JazzEd 2013 (3)

OCTOBER 2013

THE JAZ Z EDUC ATOR ’S MAGAZINE

JAZZedmagazine.com

Jeff Coffin Takes on Jazz Clinics

THE OFFICIAL PUBLICATION OF

Focus Session

Unlocking the Power of the Triplet in the College Classroom

Basic Training Using Tone Rows in Composition

FOR BIG BAND & PIANO NEW FROM AEBERSOLD

JAZZ

CHORDS IN MOTION

MOVING QUARTAL VOICINGS & RELATED STRUCTURES This new book by well-known pianist Andy Laverne satisfes a longawaited need: a method for moving voicings melodically, dramatically, and gracefully over the entire keyboard through various harmonies! Firmly rooted in contemporary theory and tradition, the emphasis is on practical performance application, illustrated by comping choruses over fve standard harmonies. Make your comping come alive! Replace static chords with voicings that move. 156 pages, spiral bound. ........... CIM $24.95

THE

GENERAL METHOD Jamey Aebersold Jazz

®

Available from your favorite music source. Visit www.jazzbooks.com or call 1 (800) 456-1388 for more information.

THE GENERAL METHOD A NEW METHODOLGY FOR A TIGHTER BIG BAND

Have th the ti tightest ht t Bi Big B Band d iimaginable! i bl ! IInstead t d off wasting ti valuable l time by rehearsing and learning each chart individually, Mats Holmquist explains the simple “rules” that apply universally for all charts – rules for articulation, dynamics, balancing, blending the sections, playing with the rhythm section, etc. Also includes valuable information on other important Big Band considerations such as recording techniques, setting up for public performance, delegation of authority, dealing with disparate personalities, and the roles/responsibilities of each chair and the rhythm section. For both players and band leaders. 120 pages. .............TGM $24.95

www.jazzbooks.com

“ ” contents 18

I want the students to know that I’m going to work just as hard as they are and that it’s me that owes them something, not the other way around. – Jeff Coffin

OCTOBER 2013

BASIC TRAINING: TONE ROWS IN JAZZ – Part I 14

departments

Discovering the many harmonic paths opened up by composing with 12-tone systems explored by 20th-century composers like Schoenberg and Webern. Follow in the footsteps of Bill Evans, Leonard Feather, and Gunther Schuller!

PUBLISHER’S LETTER 4

LESSONS LEARNED:

WHAT’S ON YOUR PLAYLIST? 12 Nicky Schrire

VIDEO RECORDINGS 17

NOTEWORTHY 6

Eugene Marlow looks into the possibilities available with a new global service that streams live video from jazz clubs around the world.

JAZZ EDUCATION NETWORK SECTION 22

SPOTLIGHT:

JAZZ FORUM 32

JEFF COFFIN 18

GEARCHECK 34

The widely accomplished sax player who has toured the world with Béla Fleck and Dave Matthews talks about how he’s solidifed his career as an in-demand jazz clinician.

FOCUS SESSION: POWER OF THE TRIPLET 30 A great tool to spice up any tune is the triplet, a rhythmic monkey wrench that’s worked for centuries. Dr. Damani Phillips investigates methods of helping students master this sometimes tricky concept.

CLASSIFIEDS 35 AD INDEX 35 BACKBEAT: Oscar Castro-Neves 36 Cover photograph: Rene Huemer; Vienna, Austria (www.renehuemer.com.)

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

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JAZZed • October 2013

Carl Allen, Artistic Director

Juilliard

JAZZ

DEGREE PROGRAMS:

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

Photo: Hiroyuki Ito

Work & Perform with Renowned Guest Artists International Tours Apply by December 1 • Juilliard.edu/jazz

Professional Development Coaching by Juilliard’s Dedicated Faculty Benny Golson, Artistic Consultant Jason Moran, Artist in Residence

SAXOPHONE Ron Blake Joe Temperley Steve Wilson

PIANO Kenny Barron Xavier Davis Frank Kimbrough

TRUMPET Eddie Henderson Christian Jaudes Joe Magnarelli Joseph Wilder

BASS Ron Carter Ray Drummond Ben Wolfe

Benny Green, Visiting Artist

TROMBONE James Burton III Steve Turre

Christian McBride, Visiting Artist

FLUTE Mark Vinci GUITAR Rodney Jones VIBRAPHONE Mark Sherman

DRUMS Carl Allen Billy Drummond Kenny Washington JUILLIARD JAZZ ORCHESTRA James Burton III, Conductor

publisher’s letter

Rick kessel

Bridging Many Gaps

I

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

October 2013, Volume 8, Number 5 PRESIDENT Terry Lowe [email protected] PUBLISHER Richard E. Kessel [email protected] Editorial EDITORIAL DIRECTOR Kevin Mitchell [email protected] EXECUTIVE EDITOR Christian Wissmuller [email protected] ASSOCIATE EDITOR Eliahu Sussman [email protected] ASSOCIATE EDITOR Matt Parish [email protected] Art ART DIRECTOR Garret Petrov [email protected] PRODUCTION MANAGER Mike Street [email protected] GRAPHIC DESIGNER Tony Calvert [email protected] GRAPHIC DESIGNER Jay Savage [email protected] Advertising ACCOUNT MANAGER Matt King [email protected] ACCOUNT MANAGER Dave Jeans [email protected] CLASSIFIED SALES Erin Schroeder [email protected] Business VICE-PRESIDENT William Hamilton Vanyo [email protected] CIRCULATION MANAGER Erin Schroeder [email protected]

6000 South Eastern Ave., #14-J Las Vegas, NV 89119 702-479-1879 Fax: 702-554-5340

JAZZ EDUCATION NETWORK

The Official Publication of JEN

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JAZZed • October 2013

JAZZ EDUCATION NETWORK

GILMORE

IS LEGACY

© 2013 Avedis Zildjian Company

Marcus Gilmore is part of a proud tradition of drummers inspired by the Zildjian legacy K sound. Discover all of the legendary dark sounds of the K Family. Warm, expressive K’s. Complex, modern K Customs. And K Constantinoples, famous for their perfectly blended tones. Marcus Gilmore plays K Constantinople. ZILDJIAN.COM

SOUND LEGACY

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

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

Berklee Online Adds First Bachelors Degree Berklee Online, long a resource fo online courses in music, business, and production. now offers their first undergraduate degrees online – a Bachelor of Professional Studies with areas of focus in Music Business and Music Production. Berklee Online’s current online offerings range from individual courses to certificate programs in specific specialties. They’ve also experimented with free classes and even recently released a BitTorrent bundle of music lessons. Earlier this year, Berklee Online and Southern New Hampshire University announced a jointly offered online MBA in Music Business drawing on specialties of each institution. Applications for the new bachelor’s degrees began on October 7, with the 6

JAZZed • October 2013

first class starting fall 2014. Annual tuition is $16,500, 60 percent cheaper than a traditional degree at Berklee College of Music. In addition, both previous college credits and life experience can be applied to the program which is “especially targeted to adult learners who have earned previous college credit and/or associate’s degrees but do not hold bachelor’s degrees.” berklee.edu

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

Ralph Alessi con’t

Welcoming New Faculty darmon Meader Vocal Jazz

dave Stryker Guitar

Wayne Wallace Trombone

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

Jimmy Ponder 1946 - 2013

Acomprehensive program

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

Scholarships and assistantships available!

Now accepting applications for instrumental and vocal jazz majors for the 2014 fall semester.

For a complete list of Jacobs School faculty, visit music.indiana.edu.

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

L i v i n g Mus i c

Faculty

Michael Spiro

8

Jeremy Allen

David N. Baker

Luke Gillespie

Pat Harbison

Steve Houghton

Joey Tartell

Brent Wallarab

Tom Walsh (Chair)

Ly Wilder

Steve Zegree

JAZZed • October 2013

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

Manhattan School of Music

Jazz Arts Program | Justin DiCioccio, Associate Dean, Chair

“It is a great community. Everywhere you look people are creating.” — P at r i c k B a r t l e y ( B M ‘ 1 5 ) Office Of AdmissiOns And finAnciAl Aid mAnhAttAn schOOl Of music 120 ClAremont Avenue, new York, nY 10027 917-493-4436 | [email protected]

www.msmnyc.edu

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

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

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

NAfME Conference Set for Nashville, Oct. 27-30

B b instruments

Mastering the Language of Jazz Caleb Chapman & Jeff Coffin

The CD features a world-class jazz quartet: Jeff Coffin (tenor saxophone), Victor Wooten (bass), Roy “ Futureman” Wooten (drums), and Chris Walters (piano).

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

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JAZZed • October 2013

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

NAfME Conference Set for Nashville (con’t)

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

CCM

jazz

continued from page 10

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

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Scholarships and graduate assistantships available

Joshua Redman with CCM Jaz

z Students

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

Faculty Scott Belck, director of jazz and commercial music

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

for further information College-Conservatory of Music

[email protected] 513-556-5463 fax: 513-556-1028 ccm.uc.edu

October 2013 • JAZZed

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

1. “Road Song” – Tigran Hamasyan I was frst introduced to Tigran’s music through his album, Aratta Rebirth. He writes such exquisite melodies and uses the voice of Areni Agbabian so efectively in delivering these melodies. His writing neatly straddles the lines between improvised music, soundtrack-like harmonies, and beautifully crafted songwriting. “Road Song” is quite cinematic in its development and evocative orchestration. It really celebrates beauty. Pure and (deceptively) simple. 2. “The Lady Vanishes” – Matt Ulery’s Loom I was a little late to the party when it comes to Matt Ulery. And I also discovered his music in a roundabout way, starting with his previous album, By A Little Light (which is fantastic). Fortunately I fnally arrived at his recent ofering and became engrossed in the world he creates with his moody, detailed writing. His instrumentation and orchestration is brilliant and so nuanced – I discover something new every time I revisit this album and, specifcally, this track. 3. “Come Talk To Me” – Geofrey Keezer Based on my previous choices, it’s fairly clear that I’m drawn to piano-driven music. Geofrey’s rendition of Peter Gabriel’s song is all at once joyous, virtuosic, and addictive. I think I might even prefer it to the original (don’t tell Peter!). He manages to unearth and highlight the melodic essence of the song while maintaining the driving momentum through the use of a rolling ostinato pattern. He is also so tasteful in how he colors the harmonies – they infuse “jazz” into his rendition but the overall style and sound are still contemporary and very pop-infuenced. A fantastic example of bringing popular repertoire into the jazz realm.

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JAZZed • October 2013

4. “We All Love Neil Young” – Bill Frisell At 1:38, this tune of Bill’s Big Sur album is sweet perfection. It overfows with character and quirk while presenting a straightforward but evocative melody played on the violin by Jenny Scheinman. It’s a brilliant example of “less is more.” 5. “Like The Morning Dew” – Laura Mvula Laura is getting a lot of buzz at the moment – and deservedly so. I’d be hard pressed to fnd anyone else who manages to blend memorable songwriting, full orchestral accompaniment, and four-part vocal harmonies the way she does. She trained at the Birmingham Conservatory and her consummate musicianship and musicality really shine through. Her concept is neatly executed with such thought and care. And after all that analyzing, it’s just great music that is fun to listen to. 6. “Mousso” – Fatoumata Diawara Although Fatou isn’t from South Africa (she was born to Malian parents in Côte d’Ivoire), there is a common thread in sound that runs through all music from the African continent. The mere sound of the acoustic guitar in the intro, followed by the entrance of the shaker, is enough to make me feel homesick. It’s fairly typical of African music to utilize very few chords within a song and I marvel at Fatou’s ability to create diferent sections and melodic variation within these harmonic limitations. Her music also emphasizes the power of creating a strong sense of atmosphere through writing and delivery. Harmonic shifts, obvious rhythmic complexities and a multitude of other devices are overrated and are often to blame for the lack of mood in a song. There’s no shortage of ambience in Fatou’s music.

7. “Closer to the Source” – Bheki Mseleku For many people, Abdullah Ibrahim is their “go-to South African jazz pianist.” Mine is Bheki Mseleku. He was both a technical and lyrical player, and a prolifc composer. Courtney Pine’s soprano playing on this tune is beautifully matched with Bheki’s percussive accompaniment and the interplay between them is seamless. 8. “Rollercoaster” – Thomas Newman (from the White Oleander Original Motion Picture Soundtrack) I am, without a doubt, obsessed with Thomas Newman’s work. His scores are easily identifed through the presence of parallel chord motion, piano-led melodies, and his skill in navigating shifts between sweeping, lush, full orchestral episodes and contrapuntal, percussive interludes (highlighting the use of marimbas and xylophones as in his American Beauty score). “Rollercoaster” is a meandering piece of music but it is orchestrated with such care and attention to detail – the tinkle of a bell fades in and out, futes deliver brief ascending and descending phrases. There’s so much to hear in a “song” that doesn’t seem to go anywhere. It’s a fascinating aural experience.

9. “July Flame” – Laura Veirs The production in this song is so gorgeous. I also love how clever the writing is – the initial entrance of the melody doesn’t necessarily match where one thinks the downbeat will be when the drums enter. This realization never fails to amuse me. And I love Laura’s lyrics and imagery. She’s a superb songwriter. 10. “A Fine Spring Morning” – Blossom Dearie Blossom was ahead of her time. Her delivery was always unfussy and there’s a contemporary air to her music regardless of whether she was singing tunes from the ‘30s, ‘40s, or ‘50s due to her brilliant interpretation skills. She infused her biting sense of humor into countless standards and her understated musicality was second to none. I’ll always wish I’d had the opportunity to hear/see her live before she passed away. Nicky Schrire’s latest album, Space & Time (Magenta Records ARG), was released on September 10, 2013. www.nickyschrire.com

JAZZ

DOES NOT BELONG

TO ONE RACE OR CULTURE

BUT IS A GIFT THAT AMERICA HAS GIVEN THE WORLD

THIS IS OUR GIFT BACK

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

October 2013 • JAZZed

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basic training |

TONE ROWS

Using Tone Rows in Jazz Composition – Part I by PAUL J. MUSSO

A

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

#5 #4(H5) M7

R

11 H3 H3 11 H3

9

#11

13

The frst step in exploring Evans’ technique involves grouping the notes of the tone row and then analyzing all harmonic possibilities of each group of notes. This will eventually create a harmonically tonal backdrop from a tone row. Before doing this, a tone row must be created. 14

JAZZed • October 2013

Ex. 2 Tone Row Example

0

5

10

9

7

6

11

4

2

8

3

1

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

Four-Note Cells

Two-Note Cells

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

R

4 or 11

H7

6 or 13

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

Ex. 6 Note Group 1 DH Root Context

The dominant context of the notes contained in group one could also be considered an altered dominant with a sharp ninth and a fat thirteen. Ex. 8 Note Group One, D Root Context – D Altered Dominant

Maj7

3

6 or 13

#5

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

H7

H3

H13

H7

H13

#9

5

When EH is the root note context, two harmonic possibilities occur: EH69 and EH13. Ex. 9 Note Group One EH Root Context

6 or 13

9

5

#11

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

H13

5

H9

H5

11

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October 2013 • JAZZed

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

5

R

4

TONE ROWS

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

Ex. 12 Note Group One, F# Root Context

A G root note creates a simple Gm11 chord. The presence of the guide tones F and BH imply a minor seventh chord, with the added nine and eleventh. Ex. 13 Note Group One, G Root Context

3

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

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3

#5

H9

9

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

#9

H9

#5

R

The BH root note implies two harmonic possibilities: BHMaj9 and BHm(Maj9). Ex. 16 Note Group One, BH Root Context

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JAZZed • October 2013

9

5

R

7

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

lessons learned

VIDEO RECORDINGS

V Cameras in Jazz Clubs: The Educational Potential by Eugene Marlow, Ph.D.

B

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

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

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

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Jeff coffin

PHOTOS: RENE HUEMER

spotlight

JEFFTakes COFFIN on Jazz Clinics By MaTT Parish

The star saxophonist of Béla Fleck and the Flecktones, Dave Matthews Band, and the Jeff Coffn Mu’Tet talks about his growing contributions to the world of jazz clinics.

I

t wasn’t long before Jef Cofn’s frst-ever pedagogy jazz clinic that he fnally realized what he’d actually be teaching. “I had thought about it for about nine months and I still wasn’t sure what I was going to do,” says the veteran saxophonist over the phone from a gig in Amarillo, Texas. “I was standing in the shower the morning of the clinic thinking, ‘I’m screwed.’” But then it came to him – fundamentals.

Cofn realized that to get nearly any student on his or her feet, he’d only have to get them to focus on a few broad concepts that could, in turn, open pathways to almost every corner of jazz. “I came up with what I call ‘The Big Five,’” he says. “At the top of that is listening, which is the blanket over the top. The other four are tone and dynamics, rhythm and time, harmony, and articulation. I’ve yet to fnd anything fundamentally that doesn’t ft under one of those things.” Cofn established himself as one of his generation’s premier saxophonists years ago as a member of the pioneering jazz/jamband Béla Fleck and the Flecktones. He’s since formed his own stellar group (the Mu’tet) and become a regular member of the Dave Matthews Band. But in recent years, Cofn has also built a reputation as great jazz clinician. With his streetwise sense of performance, real-world experience, and afrming attitude toward all hopeful young jazz musicians, Cofn has become a model for professional performers looking to reach out to the next generation. 18

JAZZed • October 2013

“I call it ‘corrupting America’s youth,’” he says with a laugh. “We’re trying to help shape them. We’re trying to give them some tools, so that when they get out there in the world, it won’t be a huge shock to them.” Cofn has lived in Nashville since 1991, traveling the world with a number of diferent groups ever since he moved there. He graduated with a music degree from the University of North Texas, performing with that school’s famous One O’Clock Lab Band and studying with Joe Lovano on an NEA grant. He began touring with Béla Fleck in 1997, going on to win three Grammy awards with that group as well as having his song “Zona Mona” nominated for Best Pop Instrumental Composition. Cofn joined the Dave Matthews Band in 2008. Throughout that time, he collaborated with everyone from Branford Marsalis to DJ Logic; Maceo Parker to Lynyrd Skynyrd. In 2001, he branched of into education after a few colleagues had contacted him about the idea. Caleb Chapman

I want the students to know that I’m goIng to work just as hard as they are and that It’s me that owes them somethIng, not the other way around.

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

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

October 2013 • JAZZed

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spotlight jeff coffin

Saxophonist and futist Gary Thomas chairs Peabody’s Jazz Studies program For information, contact the Ofce of Admissions Toll Free 800-368-2521 In Maryland 410-234-4848 1 East Mount Vernon Place Baltimore, MD 21202

peabody.jhu.edu/admissions

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

Cofn has also recently fnished up a new method book with Caleb Chapman for Alfred Music Publishing titled The Articulate Jazz Musician. It’s full of new tunes that utilize Chapman’s “syllabic method” of education [see JAZZed’s cover story on Chapman in our September 2011 issue] and comes with an accompanying CD with backing band performances by Roy

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

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JAZZed • October 2013

CHICAGO PERFORMS. SO WILL YOU. Bachelor of Music in Jazz and Contemporary Music with concentrations in vocal or instrumental performance MAX BENSON (B.M., 2012) Bassist with Jamie Lono from The Voice

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Wooten on drums, Chris Walters on piano, and Victor Wooten on bass. “This thing will revolutionize how jazz bands sound in schools,” he says. Chapman has been using the method for years at his renowned jazz school in Utah. But regardless of where the students are, Cofn fnds that they’re all looking for the same thing. “They want to be recognized and they want you to know that they can play well,” he says. “They’re just barely out of childhood and trying to gain momentum personally and spiritually and musically and artistically.” Beyond that, Cofn notes that some of the best education will come once the students venture beyond the classroom walls. In efect, it brings his role in a student’s development full circle. “I tell them to get out there and experience and about the ‘power of yes.’” “I mean, I’ve played some terrible gigs, man!” he says. “I rode on a road case with a cape while someone shot confetti over the top of me with a snowblower. I mean, I’ve done some bad gigs. So I tell [students] that whatever you go up there and do, it’s an experience. Sometimes the bad ones are the best because you don’t want to go back to them. “It’s a motivational tool, for sure.”

roosevelt.edu/CCPA (312) 341-6735 [email protected] Text CCPA to 57711

October 2013 • JAZZed

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

Andrew Surmani | JEN President

JEN Board of Directors (2013–14): Rubén Alvarez, Paul Bangser, Bob Breithaupt, Cheryl Carr, Caleb Chapman (Vice President), John Clayton, José Diaz, Dr. Lou Fischer (Immediate Past President), Dr. Darla Hanley, Dr. Monika Herzig (Secretary), Judy Humenick, Rick Kessel (Treasurer), Mary Jo Papich (Past President), Bob Sinicrope (President-Elect), Andrew Surmani (President). Office Manager: Larry Green; Webmaster: Gene Perla; Marketing & Communications: Marina Terteryan; Web Hosting: AudioWorks Group, Ltd./JazzCorner.com; Bookkeeper: Lynda Chavez

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JAZZed • October 2013

2014 CONFERENCE PREVIEW News from the 2014 Conference JENEROSITY PROJECT

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

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

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

Ryan Adamsons,

Conference Offce Coordinator

On-Site Assistant Production Coordinator

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

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

October 2013 • JAZZed

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2014 CONFERENCE EVENING CONCERTS

WEDNESDAY, JANUARY 8

Brad Leali Jazz Orchestra

The New Collection

HSPVA Jazz Combo I , with Dennis Dotson

THURSDAY, JANUARY 9 California State University Long Beach: Pacifc Standard Time Jef Cofn & the Mu’tet

Brecker Brothers Revisited: Caleb Chapman’s Crescent Super Band with Randy Brecker, Ed Calle

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JAZZed • October 2013

2014 CONFERENCE EVENING CONCERTS

FRIDAY, JANUARY 10 Bob Mintzer, Dave Stryker, Peter Erskine, John Clayton Quartet

JJovino Santos Neto Quinteto, with Q JJohnaye Kendrick

Jim Widner Big Band

SATURDAY, JANUARY 11

Bass Extremes w/Victor Wooten, Steve Bailey, and DeRico Watson

University of North Texas One O’Clock Lab Band with guest artist TBA

Vertical Voices

For a complete concert and clinic listing, visit JazzEdNet.org. Artists and programming subject to change.

October 2013 • JAZZed

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2014 CONFERENCE HIGHLIGHTS

CLINICS AND PRESENTATIONS

Sing it First, Wyclife Gordon

Vocal Jazz Concepts for Young Choirs, Natalie Wilson

Lead Trumpet Playing With The Count Basie Orchestra, Michael Williams

INSTRUMENTAL & VOCAL ENSEMBLES

The Evolution of the Jazz Rhythm Section, Daniel Glass

Receive Graduate Credit through the University of Miami for attending the 2014 Conference. Details available at JazzEdNet.org.

Indian Ridge Middle School Jazz Ensemble

Dan Haerle Quartet

Berklee College Vocal Jazz Ensemble

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JAZZed • October 2013

HKIED Jazz Ensemble

2014 CONFERENCE HIGHLIGHTS EXHIBITORS Michael Abene & Richard Sussman Advanced Music Mainz Aebersold Jazz Aids African American Jazz Caucus Alfred Music (F) Andreas Eastman Antigua Winds Avedis Zildjian Co. B&S Baker’s Jazz and More Bach Berklee College of Music Besson Brook Mays Music Buffet Crampon Buffet Group USA Cannonball Musical Instruments Capital University Conservatory of Music Chamber Music America

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

JAZZed Magazine (F) Jazz Times JodyJazz Inc. Jupiter K. Keilwerth Kendor Music, Inc. (F) King Leblanc MacSAX Make Music, Inc. Manhattan School of Music Mapex Music & Arts North Eastern Music Publications, Inc. Pender’s Music Company Romeo Music Routledge Publishing Rovner Products Saxquest, Inc. Schrieber Scherzer

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

JENerations JAZZ FESTIVAL

Longhorn Stell Band (TX)

Temple High School Blues (TX)

Austin Academy Jazz Ensemble I (TX)

Carroll Senior High School (TX)

For a complete concert and clinic listing, visit JazzEdNet.org. Artists and programming subject to change.

October 2013 • JAZZed

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NETWORTHY NEWS Networthy News from JEN Members Here is how JEN members are serving the jazz arts community by advancing education, promoting performance, or developing new audiences. For a chance to be included in print or online, send your own Networthy news in 100 words or less, along with a high-res photo to [email protected]. School ensembles: want your music played on the radio and streamed worldwide? Send them to Jim Compton-Schmidt, a DJ in Fresno, CA from jazz station KFSR-FM, who plays the music of student groups during his weekly radio show. In his 12-hour set on Thursdays, the noon-2 pm hour is dedicated entirely to school jazz ensembles of all levels: middle school to university, vocal and instrumental. DJ Jim says, “I am blessed by playing a genre of jazz that very few people have a chance to listen to. School jazz groups are exciting! Don’t think twice, just send YOUR group’s CD to me and I’ll be happy to give it a listen! I love this music and love young folks performing it! I am of the opinion that doing an hour or two each week of music that has been left out of America’s classical music (jazz) for far to long... I usually get a call during that program asking ‘Who was that great vocalist on “Summertime” and what was the great band?’ and it gives me pleasure to say, ‘That was Michal Milner, she was a junior at Lincoln high school in Sioux Falls, SD when this was recorded. the program was under the direction of Bob Carlson!’” Send CDs to: Jim Compton-Schmidt, KFSR 1326 West Kramer Ridge Road Reedley, Ca 93654 (559) 637-0165 KFSR.org Among many interesting recent projects, former scholarship recipient Laila Smith (MA) recently released a new album titled Polenta. The album includes a unique collaboration with Sacramento poet, and NEA Fellow, William O’Daly, and his translations of Nobel Laureate Pablo Neruda. polenta.bandcamp.com Carmen J. Cartiglia (FL) recently founded and produced the Miami Beach Jazz Festival, which will be held on November 16, 2013 in Miami Beach, Florida. The festival will feature headliner Michelle Coltrane, vocalist and daughter of jazz legend John Coltrane. miamibeachjazz.com 28

JAZZed • October 2013

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

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

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

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

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

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focus session

triplets

Unlocking the Power of the Triplet in the College Classroom Yielding Maximum Potential from Basic Concepts by Dr. Damani Phillips

A

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

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

Basic Rules 1. With the exception of appropriate treatment of eighth notes (swung or straight), notes should not be “stylized” and the prescribed rhythm of focus should not be altered in any way (with exception of making space to breathe). Also, all notes should be slurred together unless indicated diferently below. Removing these expressive aspects from the exercise allows the student to focus exclusively on the sound and feel of the rhythm being used, making quality note choices, and proper application of articulation (when necessary). 2. In the beginning, note choices should be primarily diatonic, with only the occasional use of chromatic passing tones or leading tones. This forces the students to consider both rhythm and harmonic/melodic content as equally important. Once rhythmic mastery and harmonic accuracy are demonstrated, this rule can be relaxed. 3. Avoid the use of digital patterns. Many popular patterns will work well in this context, but this concept works best when applied to lines that are based in linear melody. 4. Avoid repeated notes.

The Process If you haven’t already tried this with your students, steps 1 and 2 are a great way to get them thinking about connecting chord changes in a new way. I suggest that the exercises below be applied over a slower standard tune (120 b.p.m. or less) that you and/or your students are already 30

JAZZed • October 2013

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

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

“

The careful manipulaTion of someThing as simple as a TripleT can be used To significanTly To expand The creaTive paleTTe. Step 2

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

”

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

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

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

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

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

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

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jazzforum

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

www.aajc.us

James Weldon Johnson’s Black Manhattan, Pt 1 An Introductory look at famed African American historian James Weldon Johnson’s acclaimed book, Black Manhattan. The following excerpt is a reprint of the Introduction by Ms. Sondra Kathryn Wilson of the Johnson Memorial Foundation, NYC, in the 1991 version by Da Capo Press, Inc. Some minimal editing is by Dr. Larry Ridley, 2013: If you ride northward on Manhattan Island, go through Central Park and exit at 110th Street and Lenox or Seventh Avenues, you cannot help marveling at the sensational change in your surroundings – the beginning of black Manhattan. In his story of the African American in New York, James Weldon Johnson describes this setting as “a black city located in the heart of white Manhattan composed of more blacks to the square mile than any other spot on earth.” Johnson adds, “It strikes the uninformed observer as a phenomenon, a miracle straight out of the skies.” In Black Manhattan, James Weldon Johnson traces the activities of African Americans in New York from 17th-century Dutch New Amsterdam down to the Harlem Renaissance of the 1920s. He combines the merits of frst-hand knowledge with cultural commentary to describe the development of African American music, art, and literature with unusual critical insight, and fnally ofers a sound evaluation of Harlem in the 1920s and its probable future. By that time, there were more African American journalists, intellectuals, poets, composers, singers, musicians, dramatists, and actors of note and distinction in Manhattan than in all other cities put together in the country. Harlem had become the black Mecca of the world. James Weldon Johnson was born into an economically secure family on June 17, 1871, in Jacksonville, Florida. His parents, James and Helen Dillet Johnson, nurtured his artistic inclinations with languages, literature, and music. In 1887 they sent him to Atlanta University to complete his high school and college training. Following his freshman year at the university, he decided to teach summer school in rural Georgia. For three months he lived in the backwoods, communicating with only the members of his race. These natives of Hampton, Georgia, did not care to know of his family background, his interests, his character, his title. About this education, he wrote, “I was anxious to learn to know the masses of my people, to know what they thought, what they felt, and the things of which they dreamed; and in trying to fnd out, I laid the frst stones in the foundation of faith in them on which I have stood ever since.” This experience marked the beginning of his knowledge and interpretation of the Black Experience, the beginning of his conversion

“Harlem Had become tHe black mecca of tHe world.”

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JAZZed • October 2013

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

jazzforum mal classroom and his practical knowledge of the theater. While Johnson engaged in his studies at Columbia University and continued his music career, he joined the New York Colored Republican Club. In 1905 he succeeded Booker T. Washington loyalist Charles Anderson as president of the club. Through this experience, he learned that allegiance is a powerful force in American politics. And in this political system, he gained an appointment from President Theodore Roosevelt as United States Consul to Venezuela in 1906. By 1909, Roosevelt had promoted him to Nicaragua. Because of the change in political parties and race prejudice, he knew his chance for a European post was slim. The fact that he had an outstanding record was inconsequential. As a black man, he was at the top of the diplomatic feld. He resigned from the consular service in 1913. From that time forward, he put forth all of his skills and talents to the creation of African American literature and culture. During his tenure as a diplomat in Nicaragua, Johnson wrote his only novel, The Autobiography of an Ex-Colored Man, in 1912. This classic exemplifes Johnson’s contention that the real substance of black life should be the prime source for black fction. Johnson returned to New York, and in 1914 he joined the staf of the New York Age, the oldest of the New York black papers. Writing a column under the masthead, “Views and Reviews”, he attacked such issues as lynching, employment discrimination in the Federal Government, and the atrocities perpetrated against black servicemen. His column attracted the attention of NAACP Chairman of the Board J.E. Spingarn. As a participator in building the early civil rights movement, Johnson ended up spending fourteen years at the NAACP living out his Atlanta University ideals of “service” to his race. To date, James Weldon Johnson is considered one of the most efective leaders in the history of the NAACP. In 1930 he resigned to become the Adam K. Spence Professor of Creative Literature at Fisk University in Nashville, Tennessee. Four years later, New York University ofered him a similar position, making him the frst African American professor in the institution’s history. He held both positions concurrently until 1938, the year of his death. James Weldon Johnson’s search for an “Afro-centric Tradition” for black American literature and culture was unintentional at

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

October 2013 • JAZZed

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

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