitars), Tony Castillo
which features Associate merWill Calhoun "86. Love 86. (keyboards), Sho Ichikawa
Professor in the Ensemble Pianist ScottRouse "94 VocalistSonyaKolowrat (bass), and Joss Duque
Department Bruno Raberg of Burbank, CA, started "95 of SaIem, MA,has been (percussion).
34 Berkleet o d a y Summer
1997
FINAL CADENCE therapist at Emerson

Saxophonist and band-

leader Christ0sPappas
(a.k.a. Chris Powers)died
April11at the Universityof
Massachusetts Medical
Center in Worcester, MA.
Pappas was leader of the
Chris Powers Orchestra,
the house band at the
CommodoreBallroom in
Lowell,for manyyears. He
also led the EddyHoward
Orchestrain recent years.
Heis survivedby his broth-
ers Harryand Menelaos.
JohnArtemieff
"76diedat
his homein Harvard, MA,
on December25, 1996. A
guitarist whenhe attended
Berklee, Artemieff ulti-
matelyreceivedhis masters
degreein physical therapy
from Boston University,
and workedas a physical
Hospital in Concord, MA.
Heis survived by his wife ....... 31finki~,g
of
Susan,his parents, and his
sister Mary.
Arve Nilsen 90 of
Re~,tt~rx~tng?
Grimstad,Norway,died on Its easierthanyoumightthink.
February26, 1997, after a There is no itead,~ission process
traffic accidentin Southern for alumni.
Justco~tact
~eturn~no Student
Norway.Nilsen had just ~eO
Steele~nth~Officeof the~oistra~at
finisheda tour of the United
States as percussionistwith o~ by f~: (~ 7) 247~27& ~e~ryou
~ ~~
singer Marit Ha:tta Overli.
to enrollf~ll-tim~or h~v~just a f~ c~edits
The group was featured on
le~to oraduate, it onlyt~k~s~ phon~ c~ll
CNNand Fox-TV. Nilsen
to sta~the process. ~etum to B~rkle~and
is survived by his wife
Grete,his parents,his sister
Nina and brother Norvald. ~her~
~ssL~lltim~to ~nrol[for theSommer
Wehave also recently and/orFail 97semester.
learnedthat freelancebassist
CharlieLaChapelle 61 of Registration for Sumrner97: W~ay22 - 23, 1997
Brookline,MA,and Gabriel Classes begin May 27.
FI0res00 of Woord,Aruba,
Registrattion fol Fall 97: September
2 - 5, 1997
(formerly a memberof the
Classes Ibegin September8.
Alehembra House Band),
havepassedaway.

ALUMNOTESINFORMATION
FORMI
Full Name

Address

City_ State ZIP Country Phone

~ This is a newaddress. Your Internet address:____

Did you receive a Q iDegree? ~1 Diploma?

Last year you attended Berklee
Please give details of newsworthy
performances,recordings, musicprojects, awards, recognitions, or other
events youwouldlike us to knowabout(please print or type; use a separate sheet if necessary).

GI Send me more information on becominga Berklee Career Networkadvisor.

Pleasesend this form,alongwith anypublicity, clippings,photos, CDs,or itemsof interest to:
Berklee today, BerkleeCollegeof Music,1140BoylstonStreet, Boston,MA02215-3693.Internet address: msmall@berklee.edu

Berkieet o d a y 35
Summer
1997
 CODA

Focusing on Abilities
Bob Mulvey

~l~nyone whohas sought to master a musical instrument

or whohas grappled with understanding and applying
Stuart Berk, currently a dual major in guitar performance
and jazz composition, has experienced both attention and
music theory can imagine the increased challenges these memory deficits. Withcreative teaching methodsfrom a vari-
tasks present to musicstudentswith physical or learning dis- ety of departmentsand the use of Berklees academicsupport
abilities. With role models like Stevie Wonder,Itzhak services, Berk is currently maintaining an A-minusaverage
Perlman, GeorgeShearing, and David Helfgott (the subject and was recently awarded a Berklee Achievement
of the recent film Shine), todays youngmusiciansfocusing Scholarship. In meetings held twice monthly with other
on abilities rather than disabilities are learning to understand learning disabled students he has shared his experiences of
and perform music in unique and individual ways. struggling and succeedingin ear training. Berk co-leads the
Last year, BerkleegraduatedTonyDeBlois,a blind, autis- meetings with faculty memberMiLchHaupers and me.
tic musical savant who,with creative academicaccommoda- Researchinto the causesof learning disabilities has yield-
tions and teaching methods, completedall requirements for ed differing views, but it is commonlyagreed upon that
a diploma in piano performance. Tonys success gained learning differences are caused by dysfunctionsin the parts
national attention. Thereare currently over 60 other students of the nervous system affecting the learning process.
enrolled at Berldee whoare overcominglearning differences Dyslexia, for example,is a language-basedreading disability
to find successin their musiceducation. that can severely limit languageskills including vocabulary
Since the passage of Section 504 of the Federal acquisition, understandingof grammar,and spelling. It can
Rehabilitation Act of 1973 and the Americans with also affect both comprehensionand accuracy in reading
Disabilities Act of 1990, all post-secondaryinstitutions have music. A.D.D.can also limit the understanding of classroom
extendedadmissions opportunities to students of differing presentations and written materials. Thosediagnosedwith it
learning styles. Increasing public sensitivity, teacher train- can focus on assigned tasks only for a limited time before
ing, and reasonable., changesin curricular requirements,stu- their attention begins to drift. Althoughmedicationcan help
dents with disabilities such as blindness, dyslexia, autism, the condition, it has proven moreuseful at Berklee to have
and attention deficit disorder (A.D.D.)are finding success an informedand sensitive faculty and staff to help these stu-
in college programs nationwide. Over the last 10 years, dents. Instituting accommodations--such as offering extra
Berklee has welcomedstudents with such challenges and minutes on timed exams--greatlyreduces the stress of test-
has made accommodationsto meet their individual needs ing for learning disabled students and affords them an
while maintainingthe integrity of the curriculum. opportunity to demonstratetheir knowledgeand ability.
Theeducationof these studentsis a col- Uniquelearning issues arise for blind
laborative effort of college administrators, students. Since muchof the process in
support staff and facul~ parents, and fel- learning musicrelies on the visual, sight-
low students. At the admission stage, impaired students, Learning Center staff,
applicants may volunteer information faculty, and support personnel must be
identifying them as students in possible continuouslycreative to adapt the curricu-
need of academicor residential accommo- lum for them. These students are offered
dations. Since students whoare "otherwise substitutions for required courses that
qualified" cannot be rejected because of would emphasize their learning differ-
their disability, it is to the studentsadvan- encesand misstheir abilities.
tage to self-identify early in the application Laws alone cannot create success for
process so that appropriate accommoda- students with disabilities. Cooperative
tions can be arranged. efforts betweenfaculty, staff, and students
determinedto rise aboveperceived limita-
Bob Mulvey is a counselor and Special Bob Mulvey:"It is a collaborativetions are needed. While there is roomfor
Services Coordinator for Berklees effort to successfully educate further development,Berkleeis well on its
Student Counseling Center. students withdisabilities." wayto handling those necessary efforts. N
36 Berkleet o d a y
Summer
1997
 par-
andstaff
scholarship
by 77
Yoursupport
improve-
meritsin Countless
ar

p andfinancial aid
renovations

~:~ andmaterials
facility maintenance

It is your continued commitment

which
allowstalentedmusiciansthe opportu~nity
;:-
to pursuetheir dreamS
of 5ecoming]ea~l
ers inthe musicindustry. Onbehalf of the
entire Berklee comm~ni~v;~many
thanks
for your contrib~ion~
 -FX
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