A P R I L / M AY 2 0 1 9

THE JAZZ EDUCATOR’S MAGAZINE $4.99

‘I Worked Hard
Not to Play Like
Anyone Else’

jazzedmagazine.com

INSIDE
2019 Jazz Educator’s Resource Guide
‘A Graceful Exit’: André Ménard Looks Back on 40
Years of the Montreal Jazz Festival
Focus Session: The ‘Tetrachord’ – Part 1
5
AEBERSOLD
YEARS OF JAZZ PLAY-A-LONGS

othing like the REAL thing!

Ain’t n
• REAL Jazz Legends
• REAL Instruments
• REAL Melodies & Chords
• REAL Rhythm Sections
• REAL Fun!

NEW!
Jazz Piano Essentials Includes
Online Audio
by Cliff Habian Tracks!

186 spiral-bound pages and online audio. Includes a collection of riffs,

patterns, and exercises as well as explanations of stylistic piano idioms
such as stride, walking bass, rootless voicings, rhythm changes, blues,
swing, bebop and others supported with transcriptions, arrangements,
and solos based on standards. It also contains many intros and endings
along with standard runs and fills. A unique compendium full of
personal tips and secrets of jazz piano collected over a lifetime of study
and performance. Classical musicians starting to investigate jazz or
intermediate to advanced players wanting to enhance their skill set will
find this book to be full of promise and absolutely “essential.”
c $29.95 JPE

Available from your favorite music source or direct from:

jazzbooks .com
FREE SHIPPING for USA orders over $40. See website for details.
 JAZZ EDUCATOR’S
resource guide
20

Contents APRIL/MAY 2019

features
BASIC TRAINING: EXERCISES FOR DEVELOPING A
GREAT JAZZ SAXOPHONE TONE 8
Helpful exercises for proper breathing technique, optimal
tongue position, and playing with an open, flexible throat
that will improve any saxophonist’s tone production

SPOTLIGHT: SATOKO FUJII: ‘I WORKED

HARD NOT TO PLAY LIKE ANYONE
ELSE’ 12
One of the most unique artists in jazz today,
Satoko Fujii’s inventive playing and compo- 8
sition have made her celebrated across the
departments

globe
Editor’s Letter......................................... 2

FOCUS SESSION: THE ‘TETRACHORD’ – Noteworthy ............................................. 4

PART 1 16 Jazz Festivals Worldwide........................ 6
The first of two helpful excerpts from Chris
McNulty’s Vocalist As Complete Musician – Hot Wax ................................................ 15
VCM
Gearcheck............................................. 19

Classifieds ............................................ 35
2019 JAZZ EDUCATOR’S RESOURCE GUIDE 20
JAZZed’s 13th annual directory offers a comprehensive over- Ad Index................................................ 35
view of schools, festivals, instrument and service suppliers,
and more Backbeat............................................... 36
Cover photo by Bryan Murray
JAZZed® Volume 14, Number 3, April/May 2019, is published six times annually by Timeless Communications Corp., 6000 South Eastern Ave., Suite 14-J, Las Vegas, NV 89119, (702) 479-1879, publisher of Musical Merchandise Review, School Band &
Orchestra and Choral Director. Standard Mail Postage Paid at Las Vegas, NV and additional mailing offices. Subscriptions to JAZZed are available through our website, www.jazzedmagazine.com/subscribe. JAZZed is distributed to the music trade by
Hal Leonard Corporation. POSTMASTER: Send all UAA to CFS. NON-POSTAL AND MILITARY FACILITIES: send address corrections to JAZZed, PO Box 16655, North Hollywood, CA 91615-6655. The publishers of this magazine do not accept responsibility
for statements made by their advertisers in business competition. No portion of this issue may be reproduced without the written permission of the publisher. Copyright ©2019 by Timeless Communications Corp., all rights reserved. Printed in USA.
April/May 2019 • JAZZed 1
editor’sletter CHRISTIAN WISSMULLER

‘I Have a Slight APRIL/MAY

Volume 14, Number 3

Confession to Make’
PRESIDENT Terry Lowe

“W
e need more listeners,” says this issue’s cover tlowe@timelesscom.com
subject, Satoko Fujii, when discussing the cur-
rent state of jazz in popular culture. “They don’t come out for con- PUBLISHER Greg Gallardo
gregg@timelesscom.com
certs like they did 10 years ago.”
This touches upon a larger topic that is a go-to of mine within these editorials: Editorial
growing the jazz audience and making jazz more inclusive and less intimidating to EXECUTIVE EDITOR Christian Wissmuller
those not yet within the “tribe.” It’s been my long-held assertion that certain jazz cwissmuller@timelesscom.com
purists can be the culture’s worst enemy, as well as its greatest defender. Don’t get
ASSOCIATE EDITOR Victoria Wasylak
me wrong – the exact same can be said of die-hard fans of many genres; folks who victoria@timelesscom.com
are the self-appointed “coolness police” who take it upon themselves to be the ar-
ASSOCIATE EDITOR Mike Lawson
biters of what constitutes a particular form of music or – as importantly (and often
mlawson@timelesscom.com
with negative effect) – a genuine or worthy fan.
If you make an entire scene appear aloof and standoffish to outsiders while si- Art
multaneously complaining of shrinking fanbase and media representation, that’s ART DIRECTOR/PRODUCTION MANAGER
an incongruity that merits examination. Mike Street
mstreet@timelesscom.com
This subject – openness, humility – was one that came up in a recent edition of
the podcast “Broken Record,” a project spearheaded by former New York Times ed- SENIOR GRAPHIC DESIGNER Angela Marlett
itor Bruce Headlam, writer Malcolm Gladwell, and producer Rick Rubin. The guest amarlett@timelesscom.com

for this particular episode was acclaimed drummer and producer Questlove. This
is an artist who is not exclusively or even primarily a jazz musician, but he surely Advertising

knows his stuff in that area as his recordings, publications, and innumerable ap- ACCOUNT MANAGER Matt King
mking@timelesscom.com
pearances at jazz festivals and jazz schools attest.
Questlove was speaking about how, in his attempts to connect with younger ACCOUNT MANAGER Lauren Byrge
audiences (specifically at daytime, “family friendly” gigs), he finally let go of some lbyrge@timelesscom.com
of his own biases and gave previously dismissed music a chance. “I have a slight
ACCOUNT MANAGER Matt Huber
confession to make,” he said. “I hate to say this, I finally listened to the entire [first] mh@timelesscom.com
Ramones album eight days ago and I’m so mad that it took me so long to do it!”
GREATER CHINA
He expands with – clearly genuine – enthusiasm for a whole new world of mu-
Judy Wang
sic that this dismissal of prejudice has brought him: “As a songwriter, not focusing Worldwide Focus Media
on singles, I’m now obsessed with people who have had successful singles under C: 0086-13810325171
E: judy@timelesscom.com
three minutes. Because it’s one thing to do these well thought-out, introspective,
11-minute free jazz [compositions]… but it’s like, ‘Can we make an effective song Business
within three minutes?’” VICE PRESIDENT William Hamilton Vanyo
I’ve taken heat from certain readers for putting such “non-obvious” artists as wvanyo@timelesscom.com
Kenny G and Alex Skolnick on the cover of JAZZed, but as I’ve said in response: just
CIRCULATION MANAGER Naomi Crews
because it’s not your jazz doesn’t mean it’s not jazz or that they’re not valid. Kenny ncrews@timelesscom.com
G toured (and played!) with Miles, Skolnick has a degree from the New School and
leads a successful jazz combo – and that isn’t to be sniffed at just because he also
plays thrash metal.
Again, it’s a point I’ve made before, but one that I believe bears endless repeat-
ing: closing one’s mind to music other than jazz helps to close the culture of jazz to
people not yet familiar with it. 6000 South Eastern Ave., #14-J
Las Vegas, NV 89119
702-479-1879
Fax: 702-554-5340

Christian Wissmuller
cwissmuller@timelesscom.com RPMDA
JAZZ EDUCATION NETWORK

2 JAZZed • April/May 2019

 noteworthy
Frost School of
Music and Jazz
Aspen Snowmass
Join Forces
The Frost School of Music at the Univer-
sity of Miami and Jazz Aspen Snowmass
(JAS) have joined forces to create the JAS
Academy Presented by Jazz Aspen Snow-
mass In Collaboration with Frost School of
Music at the University of Miami.
Plans were officially launched during
the Academy this past summer with Frost
School of music dean Shelly Berg and
JAS president and CEO Jim Horowitz. The
JAS Academy artistic director for over
ten years, Christian McBride will work
in tandem with FSOM’s Dean Berg and
newly-appointed JAS Academy Program
Director Chuck Bergeron of the Frost fac-
ulty. In addition to performing in big band
and small combo settings, JAS Academy
students will receive artistic and busi-
ness master classes with guest artists and
guest faculty, entrepreneurship and audi-
ence engagement training.
National
Endowment for
the Arts Honors
2019 Jazz Masters
The National Endowment for the
Arts honored the 2019 NEA Jazz
Masters at a series of free events this
April, held in collaboration with the
John F. Kennedy Center for the Per-
forming Arts in Washington, DC.
The 2019 NEA Jazz Masters are
Stanley Crouch, jazz historian, au-
thor, critic, and co-founder of Jazz at
Lincoln Center; Bob Dorough, vocal-
ist, composer, arranger, and pianist;
Abdullah Ibrahim, pianist, and com-
poser; and Maria Schneider, compos-
er, arranger, and bandleader.
4 JAZZed • April/May 2019
Walter Smith III Joins Berklee as Chair
of Woodwind Department
Berklee has named
saxophonist Walter
Smith III as chair of
the woodwind de-
partment. Smith, a
Berklee alumnus who
recently released his
fifth album as a lead-
er, is widely recog-
nized as an accomplished performer and
composer, and an inspired educator. Smith
takes up the position on May 1.
“Bill Pierce has left a strong legacy of
excellence and achievement which we
will continue to build on, looking towards
the future with an emphasis on creating
more opportunities for the students in
the constantly evolving musical land-
scape,” said Smith. “I can’t wait to get to
work with the world-class woodwind fac-
ulty as we continue to provide the perfect
environment for the world’s most talent-
ed young musicians.”
“Returning to Berklee is very spe-
cial to me since it’s the place where my
whole career in music began,” he added.
“Much of the faculty that I was mentored
by and worked with during my time in
school are still at Berklee in some capaci-
Detroit Jazz Festival Announces Bassist Stanley
Clarke as 2019 Artist-in-Residence
The Detroit Jazz Festival Foundation
will present Stanley Clarke as its art-
ist-in-residence for the 2019 Detroit Jazz
Festival presented by Quicken Loans.
Clarke’s much anticipated return and per-
formances will be a highlight at the festi-
val, now celebrating its 40th year.
As the 2019 artist-in-residence, Clarke
will support educational clinics for stu-
dents across the region throughout the
year and lead multiple performances
during Labor Day Weekend.
“Stanley Clarke is the perfect ambas-
sador for our Festival during this banner
year. His musical accomplishments, pe-
rennial career and commitment to the
ty, making it feel like
home.”
“I am tremen-
dously excited about
Walter re-joining our
community. His suc-
cess as a performer,
educator and jazz
artist will help lead
our school into the future,” said Ron
Savage, dean of the Professional Per-
formance Division. “I am happy for our
students, faculty and staff alike. Walter
Smith is a worthy heir to the Berklee leg-
acy left by Bill Pierce, Andy McGhee and
many others.”
Smith is or has been a member of
several legendary groups, recording and
touring with artists including the Roy
Haynes Fountain of Youth Band, Terence
Blanchard Quintet, Eric Harland’s Voyager,
Jason Moran’s In My Mind: Monk at Town
Hall 1959, Ambrose Akinmusire Quintet,
A Christian McBride Situation, Christian
Scott Group, and the Sean Jones Quintet.
Originally from Houston, Texas, Smith
comes to Berklee from Indiana University,
where he served as associate professor of
jazz studies.
RAJ NAIK
perseverance of
jazz have unequiv-
ocally positioned
him as a ‘living
legend’,” said Chris
Collins, president
and artistic direc-
tor of the Detroit
Jazz Festival. “We’re fortunate to bring
him back as the 2019 Artist-in-Residence
for what will be an exceptional 40th year
jazz celebration.”
Some of the Festival’s past art-
ists-in-residences include Chick Corea,
Wayne Shorter, Ron Carter, and Pat
Metheny.
 CREATIVE JAZZ
INSTITUTE
FOR 6TH-12TH GRADE STUDENTS

July 8 - July 20 Kimmel Center for the Performing Arts

and UArts present this dynamic two-week
2 Weeks
intensive, where instrumentalists and
uarts.edu/sijazz vocalists explore technique and repertoire,
while interacting with master-level artists.

SUMMER MUSIC
STUDIES 2019
WEEK-LONG GRADUATE COURSES FOR MUSIC EDUCATORS

Renowned faculty from the University Application to the MM in MUED

of the Arts plus content experts from
for Summer 2019 is now open
across the country provide week-long
graduate level instruction for teachers uarts.edu/sms
interested in expanding their pedagogical,
technological, musical, and instructional
skills in all genre of music classrooms. WEEK 1 Monday, 6/24 - Friday, 6/28
WEEK 2 Monday, 7/8 - Friday, 7/12
As a component of the Summer Music WEEK 3 Monday, 7/15 - Friday, 7/19
Studies Program, UArts offers a 33 credit WEEK 4 Monday, 7/22 - Friday, 7/26
Master of Music in Music Education ONLINE Monday, 6/17 - Friday, 8/9
degree program that can be completed
in as few as three summers.
jazzfestivalsworldwide
‘A Graceful Exit’
Before Retiring, André Ménard Looks Back on
40 Years of the Montreal Jazz Festival
T
here’s a lot to recall over the almost 40 years of the Fes-
tival International de Jazz de Montreal, but co-founder
André Ménard remembers it all: the five times Miles
Davis took the stage, Ella Fitzgerald’s iconic concerts of the
80s, giving Diana Krall her first big break, staging the return
on Leonard Cohen, and every set in between. The Montreal-
er recites it all from memory, down to the year of each per-
formance, as he mentally parses through the history of the
world’s largest jazz festival at a press luncheon for FIJM in April.
After four decades years of guiding the festival into the
heart of jazz itself, and another prior 10 years in the music
business in general, Ménard is at peace with retiring after
the 2019 edition year at 66 years old. Ahead of this year’s
festival, Ménard chatted with JAZZed about preparing his
replacement, the ever-expanding footprint of FIJM, and the
international flair of modern jazz music.
I wanted to ask
you probably what
everyone’s been asking
you about - you’re
retiring this year.
It comes after 40 years
of the festival, but I truly
had started in the mu-
sic business as early as
[when] I was in college
in the early ‘70s, so it’s
more like 50 years than
40 years. I don’t really
mind. I’ll be turning 66
André Ménard and Aretha Franklin
in December. Leaving
the company does not mean leaving the music world. I’ve
been on the street every night for all of those years. I still
see 200 to 300 gigs a year or attend all sorts of events. It’s
not like I’m giving up on this, but I’m giving up on going to
the office and doing what I’ve been doing for so long now.
Throughout the years, I never lost interest into the creativity
and whatever artists have to propose. I lost interest in bu-
reaucracy, for sure. It’s normal.
I still am fascinated by the achievements of the artists in
terms of starting from nothing and out of thin air creating
beauty at the tip of their fingers, or whatever they’re doing.
It applies to many forms of arts, but my preference goes to
music all the time. So how do you retire from that? It’s never
been a real job for me, so I might have to find a real job now.
It’ll be different but I’m not that nostalgic after all. People
that would try and impose nostalgia on us - you know, like,
when you start doing your festival, many jazz fans would
6 JAZZed • April/May 2019
jazzfestivalsworldwide.com
BY VICTORIA WASYLAK
think that jazz had stopped being jazz in 1960 when they
plugged in the first electric piano and Chick Corea and Her-
bie Hancock started playing it. It’s not like that. Music is a
big corpus, and it’s nice being able to witness and take part
into some of the evolution that have been taking place for
the last 40 years. Music has changed a lot, the way it’s being
played, being circulated - everything has changed. I felt like,
for me, I think I have known a great era of music.
And my partner and I had been preparing the replace-
ment for many years. The head of program in our festivals,
especially the jazz festival, has been there for 20 years now.
The main programmer of the jazz festival has been in place
for five years. It’s not like after us it’ll be a catastrophe. Quite
to the contrary, these are well-prepared people that are al-
ready very active making decisions without always getting
approval because we trust them. So this is, I think, the right
way to make a graceful
VICTOR DIAZ LAMICH
exit.
How hard it is to
find a successor - or
successors - to you?
Well, they do reveal
themselves at some
point because we have
never shied away from
surrounding ourselves
with talented people, be
it in terms of program-
ming, you know, show-
ing good taste in music
but also in terms of com-
municating what we’re doing. We’ve had strong employees.
Some of them have left us to a very high post, you know,
in Canada at the CBC, for example, or Cirque du Soleil, and
we take pride in having been instrumental in their progress.
And same for the jazz festival, lots of younger people that
worked for us in the first place because they really wanted to
try their hand at doing something with us, and then reveal
themselves very talented and very forward-thinking. The
new president is a guy we hired in 1987, So if we’re talking
of continuity, there’s no problem in that respect.
What do you hope for the festival going forward after
you’ve retired?
We made up our mind long ago, Alain Simard and myself,
about the fact that this festival will survive to its founders,
which is great. I would love it to remain in the public eye,
very open-minded, very relevant in terms of content. Taking
 “I won’t be part of the making of this, but I sure will witness as
ULYSSE LEMERISE BOUCHARD

long as I’m alive. The future, to me, looks bright, and I can’t wait
to see it happen, even if I’m not involved.”
- André Ménard

chances sometimes. It’s better making

mistakes sometimes than always doing
the same thing over and over again. To
us, music is a very moving body, espe-
cially jazz, the way that jazz has taken all
of its influences throughout its history.
I was last week in Barcelona for five
days upon invitation from the Catalo-
nian state to listen to some of their jazz
offerings there. I saw real greatness al-
ready achieved in what they had to of-
fer. Very diversified, very cool. And this
is where I see that jazz has become an
international music, it’s no more Ameri-
can-only. Obviously, it belongs to Amer-
ica. America invented jazz, but it has
traveled, and it comes back in echoes in
many forms and ways.
What would differentiate the Mon-
The FL Otto Link
treal Jazz Festival from the festivals in Vintage Sound.
America was that we were not only Quick Response.
America-centered. We would have musi-
cians from Europe, and from Africa, and
Powerful.
from Australia, and from Japan. This is
the true nature of a festival – to offer dis- This limited production tenor sax model lets
coveries, not only artists that you know you reproduce the dark, powerful sound of
about. a vintage Link, while delivering quick top-to-
So if the Jazz Festival in Montreal still bottom response and a warm, rich sound,
can take that into account, still has the with just the right amount of edge.
means and the will to go and find out
about all of this talent, this great music,
and share them with the public, this, for
me, is a dream come true. It’s been al-
ready done, and I hope that it keeps be-
ing done in different ways, in different
manners, you know, in the presentation.
The jazz festival site is almost saturated
now. It seems like it’s gonna spread to
some neighborhoods on top of the cen-
tral site of the festival. I see it as having a
very bright future, very different. I won’t jjbabbitt.com
Features 24K
be part of the making of this, but I sure Celebrating 100 years of Making MusiC
gold plating
tradition. CraftsManship. loyalty.
will witness as long as I’m alive. The fu-
ture, to me, looks bright, and I can’t wait
to see it happen, even if I’m not involved.

April/May 2019 • JAZZed 7

basictraining
Exercises for Developing
a Great Jazz Saxophone Tone
BY TRACY HEAVNER
D
eveloping a great jazz tone is one
of the most important aspects in
learning to play the saxophone.
In addition to a properly formed em-
bouchure, there are several other factors
that also play an important role in tone
production. Proper breathing technique,
optimal tongue position, playing with an
open, flexible throat, and the ability to
play overtones are skills that are essential
in producing an excellent jazz saxophone
sound. By becoming aware of these fac-
tors and practicing exercises that improve
their mastery, jazz saxophonists should
be able to greatly improve their tone
quality.
Proper Breathing Technique
Proper breath support is one of the
most important aspects of playing a
wind instrument. However, some jazz
saxophonists ignore this aspect of per-
formance since other factors occurring
simultaneously also require their atten-
tion. If saxophonists do not play with the
proper breath support, numerous per-
formance problems are likely to result.
To avoid these problems, diaphragmic
breathing should be used to establish
proper breath support allowing the em-
bouchure and instrument to correctly
work together. Although the method is
sometimes not an instinctive habit for
many players with focused practice, this
method of breathing can be mastered
and will greatly enhance a saxophonist’s
performance ability.
Inhalation
The first factor in developing breath
support is proper air intake. The saxo-
phonist should breathe air in through the
corners of the mouth, while keeping the
rest of the embouchure in place on the
mouthpiece. An alternative to this meth-
od is to drop the lower jaw, keeping the
lower lip in place over the lower teeth,
and breathe in through the center of the
mouth. Either method is acceptable and
should be selected by the individual per-
8 JAZZed • April/May 2019
former. When breathing in, air should be
inhaled quickly and deeply in one large
breath. As the diaphragm drops down-
ward, it forces the waist area to expand
outward in all directions, even on the
sides and back. The shoulders should not
rise but remain motionless. Saxophonists
should think of filling up the body with
air, starting with the area around the belt
buckle and moving up to the head. Imag-
ine pouring water into a container filling
it up from the bottom.
Exhalation
When breathing out, the jazz saxo-
phonist should push the air upward with
the diaphragm muscle located in the
area just below the rib cage. The visible
effect will be the waist area contracting
to its original position before the breath
was taken. This motion is much more in-
tense than breathing out normally. When
blowing air into the instrument, a narrow,
steady stream of pressurized air should
be blown throughout the duration of the
phrase being played.
Air Pressure
When correctly performing the breath-
ing motion, correct air pressure will be
maintained in the oral cavity allowing the
embouchure to work properly. In addition,
by having air pressure pushing outwards
in all directions in the oral cavity, the sax-
ophone can be played with less embou-
chure pressure from the lower jaw and
teeth on the lower lip. The reason being
that air pressure pushing downward on
the jaw and lower teeth from inside the
oral cavity helps equalize the upward pres-
sure applied from the jaw and lower teeth.
This will allow the reed to vibrate more
freely producing a more resonant sound.
Breathing Exercises
One exercise to practice proper
breathing is for the jazz saxophonist to lie
down on the back or stand with the back
against a wall while placing a hand on the
stomach. Next, a large breath should be
taken through the mouth, making sure
that the waist expands in all directions
as air enters the body. When performed
properly, it will feel as if the air is filling up
the body starting at the belt buckle and
moving up to the head. The shoulders
should not move during this process. If
they do, the process is being performed
incorrectly and must be tried again. Lying
down or standing with the back against a
wall should assist in this matter by hold-
ing the shoulders stationary while inhala-
tion is taking place.
Another alternative position for this
exercise, in addition to lying down or
standing with the back against a wall, is
to sit in a chair and bend over placing the
chest against the knees. This position will
also assist in keeping the shoulders sta-
tionary during inhalation.
When exhaling, the jazz saxophonist
should blow a narrow consistent stream
of pressurized in a slow controlled manner
with the diaphragm muscle. As a result, the
waist area that was expanded during inha-
lation will return to its original position.
When exhaling, the lips should be shaped
in an “O” position, which will continue to
focus the air into a narrow, concentrated
stream similar to one used to blow out a
candle. This will approximate the motion
performed when actually playing the in-
strument. The saxophonist should practice
this exercise by inhaling for two seconds
and exhaling for eight seconds. With prac-
tice, a performer will develop the ability to
inhale a large quantity of air in one quick
breath allowing long phrases to be played
with no loss in tone quality or control.
Review of Proper Breathing Procedures
1. Breathe in quickly and deeply
through the mouth
2. Fill up the body with air from the
bottom up
3. The waist should expand outward
while the shoulders remain
motionless
4. Breathe out by pushing the air
upward with the diaphragm
5. A narrow consistent controlled
stream of air should be blown out
6. The waist should contract back to
its original position
7. Proper air pressure should be
maintained in the oral cavity
8. With proper air pressure, less jaw
and lower teeth pressure is needed
Optimal Tongue Position
A jazz saxophonist’s tongue position
has a direct effect on tone, response, and
the ability to articulate quickly. The best
tongue position is one that is comfortable,
produces a good tone, provides a quick re-
sponse in all registers, and places the tip
of the tongue close to the reed for quick
and clean articulation. It is very important
for saxophonists to find this position since
without it progress will be impeded.
The best tongue position is one that is
high in the oral cavity where the back of
the tongue is close to roof of the mouth.
In this position, the sides of the tongue
touch the sides of the upper teeth as if
saying the word “he” or “her.” By using
a high tongue position, the oral cavity
is made smaller keeping the air stream
narrow, focused and quickly moving. In
addition to assisting in good tone pro-
duction, response and articulation, this
position will also assist the saxophonist in
playing overtones and the altissimo reg-
ister. Although this tongue position may
change slightly when playing in different
registers, the overall position should basi-
cally stay the same. By using this position,
jazz saxophonists will discover that their
tone is more focused, response is better,
articulation is quicker, and overall playing
the instrument is easier.
Playing With an Open Throat
The term open throat means that the
throat is relaxed and unrestricted allow-
ing the air stream to flow easily from the
lungs into the oral cavity. Playing with an
open throat will greatly assist the jazz sax-
ophonist in producing good tone, into-
nation and response. It is sometimes dif-
ficult for saxophonists to know if they are
JOHN FEDCHOCK
AVAILABLE FOR CONCERTS, CLINICS, COMMISSIONS
“Fedchock’s playing is simply phenomenal.”
“...dazzling trombone virtuosity.”
SOLOIST & BANDLEADER
• John Fedchock New York Big Band
• John Fedchock NY Sextet
• John Fedchock Quartet
CLINICIAN
• Clinics, Masterclasses
& Residencies
• XO Brass Trombone Artist
COMPOSER & ARRANGER
• Two-Time Grammy Nominee
• Published by Jazzzlines Publications,
Walrus Music & Kendor Music
JFNYBB@AOL.COM | (718) 626-0434 | 2270 46TH ST. ASTORIA, NY 11105
playing with an open throat because the
inside of the throat cannot be observed
when performing. However, there is an
exercise that when completed, will allow
the saxophonist to know if the throat is
open when playing.
Open Throat Exercise
To simulate the feeling of playing with
an open throat, saxophonists should
practice speaking in the lowest voice
possible. Speaking in a low voice places
the throat in the optimum open position,
allowing air to flow freely from the lungs.
Jazz saxophonists should remember the
feeling of the throat position when speak-
ing in a low voice and reproduce that
feeling when performing. If this exercise
is performed every time the saxophonist
practices, in a short time playing with an
open throat will become a natural part of
the performer’s routine.
Developing Throat Flexibility
An open, flexible throat is a great asset
since it gives saxophonists the ability to
adjust the intonation of a pitch without
moving the embouchure, to play smooth-
ly between registers and also to bend
notes which is often required in certain
performance styles.
A flexible throat can be developed
through the correct, consistent practice
of appropriate exercises and patience.
– INTERNATIONAL TROMBONE JOURNAL
– THE NEW YORK TIMES
“Fedchock’s band commands your
attention and holds it.” – DOWNBEAT
JOHNFEDCHOCK.COM
April/May 2019 • JAZZed 9
twice, first using the regular fingering and
then with the overtone fingering (Low BH
fingering). The note produced with the
overtone fingering will be much more
resonant than its counterpart played with
the conventional fingering. The jazz sax-
ophonist should listen carefully to each
note and then try to increase the reso-
nance of the conventionally fingered note
to match the resonance of overtone note
by adjusting the embouchure, tongue
position and throat position. By doing
this, the resonance and tone quality of
the conventionally fingered note will be
improved.
Overtone Fingering
Practice this exercise up through eight
overtone note using the fundamental
note low BH. In addition, low B and low C
can also be used as fundamental notes,
which will cover almost every pitch of
the middle and upper register. If jazz
saxophonists regularly practice this ex-
ercise, their tone quality will be greatly
improved.
Use Low B Fingering for All Notes
Use Low C Fingering for All Notes
Summary
Proper tone production, which is an
essential part of jazz saxophone per-
formance, not only requires a correctly
formed embouchure, but is also affected
by proper breathing technique, optimal
tongue position, playing with an open,
flexible throat, and the ability to play
overtones. By practicing exercises that
develop mastery of these skills, jazz sax-
ophonists will notice a marked improve-
ment in their tone quality in their quest
for developing an ideal tone.
Dr. Tracy Lee Heavner is a professor of
saxophone, music education, and director
of jazz studies at the University of South Al-
abama. He is an accomplished author, mu-
sic educator and distinguished multi-instru-
ment performance artist for Cannonball,
Yamaha, Beechler, and D’Addario music
corporations. He is also a recording artist for
LiveHorns.com whose projects have earned
two Grammy nominations and a Dove
Award. He has performed throughout the
United States and internationally in 15
countries on five continents. His latest book,
Saxophone Secrets: 60 Performance Strat-
egies for the Advanced Saxophonist, has
received glowing reviews and is published
by the Rowan & Littlefield Publishing Group.
XR TYPE
among all saXoPhonEs
This XR TYPE is unmisTakablE
From the familiar/unique key guard grills to
the subtle Bronze colorations throughout…
coupled with precision-crafted “low profile”
thin key cups and extensive hand-engraved
European style fleurets… here is truly a
stylish Saxophone that out-performs all
others on the market.
...Stainless Steel rods guarantee
fastest key response...
...Thinner Italian choice leather
pads assure complete tone hole
closure...
...Bronze alloy that produced
legacy European saxophones in
the ’30s...
...Bell taper and size that provide
optimum intonation and sound
projection...
This isn’t a Faux Vintage saxophone
based on today’s standards. This is
the real thing… we’re going “Back to
the Future” to give you today’s new
benchmark of Saxophone excellence.
www.saxdakota.com
pjlabiz2@aol.com
April/May 2019 • JAZZed 11
spotlight
Fu j i i
k o
Sato
‘I W
or
ked
H ard
N o t t o P lay L ike
BY CHRISTIAN WISSMULLER
O
ne of the most unique art-
ists in jazz (or, really, any genre) today,
Satoko Fujii’s inventive playing and composition have
made her celebrated across the globe – and her reach truly is
global. Fujii tours internationally and leads a number of groups
of varying size and style. While certainly a “jazz artist,” her music
also embraces and incorporates aspects of traditional Japanese
music, rock, folk songs, classical, and more into a form distinctly
her own.
After having studied piano and classical music from the age
of four, Fujii was exposed to jazz in her early 20s and never
looked back. Teachers in Japan, including Koji Taku and Fumio
Itabashi, solidified her passion for the music. Studies at Berklee
College of Music and (after a six-year return to Japan) NEC
found her working with such heavyweights as George Russel,
Cecil McBee, and Paul Bley.
Her professional career could fairly be described as “restless,”
with Fujii tackling disparate approaches and styles on seeming-
ly every new project – the consistent factor, throughout, being
the excellence in performance and writing, as well as near-uni-
versal acclaim.
JAZZed recently connected with Satoko Fujii to learn about
her path as a musician, her approach to learning, and what ap-
proaches to jazz education she feels are most effective.
Let’s start by talking a bit about your early training as a
musician. What were some of the first compositions that
resonated with you? Who were some instructors who had
lasting impact on your approach to playing and why?
I started taking classical piano lessons when I was 4 years
old, but before that I started improvising and composing. I
had a lot of fun talking to my mum with some melodies. I was
singing and improvising on the piano that we already had in
our house because my older sister had started playing piano.
12 JAZZed • April/May 2019
BR
YA
N
M
UR
RA
Y
’
ls e
E
e
on
Any
My mother loves to
listen to music and she
played recordings of classical
and some Latin music for me. I really
loved Argentinian Tango. I always was moved
by dramatic music with a beautiful melody in minor keys.
I changed my piano teachers several times. My main influ-
ences came from Koji Taku, Fumio Itabashi, and Paul Bley. I stud-
ied classical piano with Koji Taku while I was in high school. He
was one of the most important people in the classical music
world in Japan. He was the head of the piano department at the
best music school in the country, but he quit that job because
he wanted to play jazz and cabaret. This is very unusual in Japa-
nese society. People value the professional position more than
what they really want to do. He didn’t care about that. He just
followed his gut and did what he wanted. I was a teenager and
his way of living influenced me in a huge way. I actually started
listening to jazz music because he liked jazz.
Fumio Itabashi is my favorite jazz pianist and I asked him if I
could take lessons. He was very influential in teaching me how
to enjoy playing music. Then I studied with Paul Bley at NEC and
that was like a revolution for me. He encouraged me to play my
own music.
So Mr. Taku served as your gateway to jazz. What artists
or songs served as the “spark” for your interest in jazz
and your move away from studying strictly classical music
towards improv and jazz?
Yes, while I studied classical piano with Koji Taku, I started
listening to jazz because he loved jazz. And I really respected
him. I couldn’t enjoy most jazz that I heard on the radio, but
one day I listened to “A Love Supreme” by John Coltrane and
I was completely knocked out. I was so moved by something
I really didn’t understand. I started listening to jazz more seri-
ously after that. At the same time, I noticed I couldn’t improvise
at all if I didn’t have any written music in front of me. I was so
shocked because I could improvise when I was very little be-
 BRYAN MURRAY
Making mistakes is the best way to learn.
Without mistakes we cannot learn.

fore I started studying classical music. I

felt like I was just like a well-trained dog
that can do something if they are told.
I tried improvising on the piano, but
I had to give up it, and left piano. In-
stead I started using my voice and some
percussion to improvise. I was away
from the piano for more than one year.

How did you wind up connecting with

Fumio Itabashi and how would you
describe your scholarly pursuits at
that time?
After I stopped playing classical mu-
sic and piano, I started going to jazz
clubs in Tokyo. I heard Fumio Itabashi
who became my favorite pianist and I
asked him if I could take some lessons.
I wanted play like him and, because of
that, I came back to piano. But I was very
different from him. He was born as a mu-
sician. I am not like that. I am a person
who needs to understand something
before I do it. I still love his playing, but
now I know that I am different from him.

Interesting. What drew you do Boston

– first for studies at Berklee and, later,
at NEC – and what are your present-
day impressions of your time at those
two schools?
I was taking piano lessons from Fumio
Itabashi and at the same time I start-
ed playing professionally at a cabaret
in Tokyo. I was not very good, but my
bandmates encouraged me and said I
would be better if I kept playing in the
band professionally. I did it more than 12
months and I found myself not so much
better and I started thinking, “Did I put in
enough effort?” I had to say, “no” about
it. I thought I couldn’t give up without
enough effort. So I decided to study at
Berklee where is far away from home, so
I could not run away. I actually studied so

April/May 2019 • JAZZed 13

 BRYAN MURRAY
spotlight

hard and practiced so hard while I was ly. That was just like magic. He gave me
in Berklee. I think I became much better. many tips and hints that would work im-
I moved back to Japan when I gradu- mediately. I started looking at things dif-
ated, and I started having a professional ferently after I talked to him. I think I had
career there. I did many different things, the same idea that he had, but I couldn’t
but for some reason I lost my goal. I find it before I talked with him. 
wanted to stay away from the music
business and figure out what I wanted to Do you currently, or have you ever,
do. And that is why I made up my mind given private lessons or conducted
to study at NEC. At Berklee I worked hard master classes? If so, what do you
to play like someone else… like Herbie enjoy about both formats and do you
Hancock or like Bill Evans, et cetera. At prefer one to the other?
NEC I worked hard not to play like any- I used to teach piano and theory.
one else. I found my own voice. Sometimes I do master classes, but I don’t
do them regularly. I like teaching master
An important evolution, to be sure. classes better than private lessons. I ex-
Can you discuss your studies with pect too much of students if I teach pri-
Paul Bley? What about his methods vately, which often doesn’t work.
of teaching connected with you? Trumpeter Natsuki Tamura and Satoko Fujii
I didn’t know that Paul Bley taught You’ve played and studied with
at NEC when I entered the school. I was so happy when I found a number of folks. What do you feel is more valuable
out he was there since he is my favorite pianist. His teaching to young musicians, particularly jazz students: formal
was very unique. We didn’t spend so much time playing piano. education or “learning as you go” by playing with other
We talked and talked and talked... at some cafe. But after talking artists?
with him, I improved a lot. Talking to him worked better than I know many great self-taught musicians, but I needed to go
long-time practice. I think my brain started working different- to school to get a formal education. I think there are many dif-
ferent ways to learn. In either case, we need to have enough
How Long Has It Been experience performing music in front of an audience to be a
good player. That performing experience, on the bandstand, is
Since You Bought Your the best way to learn.
First Rovner Ligature? Having led a number of big bands, as well as performing in
smaller groups and as a solo artist, is there a structure you
prefer over the others?

Really?? I like doing all of these formats. They are all different, but in
myself they all connect with each other. I sometimes get an idea
and motivation for a piece for large ensemble by playing solo. I
cannot give up any format. I love them all!
How do you feel about the “status” and presence of jazz (or
lack thereof) in popular culture? Do you feel jazz needs to
Then Prepare To Be attract more and younger fans and players?

ASTONISHED!
Patented Woodwind Innovation Offering
Solutions For The Most Discerning Jazz Player,
Sizes To Fit Your Mouthpiece, Sensible Pricing,
And New Models With Jaw-Dropping,
Heart-Stopping, No-Topping-It Performance.
That’s Today’s Rovner Products!
Patent. See Website.
www.rovnerproducts.com
We need more listeners. People are now too busy with the
Internet. They don’t come out for concerts like they did 10 years
ago. Live music performance is an “experience” that is different
from watching TV or YouTube. I am sure that the music can be
better with many enthusiastic listeners. 
Thanks for your time, Satoko. Last question: What advice
would you impart to jazz educators out there?
I think it is better to teach what the student can do – not what
they cannot do. Students can expand on the things that they
can do if they see what they can accomplish. Probably the most
important thing is to let them know they can do whatever they
want. I have been seeing many beginners and students who are
so afraid to make mistakes. Well… making mistakes is the best
way to learn. Without mistakes we cannot learn.

14 JAZZed • April/May 2019


John Coltrane
Coltrane ’58: The Prestige
Recordings (Craft Recordings)
John Coltrane – tenor saxophone
Kenny Burrell – guitar
Donald Byrd – trumpet
Paul Chambers – bass
Jimmy Cobb – drums
Tommy Flanagan – piano
Wilbur Harden – flugelhorn,
trumpet
Louis Haynes – drums
Freddie Hubbard – trumpet
Art Taylor – drums
1958 was a
good year for
John Coltrane,
but so were the
previous three.
Ever since join-
ing Miles Davis
in 1955 Coltrane had been turning out
distinctive improvisations with the star
trumpeter’s outfit and, when he left Davis
for a spell, with Thelonious Monk, as well
as on frequent sessions for other leaders.
But his work in 1958 is indeed special, as
affirmed again and again in this sizeable
collection (five CDs; eight LPs) which
brings together all of Coltrane’s work that
he recorded as a leader or co-leader for
the Prestige label that year. (The addition-
al 1958 work that the prolific and adapt-
able saxophonist did with Davis, Cecil
Taylor, George Russell, Michel Legrand,
Ray Draper, Gene Ammons, and Wilbur
Harden is absent.) There’s a whole lot of
music of these sides, and for the most
part it’s outstanding.
By 1958 Coltrane, although still not a
bandleader, was a known quantity in seri-
ous jazz circles. Having dealt with his sub-
stance abuse problem the year before,
Coltrane became more committed to his
art than ever. His technical command of
the tenor saxophone is now overwhelm-
ing. The perfectly articulated cascades of
notes (his “sheets of sound” in Ira Gitler’s
classic phrase) pour from his horn with an
assurance that demands utter attention.
But technical virtuosity is only one aspect
of his genius. There’s also the sheer heft
of Coltrane’s tone, which, united with the
melodicism of his lines, and the consis-
tent passion of his playing, combines to
transform him into a jazz marvel. There
album & bookreviews hotwax
was nothing like him then and there’s still
just no turning away from this extraordi-
nary sound.
Coltrane isn’t the whole show though.
The six sessions – running from January
to December of 1958 – find him in good
company. Two masterful players from the
Davis band, the pianist Red Garland and
the bassist Paul Chambers, join the drum-
mer Art Taylor to make up the basic sup-
port unit for Coltrane. (The trumpeters
Freddie Hubbard and Wilbur Harden, and
the pianist Tommy Flanagan, the guitar-
ist Kenny Burrell, and the drummer Louis
Hayes all appear on one session apiece;
trumpeter Donald Byrd and drummer
Jimmy Cobb come on for two.) Each of
these young aces sound particularly en-
livened in the company of the master.
There’s gold on each of the six ses-
sions: express train chargers, mid-tempo
romps, and heart wrenching ballads –
all eliciting strikingly engaged readings
from Coltrane and company. The musical
language spoken throughout is hard bop;
the modal dialect, which would obsess
Coltrane for the rest of his short life, was
not to spring forth until the following year
with Davis’s Kind of Blue, an epochal re-
cording which counts Coltrane’s stunning
contributions among its highlights.
Contemporary saxophonists have
been culling ideas from the Prestige ma-
terial, be it such breakneck exercises as
“Russian Lullaby” and “Lover Come Back
to Me” or gorgeously intoned ballads like
“Lush Life” and “I Want to Talk About You,”
ever since they were issued. What we to-
day understand as the mainstream sound
of the saxophone basically originates in
large part from these recordings.
Coltrane ‘58 tells only one part of the
story. Coltrane in 1958 didn’t sound like
he did in, say, 1964, and certainly not in
1966 and ‘67. But early maturity is still ma-
turity. If Coltrane had put down his horn
at the close of 1958, he’d still be the re-
vered and reverently studied figure that
he remains today. (Steve Futterman)
Masters of the Vibes
(Marimba Productions)
by Anthony Smith
The vibraphone is that most curious
of instruments, having staked its claim in
the jazz world and other musical recesses
over the past cen-
tury while large-
ly avoiding ac-
knowledgement
and recognition
from the gener-
al public. Why
hasn’t it gained
greater traction?
How has the instrument resonated, lit-
erally and figuratively, to make its mark
in jazz? How have the masters broad-
ened the scope of the vibes and left
their thumbprint – or mallet mark, if you
prefer – for the ages? These questions,
and many others, are investigated from
fascinating angles in this sui generis col-
lection of interviews with many of jazz’s
most significant living vibraphonists.
Any reader, no matter how well-versed
they may be when it comes to the state
of the vibraphone and the artists work-
ing behind them, is likely to glean some
wisdom and new information from these
pages. And as an added bonus, you can’t
get very far here without being pointed
toward recordings worth seeking out.
There are recurring themes to be found
in the book – the influence of Milt Jack-
son, Bobby Hutcherson, and Gary Burton
on today’s players; the future of the in-
strument; the two- vs. four-mallet debate
– but no two conversations are alike.
Interesting tales abound as these talks go
off on different tangents. Burton touches
on his creative process when working
with Chick Corea, Terry Gibbs looks back
to the heyday of the music, Mike Mainieri
delves into his experiments with ampli-
fication, Joe Locke explores personaliza-
tion through limitations and the act of
growth, and David Friedman touches on
Double Image and his work in jazz edu-
cation. Nearly three dozen vibraphon-
ists, from top-tier performers like Stefon
Harris and Steve Nelson to new faces like
Ian Harland and Jake Chapman, freely
share their thoughts with author Antho-
ny Smith, a fine vibraphonist and deep
thinker in his own right. With all of the
rich information provided in these inter-
views, plus a foreword from saxophone
icon Joe Lovano, a tribute to Bobby
Hutcherson, a timeline covering the his-
tory of the vibraphone, and a list of addi-
tional players to check out, Masters of the
Vibes proves to be the first and last word
on the subject. (Dan Bilawsky)
April/May 2019 • JAZZed 15
 focussession
The following is an excerpt from Chris
BY CHRIS MCNULTY
McNulty’s Vocalist As Complete Musician –
VCM
iscovering the “Tetrachord” has had a
D
significant impact on my learning and
teaching as a vocal musician and jazz
educator. In fact I’ve found tetrachords to be
one of the most effective tools for integrat-
ing all three components of study: theory, ear
The ‘Tetrachord’ – Part 1
training, and improvisation – especially for vo-
calists. VCM (Vocalist as Complete Musician)
provides a method for hearing and integrat-
ing scales along with the chords that source to
them. Using a step-by-step approach, starting
with source templates, we move through a se-
ries of simple to more complex exercises. The
work provides students with tools to help them
gain a more thorough understanding of the in-
terconnectedness between scales and chords
while learning how to identify both visually and
aurally how to pitch and improvise with more
confidence and accuracy. While the main focus
of VCM is expanding hearing and developing
keener improvisational skills, the method also
provides a more complete theoretical template
for developing composing and arranging skills
as well as offering both student and educator
an excellent college preparatory resource.
Outside of enhancing your knowledge of
theory and improving musicianship, doing a
little of this work every day will keep your ears
and pitch in shape, especially during those lean
times. I hope using these exercises will benefit
both professional and student alike in helping to stay in “ear”
and “musical stamina” shape.
Before We Dig In!
Let’s start by defining what a “tetrachord” is and what it isn’t.
A tetrachord is a four-note scalar fragment. It is NOT a scale.
Throughout this book we’ll be working with the following six
tetrachords:
• Major
• Minor I (dorian)
• Minor II (phrygian)
• Diminished
• Harmonic
• Whole tone (lydian)
All six tetrachords above are found inside the following
scales we’ll be working through:
• Major
• Melodic Minor
• Harmonic Minor
• Diminished (1/2-whole)
• Diminished (Whole-1/2)
You will notice that each named tetrachord mirrors a scale
name. In all cases the quality of each tetrachord appears in the
16 JAZZed • April/May 2019
first four notes of any one of the parent scales or scale degrees
listed above. The first four tetrachords: Major, Minor I (dorian),
Minor II (phrygian) and Whole tone (lydian) source to the first
four degrees of the Major scale. It’s not until we get to the 7th
degree of the Melodic Minor scale that we identify the 5th tetra-
chord, the Diminished. The sixth tetrachord, the Harmonic is lo-
cated in the Harmonic Minor scale and occurs in the first 4 notes
of the 5th degree with the intervalic structure of 1/2 step, minor
3rd followed by 1/2 step. Working from the “C” Harmonic Minor
scale, the 5th degree would start on G. The first four notes being
G, AH, B and C. This is the true harmonic tetrachord.
From chapter one through chapter eight the entire scope
of the scale work involves using a combination of the six tetra-
chords listed above. The VCM method focuses on learning to
integrate the sound of each of the tetrachords as they appear
in scales and across chordal harmony by using them in combi-
nation. These exercises are also designed to help vocalist (and
young instrumentalists) identify which notes to sing/play, pitch
more accurately and improvise more freely and confidently
over a myriad of simple to more complex harmonic passages.
The method works across all twelve keys.
Parallel and derivative scale use can take a little longer to ab-
sorb. I’ve systemized the information by adhering to a set order
of events across all templates and keys. I’ve also included two
extra drilling exercises, the Altered scale (7th degree of Melod-
ic Minor) and the Arabic scale (5th degree of Harmonic minor)
to reinforce how Parallel and Derivative use work. Work at your
own pace through to the end of chapter three. Hopefully by
Chapter Four, when we introduce singing over chord progres-
sions you will have developed a better understanding or at least
have grasped the difference between Parallel and Derivative
use and their functions.
I’ve found most of this work is best played at the piano, how-
ever the audio tracks will assist vocalists of all levels. I’ve inten-
tionally kept the rhythmic notation simple to allow non-readers
and those less proficient on piano to be able to complete this
work more easily. Always keep in mind that theory was never
written to dictate what sounds great. I hope this work will not
only expand hearing but also provide tools that lead to greater
independence and empowerment.
Working with the Basic Tetrachord Template
In order to be able to sing through the scales used in this
book you will first need to integrate the sounds and shapes of
each of the six tetrachords. The first exercise works with the Ba-
sic Tetrachord template. This is a simple drilling exercise to help
prepare you for the work you’ll be doing on scales, so take your
time to learn the sounds and shapes of each tetrachord as all six
occur in just about every exercise in this work. They’re the glue
for sourcing a myriad of scales and chords.
Throughout VCM the term “bookend” applies to the two
tetrachords which outline each particular scale you will be
working with – from the first to the last note. The “bookend”
delineates the first 4 notes and the last 4 notes of the scale. For
the purpose of keeping things simple the opening source tem-
plates are all in the Key of “C” or use middle “C” as a starting
note.
Getting Started: Singing and integrating the six tetrachords cess of singing bookend tetrachords up each scale degree, mak-
Sing each of the six tetrachords up and then down, starting ing sure to use the accompanying chord that sources to each
on middle C. Then focus on singing/playing a Major tetrachord degree of the scale. You’ll soon hear why some of these chords
starting on random notes at the piano. Then move to a Minor I and scales are used more often than others. Keep in mind the-
(dorian) tetrachord and so on and so forth until you have sung ory is most useful when seen/used as a road map or template
through each of the six tetrachords starting on as many notes for explaining systems and why and how scales exist. However
as you can. Then try switching them up. Sing a Major tetrachord by hearing and recognizing aurally, we learn a lot more about
starting from F. Then sing a Diminished tetrachord from C then why certain sounds and harmonic choices are used, not only in
a Minor II (phrygian) from EH and so on and so forth. Sing these composition and arranging but also in improvisation.
tetrachords within the limits of your range. Spend a few min- The Melodic Minor Scale — Min 3rd, Maj 7th
utes a day on this. Do it whenever you think about it. Once you
2. The Major Scale * Track #2
are comfortable you can sing all six on call or with ease move
Using C Major scale
on to the next exercise.
Chord: CŒ„Š7
1. Tetrachords * Track #1
Scale: Ionian (Major): Maj 3, Maj 7
Definition of a Tetrachord: A tetrachord is a 4 note scalar fragment (it is NOT a scale) Tetrachords: Major Major

Throughout this book the following Six Tetrachords will be used as an

w
& w œ œ œ œ œ
integrating tool to hear through and over a myriad of scales and chords. w
w œ œ œ
You'll be seeing and hearing them lots!
W W 1/2 W W W 1/2
Major
Minor I (dorian)
Minor II (phrygian) Chord: D‹7
Diminished Scale: Dorian (Minor): b3, b7
Harmonic Tetrachords: Minor I (dorian) Minor I (dorian)
Whole tone (lydian)
& w
w œ œ œ œ œ
We're using the root note of "C" for these introductory exercises. w
w œ œ œ
Start simply by singing each tetrachord up and then down from "C" as follows:
W 1/2 W W W 1/2 W
Major Minor I (dorian) Minor II (phrygian)
& œ œ œ œ œ œ bœ œ œ bœ bœ œ
Diminished Harmonic Whole tone (lydian)
Chord: E‹7(b9)
& œ bœ bœ nœ œ bœ œ œ œ nœ œ #œ Scale: Phrygian (Spanish Minor): b9, b3, b13, b7

Tetrachords: Minor II (phrygian) Minor II (phrygian)

Now sing each of the six tetrachords down from "C" w

& w
w œ œ
w œ œ œ œ œ œ
Major Minor I (dorian) Minor II (phyrgian)
& œ œ œ
1/2 W W W 1/2 W W
œ œ œ bœ œ œ bœ bœ œ
Diminished Harmonic Whole tone (lydian) Chord: FŒ„Š7(#11)
& œ œ œ
nœ nœ #œ œ bœ nœ bœ bœ bœ Scale: Lydian (Major 7 #11): # 11, Maj 7

Tetrachords: Whole tone (lydian) Major

At your instrument now play or sing each tetrachord from a different starting note.
w œ œ œ
Sing each of them up and down starting on different notes until you feel comfortable singing each on & w
w
w œ œ œ œ œ
call, starting with Major then moving through all six tetrachord shapes.
W W W 1/2 W W 1/2
When you're comfortable pitching from any starting note move to Chapter Two (beginners) or Chapter
Three (intermediate).
Major Major Major Chord: G7
& œ œ #œ œ #œ œ #œ #œ œ Scale: Mixolydian: (Dom 7): nat 9, nat 13, b7
œ œ œ Tetrachords: Major Minor I (dorian)
w
& w
w
w œ œ œ œ œ
Chapter Two — The Major Scale — Maj 3rd, Maj 7 œ œ œ
W W 1/2 W W 1/2 W
For Beginner Students
I’ve included the Major scale and chords as a starting point
for beginner students. However, Intermediate/Advanced stu- Chord: A‹7
Scale: Aeolian: (Natural/Relative Minor b13): nat 9,b3, b13, b7
dents should move straight to the Melodic Minor scale. In all
Tetrachords: Minor I (dorian) Minor II (phrygian)
instances I’ve included the home scale as well as the modes and
chords that source from each scale degree. Students not piano & w
w œ œ œ œ œ
w
w œ œ œ
proficient should use the sing along tracks first with my voice W 1/2 W W 1/2 W W

and then without my voice as a guide. Intermediate/Advanced

students once you’ve spent time working with the audio tracks Chord: B‹7(b5)
Scale: Locrian: (1/2 Diminished): b9, b3, b5, b13, b7
I’d suggest doing most of these preparatory exercises at the pi-
Tetrachords: Minor II (phrygian) Whole tone (Lydian)
ano. A good way to deal with this is to play the chord (root, 3rd,
& w
w œ œ œ œ
7th) in the left hand using the sustain pedal. Then play/sing the w
w œ œ œ œ
bookend tetrachords which make up the scale. Hear how the 1/2 W W 1/2 W W W

scale sounds once you sing the two tetrachords back to back.
Then move to the 2nd degree of the scale and repeat the pro-

April/May 2019 • JAZZed 17

focussession

Intermediate Students then move to the 2nd degree, playing/singing the accompany-
The Melodic Minor scale introduces us to the Diminished ing chord and tetrachord and so on and so forth. Go through
Tetrachord along with the four tetrachords already identified this exercise either with the track or at the piano a few times a
from the Major scale above. In this exercise we’ll discover the day for a week or more or until each scale degree and its accom-
source of some of the more colorful and interesting chords panying chord are identified and heard (using the tetrachords
and scales used in jazz harmony. Take your time to familiarize I’ve given you) before moving on to the Harmonic Minor scale.
yourself with the information I’ve included above and below Look for part 2 of the article in the August/Setptember
the staves. The first thing you’ll notice is the delineation of “Par- 2019 issue of JAZZed.
allel” and “Derivative” use. Parallel defines the scale from the
root of the chord. Derivative defines the scale from its “Parent Chris McNulty is an award-winning vocal jazz
scale” – the parent scale referenced in this exercise is the Me- musician who was based in NYC for 28 years.
lodic Minor scale. This may not make sense immediately. How- She is  currently residing in Perth, Australia as
ever, as you move through this work the difference will become the recipient of a Bundanon Trust, Prelude Com-
clearer. Learning how it can assist you as an improvisor in anal- poser Residency award. VCM is a method Chris
ysis and choosing/hearing scale choices over chords is integral. specifically designed for vocalists which utilizes
The first degree of a scale is the only instance where Paral- tetrachords as a tool for integrating theory, ear
lel and Derivative are one and the same. In each system event training, and improvisation. “It’s like taking a core music course that
(above the stave) both Parallel and Derivative uses are suggest- has everything you need to become a well-rounded, versatile musi-
ed, as well as the chord quality and its name. On each track cian.” – Bob Stoloff, jazz educator, author
you’ll first hear the chord, the root or starting note, followed www.chrismcnulty.com/vcm-the-book
by tetrachords. We always start at the first degree of the scale

3. Melodic Minor Scale * Track #3 3rd Degree of C Melodic Minor Parallel: Lydian Augmented from Root

Chord Quality: (#11, +5, Maj 7, 9) Derivative: Play Melodic Minor from the 6th of the chord
Chord-Scale uses
Using "C" Melodic Minor Chord: E¨&Œ„Š7
1st Degree of C Melodic Minor Parallel: C Minor/Major 7 - Played from the root of the chord Tetrachord Bookends: Whole tone (lydian) Diminished

w
& bw
ww bœ
Chord Quality: (b3, Major 7th) Derivative: Play parent scale from root
œ œ œ œ œ
Chord: C.,7 Ist mode of scale is the only instance where Parallel bw bœ œ
and Derivative are one and the same

Tetrachord bookends: Minor I (dorian) Major

Tetrachords: Whole tone Whole tone Major Minor I (dorian)

œ œ w
& w
& bw
w bœ œ œ œ w œ œ œ œ œ œ
w œ œ bw bœ œ œ œ œ œ œ œ œ œ
w
Tetrachords: Minor 1 (dorian) Minor II (phrygian) Whole tone (lydian) Whole tone Diminished Minor I (dorian) Minor II (phrygian) Whole tone

œ & œ œ œ w
w
w
& bw
w œ bœ œ œ bœ œ œ bœ œ œ œ œ œ œ
œ œ œ bœ œ œ bœ œ œ bœ œ bœ œ bw
w œ
w
Major Minor I (dorian) Diminished Minor I (dorian)

& œ œ œ œ ww
œ œ œ œ œ œ bœ œ œ bœ œ bw
w
w
œ

4th Degree of C Melodic Parallel: Lydian Dominant from Root

2nd Degree of C Melodic Minor Parallel: Phrygian Natural 6 (voice chord as EbMaj7#11/D) Chord Quality: (b7, 9, #11) Derivative: Play C Melodic Minor from the 5th of the chord

Chord Quality: Sus 7 (b9,13) Derivative: Play Melodic Minor starting from the 7th of chord Chord: F7#11
Chord: Dsus13b9 Tetrachord Bookends: Whole tone (lydian) Minor I (dorian)

Tetrachord Bookends: Minor II (phrygian) Minor I (dorian) ww

& bw œ bœ œ
œ œ œ
& bw
ww
w œ bœ œ œ œ œ œ œ w œ œ

Tetrachords: Whole tone Major Minor I (dorian) Diminished

Tetrachords: Minor II (phrygian) Whole tone Whole tone Major ww

& bw
œ œ œ œ œ œ œ œ œ œ œ œ bœ
w œ w œ œ œ
& bw
ww œ bœ œ œ bœ œ œ œ œ œ œ
œ œ œ œ

Minor I (dorian) Diminished Minor I (dorian) Minor II (phrygian) Minor I (dorian) Minor II (phrygian) Whole tone Whole tone
w
&
œ œ œ œ œ œ œ bœ œ œ bœ œ œ bœ œ œ bw
ww &
œ œ bœ œ œ bœ œ œ bœ œ œ œ œ œ œ œ ww
bw
w

Let’s start by defining what a ‘tetrachord’ is and what it isn’t.

A tetrachord is a four-note scalar fragment. It is NOT a scale.

18 JAZZed • April/May 2019


PRINT & DIGITAL
The Stan Getz Omnibook from Hal Leonard
The Stan Getz Omnibook from Hal Leonard
features 54 recorded solos from “The Sound,”
whose illustrious career included five Grammy
Awards, induction into the DownBeat Hall of
Fame, and career collaborations with Oscar Pe-
terson, Dizzy Gillespie, João Gilberto, and more.
Songs include: “Desafinado,” “Garota De Ipanema,” “I Remember
You,” “One Note Samba (Samba De Uma Nota So),” “Quiet Nights
of Quiet Stars (Corcovado),” “So Danco Samba,” and more. Editions
are available for BH and C instruments.
www.halleonard.com
The Excelcia Ensemble Series from Excelcia Publishing
The Excelcia En-
semble Series gives
music educators
pieces for new brass
quintets, clarinet and
saxophone quartets,
and woodwind quin-
tets. Addressing the
critical need for high-quality, mid-level, small chamber literature,
expert educational composers offer these newly-composed and
arranged pieces, each engraved and with full score and reference
recordings.Perfect for use at an adjudicated solo festival or recital,
these 12 meticulously-edited pieces come in a variety of styles.
Quartets are available for $12.99 and Quintets for $14.99.
www.excelciamusic.com
BRASS & WOODWIND
B&S MBX Heritage Trumpet from Buffet Crampon
The B&S MBX Heritage
Trumpet from Buffet Cram-
pon features a quick respond-
ing and free-blowing lead-
pipe, along with a lightweight gold brass bell and several sets of
weighted top and bottom caps to help customize the player’s spe-
cific style. The MBX Heritage comes in four finishes: the tradition-
al clear lacquer and silver plating, as well as the unique “Vintage”
surface treatment, or a brushed gold lacquer.
www.experience.buffetcrampon.com
Conn-Selmer’s New Trumpet
Conn-Selmer’s C190SL229 Strad-
ivarius C trumpet features a new-
ly-designed #25 M leadpipe that
provides stability of intonation and slotting of note, as well as
a Vincent Bach “Symphonic Series” 1 ½ C mouthpiece, which is
the most popular combination for a Bach C trumpet. The regu-
lar weight #229 yellow brass bell has focused projection with the
ability to color the sound, and the two-piece valve casing offers
better feedback to the player and more overtones in the sound.
Includes a deluxe woodshell case.
www.conn-selmer.com/en-us
gearcheck
ACCESSORIES
New Reeds from D’Addario
The Reserve Evolution BH Clarinet Reeds
are the thickest blank reed under the Reserve
line that offers a roundness of sound, a heavy
spine for increased projection, a thicker tip for
enhanced articulation, and greater warmth and
flexibility. Ideal for the advancing student and
professional, the Reserve Evolution BH Clarinet
Reeds are available now in half strengths from 2.5 to 5.0, with a
special 3.5+ strength. www.daddario.com
Remo’s External Sub Muffl Bass Drum System
The new External Sub Muffl Bass
Drum System from Remo is a bass
drum dampening accessory that fea-
tures a free-floating external design
that works with all bass drum heads
that do not have external dampening.
Constructed with an external plastic profile and a slip-resistant
dampening foam, the Sub Muffl allows the Drumhead full contact
with the bearing edge, enabling the head and drum shell to main-
tain their full character of sound with additional attack and sub-
sonic lows without frequency manipulation of glued on dampen-
ing profiles. The dampening sections slip in and out of the tray for
easy adjustability in studio or live situations.
www.remo.com
RS Berkeley’s Eddie Daniels Signature Series Ligature
Eddie Daniels Signature Series Ligature
was designed in collaboration with the
renowned jazz icon Daniels himself. Its in-
novative “air channel” design offers unique
reed holding pressure points resulting in
greater sense of balanced overtones and
warmth in tone. The ligature is available in
two versions, Carbon Fiber and Gold Series, and is available for
clarinet, soprano, alto, and tenor saxophones.
www.rsberkeley.com
CASES & STANDS
Expanded Drum Racks from Pearl
In celebration of 35 years
of pioneering the drum rack,
Pearl’s ICON (short for Indepen-
dent CONtrol,) Rack systems are
being greatly expanded with
a new selection of clamps and
accessories. All new pre-con-
figured single and three-sided
rack packages and individual ICON components have been up-
graded to include a rotating support foot. In addition, eight new
accessory clamps have been developed for the slip-free ICON
square rack rail and round support pipe, dramatically increasing
the level of set-up flexibility and function variety.
www.pearldrum.com
April/May 2019 • JAZZed 19

J
AZZed’s 13th annual Jazz Educator’s Resource Guide offers a comprehensive overview of schools, festivals, instrument and
service suppliers, and more. Consider this your year-round resource for all things related to jazz scholarship, performance,
teaching, and appreciation in 2019.
INDEX
AWARDS
4 My Jacket
Drum Bum, Inc.
Glamour Goddess Jewelry
Manhattan Concert Productions
Players Music LLC
Sacramento Jazz Education Foundation
Saxophone Idol
CAMPS & WORKSHOPS
Anderson University School of Music,
Theatre, and Dance
Auburn University Department of Music
Baltimore Symphony Orchestra Music
Educators Academy
Barbershop Harmony Society
Belmont University
Berklee College of Music
Birch Creek Music Performance Center,
Inc.
Blue Lake Fine Arts Camp
Blues Alley Jazz
Bowling Green State University College
of Musical Arts
Buffet Crampon USA
California Jazz Conservatory
Camp A Cappella
Cannon Music Camp - Appalachian State
University
Carnegie Hall | Weill Music Institute
Centrum
Chapman University Summer Choral
Music Camp
Colorado State University
Cornish College of the Arts
David Gage String Instruments
Electrify Your Strings!
Encore Tours
Florida International University School
of Music
Fred J. Miller Clinics
Greenblatt & Seay
Halifax Jazz Festival
Hidden Valley Music Seminars
Illinois Band Conductors Symposium
Illinois Summer Harp Class
Illinois Summer Youth Music
20 JAZZed • April/May 2019
JAZZ EDUCATOR’S
resource guide
ED. NOTE: Every effort has been made to ensure the accuracy of this user/supplier-generated Resource Guide. However, the reader is cautioned that further verification may be required, as
contact information is subject to change. Suppliers, institutions, and organizations not listed are urged to fill out the form online at jazzedmagazine.com/directory for future issues.
Indiana University Jacobs School of University of the Pacific, Brubeck DePauw University School of Music
Music Institute Elmhurst College
International Music Camp Vermont Jazz Center Florida International University School
Jam Camp West Visual Design Retreat - Pyware of Music
Jamey Aebersold’s Summer Jazz West Virginia University George Mason University School of
Workshops Wisconsin Conservatory of Music Music
Jazz Camp West Georgia College and State University
Jazz in July Summer Music Program Grove City College
Jazzschool
CD & RECORDING SERVICES Harris Institute
JazzWorks Avlex Corporation Humber Institute of Technology &
Jerry Tachoir Mallet Intensive Good Vibes Sound Studio Advanced Learning
JH Productions Illinois State University School of Music
Kuzmich Consultants Indiana University Jacobs School of
Lebanon Valley College COLLEGES, UNIVERSITIES Music
Let My Children Hear Music/The Charles & CONSERVATORIES James Madison University School of
Mingus Institute Music
Los Angeles College of Music Adelphi University Jazz in July Summer Music Program
Lowell Jazz Day Camp Anderson University School of Music, Jazzschool
Maine Jazz Camp Theatre, and Dance Lamar University
Manhattan Concert Productions Arizona State University School of Music Lebanon Valley College
McClosky Institute of Voice Auburn University Department of Music LIU Post
Monterey Jazz Festival Baldwin Wallace Conservatory of Music Longy School of Music of Bard College
Music for All Ball State University School of Music Los Angeles College of Music
National Association for Music Education Belmont University Manhattan School of Music
New England Conservatory Berklee College of Music Mercer University Townsend School of
New England Music Camp Biola University Conservatory of Music Music
New Jersey Performing Arts Center Boise State University Department of Messiah College
Northern Arizona University School of Music Minnesota State University, Mankato
Music Bowling Green State University College Montclair State University - Cali School
NYJAZZ Initiative of Musical Arts of Music
Oberlin Conservatory of Music Bucknell University Morehead State University
Sacramento Jazz Education Foundation Butler University School of Music New England Conservatory
School of Music at WCU California Jazz Conservatory New England Conservatory School of
Shell Lake Arts Center California State University Sacramento Continuing Education
Shenandoah Conservatory Capital University North Central College
Smithsonian Jazz Carnegie Mellon School of Music North Park University
Snow College Chapman University Hall-Musco Conser- Northern Arizona University School of
Spirit of America Band vatory of Music Music
Stanford Jazz Workshop City College of New York Northwestern College
Susquehanna University Colorado Institute of Musical Instrument Northwestern University - Bienen School
TCU School of Music Technology of Music
The Midwest Clinic Colorado State University Oberlin Conservatory of Music
The National Jazz Workshop Columbus State University, Schwob Peabody Conservatory of the Johns
The University of the Arts School of Music - Jazz Studies Hopkins University
University of Central Florida School of Cornel School Of Contemporary Music Pepperdine University
Performing Arts Cornish College of the Arts Saint Xavier University
University of Dayton DePaul University School of Music School of Music at WCU
University of Southern California Thorn- DePaul University School of Music - Jazz Shenandoah Conservatory
ton School of Music Studies Snow College
 JAZZEDMAGAZINE.COM/DIRECTORY

Sonoma State University Group Travel Consultants Bohaso Music

St. Cloud State University Halifax Jazz Festival Bowling Green State University College MUSICAL INSTRUMENTS
Steve Lipman Contemporary Music Huddletrip, LLC of Musical Arts & ACCESSORIES
Education Consultants Illinois SuperState Concert Band Festival Breezin’ Thru Inc.
Sunderman Conservatory of Music at Interkultur CHORALGUIDE
MANUFACTURERS
Gettysburg College Let My Children Hear Music/The Charles Clear Mud Publications A&S Crafted Products
Susquehanna University Mingus Institute DIVA Jazz Orchestra ACE Products Group
TCU School of Music Manhattan Concert Productions Gary P. Gilroy Publications AirTurn, Inc.
Temple University’s Boyer College of Monterey Jazz Festival Grand Mesa Music Publishers AKMS, Inc. “The BRACEGUARD People”
Music and Dance Music Festivals & Tours Greenblatt & Seay Alternate Mode Inc.
Texas State University - School of Music Music In The Parks Hal Leonard Corporation Amedia Cymbals USA
Jazz Studies Program National Association for Music Education Jazzbooks.com American Way Marketing, LLC
The Boston Conservatory New England Music Camp Let My Children Hear Music/The Charles Amprx Power Solutions
The Eastman School of Music NYJAZZ Initiative Mingus Institute Antigua Winds, Inc.
The National Jazz Workshop Peak Performance Tours NYJAZZ Initiative Antoine Courtois
The School of Jazz and Contemporary Performing Arts Consultants & Music PreSonus Audio Ararat Music, Inc.
Music at The New School Festivals STORMWORKS® Aria Lights
The University of Texas at Tyler Ron Jon Surf Shop Vitamin String Quartet ARX America
The University of the Arts Sacramento Jazz Education Foundation Audio Engineering Associates
UCLA Herb Alpert School of Music School of Music at WCU
UMass Lowell Smithsonian Jazz
MUSIC DEALERS Audio Mastered
Avedis Zildjian Co.
University of Arkansas at Monticello TCU School of Music Charles Double Reed Company Avlex Corporation
University of Central Florida School of The National Jazz Workshop Chuck Levin’s Washington Music Center B&S
Performing Arts The University of Texas at Tyler Dan Ryder Field Drills Bari Woodwinds
University of Dayton Universal Orlando Resort Youth Pro- DMC Musical Products Besson
University of Illinois at Chicago: School grams Drum Bum, Inc. Best American Craftsman
of Theatre & Music University of Central Florida School of Greenblatt & Seay Black Diamond Strings
University of Miami Frost School of Performing Arts Saga Musical Instruments Bo-Pep Inc.
Music University of Wisconsin - Milwaukee TRN Music Publisher, Inc. Born To Rock Design Incorporated
University of Michigan, School of Music, Vermont Jazz Center Borsini Accordions
Theatre & Dance Virginia Arts Festival Brubaker Musical Instruments/Brubaker
University of Mount Olive Wisconsin Conservatory of Music MUSICAL INSTRUMENTS Guitars
University of Nebraska-Lincoln Glenn & ACCESSORIES DEALERS Buffet Crampon USA
Korff School of Music
University of North Florida, Music Flag-
FIXTURES & EQUIPMENT A&S Crafted Products
CAD Audio
Cannonball Musical Instruments
ship Program A&S Crafted Products A.C. Pianocraft, Inc. Casio America Inc
University of North Texas ACE Products Group AKMS, Inc. “The BRACEGUARD People” Charles Double Reed Company
University of Southern California Thorn- acouStaCorp Alternate Mode Inc. CHOPS Builders
ton School of Music Acoustics First Corporation Altus Flutes Chuck Levin’s Washington Music Center
University of Wisconsin - La Crosse AirTurn, Inc. American Way Marketing, LLC Claude Lakey Woodwinds
University of Wisconsin - Milwaukee Avlex Corporation Anderson Musical Instrument Insurance Concord International Group, Inc.
Valdosta State University EARasers Solutions, LLC Crafter Guitars - 1st Chair Accessories
Valparaiso University FLASH Visual Media Avlex Corporation D&A Guitar Gear
Virginia Commonwealth University JamHub Azumi Flutes D’Addario & Co., Inc.
Wayne State University Keatona Bandmans daCarbo AG
Wells School of Music at West Chester KlipLite Borsini Accordions Dakota Saxophones
University Koenig, Inc dba King Kong Cases Cascio Interstate Music Company David Allen Pickups
West Virginia University Manhasset Specialty Company Charles Double Reed Company David Gage String Instruments
Western Michigan University MyMusicFolders Chuck Levin’s Washington Music Center ddrum
Willamette University Dept. of Music Small World MUSICFOLDER.com Inc. Columbus Pro Percussion Dean Guitars
Winthrop University StageRight D&A Guitar Gear Denis Wick Products Ltd
Wisconsin Conservatory of Music Valiant Music Supply, Inc. DANSR, Inc. DMC Musical Products
Wenger Corporation David Gage String Instruments Ducks Deluxe
WhisperRoom, Inc. Dealer Direct DuraSticks
FESTIVALS, EVENTS DMC Musical Products
FUNDRAISING Dusty Strings Company
& TOURS Drum Bum, Inc. E Lombardo Guitars
Auntie Anne’s Fundraising E Lombardo Guitars EarMaster ApS
Academic Travel Services C & G Tours FLASH Visual Media eMedia Music Corporation
American Classics Tours & Music Dutch Mill Bulbs, Inc. Full Compass Systems, Ltd. Emerald Reed Co., Inc
Festivals Encore Tours Guitar Liquidators Equator Audio Research
American String Teachers Association Flower Power Fundraising Heritage Auctions Facet Mutes
Ararat Music, Inc. Fun Pasta Fundraising Howard Core Company, LLC Ferree’s Tools, Inc
Auburn University Department of Music IMS Technologies, LLC Jack Caps Corp. FireBelly Amps
Baltimore Symphony Orchestra Music National Association for Music Education Jazzbooks.com FLASH Visual Media
Educators Academy Players Music LLC Joe Sax Woodwinds Fox Products Corporation
Barbershop Harmony Society PreSonus Audio John Hornby Skewes & Co. Ltd. Galaxy Audio
Berklee BeanTown Jazz Festival Rada Cutlery JRR Shop Gatchell Violins
Berklee College of Music Sacramento Jazz Education Foundation Kurtzweil Custom Mouthpieces Getzen Company Inc.
Bowling Green State University College Smartcell Fundraising Mapex Drums Gig Gear LLC
of Musical Arts Special Moments Fundraising NEMC Global Music Supply, LLc
Brightspark Travel NOMAD Stands Hamilton Stands a subsidiary of St Louis
Centrum MILITARY BANDS PJLA Music Sales & Marketing Music
Charleston Music Festival Players Music LLC Hans Hoyer
Circle of One Marketing Tama Drums / Hoshino USA ReedGeek, Inc. Harmon Mute Company
Concept Tours Virginia Arts Festival rentMyinstrument.com Health Enterprises, Inc.
Distinguished Concerts International Sadowsky Guitars HearFones
New York (DCINY) and Artist Travel Saga Musical Instruments Heritage Auctions
Consultants (ATC) MUSIC COMPOSITIONS Saxquest HollywoodWinds Inc
Dixie Classic Festival - National Adjudica- & ARRANGING St. Louis Music Howard Core Company, LLC
tors Invitational Summer Arts Sessions Int -- M&M Tuba Hunter Music Instrument Inc.
Educational Discovery Tours AC Muzik The L.A. Sax Company HW Products, Inc.
Encore Tours Advantage Network,Inc. Valiant Music Supply, Inc. Icon Digital USA
Festivals of Music Alfred Music Woodwind & Brasswind IMS Technologies, LLC
Fiestalonia Milenio, S.L.U Ararat Music, Inc. J. Scherzer
Florida International University School Barbershop Harmony Society Jack Caps Corp.
of Music Barr None Music Publishers/Learn To JamHub
Four Winds Tours & Travel Play JJ Babbitt Co., Inc.
From the Top Berklee College of Music JodyJazz Inc.

April/May 2019 • JAZZed 21

INDEX

Jones Double Reeds Walden Guitars PUBLISHING / TEACHING Oberlin Conservatory of Music
Jordan Electric Violins Walking Bird Publications RESOURCES Resonance Records
Journey Instruments USA WindTech Microphone Windscreens & Yamaha Corporation of America
JRR Shop Accessories 12 Tone Music Publishing, LLC
Julius Keilwerth
Jupiter Band Instruments
XO Brass 3-2 Music Publishing
A.D.G. Productions
SOFTWARE
Yamaha Corporation of America
Kala Brand Music Co. AC Muzik Alfred Music
Kanstul Musical Instruments Advantage Network,Inc. Breezin’ Thru Inc.
Kay Guitar Company
ONLINE RESOURCES Alfred Music Buffet Crampon USA
Koenig, Inc dba King Kong Cases AC Muzik Barbershop Harmony Society Cambron Software Limited
Kurtzweil Custom Mouthpieces BandDirector.com - Band Director Media Barr None Music Publishers/Learn To Charms Office Assistant / Dorian Busi-
Legere Reeds Ltd. Group Play ness Systems
Luna Guitars Barbershop Harmony Society Bohaso Music EarMaster ApS
MACSAX Saxophones and Mouthpieces Berklee College of Music Bowling Green State University College eMedia Music Corporation
Majestic Percussion Breezin’ Thru Inc. of Musical Arts Impro-Visor/Harvey Mudd College
Manhasset Specialty Company Charles Double Reed Company Breezin’ Thru Inc. Jazzbooks.com
Marimba One / M1 Percussion Charms Office Assistant / Dorian Busi- BriLee Music JRR Shop
Marlin Lesher Reed Co. ness Systems Carl Fischer Music Music Prodigy
Maxonix Clear Mud Publications CHORALGUIDE MusicFirst
Meisel Accessories LLC Drum Bum, Inc. Clear Mud Publications Peterson Electro-Musical Products, Inc.
Melton Meinl Weston EarMaster ApS David E. Smith Publications, LLC PG Music Inc.
Moe-Bleichner Music Distribution Fun Pasta Fundraising Drum Bum, Inc. Pioneer DJ Americas, Inc.
MusicNomad Get Banded.com Ducks Deluxe PreSonus Audio
Neotech Heritage Auctions EarMaster ApS Yamaha Corporation of America
NS Design intotheShed.com From the Top
Nuvo Instrumental LLC Jazzwest DVD Gary P. Gilroy Publications
Ohana Music Music Prodigy Grand Mesa Music Publishers
TRAVEL
Osiamo LLC MusicFirst Greenblatt & Seay Academic Travel Services
Oxygen Audio Ltd National Association for Music Education Greg Fishman Jazz Studios Accolades International Tours for the
OZZtosh Guitars NYJAZZ Initiative Hal Leonard Corporation Arts
Peace Musical Co PreSonus Audio Harmony Road Music Courses ACFEA Tour Consultants
Pearl Corporation Smithsonian Jazz intotheShed.com Artist Travel Consultants
Peavey Electronics Corporation The Music Kitchen, Inc. Jazz Artist’s Survival Guide Bob Rogers Travel
Peery Products Co., Inc. Jazz Path Publishing Brightspark Travel
Peterson Electro-Musical Products, Inc. Jazzbooks.com C & G Tours
Phaeton Trumpet Company ORGANIZATIONS John Fedchock Concept Tours
Pioneer DJ Americas, Inc. American String Teachers Association JPM Music Publications Cultural Tour Consultants
Players Music LLC AMP: Association of Music Parents Meredith Music Publications David Gage String Instruments
Prentice Practice Pads Auburn University Department of Music MusicFirst DUET Tours, Departures Unlimited
PreSonus Audio Berenzweig Leonard, LLP Northeastern Music Publications, Inc. Educational Tours
RATstands DIVA Jazz Orchestra NYJAZZ Initiative Educational Travel Adventures
RCF From the Top Oxford University Press Encore Tours
ReedGeek, Inc. Get Banded.com Row-Loff Productions EPN Travel Services
Remo, Inc. Interkultur Sher Music Co. Fiestalonia Milenio, S.L.U
Reunion Blues Jazz Education Network (JEN) STORMWORKS® Four Winds Tours & Travel
Rovner Products Let My Children Hear Music/The Charles The Art of Ligel, LLC Group Travel Consultants
RS Berkeley Mingus Institute TRN Music Publisher, Inc. Huddletrip, LLC
Sadowsky Guitars MCG Jazz Valiant Music Supply, Inc. Music Festivals & Tours
Saga Musical Instruments Music Teachers National Association Peak Performance Tours
Small World MUSICFOLDER.com Inc. NAMM RECORD LABELS Performing Arts Consultants & Music
Stentor Music Co Ltd National Association for Music Education Festivals
Super-Sensitive Musical String Co. NYJAZZ Initiative AC Muzik Summit Tour & Travel
Tama Drums / Hoshino USA The Fender Music Foundation Avita Jazz Records Universal Orlando Resort Youth Pro-
The L.A. Sax Company The Midwest Clinic Concord Music Group grams
Theo Wanne Mouthpieces and Instru- TI:ME - Technology in Music Education Crystal Records Inc. World Cultural Tours
ments Jazzheads
Vandoren Paris Mack Avenue Records
Vic Firth Company MCG Jazz

JAZZed is the PREMIER MAGAZINE about jazz and jazz

education that you do not want to be without.

GO ONLINE TO SUBSCRIBE:
JAZZEDMAGAZINE.COM/SUBSCRIBE
22 JAZZed • April/May 2019
 2019 JAZZ EDUCATOR’S RESOURCE GUIDE

12 Tone Music Publish- P: (888) 247-1223 PO Box 125 edu Auburn, AL 36849
ing, LLC Accolades International E: lester@airturn.com Verona, NJ 07044 W: www.anderson.edu/ P: (334) 844-4165
P.O. Box 20564 Tours for the Arts W: airturn.com P: (973) 707-8890 music-theatre-dance E: music@auburn.edu
Dayton, OH 45420 2000 W. 98TH STREET Musical Instrument & E: cymbals@amediacym- Camps & Workshops W: auburn.edu/music
P: (937) 256-9344 Minneapolis, MN 55431 Accessories Manufac- bals-usa.com Colleges, Universities & Organizations
E: mmr@12tonemusic. P: (800) 747-2255 turers W: www.amediacym- Conservatories Festivals, Events & Tours
com E: jtollund@gtd.org Fixtures & Equipment bals-usa.com Camps & Workshops
W: www.12tonemusic. W: www.AccoladesTours. Musical Instrument & Antigua Winds, Inc. Colleges, Universities &
com com AKMS, Inc. “The BRACE- Accessories Manufac- 5806 La Colonia Conservatories
Publishing / Teaching Travel GUARD People” turers San Antonio, TX 78218
Resources PO Box 50329 Contact:Amanda Arnold, Audio Engineering
ACE Products Group Columbia, SC 29250 American Classics Tours Customer Service Coor- Associates
3-2 Music Publishing 3920 Cypress Drive P: (803) 695-5001 & Music Festivals dinator 1029 North Allen Ave
P.O. Box 26711 Suite B E: staff@braceguard.com 4243 E. Piedras Dr. #155 P: (210) 661-6505 Pasadena, CA 91104
Fresno, CA 93729-6711 Petaluma, CA 94954 W: www.BRACEGUARD. San Antonio, TX 78228 F: (210) 661-6702 E: stereoms@aol.com
P: (559) 645-7042 P: (800) 950-1095 com E: ri3ck@aol.com E: amanda.arnold@ W: www.ribbonmics.com
E: 32music@3-2music. E: sales@aceproducts. Musical Instrument & W: www.amclass.com antiguawinds.com Musical Instrument &
com com Accessories Manufac- Festivals, Events & W: www.antiguawinds. Accessories Manufac-
W: www.3-2music.com W: www.aceproducts. turers Tours: Music Festivals, com turers
Publishing / Teaching com Musical Instrument & US & Foreign Performing Musical Instrument &
Resources Musical Instrument & Accessories Dealers Tours Accessories Manufac- Audio Mastered
Accessories Manufac- turers: Antigua 6 Willard
4 My Jacket turers Alfred Music American String Teach- Antigua Vosi Irvine, CA 92604
1209 Barlow Ave. Fixtures & Equipment P.O. Box 10003 ers Association Antigua Pro W: www.audiomastered.
Dallas, TX 75224 Van Nuys, CA 91410-0003 4155 Chain Bridge Road Antigua ProOne com/best-durable-ear-
P: (214) 476-1024 ACFEA Tour Consultants P: (818) 891-5999 Fairfax, VA 22030 buds
E: 4myjacket@gmail.com 110 Third Ave North, E: customerservice@ P: (703) 279-2113 Antoine Courtois Musical Instrument &
W: www.4myjacket. #202 alfred.com E: asta@astaweb.com 7255 Salisbury Rd Accessories Manufac-
com/sbo Edmonds, WA 98020 W: alfred.com W: www.astaweb.com Jacksonville, FL 32256 turers
Awards P: (425) 776-3273 Twitter: https://www. Organizations W: www.a-courtois.com
E: seattle@acfea.com twitter.com/alfredmusic Festivals, Events & Tours Musical Instrument & Auntie Anne’s Fund-
A&S Crafted Products W: www.acfea.com Facebook: https://www. Accessories Manufac- raising
PO Box 26731 Travel facebook.com/AlfredBan- American Way Market- turers: Trumpets, Flugel- 48-50 W. Chestnut St.,
Elkins Park, PA 19027 dOrchestra ing, LLC horns and Trombones. Ste. 200
E: info@bandstorage.com acouStaCorp Publishing / Teaching 400 Pine Creek Court Lancaster, PA 17603
W: www.bandstorage. 704 E. 133rd St Resources: Sound Elkhart, IN 46516 Ararat Music, Inc. P: (866) 299-4654
com Bronx, NY 10454 Innovations, Accent on P: (574) 295-6633 9308 Tampa Ave E: fundraising@auntiean-
Musical Instrument & W: www.acoustacorp. Achievement, Suzuki, E: info@awmllc.net Northridge, CA 91324 nesinc.com
Accessories Manufac- com Belwin, Highland/Etling, W: www.americanwaym- P: (818) 993-4901 W: www.auntieannes-
turers Fixtures & Equipment Kalmus, Warner/Chap- ktg.com E: Vik@araratmusiconline. fundraising.com
Musical Instrument & pell Music, Faber Music, Musical Instrument & com Fundraising
Accessories Dealers Acoustics First Corpo- Jamey Aebersold Jazz, Accessories Manufac- W: www.araratmusic.com
Fixtures & Equipment ration advance music, Jazz at turers Musical Instrument & Avedis Zildjian Co.
2247 Tomlyn Street Lincoln Center, Choral Musical Instrument & Accessories Manufac- 22 Longwater Dr.
A.C. Pianocraft, Inc. Richmond, VA 23230- Designs, Lawson-Gould, Accessories Dealers turers Norwell, MA 02061
42-24 Orchard Street 3334 Penguin, Dover Publica- Festivals, Events & Tours P: (800) 229-1623
Suite # 4B P: (804) 342-2900 tions, Indent Publishing, AMP: Association of Music Compositions & E: zcustomercare@
Long Island City, NY E: nick@acousticsfirst. and more. Music Parents Arranging zildjian.com
11101 com Software: Finale, Garritan 11650 N Lantern Road W: www.zildjian.com
P: (718) 361-9112 W: www.acousticsfirst. Music Compositions Suite B Aria Lights Musical Instrument &
E: alex@acpianocraft.com com & Arranging: Sound Fishers, IN 46038 244 Southern Hill Dr. Accessories Manufac-
W: www.acpianocraft. Fixtures & Equipment: Innovations, Accent on P: (317) 968-9808 Duluth, GA 30097 turers
com Materials to control Achievement, Suzuki, F: (317) 968-9808 P: (678) 636-9852
Musical Instrument & sound and eliminate Belwin, Highland/Etling, E: scott@amparents.org E: info@arialights.com Avita Jazz Records
Accessories Dealers noise: Sonora® acoustical Kalmus, Warner/Chap- W: www.AMParents.org W: www.arialights.com 118 Natchez Dr.
wall panels, The Art pell Music, Faber Music, Organizations Musical Instrument & Nashville, 37075
A.D.G. Productions Diffusor®, BlockAid® noise Jamey Aebersold Jazz, Accessories Manufac- E: RKayne@avitajazz.com
15517 Cordary Ave. barrier, Sound Channels® advance music, Jazz at Amprx Power Solutions turers W: www.avitajazz.com
Lawndale, CA 90260 acoustical fabric wall Lincoln Center, Choral 10398 Meadow Head Record Labels
E: adgordon@adgproduc- covering Designs, Lawson-Gould, Circle Arizona State University
tions.com Penguin, Dover Publica- Frederick, MD 21774 School of Music Avlex Corporation
W: www.adgproductions. Adelphi University tions, Indent Publishing, P: (301) 461-1250 50 E Gammage Pky 6655 Troost Ave.
com 1 South Ave and more. E: amprx.1@gmail.com Tempe, AZ 85287-0405 Kansas City, MO 64131
Publishing / Teaching Garden City, NY 11530 W: www.amprx.net P: (480) 965-3371 P: (816) 581-9103
Resources P: (800) 233-5744 Alternate Mode Inc. Musical Instrument & E: music@asu.edu F: (816) 581-9103
E: admissions@adelphi. 30 Westwood Ave Accessories Manufac- W: music.asu.edu E: sales@avlex.com
AC Muzik edu East Longmeadow, MA turers Colleges, Universities & W: www.avlex.com
1258 4th ST N W: music.adelphi.edu 01028 Conservatories Musical Instrument &
Fargo, ND 58102-2711 Colleges, Universities & P: (413) 224-2775 Anderson Musical Accessories Manufac-
W: acmuzik.com Conservatories E: katsales@alternate- Instrument Insurance Artist Travel Consul- turers
Online Resources mode.com Solutions, LLC tants Musical Instrument &
Record Labels Advantage Network,Inc. W: www.alternatemode. 1570 Lakeview Drive 250 West 57th Street Accessories Dealers
Publishing / Teaching 47 W Polk St, STE 100 com Suite 2A Suite 1610 CD & Recording Services
Resources Box 402 Musical Instrument & Sebring, FL 33870-7959 New York, NY 10107 Fixtures & Equipment
Music Compositions & Chicago, IL 60605 Accessories Manufac- Contact:Peter T Ander- W: www.artisttravels.com
Arranging P: (630) 430-4740 turers son, Managing Member Travel Azumi Flutes
E: klepper727@aol.com Musical Instrument & W: www.insureyourin- 12020 Eastgate Blvd
Academic Travel W: www.advantagenet- Accessories Dealers struments.com ARX America Nashville, TN 37122
Services workinc.com Musical Instrument & 7845 E. Evans Road P: (615) 773-9900
PO Box 547 Publishing / Teaching Altus Flutes Accessories Dealers Scottsdale, AZ 85260 W: www.azumiflutes.com
Asheville, NC 28793 Resources 12020 Eastgate Blvd W: www.arxamerica.com Musical Instrument &
P: (800) 523-7293 Music Compositions & Nashville, TN 37122 Anderson University Musical Instrument & Accessories Dealers
E: info@academictravel. Arranging P: (615) 773-9900 School of Music, The- Accessories Manufac-
com W: www.altusflutes.com atre, and Dance turers B&S
W: www.academictravel. AirTurn, Inc. Musical Instrument & 1100 E 5th Street 7255 Salisbury Rd
com 1668 Valtec Lane Accessories Dealers Anderson, IN 46012 Auburn University Jacksonville, FL 32256
Travel Unit G P: (765) 641-4543 Department of Music W: www.b-and-s.com
Festivals, Events & Tours Boulder, CO 80301 Amedia Cymbals USA E: msholmes@anderson. 101 Goodwin Hall Musical Instrument &

April/May 2019 • JAZZed 23

2019 JAZZ EDUCATOR’S RESOURCE GUIDE

Accessories Manufac- W: www.learntoplay.biz Coordinator el.com 2087 Addison St

turers Publishing / Teaching P: (562) 903-4892 Bohaso Music Travel Berkeley, CA 94704
Resources E: music@biola.edu 308 Abell Ave. Festivals, Events & Tours P: (510) 845-5375
Baldwin Wallace Con- Music Compositions & W: www.biola.edu/music Syracuse, NY 13209 E: info@cjc.edu
servatory of Music Arranging Colleges, Universities & E: pjp73@hotmail.com BriLee Music W: www.cjc.edu
96 Front St. Conservatories W: www.reverbnation. 48 Wall Street Camps & Workshops
Berea, OH 44017 Belmont University com/petepecorajr 28th Floor Colleges, Universities &
W: www.bw.edu 1900 Belmont Blvd. Birch Creek Music Per- Publishing / Teaching New York, NY 10005 Conservatories
Colleges, Universities & Nashville, TN 37212 formance Center, Inc. Resources P: (212) 777-0900
Conservatories P: (615) 460-6408 PO Box 230 Music Compositions & E: elizabethh@carlfischer. California State Univer-
P: (615) 460-8115 3821 County Hwy E Arranging com sity Sacramento
Ball State University F: (615) 460-8115 Egg Harbor, WI 54209 W: www.brileemusic.com 6000 J Street
School of Music W: www.belmont.edu/ P: (920) 868-3763 Boise State University Publishing / Teaching Department of Music
2000 W. University Ave. music E: mainoffice@birchcreek. Department of Music Resources Sacramento, CA 95819-
Muncie, IN 47306 Camps & Workshops org 1910 University Drive 6015
W: www.bsu.edu/music Colleges, Universities & W: www.birchcreek.org MS 1560 Brubaker Musical P: (916) 278-7987
Colleges, Universities & Conservatories Camps & Workshops Boise, ID 83725 Instruments/Brubaker E: roach@csus.edu
Conservatories P: (208) 426-1772 Guitars W: www.csus.edu/music/
Berenzweig Leonard, Black Diamond Strings E: JennieFicks@boises- 6911 Golden Ring road jazz
Baltimore Symphony LLP 1805 Apex Road tate.edu Baltimore, MD 21237 Colleges, Universities &
Orchestra Music Educa- 8300 Greensboro Drive Sarasota, FL 34240 W: music.boisestate.edu P: (410) 391-8181 Conservatories
tors Academy Suite 1250 P: (941) 371-0016 Colleges, Universities & E: brubaker9@msn.com
1212 Cathedral St Tysons Corner, VA 22102 E: susan@blackdiamond- Conservatories W: www.brubakerguitars. Cambron Software
Baltimore, MD 21201 P: (703) 760-0402 strings.com com Limited
P: (410) 783-8051 E: fgulino@berenzwei- W: www.blackdiamond- Born To Rock Design Musical Instrument & 16 Mclaren Grove
E: jstigall@bsomusic.org glaw.com strings.com Incorporated Accessories Manufac- East Kilbride, UK G74 4SR
W: bsoacademy.org W: www.berenz- Musical Instrument & 51 Ryan Drive turers P: (+44) 13-55 2
Festivals, Events & Tours weiglaw.com/ Accessories Manufac- West Hurley, NY 12491 E: gordon@cambronsoft-
Camps & Workshops practice-areas/enter- turers W: www.BornToRock.com Bucknell University ware.co.uk
tainment-sports-and-me- Musical Instrument & One Dent Dr. W: www.cambronsoft-
BandDirector.com - dia-law Blue Lake Fine Arts Accessories Manufac- Lewisburg, PA 17837 ware.co.uk
Band Director Media Organizations Camp turers P: (570) 577-1216 Software
Group 300 E. Crystal Lake Rd. E: music@bucknell.edu
PO Box 584 Berklee BeanTown Jazz Twin Lake, MI 49457 Borsini Accordions W: www.bucknell.edu/ Camp A Cappella
Macomb County, MI Festival P: (800) 221-3796 1814 Tanager Drive music PO Box 291872
48097 1140 Boylston St. W: www.bluelake.org Costa Mesa, CA 92652 Colleges, Universities & Kettering, OH 45429
Contact:Rich Breske, MS-1140 EXA Camps & Workshops P: (714) 269-8646 Conservatories P: (937) 603-7256
Sales & Marketing Boston, MA 02215 E: maestroaccordions@ E: info@campacappella.
E: rich@banddirector.com P: (617) 747-2758 gmail.com Buffet Crampon USA com
W: www.banddirector. E: lhughes@berklee.edu W: www.borsiniaccordi- 7255 Salisbury Rd. W: www.campacappella.
com W: www.beantownjazz. onsusa.com Suite 4 com/cdm
Online Resources org Musical Instrument & Jacksonville, FL 32256 Camps & Workshops
Festivals, Events & Tours Accessories Manufac- P: (904) 821-0234
Bandmans turers F: (904) 821-0234 Cannon Music Camp
3328 Towerwood Dr. Berklee College of Blues Alley Jazz Musical Instrument & E: matt.vance@buffet- - Appalachian State
Dallas, TX 75234 Music The 20th annual Blues Accessories Dealers crampon.com University
P: (972) 989-9096 1140 Boylston St. Alley ìSummer Jazz Campî W: www.experience. 813 Rivers Street - Room
E: bateseric@yahoo.com MS - EXA will occur between July Bowling Green State buffetcrampon.com 113
W: www.bandmans.com Boston, MA 02215 8th-19th in our Nationís University College of Musical Instrument & ASU Box 32031
Musical Instrument & P: (617) 747-2758 Capital. The all-star Musical Arts Accessories Manufac- Boone, NC 28608
Accessories Dealers E: lhughes@berklee.edu faculty is overseen by our 1031 Moore Musical Arts turers P: (828) 262-4091
W: www.berklee.edu renowned music director Center Software E: cannonmusiccamp@
Barbershop Harmony Online Resources Mr. Michael Bowie. Further College of Musical Arts Camps & Workshops appstate.edu
Society Festivals, Events & Tours details can be found Bowling Green, OH 43403 W: www.cannon.
110 7th Ave N Camps & Workshops on-line at www.BluesAlley. P: (419) 372-2181 Butler University School appstate.edu
Nashville, TN 37203 Colleges, Universities & org or be calling (202) E: musicadmissions@ of Music Camps & Workshops
P: (615) 823-3993 Conservatories 544-3230. bgsu.edu 4600 Sunset Ave
E: sbrown@barbershop. Music Compositions & 1073 Wisconsin Ave, NW W: bgsu.edu/music Indianapolis, IN 46208 Cannonball Musical
org Arranging Washington, DC 20007 Publishing / Teaching P: (317) 940-9065 Instruments
W: www.barbershop.org Contact:Lou Valdez, Resources E: music@butler.edu 625 E Sego Lily Drive
Online Resources Besson Communication Director Festivals, Events & Tours W: www.butler.edu/ Sandy, UT 84070
Publishing / Teaching 7255 Salisbury rd P: (202) 544-3230 Camps & Workshops music P: (801) 563-3081
Resources suite 4 E: Communications@ Colleges, Universities & Colleges, Universities & E: info@cannonballmusic.
Music Educators Jacksonville, FL 32256 BluesAlley.com Conservatories Conservatories com
Festivals, Events & Tours P: (904) 821-0234 W: www.BluesAlley.org Music Compositions & W: www.cannonballmu-
Camps & Workshops W: www.besson.com Twitter: https://twitter. Arranging C & G Tours sic.com
Music Compositions & Musical Instrument & com/i/notifications 11122 Old Trail Rd. Musical Instrument &
Arranging Accessories Manufac- Camps & Workshops: Breezin’ Thru Inc. Irwin, PA 15642 Accessories Manufac-
turers Summer Jazz Camp 471 Woburn Ave. P: (724) 864-2141 turers: Cannonball sax-
Bari Woodwinds Toronto, ON M5M 1L6 E: amccarthy@cngtours. ophones and trumpets,
5002 US Highway 41 Best American Crafts- Bo-Pep Inc. Contact:Jean McKen, com Mio flutes and clarinets
North man PO Box 144 Co-Founder W: www.cngtours.com
Palmetto, FL 34221 1219 Lydia Ave. South Thomaston, ME P: (855) 265-3805 Travel Capital University
P: (941) 212-2122 Kansas City, MO 64106 04858 E: info@breezinthruthe- Fundraising 1 College and Main
E: ron@bariwoodwind. P: (816) 479-2639 P: (207) 596-6595 ory.com Columbus, OH 43209
com E: mike@bacmusic.com Musical Instrument & W: breezinthru.com CAD Audio Contact:Susanna Mayo,
W: wwww.bariwoodwind. W: www.bestamerican- Accessories Manufac- Online Resources 6573 Cochran Rd. Senior Assistant Director
com craftsman.com turers Publishing / Teaching Building 1 of Admission, Coordi-
Musical Instrument & Musical Instrument & Resources Solon, OH 44139 nator of Conservatory
Accessories Manufac- Accessories Manufac- Bob Rogers Travel Software P: (800) 762-9266 Recruitment
turers turers 3440 Lacrosse Lane Music Compositions & E: sales@cadaudio.com P: (614) 236-6101
Naperville, IL 60564 Arranging W: www.cadaudio.com F: (614) 236-7947
Barr None Music Pub- Biola University Conser- P: (800) 373-1423 Musical Instrument & E: admission@capital.edu
lishers/Learn To Play vatory of Music E: info@bobrogerstravel. Brightspark Travel Accessories Manufac- W: www.capital.edu
1833 Valley Vista Dr. 13800 Biola Ave. com 8750 W. Bryn Mawr Ave. turers Colleges, Universities &
Borden, IN 47106 La Mirada, CA 90639 W: www.bobrogerstravel. Suite 450E Conservatories
P: (502) 413-5443 Contact:Anna Glenn, com Deerfield, 60631 California Jazz Conser-
E: jbarr@learntoplay.biz Admissions Recruitment Travel W: www.brightsparktrav- vatory Carl Fischer Music

24 JAZZed • April/May 2019


48 Wall Street
28th Floor
New York, NY 10005
P: (212) 777-0900
E: elizabethh@carlfischer.
com
W: www.carlfischer.com
Publishing / Teaching
Resources
Carnegie Hall | Weill
Music Institute
881 Seventh Avenue
New York, NY 10019
P: (212) 903-9670
E: education@carnegie-
hall.org
W: carnegiehall.org/
WeillMusicInstitute
Camps & Workshops
Carnegie Mellon School
of Music
5000 Forbes Ave
Pittsburgh, PA 15213
Contact:Colby Carson,
Director of Recruitment
and Enrollment
P: (412) 268-4118
E: wccarson@cmu.edu
W: music.cmu.edu
Colleges, Universities &
Conservatories
Cascio Interstate Music
Company
13819 W. National Ave.
New Berlin, WI 53151
P: (262) 789-7600
E: customerservice@
interstatemusic.com
W: www.interstatemusic.
com
Musical Instrument &
Accessories Dealers
Casio America Inc
570 Mt. Pleasant Ave.
Dover, NJ 07801
P: (973) 361-5400
E: gdean@casio.com
W: www.casiomusicgear.
com
Musical Instrument &
Accessories Manufac-
turers
Centrum
223 Battery Way
P.O. Box 1158
Port Townsend, WA
98368
P: (360) 385-3102
E: gmiller@centrum.org
W: centrum.org/jazz
Festivals, Events &
Tours: Soak up a week-
end of jazz in a seaside
paradise. Centrum
features more than 30
internationally-known
performers in new and
unexpected pairings,
hand-picked by Artistic
Director John Clayton.
Performances happen in
the 1,200-seat McCurdy
Pavilion in Fort Worden
State Park and as well as
in intimate venues down-
town. Terell Stafford, Jeff
Hamilton, Stefon Harris,
Matt Wilson, Jazzmeia
Horn, George Cables,
Gary Smulyan, Kendrick
Scott, Taylor Eigsti, Tamir
Hendelman, Graham
Dechter, Katie Thiroux,
plus 20 more.
Camps & Workshops:
Open to instrumentalists
and singers high-school
age to adult. More than
200 participants divide
into ensembles to focus
on improvisational skills.
Participants also attend
master classes and
performances given by
more than 35 world-class
musicians, all hand-
picked by Artistic Director
John Clayton. The week
culminates in a series of
faculty and participant
concerts. Auditions are
required.
Faculty: Terell Stafford,
Jeff Hamilton, Stefon Har-
ris, Matt Wilson, Jazzmeia
Horn, George Cables,
Gary Smulyan, Kendrick
Scott, Taylor Eigsti, Tamir
Hendelman, Graham
Dechter, Katie Thiroux,
plus 20 more.
Cost: $835, room and
board $640
Chapman University
Hall-Musco Conservato-
ry of Music
1 University Drive
Orange, CA 92866
P: (714) 997-6871
E: music@chapman.edu
W: www.chapman.edu/
music
Colleges, Universities &
Conservatories
Chapman University
Summer Choral Music
Camp
1 University Drive
Orange, CA 92886
P: (714) 997-6871
E: music@chapman.edu
W: www.chapman.edu/
choralcamp
Camps & Workshops
Charles Double Reed
Company
1976 White Mountain
Highway
North Conway, NH 03860
P: (603) 356-3562
E: brian@northconway-
music.com
W: www.charlesmusic.
com
Musical Instrument &
Accessories Manufac-
turers
Online Resources
Musical Instrument &
Accessories Dealers
Music Dealers
Charleston Music
Festival
208 Camden Ct
Lexington, SC 29072
P: (803) 239-6595
E: vinnieclay@gmail.com
W: www.charlestonmu-
sicfestival.net
Festivals, Events & Tours
Charms Office Assistant
/ Dorian Business
Systems
1985 Forest Lane
Garland, TX 75042
Contact:Paul Brown,
Marketing
P: (972) 485-1912
E: paul.brown@dorian-
business.com
W: www.charmsoffice.
com/about.asp
Online Resources
Software
CHOPS Builders
2903 Mount Royal Drive
Castle Rock, CO 80104
P: (800) 645-6673
E: info@ChopsBuilders.
com
W: www.ChopsBuilders.
com
Musical Instrument &
Accessories Manufac-
turers
CHORALGUIDE
228 Waterman Rd
Buxton, ME 04093
P: (888) 886-9312
E: nextep@sacoriver.net
W: www.choralguide.net
Publishing / Teaching
Resources
Music Compositions &
Arranging
Chuck Levin’s Washing-
ton Music Center
11151 Veirs Mill RD
Wheaton, MD 20902
P: (301) 946-8808
E: employment@chuck-
levins.com
Musical Instrument &
Accessories Manufac-
turers
By: Ligel Lambert, MFA
Published & Distributed by: The Art of Ligel, LLC. All Rights Reserved. Copyright 2006
JAZZEDMAGAZINE.COM/DIRECTORY
Musical Instrument &
Accessories Dealers
Music Dealers
Circle of One Marketing
38 NW 105 St
League City, TX 33150
P: (305) 576-3790
Festivals, Events & Tours
City College of New York
160 Convent Avenue,
Shepard 72
New York, NY 10031
P: (212) 650-5411
E: spittson@ccny.cuny.
edu
W: jazz.ccnysites.cuny.
edu
Colleges, Universities &
Conservatories
Claude Lakey Wood-
winds
1416 NW 46th St
Ste 105 Pmb 126
Seattle, WA 98107
P: (425) 861-5920
E: info@claudelakey.com
W: www.claudelakey.com
Musical Instrument &
Accessories Manufac-
turers
Clear Mud Publications
22 Grenhart Street
West Hartford, CT 06117
P: (860) 236-0592
E: chiarappa@comcast.
net
W: www.cmpub.com
Online Resources
www.ligel.com | www.ligel.com/teacher
Publishing / Teaching Columbus State Univer-
Resources sity, Schwob School of
Music Compositions & Music - Jazz Studies
Arranging 4225 University Ave
Columbus, GA 31907-
Colorado Institute of 5645
Musical Instrument P: (706) 649-7277
Technology E: whalen_kevin@colum-
651 Topeka Way busstate.edu
STE 100 W: music.columbusstate.
Castle Rock, CO 80109 edu/jazz
P: (303) 663-4084 Colleges, Universities &
E: dparker@ciomit.com Conservatories
W: www.ciomit.com
Colleges, Universities & Concept Tours
Conservatories 155 W. 72nd St. Ste. 401
New York, NY 10023
Colorado State Uni- Contact:Dennis Hunt,
versity Managing Director
1778 Campus Delivery P: (800) 300-8841
Fort Collins, CO 80523- P: (212) 580-0760
1778 F: (212) 874-4554
P: (970) 491-3603 E: info@concept-tours.
E: jennifer.clary@colos- com
tate.edu W: www.concept-tours.
W: www.music.colostate. com
edu Travel
Camps & Workshops Festivals, Events & Tours
Colleges, Universities &
Conservatories Concord International
Group, Inc.
Columbus Pro Percus- 2380 Vantage Drive
sion Elgin, IL 60124
5052 North High St Contact:Chi Yang,
Columbus, OH 43214 President
P: (614) 885-7372 P: (847) 836-8688
E: mail@columbuspercus- F: (847) 836-8288
sion.com E: info@concordgroup.
W: www.columbusper- com
cussion.com W: www.concordgroup.
Musical Instrument & com
Accessories Dealers Musical Instrument &
The Art of Ligel, LLC
“Sixteen & Two
Quarter Notes”
Size: 24 x 36 inches
Price: $25 (Unsigned)
Price: $35 (Signed)
Plus Shipping &
Handling
Place your order at:
www.ligel.com
Email questions to:
info@ligel.com
Mr. Ligel Lambert is an
art educator, visual artist
and a veteran of the
United States Marine
Corps. He holds a Masters
of Fine Art from RMIT
University which is
located in Melbourne,
Victoria, Australia.
Ligel is also accepting
commissions if you are
interested in collecting his
original works. Contact
him for details.
Follow me on Instagram:
@ligellambert
April/May 2019 • JAZZed 25
2019 JAZZ EDUCATOR’S RESOURCE GUIDE
Accessories Manufac-
turers
Concord Music Group
100 North Crescent Drive
Garden Level
Beverly Hills, CA 90210
W: www.concordmusic-
group.com
Record Labels: Concord
Music Group family of
labels includes Bicycle,
Concord, Concord Jazz,
Fantasy, Fearless, Kidz
Bop, Loma Vista, Razor &
Tie, Rounder, Stax, Sugar
Hill and Vanguard.
Cornel School Of Con-
temporary Music
3200 N San Fernando Rd
Los Angeles, CA 90065
P: (323) 550-8888
F: (323) 550-8888
E: song@shepherduniver-
sity.edu
W: www.cornelsu.com
Colleges, Universities &
Conservatories
Cornish College of the
Arts
1000 Lenora St
Seattle, WA 98121
Contact:Randy Wood,
Admission Office Coor-
dinator
P: (206) 726-5016
P: (206) 726-5110
E: admission@cornish.
edu
W: www.cornish.edu
Camps & Workshops
Colleges, Universities &
Conservatories
Crafter Guitars - 1st
Chair Accessories
325 Hill Carter Parkway
Unit K
Ashland, VA 23005
P: (804) 798-2006
E: acrafter1usa@aol.com
W: www.crafterusa.com
Musical Instrument &
Accessories Manufac-
turers
Crystal Records Inc.
28818 NE Hancock Rd
Camas, WA 98607
Contact:Crystal Records
Inc.
P: (360) 834-7022
E: staff@crystalrecords.
com
W: www.crystalrecords.
com
Record Labels
Cultural Tour
Consultants
Cultural Tour Consultants
specializes in customized,
international, group tours
for choirs, orchestras, jazz
bands and other special
interest groups.
259 E. Michigan Ave.
Suite 206A
Kalamazoo, MI 49007
26 JAZZed • April/May 2019
P: (269) 343-5667 Jones Double Reeds E: music@depaul.edu Publishing / Teaching Egaa, Midtjylland 08250
P: (866) 499-3799 W: music.depaul.edu Resources E: info@earmaster.com
F: (269) 432-0505 David Allen Pickups Colleges, Universities & Musical Instrument & W: www.earmaster.com
E: nancy@cultural- 2311 Evergreen Drive Conservatories Accessories Dealers Musical Instrument &
tourconsultants.com San Bruno Music Dealers Accessories Manufac-
W: www.culturaltourcon- San Francisco, CA 94066 DePaul University turers
sultants.com P: (650) 576-5478 School of Music - Jazz Ducks Deluxe Online Resources
Travel E: DAllenPickups@gmail. Studies P.O.Box 35677 Publishing / Teaching
com 804 W Belden Ave. Las Vegas, NV 89133 Resources
D&A Guitar Gear W: www.dallenpickups. CHICAGO, 60614 W: www.ducksdeluxe. Software
350 Conejo Ridge Avenue com Contact:Ross Beacraft, com
Thousand Oaks, CA Musical Instrument & Director of Admission Musical Instrument & Educational Discovery
91361 Accessories Manufac- P: (773) 325-7260 Accessories Manufac- Tours
P: (805) 370-1200 turers P: (773) 325-7444 turers P.O. Box 10200
E: jessica@rksdesign.com E: music@depaul.edu Publishing / Teaching Truckee, CA 96162
W: www.heydna.com David E. Smith Publica- W: music.depaul.edu Resources P: (530) 582-6030
Musical Instrument & tions, LLC Colleges, Universities & E: info@educationaldis-
Accessories Manufac- 4826 Shabbona Rd. Conservatories DUET Tours, Departures coverytours.com
turers Deckerville, MI 48427 Unlimited Educational W: www.educationaldis-
Musical Instrument & P: (810) 376-9055 DePauw University Tours coverytours.com
Accessories Dealers E: info@despub.com School of Music 7343 E. Mineral Place Festivals, Events & Tours
W: www.despub.com Green Center for the Englewood, CO 80112
D’Addario & Co., Inc. Publishing / Teaching Performing Arts E: eklaird@msn.com Educational Travel
PO Box 290 Resources 605 S. College Ave. Travel Adventures
Farmingdale, NY 11735 Greencastle, IN 46135 4400 Route 9 South
P: (631) 439-3300 David Gage String P: (765) 658-4380 DuraSticks Suite 1000
E: daddario@daddario. Instruments E: schoolofmusic@ 2903 Mount Royal Drive Freehold, NJ 07728
com 36 Walker Street depauw.edu Castle Rock, CO 80104 P: (866) 273-2500
W: www.daddario.com New York, NY 10013 W: music.depauw.edu P: (800) 645-6673 E: jburns@etadventures.
Musical Instrument & W: DavidGage.com Colleges, Universities & E: info@DuraSticks.com com
Accessories Manufac- Musical Instrument & Conservatories W: www.DuraSticks.com W: www.etadventures.
turers Accessories Manufac- Musical Instrument & com
turers Distinguished Concerts Accessories Manufac- Travel
daCarbo AG Travel International New York turers
Beulweg 58 Musical Instrument & (DCINY) and Artist Trav- Electrify Your Strings!
Lachen, SZ 08853 Accessories Dealers el Consultants (ATC) Dusty Strings Company PO Box 2074
P: (+41) 554-4218 Camps & Workshops 250 W. 57th St., Ste. 1610 3450 16th Ave W Ste 200 Port Washington, NY
E: info@dacarbo.ch New York, NY 10107 Seattle, WA 98119 11050
W: www.dacarbo.ch ddrum P: (212) 707-8566 P: (206) 634-1656 E: barbara@markwood-
Musical Instrument & 4924 W. Waters Ave. E: Concerts@DCINY.org E: handcrafted@ music.com
Accessories Manufac- Tampa, FL 33634 W: www.DCINY.org dustystrings.com W: www.electrifyyour-
turers P: (773) 793-6667 Festivals, Events & Tours W: www.dustystrings. strings.com
W: www.ddrum.com com Camps & Workshops
Musical Instrument & DIVA Jazz Orchestra Musical Instrument &
Accessories Manufac- 1 River Place Apt 817 Accessories Manufac- Elmhurst College
Dakota Saxophones turers New York, NY 10036 turers 190 Prospect Ave
22159 North Pepper E: management@diva- Elmhurst, IL 60126
Road Dealer Direct jazz.com Dutch Mill Bulbs, Inc. Contact:Gayle Bisesi, Di-
Barrington, IL 60010 17162 Murphy Ave. W: www.divajazz.com Spring and fall traditional rector of Music Admission
P: (847) 382-3210 Suite B Organizations and online fundrais- P: (630) 617-3524
E: pjlabiz2@aol.com Irvine, CA 92614 Music Compositions & ing-with-flower bulb P: (630) 617-3515
W: www.saxdakota.com P: (949) 752-0050 Arranging programs. Earn at least F: (630) 617-3738
Musical Instrument & E: info@OrderDealerDi- 50% profit on every item E: music.admission@
Accessories Manu- rect.com Dixie Classic Festival - sold! elmhurst.edu
facturers: Dakota alto, W: www.OrderDealerDi- National Adjudicators PO Box 407 W: public.elmhurst.edu/
tenor, soprano, & baritone rect.com Invitational Hershey, PA 17033 music
saxophones Musical Instrument & 3811 Cottrell Road Contact:Jeffrey Ellen- Colleges, Universities &
Accessories Dealers Richmond, VA 23234 berger, President Conservatories
Dan Ryder Field Drills Contact:Joe Simpkins, P: (800) 533-8824
841 Azalea St. #20105 Dean Guitars Executive Director P: (717) 868-3120 eMedia Music Corpo-
Garland, TX 75040 4924 W. Waters Ave. P: (804) 275-5253 F: (800) 556-0539 ration
Contact:Dan Ryder, Tampa, FL 33634 P: (800) 422-8445 E: info@dutchmillbulbs. 664 NE Northlake Way
Owner P: (773) 793-6667 E: info@dixieclassic.com com Seattle, WA 98105
P: (972) 941-6400 W: www.deanguitars.com W: dixieclassic.com W: www.dutchmillbulbs. P: (888) 363-3424
F: (972) 429-6353 Musical Instrument & Festivals, Events & Tours com E: education@emediamu-
E: ryderdrill@aol.com Accessories Manufac- Fundraising sic.com
W: www.danryderfield- turers DMC Musical Products W: www.emediamusic.
drills.com 1170 Cohutta Beaverdale E Lombardo Guitars com
Music Dealers: Marching Denis Wick Products Ltd Rd. 22 Andrea Dr Musical Instrument &
Band Products 19 Dawkins Road Cohutta ,Ga, GA 30710 Stony Brook, NY 11733 Accessories Manufac-
PowerRyder Battery Pow- Unit 19 P: (706) 694-3778 W: www.elombardogui- turers
er Battery Cases / Elimi- Poole, UK BH15 4JY E: dmc@windstream.net tars.com Software
nates Gas Generators P: (012) 02 -6651 W: www.dmcmusical.com Musical Instrument &
JBL & QSC Speakers E: tradesales@deniswick. Musical Instrument & Accessories Manufac- Emerald Reed Co., Inc
AKG, Sennheiser Mics com Accessories Manufac- turers PO Box 1422
Sound Projections SM-5 & W: www.deniswick.com turers Musical Instrument & Port Townsend, WA
Voice Macine Wireless PAs Musical Instrument & Musical Instrument & Accessories Dealers 98368
Accessories Manufac- Accessories Dealers P: (800) 359-1279
DANSR, Inc. turers Music Dealers EARasers E: reed@cablespeed.com
4110 Fieldstone Road 170 N Cypress Way Musical Instrument &
Champaign, IL 61822 DePaul University Drum Bum, Inc. Casselberry, FL 32707 Accessories Manufac-
P: (217) 531-0620 School of Music 3817 Gaskins Rd. P: (407) 339-2422 turers
E: information@dansr. 804 W Belden Ave. Richmond, VA 23233 E: heatherc@earasers.net
com Chicago, IL 60614 P: (804) 273-1353 W: www.earasers.net Encore Tours
W: www.dansr.com Contact:Ross Beacraft, E: mail@drumbum.com Fixtures & Equipment 343 Congress Street
Musical Instrument & Director of Admission W: www.drumbum.com Suite 3100
Accessories Dealers: P: (773) 325-7260 Awards EarMaster ApS Boston, MA 02210
Vandoren, Denis Wick, P: (773) 325-7444 Online Resources Eg Havvej 21, 1. P: (877) 460-3601
2019 JAZZ EDUCATOR’S RESOURCE GUIDE

Irvine, CA 92614 Harris Institute Huddletrip, LLC Illinois Summer Harp siccamp.com a beginning improviser
P: (949) 752-0050 118 Sherbourne St. 100 S. Saunders Rd., Class W: www.internationalmu- or a seasoned pro, you’ll
E: Info@guitarliquidators. Toronto, ON M5A 2R2 Ste. 150 1114 W Nevada Street siccamp.com leave with tons of new and
com P: (416) 367-0178 Lake Forest, IL 60045 Urbana, IL 61801 Camps & Workshops exciting ideas about how
W: GuitarLiquidators.com E: info@harrisinstitute. P: (866) 599-8747 Contact:Lindsay Gross, to improve your playing.
Musical Instrument & com E: lgagnon@huddletrip. Administrator intotheShed.com PO Box 1244
Accessories Dealers W: www.harrisinstitute. com P: (217) 300-1948 410 Sag Harbor Ct New Albany, IN 47151-
com W: www.huddletrip.com E: gross11@illinois.edu Columbia, SC 29072 1244
Hal Leonard Corpo- Colleges, Universities & Travel W: music.illinois.edu/ P: (917) 455-1411 Contact:Jason Lindsey,
ration Conservatories Festivals, Events & Tours engagement/summer- E: markrapp@into- Workshop Administrator
PO Box 13819 harp-class theShed.com P: (812) 944-8141
Milwaukee, WI 53213 Health Enterprises, Inc. Humber Institute of Camps & Workshops W: https://intotheShed. E: jason@jazzbooks.com
P: (414) 774-3630 90 George Leven Drive Technology & Advanced com W: www.summerjazz-
E: sales@halleonard.com North Attleboro, MA Learning Illinois Summer Youth Online Resources workshops.com
W: www.halleonard.com 02760 3199 Lakeshore Blvd. Music Publishing / Teaching Twitter: http://www.twit-
Twitter: twitter.com/ P: (508) 695-0727 West 1114 W Nevada Street Resources ter.com/jazzwithjamey
HalLeonardCorp W: www.healthenterpris- Toronto, ON M8V 1K8 Urbana, IL 61801 Facebook: http://www.
Facebook: www. es.com Contact:Dr. Andrew Contact:Lindsay Gross, J. Scherzer facebook.com/summer-
facebook.com/HalLeon- Musical Instrument & Scott, Academic Advisor Assistant Director of ISYM 7255 Salisbury Rd jazzworkshops
ardCorp Accessories Manufac- P: (416) 675-6622 P: (217) 300-1948 Jacksonville, FL 32256 Camps & Workshops:
YouTube: www.youtube. turers E: andrew.scott@humber. E: gross11@illinois.edu W: www.scherzer-trum- Jamey Aebersold’s Sum-
com/channel/UC5sG4-ey- ca W: music.illinois.edu pets.com mer Jazz Workshops
4P0sd2qo6ETvD- HearFones W: http://www.humber. Camps & Workshops Musical Instrument & University of Louisville,
DQ?view_as=public 228 Waterman Rd. ca/scapa/programs/mu- Accessories Manufac- Louisville, KY
Pintrest: www.pinterest. Buxton, ME 04093 sic/bachelor-of-music Illinois SuperState Con- turers: Trumpets
com/halleonard P: (888) 886-9312 Colleges, Universities & cert Band Festival JamHub
Publishing / Teaching E: hearfones@hearfones. Conservatories 1114 W Nevada Street Jack Caps Corp. 1 Research Dr.
Resources com Urbana, IL 61801 2750 S. Willow Way Westborough, MA 01581
Music Compositions & W: www.hearfones.com Hunter Music Instru- Contact:Lindsay Gross, Salt Lake City, UT 84036 W: www.jamhub.com
Arranging Musical Instrument & ment Inc. Administrator Contact:Andy Musical Instrument &
Accessories Manufac- 3300 Norhtern Blvd. P: (217) 300-1948 P: (435) 640-5676 Accessories Manufac-
Halifax Jazz Festival turers Long Island City, NY E: gross11@illinois.edu E: andy@jackcaps.com turers
PO Box 33043 11101-2215 W: bands.illinois.edu/con- W: jackcaps.com Fixtures & Equipment
Halifax, NS B3L 4T6 Heritage Auctions Contact:Gail, Officer tent/illinois-superstate Musical Instrument &
P: (902) 492-2225 3500 Maple Avenue P: (718) 706-0828 Festivals, Events & Tours Accessories Manufac- Jazz Artist’s Survival
E: info@halifaxjazzfes- Dallas, TX 75219 F: (718) 706-0128 turers Guide
tival.ca P: (214) 409-1585 E: sales@HunterMusical. Impro-Visor/Harvey Musical Instrument & 2711 Birchwood Ave
W: www.halifaxjazzfes- P: (214) 409-1751 com Mudd College Accessories Dealers Chicago, IL 60091
tival.ca F: (214) 409-1751 W: www.HunterMusical. 301 Platt Blvd P: (773) 477-6872
Festivals, Events & Tours E: GarryS@HA.com com Claremont, CA 91711 Jam Camp West P: (773) 517-8336
Camps & Workshops W: HA.com Musical Instrument & Contact:Bob Keller, 1728 san pablo ave F: (773) 517-8336
Musical Instrument & Accessories Manufac- Professor Oakland, CA 94612 E: greg@jazzsurvival.com
Hamilton Stands a Accessories Manufac- turers P: (909) 621-8483 Contact:page hodel, W: www.jazzsurvival.com
subsidiary of St Louis turers E: keller@cs.hmc.edu Operations Manager Publishing / Teaching
Music Online Resources HW Products, Inc. W: www.impro-visor.com P: (510) 858-5313 Resources
1400 Ferguson Ave Musical Instrument & 14230 Doolittle Drive Software: Impro-Visor P: (510) 858-5313
ST LOUIS, MO 63133 Accessories Dealers San Leandro, CA 94577 E: page@livingjazz.org
P: (314) 727-4512 P: (510) 614-8722 IMS Technologies, LLC W: www.livingjazz/jam-
E: sales@hamiltonstands. Hidden Valley Music E: hwstuff@aol.com 35420 Beech Avenue camp-west
com Seminars W: www.hwproducts.com Yucaipa, CA 92399 Camps & Workshops
W: www.hamiltonstands. Post Office Box 116 Musical Instrument & P: (909) 904-9449 Jazz Camp West
com 104 West Carmel Valley Accessories Manufac- E: info@imstechnologies. James Madison Univer- Jazz Camp WEST is an
Musical Instrument & Road turers net sity School of Music eight-day jazz immersion
Accessories Manufac- Carmel Valley, CA 93924 W: www.imstechnolo- 880 S. Main Street MSC program for instrumental-
turers P: (831) 659-3115 Icon Digital USA gies.net 7301 ists, vocalists and dancers
E: info@hiddenvalleymu- 8001 Terrace Ave Ste. 202 Musical Instrument & Harrisonburg, VA 22807 of all skill levels held in
Hans Hoyer sic.org Middleton, WI 53562 Accessories Manufac- P: (540) 568-6714 the beautiful redwoods of
7255 Salisbury Rd W: www.hiddenvalley- P: (608) 829-3450 turers E: bushje@jmu.edu La Honda, No. California.
Jacksonville, FL 32256 music.org E: samantha.peloquin@ Fundraising W: www.jmu.edu/music The combination of
W: www.hans-hoyer.com Camps & Workshops icondigitalusa.com Colleges, Universities & workshops, personalized
Musical Instrument & W: www.icondigitalusa. Indiana University Ja- Conservatories instruction, student perfor-
Accessories Manufac- HollywoodWinds Inc com cobs School of Music mances, faculty concerts,
turers P.O.Box 3387 Musical Instrument & 1201 E 3rd St late night jams, and beau-
Fremont, CA 94539 Accessories Manufac- Bloomington, IN 47405 tiful surroundings with
Harmon Mute Company P: (510) 877-0889 turers P: (812) 855-7998 new friends and mentors
7650 Austin Ave P: (510) 676-7397 E: musicadm@indiana. creates an inspiring and
Skokie, IL 60077 F: (510) 676-7397 Illinois Band Conduc- edu Jamey Aebersold’s memorable week.
P: (847) 983-8675 E: pobox3387@gmail. tors Symposium W: music.indiana.edu Summer Jazz
E: info@harmonmute- com 1114 W Nevada Street Camps & Workshops Workshops At Jazz Camp, 48 all-
company.com W: www.hollywood- Urbana, IL 61801 Colleges, Universities & For almost 50 years, our star faculty and 250
W: www.harmonmute- winds.com Contact:Lindsay Gross, Conservatories workshops have earned a participants of all ages,
company.com Musical Instrument & Assistant Director reputation for produc- backgrounds and skill
Musical Instrument & Accessories Manufac- P: (217) 300-1948 Interkultur ing the best intensive levels come together for
Accessories Manufac- turers E: gross11@illinois.edu Ruhberg 1 programs for learning jazz a creative experience that
turers W: bands.illinois.edu/con- Fernwald, Hessen 35463 improvisation. Each Year, is profoundly rewarding.
Howard Core Company, tent/illinois-band-con- P: (+49) (0-)640 we assemble the nation’s The majestic setting mixed
Harmony Road Music LLC ductors-symposium E: mail@interkultur.com leading educators and with musical immersion,
Courses 99 Symphony Way Camps & Workshops W: www.interkultur.com performers dedicated to inspiration, encourage-
17300 SE 82nd Dr Anniston, AL 36205 Organizations providing an intensive ment and support set the
Portland, OR 97015 P: (256) 235-8200 Illinois State University Festivals, Events & Tours learning experience for stage for magic at Jazz
P: (800) 727-7315 E: info@howardcore.com School of Music musicians of all ages and Camp West.
E: info@harmonyroadmu- W: www.howardcore.com Campus Box 5660 International Music levels. Theory Classes,
sic.com Musical Instrument & Normal, IL 61790-5660 Camp Ear Training, Combo Create a personal schedule
W: www.harmonyroad- Accessories Manufac- P: (309) 438-7631 10834 Peace Garden Performance, and Master from over 125 classes
music.com turers E: Music@IllinoisState.edu Drive Class Sessions allow you offered each day! Instru-
Publishing / Teaching Musical Instrument & Colleges, Universities & Dunseith, ND 58329 the opportunity to grow mental, vocal, and dance
Resources Accessories Dealers Conservatories P: (701) 838-8472 and develop to your classes are offered for the
E: info@internationalmu- fullest potential. Whether beginner or seasoned

28 JAZZed • April/May 2019


professional.
1728 San Pablo Ave
Oakland, CA 94612
Contact:Page Hodel,
Operations Manager
P: (510) 858-5313
P: (510) 858-5313
E: info@livingjazz.org
W: www.livingjazz.org/
jazz-camp-west
Camps & Workshops
Jazz Education Network
(JEN)
1440 W. Taylor St #1135
Chicago, IL 60607
E: office@jazzednet.org
W: www.jazzednet.org
Organizations
Jazz in July Summer
Music Program
Based at the University of
Massachusetts, Jazz in July
offers one or two weeks of
Jazz improvisational study
with our professional
faculty that come from
all over the country. Your
skills improve through
individual and group in-
struction, live performance
opportunities and our
unique intergenerational
environment.
JAZZEDMAGAZINE.COM/DIRECTORY
Univ.of MA, 100 Hicks Arranging
Way Jerry Tachoir Mallet
Room 10 Curry Hicks Jazzheads Intensive
Amherst, MA 01003 PO Box 0523 118 Natchez Dr
P: (413) 545-3530 Planetarium Station Hendersonville, TN 37075 John Fedchock
E: jazzinjuly@acad.umass. New York, NY 10024-0523 P: (615) 824-1435 John Fedchock’s credits
edu Contact:Randy Klein E: Tachoir@bellsouth.net JodyJazz Inc. as an experienced
W: www.jazzinjuly.com P: (212) 580-9065 W: www.tachoir.com 1335 Lynah Ave., Ste 112 clinician have taken him
Camps & Workshops E: info@jazzheads.com Camps & Workshops Savannah, GA 31408 to countless universities,
Colleges, Universities & W: www.jazzheads.com P: (912) 964-4705 colleges and high schools
Conservatories Record Labels JH Productions E: Jody@Jodyjazz.com over the past two decades.
908 Rob Roy Ave. W: www.jodyjazz.com Since his emergence
Jazz Path Publishing Jazzschool Ottawa, ON K2B 5V9 Musical Instrument & on the New York scene,
70 Bedford Road #371 2087 Addison Street P: (613) 721-6157 Accessories Manufac- Fedchock has established
Carlisle, MA 01741 Berkeley, CA 94704 E: jhproductions@bell.net turers: Woodwinds: himself as a world-class
W: www.jazzpath.com P: (510) 845-5373 W: www.jhumenickpro- JodyJazz DV; JodyJazz trombone soloist, a
Publishing / Teaching E: info@cjc.edu ductions.com DV NY; JodyJazz DV CHI; heralded bandleader, and
Resources W: www.cjc.edu/jcms Camps & Workshops JodyJazz GIANT; JodyJazz a Grammy-nominated
Camps & Workshops JET; JodyJazz HR*; Jody- arranger. He brings those
Jazzbooks.com Colleges, Universities & Jazz The Ring Ligature; skills to his clinics and
Thousands of Jazz Books, Conservatories JodyJazz Perfect Patch masterclasses, sharing his
Jazz Play-A-Longs, DVDs, Videos / DVD: Music of vast knowledge and expe-
accessories, and more! Jazzwest DVD George Garzone & The Tri- rience, and giving students
PO Box 1244 PO BOX 3515 JJ Babbitt Co., Inc. adic Chromatic Approach; a look into the world of the
New Albany, IN 47151- Ashland, OR 97520 2201 Industrial Parkway In The Funk Zone With NYC professional. Personal
1244 P: (541) 482-5529 P.O. Box 1264 George Garzone; Tradin insights into improvisa-
Contact:Matt Eve, E: service@jazzwestdvd. Elkhart, IN 46516 With The Greats George tion, composition/arrang-
President com P: (574) 293-6514 Garzone; Tradin With The ing, brass playing, and the
P: (800) 456-1388 W: www.jazzwestdvd. E: Info@jjbabbitt.com Greats Kenny Werner music business complete
E: staff@jazzbooks.com com W: www.jjbabbitt.com the picture, providing a
W: www.jazzbooks.com Online Resources Musical Instrument & Joe Sax Woodwinds multi-faceted learning
Twitter: www.twitter. Accessories Manu- PO Box 178 experience. Along with
com/aebersoldjazz JazzWorks facturers: Clarinet & Walton, NY 13856 his prominent performing
Facebook: www.face- 1234 Ridgemont Ave saxophone mouthpieces: P: (800) 876-8771 credentials, Fedchock’s
book.com/aebersoldjazz Ottawa, ON K1V 6E7 JJ Babbitt, Otto Link, E: joesaxwoodwinds@ extensive jazz education
Publishing / Teaching P: (613) 523-0316 Meyer, Wolfe Tayne, Guy yahoo.com background and comfort-
Resources E: jazz@jazzworkscanada. Hawkins, W: www.joesax.com able teaching demeanor
Software com Hite, Portnoy, Musical Instrument & have made him a popular
Musical Instrument & W: http://www.jazzwork- RG by Otto Link Accessories Dealers favorite among teachers
Accessories Dealers scanada.com and students alike. Former
Music Compositions & Camps & Workshops chief arranger for the
all-female jazz
residency
Regina Carter
Artistic Director
Students refine their instrumental
or vocal skills with acclaimed
jazz musicians!
Ages: 14–26
July 7–13
Overnight Residency at
Rutgers University-Newark
To register visit njpac.org/summer
artseducation@njpac.org • 973.353.7058
April/May 2019 • JAZZed 29
2019 JAZZ EDUCATOR’S RESOURCE GUIDE
Woody Herman Orchestra,
and now the leader of the
critically acclaimed John
Fedchock New York Big
Band, Fedchock’s dynamic
charts span the spectrum
of skill levels, allowing
every ensemble to feel
comfortable while enjoy-
ing the unique experience
of working directly with an
accomplished composer.
Concert appearances
showcase each ensemble’s
specific strengths, as well
as Fedchock’s extraordi-
nary playing described
by the New York Times
as “dazzling trombone
virtuosity”. John Fedchock
is an Artist/Clinician for XO
Professional Brass.
2270 46th St
Astoria, NY 11105
Contact:John Fedchock
P: (718) 626-0434
E: JFNYBB@aol.com
W: www.johnfedchock.
com
Facebook: www.
facebook.com/
pages/John-Fed-
chock/257202388759
Publishing / Teaching
Resources: Artist/Cli-
nician
John Hornby Skewes &
Co. Ltd.
Salem House, Parkinson
Approach, Garforth
Leeds, W Yorks LS25 2HR
P: (011) 3 2-865
E: info@jhs.co.uk
W: www.jhs.co.uk
Musical Instrument &
Accessories Dealers
Jones Double Reeds
303 E. Pacific Ave
Spokane, WA 99202
P: (509) 747-1224
E: jakes@jonesdou-
blereed.com
W: www.jonesdou-
blereed.com
Musical Instrument &
Accessories Manufac-
turers
Jordan Electric Violins
1173 Linden Drive
Concord, CA 94520
P: (925) 671-9246
E: jjordan@jordanmusic.
com
W: www.jordanmusic.
com
Musical Instrument &
Accessories Manufac-
turers
Journey Instruments
USA
605 Palo Alto Lane
Cedar Park, TX 78613
P: (512) 689-9007
E: sales@journeyinstru-
ments.com
W: www.JourneyInstru-
ments.com
Musical Instrument &
Accessories Manufac-
turers
JPM Music Publications
113 Glenfield Dr.
Festus, MO 63028
30 JAZZed • April/May 2019
P: (636) 933-2244 W: www.KlipLite.com
E: jpmmusic@brick.net Fixtures & Equipment
W: www.jpmmusic.com
Publishing / Teaching Koenig, Inc dba King
Resources Kong Cases
10040 Patterson Park Rd.
JRR Shop PO Box 6302
10925 Kalama River Ave. Ashland, VA 23005
Unit E Contact:Buz King,
Fountain Valley, CA 92708 President
P: (714) 760-9080 P: (302) 382-6501
E: sales@jrrshop.com F: (804) 798-8585
W: www.jrrshop.com E: koeniginc@earthlink.
Musical Instrument & net
Accessories Manufac- W: www.kingkongkases.
turers com
Software Musical Instrument &
Musical Instrument & Accessories Manufac-
Accessories Dealers turers
Fixtures & Equipment
Julius Keilwerth
7255 Salisbury Rd Kurtzweil Custom
Jacksonville, FL 32256 Mouthpieces
W: www.julius-keilwerth. 3970 Hidden Valley Tr N
com Niles, MI 49120-8688
Musical Instrument & P: (269) 340-9013
Accessories Manufac- E: scott@kurtzweilmusi-
turers: Saxophones cal.com
W: www.kurtzweilmusi-
Jupiter Band Instru- cal.com
ments Musical Instrument &
12020 Eastgate Blvd Accessories Manufac-
Nashville, TN 37122 turers
P: (615) 773-9900 Musical Instrument &
W: www.jupitermusic. Accessories Dealers
com
Musical Instrument & Kuzmich Consultants
Accessories Manufac- 13888 W. 3rd Place
turers Golden, CO 80401-5216
Contact:John Kuzmjich,
Kala Brand Music Co. Jr. Ph.D., Owner
P.O. BOX 751149 P: (303) 598-4524
Petaluma, CA 94975 P: (303) 279-1438
Contact:Rick Carlson, F: (303) 279-1438
Director of Sales and E: jkuzmich@earthlink.
Marketing net
P: (707) 775-4073 W: www.kuzmich.
E: contact@kalabrand. com/2015workshops.
com html
W: www.kalabrand.com Camps & Workshops
Musical Instrument &
Accessories Manufac- Lamar University
turers P.O Box10044
Beaumont, TX 77710
Kanstul Musical Instru- P: (409) 880-8144
ments E: kurt.gilman@lamar.edu
1332 S. Claudina St. W: www.lamar.edu/music
Anaheim, CA 92805 Colleges, Universities &
W: www.kanstul.com Conservatories
Musical Instrument &
Accessories Manufac- Lebanon Valley College
turers 101 North College
Avenue
Kay Guitar Company Annville, PA 17003
PO Box 8798 E: vanzant@lvc.edu
Newport Beach, CA W: www.lvc.edu/music
92658 Camps & Workshops
P: (949) 752-0050 Colleges, Universities &
E: info@kayguitar.com Conservatories
W: www.KayGuitar.com
Musical Instrument & Legere Reeds Ltd.
Accessories Manufac- 121 Welham Rd., Unit #4
turers Barrie, ON L4N 8Y3
P: (705) 735-1559
Keatona E: customerservice@
8465 W. Sahara Ave. legere.com
No. 111-189 W: www.Legere.com
Las Vegas, NV 89117 Musical Instrument &
P: (702) 483-6229 Accessories Manufac-
E: steve@keatona.com turers
W: www.keatona.com
Fixtures & Equipment Let My Children Hear
Music/The Charles
KlipLite Mingus Institute
3817 Hickory Grove Rd 484 W. 43rd St., Suite 43-S
Davenport, IA 52806 New York, NY 10036
P: (866) 315-4567 Contact:Sue Mingus,
E: kliplite2@aol.com President
P: (212) 736-4749 E: eric@macsax.com handcrafted to inspire pas-
E: mingusedu@ W: www.macsax.com sion, musicianship, and
charlesmingus.org Musical Instrument & the perfect sound.
W: www.charlesmingus. Accessories Manufac- PO Box 786
org turers Arcata, CA 95518
Twitter: twitter.com/ Contact:Ron Samuels,
mingus Maine Jazz Camp President & CEO
Facebook: themingusin- Van Brunt Station, PO Box P: (707) 822-9570
stitute 150-597 E: percussion@marimba-
YouTube: www.youtube. Brooklyn, NY 11215 one.com
com/user/TheMingusIn- P: (718) 499-9051 W: www.marimbaone.
stitute E: mainejazzcamp@ com
Organizations earthlink.net Twitter: https://twitter.
Festivals, Events & Tours W: www.mainejazzcamp. com/MarimbaOne
Camps & Workshops com Facebook: https://www.
Music Compositions & Camps & Workshops facebook.com/marim-
Arranging baonearcata
Majestic Percussion YouTube: https://www.
LIU Post 12020 Eastgate Blvd youtube.com/user/ma-
720 Northern Boulevard Nashville, TN 37122 rimbaonearcata
Brookville, NY 11548 P: (615) 773-9900 Musical Instrument &
Contact:Rachel Biderman W: www.majesticpercus- Accessories Manu-
P: (516) 299-3073 sion.com facturers: Percussion
E: rachel.biderman@ Musical Instrument & Keyboards for Concert,
liu.edu Accessories Manufac- Jazz, and Front Ensem-
W: http://liu.edu/post/ turers bles including Marimbas,
music Vibraphones, Mallets,
Colleges, Universities & Manhasset Specialty and available Fall 2019 -
Conservatories Company Xylophones
PO Box 2518
Longy School of Music 3505 Fruitvale Blvd. Marlin Lesher Reed Co.
of Bard College Yakima, WA 98907 PO Box 1004
27 Garden Street P: (509) 248-3810 Port Townsend, WA
Cambridge, MA 02138 E: dan@manhasset-spe- 98368
P: (617) 876-0956 cialty.com P: (800) 272-1948
E: admissions@longy.edu W: www.manhasset-spe- E: marlinlesher@gmail.
W: longy.edu cialty.com com
Colleges, Universities & Musical Instrument & Musical Instrument &
Conservatories Accessories Manufac- Accessories Manufac-
turers turers
Los Angeles College of Fixtures & Equipment
Music Maxonix
300 S Fair Oaks Ave Manhattan Concert P.O. Box 272312
Pasadena, CA 91105 Productions Tampa, FL 33688
P: (626) 568-8850 236 W. 30th St P: (813) 932-3499
E: info@lacm.edu Floor 3 E: sales@maxonix.com
W: www.lacm.edu New York, NY 10001 W: www.maxonix.com
Camps & Workshops P: (212) 279-1147 Musical Instrument &
Colleges, Universities & E: info@mcp.us Accessories Manufac-
Conservatories W: www.mcp.us turers
Awards
Lowell Jazz Day Camp Festivals, Events & Tours McClosky Institute of
P.O.Box 9098 Camps & Workshops Voice
Lowell, MA 01852 16 Grant Street
P: (617) 851-0272 Manhattan School of Maynard, MA 01754
E: lowelljazzdaycamp@ Music P: (978) 897-5372
gmail.com 120 Claremont Ave. E: jaydlane@comcast.net
W: www.lowelljazzdayc- New York, NY 10027 W: www.mcclosky.org
amp.com P: (917) 493-4469 Camps & Workshops
Camps & Workshops E: designoffice@msmnyc.
edu MCG Jazz
Luna Guitars W: www.msmnyc.edu 1815 Metropolitan Street
4924 W. Waters Ave. Colleges, Universities & Pittsburgh, PA 15233
Tampa, FL 33634 Conservatories W: www.mcgjazz.org
P: (773) 793-6667 Record Labels
W: www.lunaguitars.com Mapex Drums Organizations
Musical Instrument & 12020 Eastgate Blvd
Accessories Manufac- Nashville, TN 37122 Meisel Accessories LLC
turers P: (615) 773-9900 51 Boland Drive
W: mapexdrums.com/us PO Box 7003
Mack Avenue Records Musical Instrument & West Orange, NJ 07052
4565 Sherman Oaks Ave Accessories Dealers P: (800) 531-6123
Sherman Oaks, CA 91403 E: info@meiselaccesso-
P: (818) 986-5200 ries.com
E: shannon@mackave- W: www.meiselaccesso-
nue.com ries.com
W: www.mackavenue. Musical Instrument &
com Accessories Manufac-
Record Labels Marimba One / M1 turers
Percussion
MACSAX Saxophones Marimba One is the Melton Meinl Weston
and Mouthpieces manufacturer of the 7255 Salisbury Rd
4705 Island Cove world’s finest percussion Jacksonville, FL 32256
Austin, TX 78731 instruments and mallets. W: www.melton-meinl-
Contact:Eric Falcon, Designed and built in weston.com
President Arcata, CA, our world-re- Musical Instrument &
P: (305) 878-9488 nowned instruments and Accessories Manufac-
P: (512) 407-8364 mallets are beautifully turers
 JAZZEDMAGAZINE.COM/DIRECTORY

Dept. of Music, Theatre Missoula, MT 59802 Camp Musical Instrument &

Mercer University and Dance Contact:Jon & Robbin 8 Goldenrod LN North Park University Accessories Manufac-
Townsend School of Baird Music Hall 106 Rose, Owners Sidney, ME 04330 3225 W. Foster Ave. turers: Electric upright
Music Morehead, KY 40351 P: (406) 315-5582 P: (844) 476-6976 Chicago, IL 60625 basses, Omni basses,
1501 Mercer University P: (606) 783-2473 P: (406) 315-5582 E: fiona@nemusiccamp. P: (773) 244-5623 violins, violas, cellos,
Drive E: mtd@moreheadstate. F: (406) 203-1045 com E: rryan@northpark.edu and the Radius Bass
Macon, GA 31207 edu E: folders@mymusicfold- W: www.nemusiccamp. W: www.northpark.edu/ Guitar, designed by Ned
P: (478) 301-2748 W: www.moreheadstate. ers.com com music Steinberger.
E: Hise_la@mercer.edu edu/edu W: www.mymusicfolders. Festivals, Events & Tours Colleges, Universities &
W: music.mercer.edu Colleges, Universities & com Camps & Workshops Conservatories Nuvo Instrumental LLC
Colleges, Universities & Conservatories Fixtures & Equipment 100 Cummings Ctr
Conservatories Northeastern Music Suite 141Q
Music Festivals & Tours NAMM Publications, Inc. Boston, MA 01915
Meredith Music Publi- P.O. Box 4579 5790 Armada Drive P. O. Box 517 P: (978) 530-5070
cations Reading, PA 19606 Carlsbad, CA 92008 New Jersey Performing Glenmoore, PA 19320 E: jordan@nuvo-instru-
1584 Estuary Trail E: info@musfestivals.com P: (760) 438-8001 Arts Center P: (610) 942-2370 mental.com
Delray Beach, FL 33483 W: www.musfestivals. P: (800) 767-6266 NJPAC is excited to E: info@nemusicpub.om W: www.nuvo-instrumen-
Contact:Garwood com F: (760) 438-7327 announce our 2018 Arts W: www.nemusicpub. tal.com
Whaley Travel E: info@namm.org Education Jazz Summer com Musical Instrument &
P: (561) 266-3754 Festivals, Events & Tours W: www.namm.org Programs! Publishing / Teaching Accessories Manufac-
E: garwood@meredith- Twitter: https://twitter. Resources turers
music.com Music for All com/NAMMShow ALL-FEMALE JAZZ RESI-
W: www.meredithmusic. 39 W. Jackson Place Facebook: https://www. DENCY, Northern Arizona Uni- NYJAZZ Initiative
com Suite 150 facebook.com/nammorg REGINA CARTER, ARTISTIC versity School of Music 105 West 86th Street
Publishing / Teaching Indianapolis, IN 46225 YouTube: https://www. DIRECTOR NAU School of Music, #231
Resources P: (317) 636-2263 youtube.com/user/ Young women find Box 6040 New York, NY 10024
P: (317) 524-6215 TheNAMMShowChannel inspiration and build com- 1115 S. Knoles Drive P: (212) 810-7117
Messiah College F: (317) 524-6215 Organizations munity in this one-week Flagstaff, AZ 86011 E: info@nyjazz.org
One College Avenue E: deb@musicforall.org jazz immersion program. P: (928) 523-3731 W: www.nyjazz.org
Mechanicsburg, PA 17055 W: www.musicforall.org National Association for Students refine their E: music@nau.edu Online Resources
P: (717) 796-5061 Camps & Workshops Music Education instrumental or vocal skills W: nau.edu/music Publishing / Teaching
E: gradprograms@ 1806 Robert Fulton Dr. and work side-by-side with Camps & Workshops Resources
messiah.edu Music In The Parks Reston, VA 20191 respected jazz musicians. Colleges, Universities & Organizations
W: www.messiah.edu/ 1784 West Schuylkill P: (800) 336-3768 The program includes Conservatories Festivals, Events & Tours
conducting Road E: memberservices@ individual lessons, small Camps & Workshops
Colleges, Universities & Douglassville, PA 19518 nafme2.org ensemble work, industry Northwestern College Music Compositions &
Conservatories P: (800) 323-0974 W: www.nafme.org panel discussions, and 101 7th St. SW Arranging
E: info@edprog.com Online Resources field trips to landmark Orange City, IA 51041
Minnesota State Univer- W: www.musicinthep- Festivals, Events & Tours jazz institutions before P: (712) 707-7062 Oberlin Conservatory
sity, Mankato arks.com Camps & Workshops culminating in a student E: nverburg@nwciowa. of Music
Department of Music Festivals, Events & Tours Fundraising showcase. edu 77 W. College Street
202 Performing Arts W: www.nwciowa.edu 39 W. College Street
Center Music Prodigy NEMC JAZZ R&B INTENSIVE Colleges, Universities & Oberlin, OH 44074
Mankato, MN 56001 4335 Van Nuys Blvd. 1181 Route 22, Box 1130 Explore the creativity Conservatories Contact:Cathy Partlow
P: (612) 360-7440 Los Angeles, CA 91403 Mountainside, NJ 07092 and vibrancy of Latin, Strauss, Director, Conser-
P: (612) 360-7440 P: (323) 243-5109 P: (908) 232-6700 Classic Jazz and R&B. This Northwestern Univer- vatory Communications
F: (612) 360-7440 E: info@musicprodigy. E: Lgraham@nemc.com intensive will enrich your sity - Bienen School of P: (440) 775-8121
E: amy.roisum-foley@ com W: www.nemc.com repertoire with different Music P: (440) 775-8328
mnsu.edu W: www.musicprodigy. Musical Instrument & methods of musicianship, 70 Arts Circle Drive E: cstrauss@oberlin.edu
W: www.mnsu.edu/music com Accessories Dealers ensemble work, listening, Evanston, IL 60208 W: www.oberlin.edu/con
Colleges, Universities & Online Resources imporvisation and P: (847) 491-3141 Record Labels
Conservatories Software Neotech performance. NJPAC’s Jazz E: marcus.turner@north- Camps & Workshops
304 Andrea Drive Faculty of professional western.edu Colleges, Universities &
Moe-Bleichner Music Music Teachers National Belgrade, MT 59714 musicians will guide W: www.music.north- Conservatories
Distribution Association P: (406) 388-1377 you through a cultural western.edu
1117 Mahantango St 1 W. 4th St. E: info@neotechstraps. journey and take your Colleges, Universities & Ohana Music
Pottsville, PA 17901 Ste. 1550 com vocal, instrumental and Conservatories 3350 E 7th ST
W: www.Moe-Bleichner. Cincinnati, OH 45202 W: www.neotechstraps. songwriting skills to the Ste 105
com P: (513) 421-1420 com next level. Long Beach, CA 90804
Musical Instrument & E: mtnanet@mtna.org Musical Instrument & Center for Arts Education P: (562) 997-9080
Accessories Manufac- W: www.mtna.org Accessories Manufac- 24 Rector Street P: (626) 922-2848
turers Organizations turers Newark, NJ 07102 F: (626) 922-2848
P: (973) 353-7058 E: info@ohana-music.com
Montclair State Uni- MusicFirst New England Conser- E: artseducation@njpac. W: www.ohana-music.
versity - Cali School of 180 Madison Avenue vatory org com
Music 24th Floor 290 Huntington Avenue W: www.njpac.org/ NS Design Musical Instrument &
1 Normal Avenue New York, NY 10016 Boston, MA 02115 arts-education-1/for- NS instruments, designed Accessories Manufac-
Montclair, NJ 07043 W: www.musicfirst.com P: (617) 585-1101 parents-and-students/ for professionals working turers
Contact:Main Office Online Resources E: admission@necmusic. summer-programs in an amplified stage or
P: (973) 655-7212 Publishing / Teaching edu Camps & Workshops studio environment, set Osiamo LLC
E: music@mail.montclair. Resources W: www.necmusic.edu a world standard for per- 2753 Broadway Ste 333
edu Software Camps & Workshops NOMAD Stands formance versatility and New York, NY 10025
W: www.montclair.edu/ Colleges, Universities & 12020 Eastgate Blvd quality, for ergonomics, P: (212) 678-4751
music MusicNomad Conservatories Nashville, TN 37122 and for aesthetic appeal. E: dealers@osiamo.com
Colleges, Universities & 746 Broadway P: (615) 773-9900 W: www.osiamo.com
Conservatories Sonoma, CA 95476 New England Conserva- W: www.jupitermusic. NS instruments are Musical Instrument &
P: (310) 714-2301 tory School of Continu- com noted for their tone and Accessories Manufac-
Monterey Jazz Festival E: rrognlien@musicno- ing Education Musical Instrument & versatility, extraordinary turers: Pickboy Conduct-
9699 Blue Larkspur Lane, mad.com 290 Huntington Avenue Accessories Dealers performance in amplified ing Batons
Suite 204 W: www.musicnomad- Boston, MA 02115 and recording applica-
Monterey, CA 93940 care.com P: (617) 585-1170 North Central College tions, and exceptional Oxford University Press
W: www.monterey- Musical Instrument & E: continuingeducation@ 30 N. Brainard St. ergonomic design. Great Clarendon Street
jazzfestival.org Accessories Manufac- necmusic.edu Naperville, IL 60540 134 Back Meadow Road Oxford
Festivals, Events & Tours turers W: www.necmusic.edu/ce P: (630) 637-5800 Nobleboro, ME 04555 Oxford, Oxon OX2 6DP
Camps & Workshops Colleges, Universities & W: northcentralcollege. P: (207) 563-7705 P: (+44) 18-65 3
MyMusicFolders Conservatories edu E: info@nedsteinberger. E: music.enquiry.uk@
Morehead State Uni- 400 W Broadway Colleges, Universities & com oup.com
versity Suite 1, #159 New England Music Conservatories W: thinkns.com W: www.oup.com/uk

April/May 2019 • JAZZed 31

2019 JAZZ EDUCATOR’S RESOURCE GUIDE

Publishing / Teaching pet.com Musical Instrument & (Tribute to Fletcher E: info@rsberkeley.com

Resources Peavey Electronics Musical Instrument & Accessories Manufac- Henderson), Big Band W: www.rsberkeley.com
Corporation Accessories Manufac- turers Arrangements of Avalon, Musical Instrument &
Oxygen Audio Ltd 5022 Hartley Peavey turers: Phaeton Bb Pock- Strode Rode, Too High, Accessories Manufac-
15819 39A Avenue Drive et Trumpets, Phaeton RCF many more turers
Surrey, BC V3Z 0L1 Meridian, MS 39302 Flugelhorns, Phaeton C 110 Talmadge Rd. Relevance: Jazz
P: (778) 808-5879 P: (800) 821-2279 Trumpets, Phaeton Bb Edison, NJ 08817 Sacramento Jazz Educa-
W: www.oxygenamps. E: customerservice@ Trumpets P: (732) 902-6100 Ron Jon Surf Shop tion Foundation
com peavey.com E: info@rcf-usa.com 4151 N. Atlantic Ave. 3400 Cottage Way
Musical Instrument & W: www.peavey.com Pioneer DJ Americas, W: www.rcf-usa.com Cocoa Beach, FL 32931 Suite O
Accessories Manufac- Musical Instrument & Inc. Musical Instrument & P: (321) 799-8880 Sacramento, CA 95825
turers Accessories Manufac- 1925 E Dominguez St Accessories Manufac- E: traceyg@rjss.com P: (916) 571-5533
turers Long Beach, CA 90810 turers W: www.ronjonsurfshop. E: info@SacJEF.org
OZZtosh Guitars P: (310) 952-2000 com/thecompany/perfor- W: www.SacJEF.org
8834 Golf Drive Peery Products Co., Inc. W: www.pioneerdj.com ReedGeek, Inc. mance-application.aspx Awards
San Diego, CA 91977 PO Box 1112 Musical Instrument & P.O. Box 3569 Festivals, Events & Tours Festivals, Events & Tours
P: (619) 200-7203 Portland, OR 97015 Accessories Manufac- Carson City, NV 89702 Camps & Workshops
E: brianostosh@ozztosh. Contact:Kat Traver turers P: (775) 395-1110 Fundraising
com P: (503) 658-2355 Software E: reedgeek@gmail.com
W: www.ozztosh.com F: (503) 658-5595 W: www.reedgeek.com Sadowsky Guitars
Musical Instrument & E: kat@peeryproducts. PJLA Music Sales & Musical Instrument & 2107 41 Ave FL4
Accessories Manufac- com Marketing Accessories Manufac- Rovner Products Long Island City, NY
turers W: www.peeryproducts. 22159 N Pepper Road, turers For decades the reliable, 11101
com Unit 1 Musical Instrument & easy-to-use Rovner P: (718) 433-1990
Peabody Conservatory Musical Instrument & PO Box 550 Accessories Dealers Dark has been the “go E: roger@sadowsky.com
of the Johns Hopkins Accessories Manufac- Barrington, IL 60010 to” ligature for band W: www.sadowsky.com
University turers W: www.pjlamusic.com Remo, Inc. directors, and it remains Musical Instrument &
1 E. Mt. Vernon Place Musical Instrument & 28101 Industry Drive our best seller. Our “Next Accessories Manufac-
Baltimore, MD 21202 Pepperdine University Accessories Dealers Valencia, CA 91355 Generation” ligatures, to turers
Contact:Peabody Ad- 24255 Pacific Coast P: (661) 294-5600 include the Star Series Musical Instrument &
missions Highway Players Music LLC E: customerservice@ for beginners and the Accessories Dealers
P: (667) 208-6600 Malibu, CA 90263-4462 PO Box 9210 remo.com Versa-X for high school
E: admissions@peabody. P: (310) 506-4111 Tempe, AZ 85214 W: www.remo.com and beyond, expand the Saga Musical Instru-
jhu.edu E: fineartsrecruit@peppe- P: (480) 833-2500 Musical Instrument & options available for ments
W: www.peabody.jhu.edu dine.edu E: sales@playersmusic. Accessories Manufac- helping students perform 137 Utah Ave.
Colleges, Universities & W: www.pepperdine.edu/ com turers to the best of their ability South San Francisco, CA
Conservatories music W: www.playersmusic. no matter where they are 94080
Colleges, Universities & com rentMyinstrument.com in their musical develop- P: (650) 588-5558
Peace Musical Co Conservatories Awards 1219 Lydia Ave. ment. With nine patented E: info@sagamusic.com
18555 East Gale Ave Musical Instrument & Kansas City, MO 64106 ligature models in all, plus W: www.sagamusic.com
City of Industry, CA 91748 Performing Arts Consul- Accessories Manufac- P: (816) 842-0240 our new PROTEUS Rectan- Musical Instrument &
P: (626) 581-4510 tants & Music Festivals turer E: sales@rentmyinstru- gular Bore Clarinet Barrel, Accessories Manufac-
E: sales@peace-drums. 807 Mantoloking Road Musical Instrument & ment.com Rovner offers superior turers
com Brick, NJ 08723 Accessories Dealers W: www.rentmyinstru- performance in all musical Musical Instrument &
W: www.peace-drums. Contact:Mike Mazzarisi, Fundraising ment.com genres, in any setting and Accessories Dealers
com President Musical Instrument & at every level of experi- Music Dealers
Musical Instrument & P: (800) 872-3378 Prentice Practice Pads Accessories Dealers ence. Reliable, durable,
Accessories Manufac- P: (732) 475-6200 33815 Golden Lantern st affordable, patented and Saint Xavier University
turers F: (732) 903-7100 Dana Point, CA 92629 Resonance Records made in the USA...that’s 3700 West 103rd Street
E: info@usafest.org Contact:Colin Hilborne 5711 W. Adams Blvd. Rovner Products! Chicago, IL 60655
Peak Performance Tours W: www.USAfest.org P: (714) 296-8870 Los Angeles, CA 90016 P.O. Box 4116 P: (773) 298-3420
1720 Kendarbren Drive Festivals, Events & Tours E: willitlast@cox.net P: (310) 247-0331 Timonium, MD 21094 E: salmon@sxu.edu
Suite 722 Musical Instrument & E: info@resonancere- P: (410) 252-7750 W: www.sxu.edu/aca-
jamison, PA 18929 Peterson Electro-Musi- Accessories Manufac- cords.org E: info@rovnerproducts. demics/colleges_schools/
Contact:Bruce Rickert, cal Products, Inc. turers W: www.resonancere- com cas/dept/music/index.asp
President 11601 South Mayfield cords.org W: www.rovnerproducts. Colleges, Universities &
P: (215) 598-8690 Ave PreSonus Audio Record Labels com Conservatories
F: (267) 483-8251 Alsip, IL 60803 18011 Grand Bay Court Musical Instrument &
E: br@peakperformance- P: (708) 388-3311 Baton Rouge, LA 70809 Reunion Blues Accessories Manufac- Saxophone Idol
tours.com E: mlj@petersonemp.com W: musiced.presonus. 3920 Cypress Drive turers: Rovner Dark, 7255 Salisbury Rd
W: www.peakperforman- W: www.petersontuners. com Suite B Rovner Light, Rovner MK Suite 4
cetours.com com Musical Instrument & Petaluma, CA 94954 III, Rovner Versa, Rovner Jacksonville, FL 32256
Travel Musical Instrument & Accessories Manufac- P: (800) 950-1095 Platinum, Rovner Van P: (904) 821-0234
Festivals, Events & Tours Accessories Manufac- turers E: sales@reunionblues. Gogh, Rovner Versa-X, E: matt.vance@buffet-
turers Online Resources com Rovner Legacy, Rovner crampon.com
Software Software W: www.reunionblues. Star Series, PROTEUS W: www.saxidol.com
Fundraising com Rectangular Bore Clarinet Awards
PG Music Inc. Music Compositions & Musical Instrument & Barrel, Mouthpiece Man-
29 Cadillac Ave Arranging Accessories Manufac- ager by Rovner Products. Saxquest
Pearl Corporation Victoria, BC V8Z 1T3 turers 2114 Cherokee St
Distributor of Pearl P: (250) 475-2874 Rada Cutlery Row-Loff Productions St. Louis, MO 63118
acoustic drum sets, P: (250) 361-1862 PO Box 838 Richard Sussman Music P.O. Box 292671 P: (314) 664-1234
ePro electronic drums, E: marketing@pgmusic. 905 Industrial St 215 Elm Street Nashville, TN 37229 E: sales@saxquest.com
hardware, Pearl hand per- com Waverly, IA 50677 Nyack, NY 10960 P: (800) 624-8001 W: www.saxquest.com
cussion and accessories, W: www.pgmusic.com P: (800) 311-9691 E: richard@richardsuss- E: info@rowloff.com Musical Instrument &
Adams percussion, Adams Software E: customerservice@ manjazz.com W: www.rowloff.com Accessories Dealers
Marching Brass, Sabian radamfg.com P: (914) 659-9886 Publishing / Teaching
Band & Orchestra Cymbals W: www.radacutlery.com W: www.richardsussman- Resources: Publisher of School of Music at WCU
and Pearl Flutes. Fundraising jazz.com marching and concert 817 South High Street
549 Metroplex Dr Phaeton Trumpet Publishing / Teaching Percussion literature. West Chester, PA 19602
Nashville, TN 37211 Company Randy Klein Music Resources: Jazz Composi- Ensembles, solos, duets, P: (610) 436-2739
P: (615) 833-4477 22159 N Pepper Road, RATstands tion and Arranging In the beginning Snare and Mal- E: musicinfo@wcupa.edu
E: Customer.Service@ Unit 1 Unit 3 Waterside Business Digital Age let Toolbox Curriculum. W: www.wcupa.edu/
PearlDrums.com PO Box 550 Park Music Compositions & arts-humanities/music
W: www.pearldrum.com Barrington, IL 60010 Witham, Essex CM8 3YQ Arranging: Ivories Tower RS Berkeley Festivals, Events & Tours
Musical Instrument & P: (847) 382-3210 P: (+44) 208-7414 (tribute to Hank Jones), PO Box 715 Camps & Workshops
Accessories Manufac- E: pjlabiz2@aol.com E: sales@ratstands.com One For Thad (Tribute Scotch Plains, NJ 07076 Colleges, Universities &
turers W: www.phaetontrum- W: www.ratstands.com to Thad Jones, Fletcher P: (908) 790-9499 Conservatories

32 JAZZed • April/May 2019


Shell Lake Arts Center
Join the tradition of
excellence at the nation’s
longest-running jazz
camp! The Shell Lake
Arts Center offers three
weeks of instrumental jazz
in beautiful Shell Lake,
Wisconsin in the heart of
the Northwoods. Students
spend a week with
nationally sought-after
teaching artists, working
one-on-one with the mas-
ters. For over 50 years, the
Shell Lake Arts Center has
helped jazz musicians get
their start. Byron Stripling,
Geoffrey Keezer, Bill Evans
- these artists, and more,
have found the jazz educa-
tion they received at Shell
Lake to be instrumental in
their career. Topics of study
include daily instrument
masterclasses, jazz
improvisation and theory,
“Listening: How and What
to Listen To”, morning and
afternoon group rehears-
als, classic standards to
contemporary & fusion,
and more! After classes
complete for the day,
spend the afternoon at
the beach, play in a jam
session, roast marsh-
mallows, compete in a
ping-pong tournament, or
enjoy a multitude of other
activities. Camps are open
to students completing
grades 6-12. There are 19+
camps offered at the Shell
Lake Arts Center - visit our
website for a complete
listing.
802 1st St.
PO Box 315
Shell Lake, WI 54871
P: (715) 468-2414
E: info@shelllakeartscen-
ter.org
W: www.shelllakeartscen-
ter.org
Twitter: https://twitter.
com/ShellLakeArts
Facebook: www.
facebook.com/shelllake-
artscenter
YouTube: https://www.
youtube.com/user/shell-
lakeart
Camps & Workshops
Shenandoah Conser-
vatory
1460 University Drive
Winchester, VA 22601
P: (540) 665-4569
W: www.su.edu/conser-
vatory
Camps & Workshops
Colleges, Universities &
Conservatories
Sher Music Co.
P.O.Box 445
Petaluma, CA 94953
E: shermuse@sonic.net
W: shermusic.com
Publishing / Teaching
Resources
Small World MUSIC-
FOLDER.com Inc.
Box 60582 RPO Granville
JAZZEDMAGAZINE.COM/DIRECTORY
Park E: music@stcloudstate. Steve Lipman Contem- USA Colleges, Universities &
Vancouver, BC V6H 4B9 edu porary Music Education 1726 Winchester Road Conservatories
Contact: Ian Bullen, W: www.stcloudstate. Consultants Bensalem, PA 19020
President edu/music 69 Parkton Rd. P: (215) 638-8670 The Fender Music
P: (604) 733-3995 Colleges, Universities & Boston, MA 02130 E: customerservice@ Foundation
P: (877) 246-7253 Conservatories P: (617) 823-5442 hoshinousa.com PO Box 67
E: sales@musicfolder.com E: steve@stevelipmanas- W: www.tama.com Agoura Hills, CA 91376
W: www.MusicFolder.com St. Louis Music sociates.com Musical Instrument & P: (626) 340-5595
Musical Instrument & 1400 Ferguson Avenue W: www.stevelipmanas- Accessories Manufac- E: shannon@fendermu-
Accessories Manufac- St. Louis, MO 63133 sociates.com turers sicfoundation.org
turers P: (314) 727-4512 Colleges, Universities & Military Bands W: www.fendermusic-
Fixtures & Equipment E: info@stlouismusic.com Conservatories foundation.org
W: www.stlouismusic. TCU School of Music Organizations
Smartcell Fundraising com STORMWORKS® 2800 S University Drive
6212 Oakton St Musical Instrument & 209 Spinnaker Run Lane Fort Worth, TX 76129 The L.A. Sax Company
Morton Grove, IL 60053 Accessories Dealers: Smithfield, VA 23430 Contact:Paul Cortese 864 North 12th Street
P: (561) 312-1909 Knilling Strings, Nagoya P: (757) 356-1928 P: (817) 257-7341 Niles, MI 49120
E: david@smartcellgear. Suzuki, P. Mauriat Saxo- E: steve@stormworld.com E: p.cortese@tcu.edu P: (888) 943-1452
com phones and Trumpets, W: www@stormworld. W: www.music.tcu.edu E: sales@lasax.com
W: www.Smartcellgear. and Zonda Brass and com Festivals, Events & Tours W: www.lasax.com
com Woodwinds, and Hamil- Publishing / Teaching Camps & Workshops Musical Instrument &
Fundraising ton Stands. Resources Colleges, Universities & Accessories Manufac-
Music Compositions & Conservatories turers
Smithsonian Jazz StageRight Arranging Musical Instrument &
Smithsonian Jazz, Nation- 495 Pioneer Parkway Temple University’s Accessories Dealers
al Museum of American Clare, MI 48617 Summer Arts Sessions Boyer College of Music
History P: (800) 438-4499 Int -- M&M Tuba and Dance The Midwest Clinic
PO Box 37012, MRC 616 E: info@stageright.com 6453 West Rogers Cir 2001 N. 13th Street, Rm. 1111 E. Touhy Ave., Suite
Washington, DC 20013- W: www.StageRight.com Boca Raton, FL 33487 129 250
7012 Fixtures & Equipment P: (561) 241-7303 Presser Hall Des Plaines, IL 60018
E: jazz@si.edu E: tubamlb@aol.com Philadelphia, PA 19122 P: (847) 424-4163
W: www.smithsonianjazz. W: tubamm.com W: www.temple.edu/ E: info@midwestclinic.org
org Musical Instrument & boyer W: www.midwestclinic.
Online Resources Accessories Dealers Colleges, Universities & org
Festivals, Events & Tours Conservatories Organizations
Camps & Workshops Summit Tour & Travel Camps & Workshops
P.O. Box 682240 Texas State University
Snow College Stanford Jazz Workshop Orlando, FL 32868 - School of Music Jazz The Music Kitchen, Inc.
150 E College Ave. The Stanford Jazz Contact:Mr. Kim D. Studies Program 12400 Connery Way
Ephraim, UT 84627 Workshop summer jazz Pretzer, President 601 University Dr. Bakersfield, CA 93312
P: (435) 283-7465 immersion programs are P: (407) 290-6777 San Marcos, TX 78666 P: (661) 338-4749
E: vance.larsen@snow. held on the beautiful cam- E: Kim@SummitTourTrav- P: (484) 265-1001 E: michael@themusick-
edu pus of Stanford University, el.com P: (512) 245-8573 itchen.com
W: www.snow.edu/music July 9 to August . They W: www.SummitTourT- E: jazzstudies@txstate. W: www.themusickitch-
Camps & Workshops: are taught by the worldís ravel.com edu en.com
Snow College Jazz greatest jazz performers Travel W: http://www.txstate. Online Resources
Workshop and educators, including edu/jazzstudies
July 16-20, 2019 Anat Cohen, Allison Sunderman Conser- Colleges, Universities & The National Jazz
Colleges, Universities & Miller, Charles McPherson, vatory of Music at Conservatories Workshop
Conservatories Melissa Aldana, Yosvany Gettysburg College Shenandoah University
Terry, Wycliffe Gordon, Eric 300 North Washington attn: Matt Niess
Sonoma State Univer- Harland, Taylor Eigsti, Roy Street, Campus Box 403 Arlington, VA 22602
sity McCurdy, Marcus Shelby, Gettysburg, PA 17325 P: (703) 732-2639
1801 E. Cotati Ave. Jeb Patton, Michael Rodri- P: (717) 337-6815 E: matt.niess@national-
Rohnert Park, CA 94928 guez, Madeline Eastman, E: mstoner@gettysburg. jazzworkshop.org
P: (707) 664-2324 Andrea Motis, & more. edu The Art of Ligel, LLC W: www.nationaljazz-
E: brian.wilson@sonoma. With their guidance, your W: www.gettysburg.edu/ The Art of Ligel, LLC workshop.org
edu students will expand their music provides Jazz Music Art Festivals, Events & Tours
W: www.sonoma.edu/ creativity and artistry, Colleges, Universities & related posters for the Camps & Workshops:
music and they’ll make lifelong Conservatories band room. Posters vary in Celebrating ten years
Colleges, Universities & friendships. For all instru- price. Contact Mr. Lambert of music education the
Conservatories ments and vocals. Super-Sensitive Musical for details. National Jazz Workshop
P.O. Box 20454 String Co. 712 Bixby Dr offers comprehensive jazz
Special Moments Fund- Stanford, CA 94309 1805 Apex Road Long Island, NY 11510 curriculum for rising 9th
raising Contact:Ernie Rideout, Sarasota, FL 34250 P: (347) 543-5346 graders and older. NJW
27 Greystone Blvd Marketing Director P: (941) 371-0016 E: info@ligel.com provides participants
Cabot, AR 72023 P: (650) 736-0324 E: susan@supersensitive. W: www.ligel.com with the resources and
P: (877) 219-2979 E: info@stanfordjazz.org com Publishing / Teaching direction to further devel-
E: info@specialmoments- W: stanfordjazz.org W: www.supersensitive. Resources op and expand individual
fundraising.com Twitter: twitter.com/ com skills during, after the
W: www.specialmo- stanfordjazz Musical Instrument & The Boston Conser- camp, and throughout
mentsfundraising.com Facebook: www. Accessories Manufac- vatory the year. Participant’s
Fundraising facebook.com/stanford- turers 8 The Fenway ages have ranged from
jazz?ref=hl Boston, MA 02215 13-75.
Spirit of America Band Camps & Workshops Susquehanna Univer- W: www.bostonconserva- Colleges, Universities
PO Box 2831 sity tory.edu & Conservatories:
Orleans, MA 02653 Stentor Music Co Ltd 514 University Ave Colleges, Universities & Week-long overnight
P: (508) 255-4044 Albert Road North Selinsgrove, PA 17870 Conservatories and commuter camp at
E: soa@gdaf.org Reigate, Surrey RH2 9EZ Contact:Sara Adams Shenandoah Universi-
W: www.spiritofameri- P: (+4() 0)1-737 P: (570) 372-4309 The Eastman School of ty: Instrumental, Jazz
caband.org E: info@stentor-music. E: musicdept@susqu.edu Music Arranging, Audio Engi-
Camps & Workshops com W: www.susqu.edu/ 26 Gibbs Street neering tracks. Week-long
W: www.stentor-music. music Rochester, NY 14604 overnight and commuter
St. Cloud State Uni- com Camps & Workshops P: (585) 274-1060 camp at George Mason
versity Musical Instrument & Colleges, Universities & E: admissions@esm. University: Instrumental
720 Fourth Ave South Accessories Manufac- Conservatories rochester.edu and vocal Jazz tracks.
St. Cloud, MN 56301 turers W: www.esm.rochester.
P: (320) 323-3223 Tama Drums / Hoshino edu The School of Jazz and
April/May 2019 • JAZZed 33
2019 JAZZ EDUCATOR’S RESOURCE GUIDE
Contemporary Music at
The New School
66 West 12th Street
New York, NY 10011
P: (800) 292-3040
E: performingarts@
newschool.edu
W: www.newschool.
edu/jazz
Colleges, Universities &
Conservatories
The University of Texas
at Tyler
3900 University Blvd
Tyler, TX 75701
P: (903) 566-7387
E: sroberts@uttyler.edu
W: www.uttyler.edu/
music
Festivals, Events & Tours
Colleges, Universities &
Conservatories
The University of the
Arts
This three-week music
program gives high school
students the opportunity
to perform, study and
collaborate with unrivaled
musicians, to earn three
college credits and to take
their sound to the next
level. With our faculty
of regularly touring and
recording musicians,
students will discover
what kind of performer,
composer or entrepreneur
they can be through a
combination of lessons,
ensembles, performances
and workshops. They will
improve their technique
and study musical styles,
improvisation, theory, ear
training, reading and per-
formance through playing
jazz and a range of other
styles from Latin to funk.
During the Pre-College
Music program, musicians
will jam with students
from around the world,
get a taste for the college
life and make connections
with industry experts.
Students are accepted into
the program in one of the
following performance
areas: Bass (upright or
electric), Drum Set, Guitar,
Vibes, Latin and Brazilian
Hand Drum, Piano,
Saxophone, Trombone,
Trumpet and Voice.
UArts’ Music Business, En-
trepreneurship + Technol-
ogy program is designed
to introduce students to
the many facets of the mu-
sic industry and teach the
practicalities and realities
of what it means to “DIY”
in 2016. Our three-week
music business intensive
is built around the culture
of entrepreneurship and
34 JAZZed • April/May 2019
the crucial skills needed to
create opportunity.
Students examine the mu-
sic industry from the pres-
ent-day perspective and
explore how new media
businesses extend beyond
music. They participate in
experimental learning “on
the job” through simulated
and real-world assign-
ments and projects. A
strong emphasis is placed
on the role of social media
and the artist-entrepre-
neur as a content provider,
media maker and creative
engine.
Pre-College Music + Mu-
sic Business Programs
320 S. Broad Street
Philadelphia, PA 19102
Contact:Krysta Knaster,
Assistant Director,
Pre-College Programs
P: (215) 717-6430
E: precollege@uarts.edu
W: uarts.edu/summer-
institute
Twitter: twitter.com/
uartsprecollege
Facebook: facebook.
com/uartsprecollege
YouTube: youtube.com/
precollegeuarts
Pintrest: pinterest.com/
uartsprecollege
Camps & Workshops
Colleges, Universities &
Conservatories
Theo Wanne Mouthpiec-
es and Instruments
1221 Fraser Street
Suite E2
Bellingham, WA 98229
E: info@theowanne.com
W: www.theowanne.com
Musical Instrument &
Accessories Manufac-
turers
TI:ME - Technology in
Music Education
7503 Kingwood Court
Fairview, TN 37062
P: (615) 870-9333
E: execdirector@ti-me.org
W: www.ti-me.org
Organizations: Teacher
training in technology for
music classroom via ses-
sions at conferences and
in-service at districts.
TTRN Music Publisher,
Inc.
P.O. Box 197
Albuquerque, NM 87110
W: www.trnmusic.com
Publishing / Teaching
Resources
Music Dealers
UCLA Herb Alpert
School of Music
445 Charles E Young
Drive East
2520 Schoenberg Music
Building
Los Angeles, CA 90095
P: (310) 825-6457
E: admissions@schoolof-
music.ucla.edu
W: www.schoolofmusic.
ucla.edu
Colleges, Universities &
Conservatories E: smtd.admissions@ W: www.music.usc.edu
umich.edu Camps & Workshops: Vandoren Paris
UMass Lowell W: smtd.umich.edu Guitar Seminar: Jazz, Rock 56 Rue Lepic
Music Department, Colleges, Universities & and Beyond Paris, IDF 75018
Durgin Hall Conservatories Colleges, Universities & P: +33 1 53 41 83 00
35 Wilder St., Ste. 3 Conservatories: Univer- W: www.vandoren-en.
Lowell, MA 01854-3083 University of Mount sity of Southern California com
P: (978) 934-3850 Olive Thornton School of Music Musical Instrument &
F: (978) 934-3034 634 Henderson St. Accessories Manufac-
E: music_dept@uml.edu Mount Olive, NC 28365 University of the Pacific, turers
W: www.uml.edu/music P: (919) 658-7797 Brubeck Institute
Colleges, Universities & E: admissions@umo.edu 3601 Pacific Ave Vermont Jazz Center
Conservatories W: www.umo.edu Stockton, CA 95211 72 Cotton Mill Hill, Suite
Colleges, Universities & P: (209) 946-3196 222
Universal Orlando Re- Conservatories E: mriley1@pacific.edu Brattleboro, VT 05301
sort Youth Programs W: brubeckinstitute.org P: (802) 254-9088
1000 Universal Studios Camps & Workshops E: ginger@vtjazz.org
Plaza W: www.vtjazz.org
Orlando, FL 32819 University of Wisconsin Festivals, Events & Tours
P: (800) 224-4489 University of - La Crosse Camps & Workshops
E: youthgroupsales@ Nebraska-Lincoln Glenn 1725 State Street
universalorlando.com Korff School of Music La Crosse, WI 54601 Vic Firth Company
W: UniversalOrlandoY- The Glenn Korff School of P: (608) 785-6727 22 Longwater Drive
outh.com Music in the Hixson-Lied E: kquinn@uwlax.edu Norwell, MA 02061
Travel College of Fine & Perform- W: www.uwlax.edu/jazz P: (617) 364-6869
Festivals, Events & Tours ing Arts of the University of Colleges, Universities & E: chuck@vicfirth.com
Nebraska-Lincoln is a pro- Conservatories W: www.vicfirth.com
University of Arkansas fessional, comprehensive Musical Instrument &
at Monticello arts institution devoted to University of Wisconsin Accessories Manu-
346 University Ct. the advancement of music - Milwaukee facturers: Drumsticks,
Monticello, AR 71655 and dance, the prepara- Music Building Concert Sticks, Mallets,
P: (870) 460-1270 tion of the next generation 2400 E Kenwood Blvd Bass Drum Beaters, Drum
E: askew@uamont.edu of arts professionals, Milwaukee, WI 53211 Accessories
W: www.uamont.edu and service to the arts P: (414) 229-5162
Colleges, Universities & professions/institutions in E: music-info@uwm.edu Virginia Arts Festival
Conservatories the region, state, nation, W: arts.uwm.edu/music 440 Bank Street
and world. Festivals, Events & Tours Norfolk, VA 23510
University of Central 113 Westbrook Music Colleges, Universities & P: (757) 605-3063
Florida School of Per- Building Conservatories E: csmith@vafest.org
forming Arts Lincoln, NE 68588 W: www.vafest.org
12488 Centaurus Blvd. P: (402) 472-2503 Valdosta State Uni- Festivals, Events & Tours
Orlando, FL 32816-1354 P: (402) 472-6865 versity Military Bands
P: (407) 823-2869 E: music2@unl.edu 1500 N. Patterson St.
E: ucfmusic@ucf.edu W: music.unl.edu Valdosta, GA 31698-0115 Virginia Commonwealth
W: music.ucf.edu Colleges, Universities & Contact:David Spring- University
Festivals, Events & Tours Conservatories field, Director of Jazz 922 Park Avenue
Camps & Workshops Studies Box 842004
Colleges, Universities & University of North P: (229) 333-5805 Richmond, VA 23284-
Conservatories Florida, Music Flagship E: daspring@valdosta.edu 2004
Program W: www.valdosta.edu/ P: (804) 828-1167
University of Dayton 1 UNF Drive music/jazz E: music@vcu.edu
300 College Park; Dayton, Jacksonville, FL 32224 Colleges, Universities & W: www.jazz.vcu.edu
OH Contact:Lois Scott, Office Conservatories Colleges, Universities &
Dayton, OH 45469-2946 Manager Conservatories
P: (937) 229-3939 P: (904) 620-2961 Valiant Music Supply,
E: musadms@udayton. E: lscott@unf.edu Inc. Visual Design Retreat -
edu W: www.unf.edu/coas/ 444 E. Roosevelt Rd. #177 Pyware
W: go.udayton.edu/music music Lombard, IL 60148 Spirit of America Band
Camps & Workshops Colleges, Universities & P: (800) 573-6013 PO Box 2831
Colleges, Universities & Conservatories E: customerservice@ Orleans, MA 02653
Conservatories valiantmusic.com P: (508) 255-4044
University of North W: www.valiantmusic. E: soa@artsempowering-
University of Illinois Texas com life.org
at Chicago: School of 1155 Union Circle, Publishing / Teaching W: www.spiritofameri-
Theatre & Music #305040 Resources: Choral and caband.org/events/visu-
1040 W Harrison Denton, TX 76203-5017 Band & Orchestra Folders; al-design-retreat
Chicago, IL 60607 Contact:John Murphy, Music Storage Boxes Camps & Workshops
P: (312) 996-2977 Chair, Division of Jazz Musical Instrument &
E: music@uic.edu Studies Accessories Dealers: Vitamin String Quartet
W: http://theatreandmu- P: (940) 565-3743 Piano Covers, Movers, & PO Box 39439
sic.uic.edu E: jazz@unt.edu Benches; Lyres Los Angeles, CA 90039
Colleges, Universities & W: jazz.unt.edu Fixtures & Equipment: W: www.vitaminstringq-
Conservatories Twitter: twitter.com/ Risers & Stages; Music uartet.com
northtexasjazz Marker Boards; Music Music Compositions &
University of Miami Facebook: facebook. Storage Cabinets; Musi- Arranging
Frost School of Music com/northtexasjazz cian’s Chairs; Conductor’s
P.O. box 248165 YouTube: youtube.com/ Chair & Podium; Music Walden Guitars
Coral Gables, FL 33124 northtexasjazz Stands & Carts; Jarvis 12020 Eastgate Blvd
W: music.miami.edu Colleges, Universities & Podiums and Movers Nashville, TN 37122
Colleges, Universities & Conservatories W: www.waldenguitars.
Conservatories Valparaiso University com
University of Southern 1709 Chapel Drive Musical Instrument &
University of Michigan, California Thornton Valparaiso, IN 46383 Accessories Manufac-
School of Music, Theatre School of Music P: (219) 464-5454 turers
& Dance 840 West 34th St. E: music@valpo.edu
1100 Baits Drive Los Angeles, CA 90089 W: valpo.edu/music Walking Bird Publica-
Ann Arbor, MI 48109 P: (213) 740-6935 Colleges, Universities & tions
P: (734) 764-0593 E: uscmusic@usc.edu Conservatories 28 Westhampton Way,
 JAZZEDMAGAZINE.COM/DIRECTORY Classifieds
#1688 Colleges, Universities & WindTech Microphone worldculturaltours.com
Richmond, VA 23173
P: (800) 525-8247
Conservatories Windscreens & Acces-
sories
W: www.worldcultural-
tours.com
M e rc h a n d i s e
E: sales@walkingbird.com Western Michigan 7845 E. Evans Road Travel
W: www.walkingbird.com
Musical Instrument &
University
School of Music
Scottsdale, AZ 85260
W: www.windtech.tv Wright State University
GEORGE’S
PATH THROUGH IMPROVISATION
Accessories Manufac- 1903 W Michigan Ave Musical Instrument & 3640 Colonel Glenn Hwy.
turers: Walking Bird Kalamazoo, MI 49008- Accessories Manufac- Dayton, OH 45435 1 Visit
Tags, Forms and Labels
for Repair, Inventory and
5434
P: (269) 387-4667
turers P: (937) 775-3333
E: brody.mcdonald@
georgespath.com
Marketing purposes. E: music@wmich.edu Winthrop University wright.edu 2 Watch our videos and see in action with students

Wayne State University

W: www.wmich.edu/
music
Department of Music
129 Conservatory of
W: www.wright.edu/
music
3 Try it FREE for a month
1321 Old Main Colleges, Universities & Music Colleges, Universities &
Detroit, MI 48202 Conservatories Rock Hill, SC 29733 Conservatories
P: (313) 577-1795 P: (803) 323-2255
E: music@wayne.edu WhisperRoom, Inc. E: music@winthrop.edu XO Brass
W: music.wayne.edu 109 S. Northshore Drive W: www.winthrop.edu 12020 Eastgate Blvd
Colleges, Universities & Suite 303 Colleges, Universities & Nashville, TN 37122
Conservatories Knoxville, TN 37919 Conservatories P: (615) 773-9900
Contact:Debbie Sweany, W: www.xobrass.com
Wells School of Music at Sales Manager Wisconsin Conservatory Musical Instrument &
West Chester University P: (865) 558-5364 of Music Accessories Manufac-
817 S High Street P: (800) 200-8168 1584 N Prospect Avenue turers
West Chester, PA 19383 F: (865) 558-5370 Milwaukee, WI 53202 Re p ai r To ol s
P: (610) 430-4177 E: info@whisperroom. P: (414) 276-5760 Yamaha Corporation of
E: musicinfo@wcupa.edu com E: info@wcmusic.org America
W: www.wcupa.edu/ W: www.whisperroom. W: www.wcmusic.org Yamaha Corporation of
music com Festivals, Events & Tours America offers a full line
Colleges, Universities & Fixtures & Equipment Camps & Workshops of musical instruments
Conservatories Colleges, Universities & and audio/visual products
Willamette University Conservatories including piano and key-
Wenger Corporation Dept. of Music board products, band and
555 Park Drive Degrees: BA in Music; 900 Woodwind & Brasswind orchestral instruments,
Owatonna, MN 55060 State Street P.O. Box 4283 live sound products, music
P: (800) 733-0393 Salem, OR 97301 Woodland Hills, CA 91367 production hardware and
W: www.wengercorp.com Contact:Professor Mike P: (800) 346-4448 software, guitars, drums
Fixtures & Equipment Nord, Dept. Chair E: schools@wwbw.com and percussion.
P: (503) 370-6007 W: www.wwbw.com 6600 Orangethorpe
West Virginia University P: (503) 370-6687 Musical Instrument & Avenue
Creative Arts Center F: (503) 370-6260 Accessories Dealers Buena Park, CA 90620
PO Box 6111 E: wumusic@willamette. W: usa.yamaha.com
Morgantown, WV 26506 edu World Cultural Tours Musical Instrument &
P: (304) 293-5511 W: www.willamette.edu/ 2002 Eastwood Road Accessories Manufac-
E: MountaineerMusicA- go/music Suite 306 turers
cademy@mail.wvu.edu Colleges, Universities & Wilmington, NC 28403 Record Labels
W: music.wvu.edu Conservatories P: (877) 218-8687 Software
Camps & Workshops E: customerservice@

AdIndex
ADVERTISER PAGE WEB

Blues Alley C3 bluesalley.com

Cultural Tour Consultants 27 culturaltourconsultants.com
Dakota Saxophones 11 saxdakota.com
J.J. Babbitt Co. Inc. 7 jjbabbitt.com
Jamey Aebersold Jazz Aids C2 jazzbooks.com
JodyJazz, Inc. 3 jodyjazz.com
John Fedchock 9 johnfedchock.com
Marimba One 10 marimbaone.com
New Jersey Performing Arts Center 29 njpac.org/summer
NS Design 13 thinkns.com twitter.com/jazzedmag
Pearl Corp. C4 pearldrum.com
Rovner Products
The Art of Ligel, LLC
14
25
rovnerproducts.com
ligel.com ADVERTISE
The University of the Arts 5 cs.uarts.edu/sms JAZZed Classifieds

j a zzedm ag a zi ne. co m 702-479-1879

April/May 2019 • JAZZed 35
 Backbeat
Sam Pilafian 1949-2019
A
merican tuba player Sam Pilafian passed away from colon
cancer on April 5 in his Tempe, Arizona home. He was 69.
His eclectic work ranged from performing with Berna-
dette Peters and Barbara Cook, to playing with The New York Phil-
harmonic and the Boston Symphony Orchestra, and contributing
to the Pink Floyd’s iconic album The Wall on the track, “The Trial.”
Born James Samuel Pilafian on October 25, 1949, he first started
playing the accordion as a child, but changed to learning how to
play the tuba at age 11.
Originally from Miami, Pilafian first performed around his
hometown, including in hotel orchestras and a Dixieland band
that performed in the area. As a young adult, he graduated with a
bachelor’s degree from the University of Miami.
A summer fellowship at the Tanglewood Music Center for ad-
vanced music training brought him to Lenox, Massachusetts,
where he would go on to form Empire Brass in the early 1970s.
The group was put together per the suggestion of Michael Tilson
Thomas, the music director of the San Francisco Symphony, who
was a conducting student at Tanglewood at the time. The group,
which has toured North America, Europe, and Asia, has been the
faculty quintet-in-residence at Boston University since 1976, al-
though the members have changed multiple times since the
group’s formation. Pilafian,
himself, departed the ensem-
ble in 1993.
Other jazz projects Pilafian
was involved in include per-
forming with the Duke Elling-
ton Orchestra and working
with acoustic guitarist Frank
Vignola in the jazz group Travelin’ Light. The duo’s origin stemmed
from an Empire Brass recording session that Vignola was sitting in
on as a guest artist. The two musicians released five albums to-
gether throughout the 1990s, including a Christmas album titled
Christmas with Travelin’ Light.
Outside of jazz music, Pilafian dabbled in theater by perform-
ing in the Broadway musicals “Doctor Jazz” and “Much Ado About
Nothing.”
Pilafian also taught at Boston University, Berklee College of Mu-
sic, the Tanglewood Institute, North Dakota State University, Arizo-
na State University, and the Frost School at the University of Miami
throughout his career.
He will be remembered by fans of jazz – and many other over-
lapping genres – as a pioneer for tuba playing.

coming next issue t

The August/September 2019 issue of

will feature a conversation with

internationally acclaimed drummer,
percussionist, composer, and educator
Billy Cobham.

36 JAZZed • April/May 2019

BILLY COBHAM
 COUNT BASIE
O RC H E S T R A
RENEE MARIE

I N C O N C E RT
S AT U R D AY

APRIL 27, 2019

Purchase concert tickets: https://www.instantseats.com/index.cfm?fuseaction=home.main
Ella Fitzgerald Weekend Schedule: http://www.ellafitzgeraldcompetition.org/
Hotel Lombardy: https://www.hotellombardy.com/

bigbandjam.org
ellafitzgeraldcompetition.org
 “I am so fortunate to have found such a
beautiful ‘Pearl-of-a-flute’ which has been
my magic wand for my entire adult life!
It doesn’t play by itself, but when I breathe
life into it, it plays my heart!”
-Rhonda Larson

To Celebrate our Fifty Years,
we offer a very special hand
engraved Maesta 14k Gold
50th Anniversary Model.
Maesta
Let it Play Your Heart.
Grammy Award winning artist Rhonda Larson has enchanted
audiences around the globe with her World Fusion compositions.
An innovative performer, in demand teacher, author and prolific
recording artist, Maesta Gold has been her constant companion.
Find your muse in Maesta and let the world hear your heart sing.