JazzEd 2014 PDF

MARCH 2014
mmrmagazine.com
Daniel
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Roundtable
Jazz Camps & Workshops
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ACHIEVEMENT 101
Time is limited ...
... choose wisely.
Available from your favorite music source or visit
www.jazzbooks.com for a complete product listing.
The drum set is kind

of uniquely qualified to tell
the story of America and
American music in a really
interesting way.
16
contents
MARCH 2014
ROUNDTABLE: JAZZ CAMPS & WORKSHOPS 10

A collection of educators from esteemed programs around
the country discuss the continuing advantages of and latest
trends in intensive jazz workshops.
LESSONS LEARNED: RABID ABOUT JAZZ 14
departments
EDITORS LETTER 4
NOTEWORTHY 5
Anne Farnsworth recalls the challenges and rewards of her

spring semester teaching jazz piano in Latvia on a Fulbright
Scholarship.
HELEN SUNG: Whats On Your Playlist? 9
SPOTLIGHT: DANIEL GLASS 16
JAZZ FORUM 32
Rockabilly and swing revivalist Daniel Glass (Royal Crown

Revue, Brian Setzer Orchestra), talks about the development
of his uniquely inclusive approach to jazz education, and how
it proved invaluable to his own career.
GEARCHECK 34
FOCUS SESSION: HOMAGE TO BILL EVANS 21

Lee Evans shares the reasons behind his (and others)
appreciation for pianist Bill Evans.
JAZZ EDUCATION NETWORK SECTION 24
CLASSIFIEDS 35
BACKBEAT: Roy Campbell, Jr. 36
Cover photograph by Marco Soccoli.
JAZZed Volume 9, Number 2, March 2014, 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 2014 by Timeless Communications Corp., all
rights reserved. Printed in USA.
JAZZed March 2014
editors letter
CHRISTIAN WISSMULLER
Narrowing the Gap
n this months cover story, drummer and educator Daniel Glass discusses the importance of helping younger players relate to earlier
eras of jazz: I try to help people make connections between diferent
styles, so that they realize, Oh, okay I do have a lot in common with
this older music, I can access this music, I get it. Swing music in its day,
rhythm & blues music in its day, bebop in its day these were all radical
forms of music that parents didnt want their kids to listen to. This was
dangerous, vibrant, and revolutionary for its time.
Not that its inherently necessary for a style of music to be dangerous in order to appeal
to a younger listener or player, but its perhaps worth reminding ourselves, occasionally, that
to the average 13 year-old, jazz many not at frst glance/exposure seem particularly relatable. The chasm between a style of music most often represented via nearly century-old
black & white images (jazz) and the high-defnition, online streaming beats of today can
appear immeasurable. Helping to narrow that gap which Glass and many other educators
make a priority in their teaching style allows for jazz to become less a purely academic
pursuit for younger players and more a relevant, current artistic expression.
We used to be able to say to young students, while demonstrating the style of Basie or
Ellington, This is the music your grandparents considered pop music, notes Paul Contos
(faculty member at UC Santa Cruz, California State University, Monterey Bay, and saxophone
clinician and director of
Its perhaps worth reminding ourselves,
both The Next Generation
occasionally, that to the average 13 yearJazz Orchestra and Monterey County All-Stars) in
old, jazz many not _ at frst glance/exposure
_ seem particulary relatable.
this months roundtable on
the topic of jazz camps and
workshops. Now, were at a place where the truth is that the grandparents of young musicians now were into music like Journey and the Grateful Dead, Prince, or Madonna. Our
challenge now is to bring that home to young musicians and make that relevant.
That challenge is no minor hurdle. In the best of scenarios, jazz is not going to be as resonant as most pop music (for young kids or their grandparents) because, lets face it, whether
youre talking Basie, Ellington, Miles, Metheny, or Esperanza Spalding, those musicians ofer
up considerably more complex and challenging fare than Madonna or Journey. Thats not
a bad thing the thought that goes into, and skill displayed in the execution of, jazz is why
we like it. Being fercely proud of and justifably so the talent required for the creation
of this music and the history behind the culture is an admirable thing. Its when that pride
becomes arrogance that the door is shut on potential future practitioners of this art.
As Glass laments in this issue, Unfortunately a lot of jazz education really buries its head
in the sand and sort of looks down on todays popular music. And to whatever extent hes
correct: take it as a wake-up call. Whos to say that the punk rock kid in the Bad Brains shirt
at your school couldnt fnd the connection to John Zorn? And from there to Ornette Coleman, and from there to Charlie Parker? Why assume that the EDM fan in your music class
who really locks into bass grooves wouldnt instantly connect with Jonas Hellborg, or Jaco,
or Mingus? As Glass notes, Dont close your mind to whats happening now. If something
is popular, fgure out why its popular and then fnd the parallel to what made jazz popular
when it was the pop music of its day.
The future of jazz as an evolving, living musical form and not exclusively as a historical
preservation frozen in time and directed at a select few is dependent on connections with
youth and partnership with contemporary movements.
We need to keep pushing for more collaborations with arts organizations and to make
headway into the culture so that jazz has a legitimate place alongside indie forms and hiphop forms and pop forms, says Contos. Jazz is a small, niche thing and it doesnt have to be
that way.
March 2014
Volume 9, Number 2
PRESIDENT Terry Lowe
tlowe@timelesscom.com
Editorial
EDITORIAL DIRECTOR Kevin Mitchell
kmitchell@timelesscom.com
EXECUTIVE EDITOR Christian Wissmuller
cwissmuller@timelesscom.com
ASSOCIATE EDITOR Eliahu Sussman
esussman@timelesscom.com
ASSOCIATE EDITOR Matt Parish
mparish@timelesscom.com
Art
ART DIRECTOR Garret Petrov
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PRODUCTION MANAGER Mike Street
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GRAPHIC DESIGNER Tony Calvert
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GRAPHIC DESIGNER Angela Marlett
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ACCOUNT MANAGER Greg Sutton
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Business
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JAZZ EDUCATION NETWORK
The Official Publication of JEN
RPMDA
JAZZ EDUCATION NETWORK
JAZZed March 2014
noteworthy
NEC Students and Alums Win
Herb Alpert Award
New England Conservatory Jazz Studies student Andrew Schiller and alumni
Jef Schneider and Christopher Zuar have
been selected to receive 2014 Herb Alpert
Young Jazz Composer Awards. Schiller is
a jazz bassist and composer working toward his Master of Music degree at NEC.
Schneider is a composer and multi-instrumentalist who earned his Bachelor of
Music degree in Jazz Performance from
NEC in 2009; this is his third Young Jazz
Composers Award. Zuar, a composer and
arranger, also earned his Bachelor of Music degree in Jazz Composition from NEC
in 2009.
Established by The ASCAP Foundation
in 2002 to encourage gifted jazz composers under the age of 30, the program carries the name of the trumpeter and ASCAP
member Herb Alpert in recognition of The
Herb Alpert Foundations multi-year fnancial commitment to support this unique
program. The recipients, who receive cash
awards, range in age from 11 to 29, and are
selected through a juried national competition. Winners will be honored during AS-
Lawrence E. Clark III, Frank Smith, and Monika Herzig

performed at a 2013 International Jazz Day event in
Indiana, honoring their local jazz legends.
ASCAPs Cia Toscanini, 2014 ASCAP Foundation Herb Alpert Young

Jazz Composer Award judge Rufus Reid, ASCAP Foundation
director Colleen McDonough, and 2014 ASCAP Foundation Herb
Alpert Young Jazz Composer Award judges Ken Hatfield and
Sachal Vasandani.
CAPs Jazz Wall of Fame event on June 9th,

2014 at the New York Institute of Technology in New York City.
Commenting on the awards, Ken
Schaphorst, Chair of the Jazz Studies Program at New England Conservatory notes:
Im always thrilled when our students
receive recognition and support from institutions such as ASCAP. And its doubly
satisfying when those recognized are as
deserving as these three hard-working
and talented young composers.
nec.edu and ascap.com
Thompson Joins New Late Night Band

St. Louis native and rising jazz star Kimberly Thompson recently joined the lineup of the brand new house
band on NBCs Late Night with Seth Meyers. Thompsons highest profle gig to date has been that of the
drummer in the all-female backing band for pop star
Beyonce, though shes been busy in the two years
since leaving that gig. Thompson has found work
songwriting, producing, teaching, and performing a
variety of jazz gigs with musicians like Mike Stern.
The new band, dubbed The 8G Band in honor of
the studio where the show is taped, will perform every night of the week on the show, which was recently
taken over by Meyers after Jimmy Fallon moved on to
host The Tonight Show. It will be led by comedian Fred
Armisen, formerly of SNL and currently with his own series, Portlandia.
The rest of the band is culled from a diverse group of indie rock luminaries, including
Seth Jabour, Eli Janney, and Syd Butler.
Take 5 on
International
Jazz Day
From California to Minnesota,
Oklahoma to Maine, from Fiji to Lithuania, China to Tunisia, citizens from
every corner of the world will celebrate International Jazz Day on April
30. The Jazz Education Network (JEN)
and the Thelonious Monk Institute of
Jazz (TMIJ) are encouraging teachers
everywhere to Take 5 and share the
positive lessons of jazz music to their
classrooms. Five minutes, that is.
With Take 5, were trying to show
teachers of all disciplines - not just
music, art, and the humanities - that
teaching and learning about jazz is
not only fun but also easy, said Dr.
J.B. Dyas, VP of Education and Curriculum Development for the Monk Institute. Jazz is Americas indigenous
musical art form, with a rich history
behind it, but appreciating what it
stands for doesnt have to be a complicated exercise. We want people to
understand that bringing jazz into
the classroom for just fve minutes or
more can have a positive impact on
students no matter the subject.
Take 5 is an initiative to encourage and inspire educators from every
discipline to dedicate 5 minutes (or
more) on International Jazz Day, either at the beginning or end of their
class, sharing the vibrant and fun
elements of jazz music with young
continued on pg. 6
March 2014 JAZZed
noteworthy
Take 5 on International Jazz Day

continued from pg. 5
people. It draws its inspiration from

the chart-topping 1959 hit composed
by Paul Desmond and made famous
by international jazz ambassador Dave
Brubeck.
Helpful examples of how to celebrate with your students:
Play jazz recordings (including Take
5) or video clips in your classroom.
Discuss with your students and ask
what they thought about the piece.
How is it like music today?
Encourage students to share a video
or recording of a jazz tune on their
social media pages.
Invite a local expert to conduct a listening session or give a talk to your class.
Schedule a jazz-themed performance
or concert by your school band or choir.
Decorate your classroom with jazz
posters, or pictures of jazz artists.
Trumpeter John Raymond performed during a 2013 JAZZ2U master class at the University of North Texas.
Ask your students to draw or write

about how jazz makes them feel or
think while listening.
Have students research the local
roots of jazz in your town or city.
What makes jazz in your city unique?
Ask your students to interview older relatives about their experiences
with jazz.
Have students listen to their favorite

songs and share the results with the
class.
Take 5 is intended to facilitate programming - not limit it. International
Jazz Day represents a great opportunity for people in communities across
America and beyond to experience the
power of jazz - no matter how big or
continued on pg. 8
Summer Institute Music Program

for high school students
July 6 - 19
Music Performance
Music Business,
Entrepreneurship + Technology
Request a brochure at uarts.edu/precollege-music, 215.717.6430 or precollege@uarts.edu.

6
JAZZed March 2014
Join. Participate. Advocate.

The National Network for
Music Education Advocacy Needs You!
Tap into the SupportMusic Coalition network and
resources to keep music education strong.
Join the network today!
5790 Armada Drive Carlsbad, CA 92008 760.438.8001 www.namm.org
noteworthy
continued from pg. 6
small a package it comes in. We want to

make sure that, whether youre a teacher
with a set lesson plan for the day or are
interested in a more expanded involvement, educators have an option that fts
their needs. To that end, JEN is hosting
the second annual JAZZ2U grant program, which helps fund the fee for a performer, speaker, or clinician at a jazz-related event. JEN members can apply for
a grant on the JEN website. The grant,
thanks to the generous support of the

Herb Alpert Foundation, can be used
anytime throughout the year, but we are
encouraging use during April (International Jazz Month), especially on April 30
(International Jazz Day).
Take 5 - or more - and celebrate International Jazz Day with your students!
Please register your activity to join in the
global celebration.
Find out more by visiting jazzday.
com or jazzednet.org/jazzinapril
The Players
Choice
jjbabbitt.com
Mouthpieces for all clarinets and saxophones
JAZZed March 2014
I would like to sincerely thank

you for printing Mike Carubias article on Thad Jones. I will always consider him to be one of the greatest
musicians our country has ever produced. His jazz composing and arranging skills were among the best
that any person could produce and
the volume of what he put forth is
almost uncountable. I also appreciated the sample of Thads voicings
that Mike exhibited. As a jazz composer/arranger, I could easily understand this example since it similar, although not note for note, to many of
my voicings. I learned this skill from
another person whom I will also feel
is one of the greatest musicians our
country has ever produced: Herb
Pomeroy. I had the honor and privilege to study with Herb when I was
a student at Berklee many years
ago. I use what I learned from him to
this day in the many compositions
and arrangements I have written
for large jazz ensemble. I am sure
the many other people who studied with Herb feel the same way I
do about him. I hope some day you
run a story about Herb and the enormous positive infuence he had on
us a musicians and people.
I enjoy your magazine very much.
Thank you for publishing it and keep
up the great work. I am sure many
jazz educators, students and working professionals have benefted
from it as I have.
Sincerely,
Nick Puin, Strongsville, Ohio
Correction:
Designed specifcally for

the Player looking for a
COOL, THICK, WARM,
DARK, SWEET SOUND!
G by Meyer is the
mouthpiece for you.
G by Meyer is available
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Visit jjbabbitt.com
Letters
Mike Carubia, the author of Thad

Jones - A Forgotten Giant? (JAZZed
January/February 2014) was incorrectly listed as Mike Cumbria in the
Table of Contents. We apologize for
the error. Additionally, within the
Thad Jones article, musical examples on page 39 and 40 (under the
copy Trumpets: Unison Cup and
F Blues - First 8 measures, respectively) were accidentally reversed.
WHATS ON YOUR PLAYLIST?

BY CHRISTIAN WISSMULLER
1. Well Tempered Clavier, Book 1 J.S.

Bach Performed by Glenn Gould
A mainstay from my classical days,
Goulds recording of Bachs WTC is one of
my favorites. When I start to come apart
at the seams, Goulds brilliant rendition of
this timeless work knits me back together.
PHOTO BY KAT VILLACORTA
A classical pianist and composer who discovered and then fully immersed herself in jazz in her
early twenties, Helen Sungs music and playing refects a unique and refreshing perspective. Having received Bachelor and Masters degrees of Music in Classical Piano Performance from University of Texas, Sung then studied at NECs then-brand new Thelonious Monk Institute of Jazz. Steady
gigs in the Boston area ultimately led to a move to NYC in the late 90s where she assembled her
own small ensemble and, in 2002, Sung released her frst album, Push. Four acclaimed albums
have followed in the subsequent years, as have stage and studio projects with the likes of Terri
Lyne Carrington, Clark Terry, and Regina Carter. Helen Sung recently released her Concord Jazz
debut album, Anthem for a New Day.
6. Music For Large & Small Ensembles

(Sweet Time Suite Part 1 Opening)
Kenny Wheeler
In addition to this being an absolutely terrifc album, this is one of the most beautiful
intros I have ever heard. The sweeping yet
intimate texture, the colors and orchestration, and what a melody! My heart aches a little each time I listen to it.
2. I Sing The Body Electric Weather

Report
I love the raw wildness of early Weather
Report: such joyous, unabashed music-making! I was blown away when I
heard Directions for the frst time in
fact, one of the compositions on my new
album is inspired by that song.
7. Low End Theory A Tribe Called

Quest
The bassist Richie Goods introduced this
group and album to me. Whenever I feel
like kickin back this is one to revisit over
and over. What an intelligent, humorous,
and funky musical manifesto!
3. Equipoise Stanley Cowell on Max

Roachs Members, Dont Git Weary
Alto saxophonist Mike DiRubbo introduced me to this song when I played on
one of his gigs. Equipoise haunted me
for a long time and I listened to as many
versions as I could fnd. Max Roachs version is one of my favorites.
8. Bitter Bitter Meshell Ndegeocello

I admire how each of her albums is a
world in itself, how she embraces so
much with each project musically, spiritually, emotionally, socially, and politically. This is one of my favorite songs by Ms.
Ndegeocello; I liked it so much I arranged
it for jazz quartet.
4. Well Be Together Again Pat Martino

w/Gil Goldstein
The guitarist Sheryl Bailey recommended I
check out this album since I am a big fan of
Gil Goldstein (who plays Rhodes here!) and
wanted to learn more about Pat Martinos
work. I love the easygoing, contemplative
feel of the entire album its two superb musicians playing together
with sensitivity, beauty, and depth. What great tune choices too!
9. Music from the Motion Picture Bend It

Like Beckham
A guilty pleasure (ha!) I really enjoyed
the music from this movie, especially the
passionate bhangra selections like Darshan and Punjabiyan Di Shaan.
5. Soul Station Hank Mobley

I cant believe I only recently heard this
album a classic burning swinger. The
feel of the music on this record is what
frst hooked me on jazz!
10. Largo (When It Rains) Brad

Mehldau
Wayne Shorter has been one of my big
infuences, and I enjoy listening to him
recount how movie music has been one
of his sources of inspiration. When a song
in a movie or TV show jumps out at me
I try to fnd the source, and it was a nice surprise to discover this
evocative, pungent gem by Mehldau.
Helen Sungs newest album, Anthem for a New Day (Concord Jazz), was released in late January of 2014. www.helensung.com.
March 2014 JAZZed
ANDREW HURLBUT/NEC
student
travel
roundtable
Jazz Workshops
A diverse group of workshop veterans discuss
the changing nature of this stalwart form of
intensive jazz study.
BY MATT PARISH
NECs Mike Tucker leads a saxophone workshop

at last years Jazz Lab.
hen Stan Kenton introduced the idea of his jazz camps back in 1959, he famously declared that they
would ofer students a unique chance to take a bath in jazz. By then, the art form had spread across
the country to communities with very little in the way of a longstanding jazz culture, and up-and-coming jazz hopefuls were eager to fnd immersive environments to study the kind of music theyd been devouring
at home on the radio and 45s.
Todays jazz workshops and camps are far greater in number and variety than they were back in Kentons day,
but the aim remains the same - to provide students with an intense period of study. Whether its in preparation
for a dedicated career in jazz or if its the one week all year they get to eat, breathe, and sleep it, a jazz workshop
is always a unique chance to provide a lasting, unforgettable impact on disciples of any age.
In many ways, its a golden age of jazz camps and workshops. In setting up this roundtable discussion on the
topic, JAZZed sought out organizers and teachers at a variety of programs across the country.
What is the main strength of a jazz workshop or camp setting?
JB Dyas: The thing that most of these camps have in common is that, in a one-week session, the students are playing
noticeably better by the end of the week, because theyre just
engulfed in it. I say these kids often learn more in a week than
they might in a semester in school, sometimes even more than
a year in school, just because theyre really immersed, focused,
and among like-minded people.
At the Aebersold camp, for instance, youre having breakfast
with faculty and students all talking jazz, then youre having
theory class and your combo, then theres lunch with faculty
and students, live jazz being played all the while. Then more
combo rehearsals and master classes and then dinner. Theres
so much learning that goes on informally during those meals
and students just saying, Hey, can I grab a private lesson from
10
JAZZed March 2014
you? You say, Sure, lets take a half an hour after dinner, and
it turns into 90 minutes. Informal jam sessions materialize in
the evenings after the faculty concerts. Just as much is learned
informally as is learned formally, in the actual classes.
Paul Contos: The readout of something like this is that after the workshop is over, the participants have played more
than they have in their lives. It gives them plenty of fodder for
more personal practice and development. Plus we give them a
lot of material to practice throughout the year. That isnt possible during a regular semester in school.
Rob Rose: I think it comes down to the students _ not just if
theyre great players, but can they work with other people, are
they cultural, and do they want to work on it with people? Do
they want to make something great? Thats very important.
Matthew Niess: When youre doing it over a long time, students have time to put things of. Oh I can get to that next
CRAIG LOVELL
June 29July 11, 2014
Summer Jazz
Studies
Harold danko,
Jeff Campbell, direCtors
The Next Generation Jazz Orchestra performs at the 2011 Monterey Jazz Festival.
week. This is fve days with everyone

together and thats it. All of a sudden
its over and you think, What just happened? We also have a textbook and
a lot of resources online or they might
be able to keep in touch with the artists.
Are there diferent types of skills that
you can only pick up in that context?
PC: For the average student of music
coming up through a school system, he
or she might have had the opportunity
to take some private lessons. But if they
get into a jazz camp situation with good
professionals and educators, they learn
a basketful of skills _ jazz competency
skills, listening skills. They learn a lot of
teamwork and how to share and not be
the one who is in control all the time. It
really is a dynamic of sharing and a dynamic of forgiveness, if you will. The nature of playing music is learning to maneuver through that pathway, knowing
where to bend and how to adjust constantly. Thats an important skill in jazz.
The nature of improvising comes with
a set of challenges of having to make
decisions rapidly. Were a little biased, I
guess, so we think its a good life skill,
too.
Is there a challenge in making sure
kids dont get burnt out?
Timothy Leinhard: I think theres
always a chance that the kids will be
too tired. We get around that by having
special guest artists. Last year we had
Dominique Eade from our voice department perform, Joe Morris, and Rakalam
Bob Moses, and wed break the day up
with a masterclass that everybody in
the program came to see. We also just
try to make sure theyre not stuck doing any one thing for too long. We even
provide entrepreneurial training like

how to make a website or put together their own recording, again drawing
from some of the resources we have at
the Conservatory.
What changes have you seen in the
way jazz workshops in general have
been conducted?
PC: Some of us, on whatever instrument, probably made a personal connection like, I remember when I saw
Dizzy or Miles, or I remember when
I frst heard this Coltrane record. We
used to be able to say to young students, while demonstrating the style
of Basie or Ellington, This is the music
your grandparents considered pop music.
Now, were at a place where the truth
is that the grandparents of young musicians now were into music like Journey
and the Grateful Dead, Prince, or Madonna. Our challenge now is to bring
that home to young musicians and
make that relevant.
Does the evolution of these workshops tend to go hand in hand with
the evolution of jazz itself?
PC: Theres certainly a wealth of jazz
going on now, and my personal mission
is to keep working with excelling students for the continual evolution of the
jazz language. Whatever it ends up being fve to 10 years from now, its going
to be what it will be. We have to continue to study and respect the greats, but
the music will continue to evolve.
This intensive, performance-based

experience for highly motivated
students currently in grades 912 is
ideally suited for those considering
jazz studies at the collegiate
level. Students work directly with
the renowned Eastman School
of Music jazz faculty during the
two-week session in a rigorous
program designed to enhance
improvisational and ensemble skills.
instrumental master
Classes
Jazz Performance Workshops

Large Jazz Ensembles
Jazz Forum
Jazz Composition
July 1325, 2014
Eastman
at Keuka
Our summer music camp includes

master classes, ensembles,
electives, and private instruction, led
by distinguished Eastman School
of Music and Eastman Community
Music School faculty members.
Instrumental jazz students currently
in grades 69, perform, and grow
musically; experience the beauty
and recreation of the Finger Lakes;
and form enduring friendships.
Students reside on the scenic

campus of Keuka College,
located on Keuka Lake, and
enjoy swimming, hiking, and other
recreational activities.
Applicants should have completed at
least two years of prior music study.
esm.rochester.edu/summer
What would you say are the marks of

a successful workshop today?
TL: Connecting kids from all over
the country. One thing that I see in
March 2014 JAZZed
11
roundtable
Formerly the executive
director of the Brubeck
Institute, Dr. JB Dyas currently serves as vice president for Education and
Curriculum Development
for the Thelonious Monk Institute of Jazz
in Los Angeles. He has performed across
the country, taught students at every level,
directed large and small ensembles, developed and implemented new jazz curricula,
and written for national music publications.
monkinstitute.org
Rob Rose is the vice
president of special programs at the Berklee
School of Music, a school
he frst enrolled in as a
composition major in
PHOTO BY:
PHIL FARNSWORTH
1967. In 1974, he established the Berklee Jazz-Rock Ensemble and
Pop-Rock Recording Ensembles. When
Rose was named Assistant Vice President
for Special Programs in 1993, he oversaw
all of Berklees concert venues, video services, and summer programs. berklee.edu
Tim Lienhard serves
as the Senior Admissions
Counselor at New England
Conservatory overseeing
admissions for Jazz, ConPHOTO BY:
ANDREW HURLBUT/NEC
12
JAZZed March 2014
temporary Improvisation, Composition

and Brass/Percussion. Tim is the founder
and director of New England Conservatorys summer program, Jazz Lab. nec.edu
Matt Niess is the Lead
Trombonist with The U.S.
Army Blues Jazz Ensemble
in Washington, DC. He is a
former high school band
director and has taught
on the jazz faculties of Shenandoah, Towson and West Chester Universities. He has
appeared as a soloist, clinician, and adjudicator at jazz festivals, schools, and universities throughout the country and has
recorded and performed with numerous
artists.
nationaljazzworkshop.org
Paul Contos, faculty
member at University of
California, Santa Cruz and
California State University,
Monterey Bay, has been involved in jazz performance
and education for over 40 years. He has
worked for the Monterey Jazz Festivals
Education Program since the 1980s as Saxophone Clinician and Director of both The
Next Generation Jazz Orchestra and Monterey County All-Stars.
montereyjazzfestival.org
my day job at the Conservatory is that,

when kids come to audition from all
over the country, they somehow know
each other. Its funny how small the jazz
world really is. So its great to provide a
platform for kids to get to know each
other whether theyre from California
or Boston or Texas, giving them a new
network of musicians that theyll encounter going into college and beyond.
I think going forward we have some
philosophical goals of being an all-inclusive program. That will be really
important, especially for the younger
students who are still developing to see
the older students at the highest levels
in order to inspire them to work harder
and harder.
JBD: One great thing is that there
are so many camps now. When I started teaching at Jamey Aebersolds
camp 25 years ago, there was just his
camp and perhaps a couple of others out there. Now there are so many
camps, and theyre fourishing. And
Jamey still has a packed house, even
though people can go to a camp much
closer to where they live. Theyre all
over the place - North Texas, Stanford,
Skidmore, Litchfeld, University of the
Pacifc - just all over.
PC: One of the goals of the Monterey
Jazz Festival Education Program is that
its tried to be as widely encompassing
as possible, from dealing with top-level students (at the main Monterey Jazz
Festival in September) and the bands at
the Next Generation Jazz Festival every
spring, full of groups who have already
been rated superior level starting from
middle school, high school, and colleges and universities.
RR: What Berklee does and has always done, which a lot of people are
catching onto, is that we like to do stuf
frst and then talk about it. A lot of places will sit around hearing a lecture or
talk about how you do this or that. We
want you to experience it frst _ listen
to the record and play this solo like this.
Then well tell you about it. Heres what
you were playing, heres why it works.
In a lot of cases, these students have
great ears and can instinctively pick up
on things even if they dont know what
theyre called.
MN: It needs to have everything involved with the art form. It has style,
jazz theory, pedagogy, instructions,

ensemble, soloing, role models _ everything. We dont let anything go. If they
dont have theory, they have to go to
some rudimental theory so they can understand what a chord is. So a program
that addresses every issue down to the
core and to the highest level will fnd
the best success.
Vermont Jazz Center

Dedicated to creating & preserving jazz through concerts, workshops & instruction
39th Annual Summer Workshop

August 10 - 16, 2014
The Putney School in Putney, Vermont
Educational Tracks:
Workshop Features:
Instrumental Jazz
Whats the future of this segment of

jazz education?
PC: You do have to be selective _ you
cant do everything - but you fnd areas
that are in need of the input from professionals and people who are familiar
with jazz and try to bring that to students and people that will receive it.
MN: I guess the challenge is keeping
on the cutting edge and keeping people engaged. To do that, you have to
include people who are out and about
doing things.
PC: Even as far up as the 80s and of
course the 60s and 70s, if you become
really skilled you can go on to Berklee
or some other school and then go play
with Woody Hermans band for awhile
or Buddy Richs band or Thad Jones or
Mel Lewis. I remember seeing Wynton and Branford when they were just
coming up on the Blakey band. But
those things are not happening anymore. Some things are still going on,
and some of the kids are able to play
with people like Christian McBride and
Marcus Miller and people like that.
Thats great _ thats where it needs to
be.
But whats happened is that because
there are less places to perform - jazz
clubs and things like that. So people
ask, Where is the jazz scene now? A
lot of jazz professionals who are teaching will tell you that its in the schools.
Go to USC on the West Coast, Berklee,
the New School, the Frost School of Music in Miami, North Texas _ the music is
thriving there. We need to fnd more
places for jazz to have an outlet. I think
thats happening, but we need to keep
pushing for more collaborations with
arts organizations and to make headway into the culture so that jazz has a
legitimate place alongside indie forms
and hip-hop forms and pop forms. Jazz
is a small, niche thing and it doesnt
have to be that way.
World Class Faculty
Vocal Jazz run by Sheila Jordan

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Intergenerational
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Jam Sessions Nightly
Gorgeous, rural setting
Healthy, delicious food
Excellent facilities
Abundant, in-tune pianos
Guided yoga and
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Theres a certain beautiful spirit

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Sheila Jordan
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(802) 254-9088
vjcsummer@gmail.com
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March 2014 JAZZed
13
lessons learned
TEACHING ABROAD
Rabid About
A student jazz combo rehearses at the

Riga Dome Choir School.
JAZZ
BY ANNE FARNSWORTH
A Semester Abroad, Teaching Jazz in Latvia
had the pleasure of spending the Spring 13 semester teaching jazz piano and voice on a Fulbright Scholar award in Riga,
Latvia. I joined the Jazz Studies faculty at the Jzeps Vtols
Latvian Academy of Music, the countrys top conservatory.
I also did some teaching and clinics at the Riga Dome Choir
School, a prestigious magnet middle/high school for aspiring
musicians, as well as teacher training and clinics at several
other institutions.
Riga, the capital of Latvia, has a population of around
699,000 roughly the same as Detroit. Its a beautiful city,
full of leafy (or snow-swept) parks surrounded by striking Art
Nouveau-style buildings. With the Baltic coast and its storied
spas twenty minutes away, Latvia and its capital were considered to be as close to The West as Soviet citizens could
get before the fall of the Iron Curtain.
Labi, Labi
My students at the Academy and the Doma (Dome) were a
joy to work with. Well trained in technique, reading and theory,
they were also enthusiastic, sweet natured, and absolutely rabid
about jazz. As I sussed out the language map, it was clear that
only the Millennials were a safe bet when it came to English.
As Latvia has only been liberated from the erstwhile USSR for
20 years, folks over 40 speak Russian like champs, but very little
English. So, while getting my basic needs met was a challenge
in the beginning, the teaching was problem-free.
I should qualify that last statement. While the teaching commu-
nication ran smoothly, getting myself set up to teach was a comedy of errors, sign language, and written notes.
The concierges who handed out the keys at the Academy were
elderly women and I had to resort to writing down the room number on a pad to let them know which key I needed. When checking
out long-term teaching space with the rooms manager, I leaned
heavily on the one Latvian word I had learned so far labs (good).
As in A labs piano, please? Labi, labi. All piano instructors can relate to the urgency of my request.
Along with individual vocal instruction, I taught a vocal improv
class that was a required course for instrumental jazz majors. The
non-singers were game and did their best with the instruments
God gave them impressive for a class that started at 9 a.m.
Latvia has a long and impressive choral tradition and they are
pretty serious about their singing, so even the non-vocal majors
sing enthusiastically and pretty well. Latvian choral music sounds
vaguely eastern and microtonal in nature. That may be because
theres a connection between this region and India. Indian historians believe that the Baltic coast was originally settled by Indo-Aryans. Of course the Latvian scholars think its the other way around.
Either way, there are about 250 words that Latvian shares with Sanskrit and they share many of their pre-Christian gods names and
identities as well.
On my birthday, every one of my classes treated me to fowers
and a Latvian happy birthday song that ran for multiple choruses.
It was lovely and I was touched by their sweetness.
I also taught three sections of Jazz History, which would have
been a breeze with some prior notice
so I could have brought notes and
reference books with me. As it was, I
spent the better part of Sundays writ-
BUT JAZZ WAS INVENTED IN YOUR COUNTRY SO LONG

AGO, SURELY IT BELONGS TO THE WORLD BY NOW!
14
JAZZed March 2014
ing class outlines for three diferent eras

of jazz and digging up mp3s and YouTube clips to supplement my lectures.
At the Dome School, I sat in on the jazz
vocal instructors lessons, putting in my
two cents on style and pronunciation.
There was a jazz choir to coach as well
and a weekly piano master class.
Their Swing is Diferent Than Ours
There are some interesting contrasts
between these singers and their counterparts in the US. I always ask new students whom they listen to and I got some
interesting responses in Riga. They love
Kurt Elling (who doesnt!) but younger,
newer names like Esperanza Spalding
were mentioned time and again. Although their spoken English was great,
they sometimes appeared insecure
about singing in English, possibly a trickle
down efect from their instructor. As a result, they have spent a good deal of their
study learning vocaleses and their level of
expertise in that area, as well as the musicality of their scatting, surpasses American students in the same age group. My
impression was that scat was an avenue
for them to express themselves vocally
without worrying about accents.
The pianists were partial to the more
lyrical jazz greats, like Bill Evans, and less
familiar with hard boppers like Bud Powell, Kenny Drew, or Barry Harris. Theres
a certain style of swing in Europe (think
70s-era ECM recordings) where the
drummers focus is on adding color in an
orchestral manner rather than just laying
down a strong backbeat. As a visiting Italian colleague said to our mutual piano
student, Listen to her because their swing
is diferent from ours. I ran into a bit of defensiveness now and then and was careful
to note that this diference wasnt a value
judgment, just a question of style and the
natural evolution of jazz as expressed and
infuenced by diferent cultures.
As one student expressed during a
taped interview, But jazz was invented in
your country so long ago, surely it belongs
to the world by now! Well yes, it does belong to the world but when it comes to a
Europeans sense of history, a century usually isnt that long of a time span.
So Much Accomplished in So Little
Time
Inga Berzina, my vocal jazz counterpart at the Academy and Dome School,
was a lifesaver during my sometimes-dif-
fcult early months. She is a wonderful

teacher and an amazing vocalist, in high
demand in the Baltics and Russia as an
educator, recording artist, jazz camp superstar, competition adjudicator, and allaround good egg.
She treated my contributions in the
manner in which I think the Fulbright
program is intended as an adjunct to
the students regular instruction rather
than a replacement. Unlike some of her
colleagues who handed me their classes
and ran of to join the circus while still collecting their salary, her students continued their lessons with her and took extra
ones with me.
Inga arranged the master classes in
other towns, drove me and acted as
translator for clinics when necessary.
Without her guidance, enthusiasm and
friendship, my experience in Latvia
would have been much less fulflling.
As the semester came to a close, we
launched into juries, at both the Academy and Dome Choir School and I loved
the way drummer Tlis Gibovskis, the
jazz chair at Dome, ran the after-jury
deliberations.
As we academics have a tendency to
be long-winded, we are all familiar with
the occasional excruciatingly long faculty
meetings. Tlis, on the other hand, ran the
discussion like John McLaughlin of the
old news analysis show, The McLaughlin
Group throwing out a students name
and pointing to a guest, um, professor,

for a quick yea or nay and some hastily
mumbled commentary before moving
down the table. If youve seen the show
or the SNL skits spoofng the news show,
youll know exactly what I mean. Never in
the halls of academe has so much been
accomplished in so little time.
During my time there, I enjoyed
non-teaching opportunities as well, sitting
in with local bands and presenting a concert at the Academy. I was invited to join
the judging jury for the Riga Jazz Stage
vocal competition, an annual event in association with the Rigas RitmiJazz Festival.
It began with 75 aspirants from all over
Europe, whittled down to a top 12 who
performed for two nights along with some
professional appearances. It was fantastic
working and socializing with the other jurors, who were jazz professionals from all
over Europe. And the best part? Meetings
were conducted in English, the common
language. Sweet relief after months of
wandering through a linguistic desert.
Anne Farnsworth is an
educator, performer
and journalist based
in Los Angeles. Her latest CD, Sealed With A
Kiss, a collection of 60s
and 70s pop arranged
for jazz quartet, features Alphonso Johnson, Ndugu Chancler and Doug Webb.
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March 2014 JAZZed
15
DANIEL GLASS
DANIEL
GLASS
Painting a Full Picture
member of Royal Crown Revue, a group widely

credited with pioneering the retro swing revival of
the 90s, drummer Daniel Glass has also performed
and recorded with luminaries from across a wide swath of
genres: The Brian Setzer Orchestra, Liza Minnelli, Mike
Ness, Bette Midler, and Gene Simmons to name just a few.
As an educator, Glass has penned fve books about
the evolution of American popular music and released
three DVDs. He performs master classes and clinics
throughout the world at schools, festivals, music stores,
and conferences.
It was at just such a conference appearance this past
Januarys JEN Conference in Dallas that JAZZed got
frst-hand exposure to Glass uniquely immersive and
history-based approach to teaching. Using drums as a
pivot point from which to connect his student audiences
to the progression of popular music throughout the years,
he has crafted an efective and individual teaching style
that breathes life into bygone eras in ways that resonante
particularly with younger players.
We recently sat down with Daniel Glass to learn about
his own background as a scholar of jazz, as well as the
events and experiences which led him to become the
player and educator he is today.
16
JAZZed March 2014
PHOTO: CRIS COHEN
spotlight
BY CHRISTIAN WISSMULLER
JAZZed: Lets talk early infuences. What frst got you

into music?
Daniel Glass: Ive always loved music. When I was a kid,
my parents refused to buy a television they were sort of
taking a stand against letting their childrens minds be rotted by television so my sister and I became radio fanatics.
We listened to the radio from morning till night, and really
listened, perhaps more so than our peers. I think that set
the course for my life as a musician, in terms of the way I
thought about and understood music.
How about your frst experiences as a music student?

DG: I took private lessons from a pretty early age. I
grew up in Honolulu and my frst teacher was the principal
percussionist of the Honolulu Symphony, Lois Russell. So
I started out with a fairly legit early training: snare drum,
timpani, that sort of a focus. I was also in school band from
elementary through when I graduated from high school. I
began playing drum sets right around intermediate school.
At what point did you know that music was going to be
your lifes focus, career-wise?
DG: While I continued to take some private lessons
throughout elementary and high school, I have to say that
in terms of education really sparking something deeper
within me, so that I knew this would be my career I didnt
really make that decision until I fnished college. Im sort of
a late bloomer in that respect.
Talk about arriving at that decision.

DG: Sure. I have a bachelors degree from Brandeis University in Boston and theres a really amazing teacher and player up in the Boston area named Bob Gullotti. Although hes
not all that well known outside of the Northeast, hes quite
respected in the area. When I fnished college, I really didnt
feel passionate about my degree (which was in psychology),
and I also felt that music was still something Id not yet fully
engaged in Id always just done it for fun. The summer after
graduation, I started studying with Bob and he just blew my
mind, basically. It was the frst time Id really seriously studied
jazz and I realized, This is something I could spend the rest of
my life investigating.
Prior to that, had you been a fan of jazz?
DG: I was somewhat of a fan. I had started as a rocker and
Ive always been intellectually minded, so I wound up gravitating towards progressive rock bands like Yes, Genesis,
and King Crimson. The songs those bands played were still,
though, very much arranged pieces. Once I got excited about
the concept of improvisation, then thats when I started looking seriously at jazz. The next jump was to fusion John Scofeld and that kind of stuf and then I sort of worked my way
backwards to more straight-ahead, traditional jazz.
had great stories to tell, so it was a really wonderful opportunity for me. Studying with Freddie really gave me a new relationship with the instrument that is colored by understanding
the evolution of the instrument itself, and the music itself, as
youre playing and learning it. It was really an old school education and I dont know if it couldve happened in a more formal context.
I personally didnt go on to a higher degree a masters or
something like that because I had been in school for a long
time already and my personal desire was to learn from doing it,
from being out there.
When did you start teaching, yourself? And when did you
start to formulate your history-based approach to explaining music drumming, specifcally?
DG: I began teaching pretty heavily in the late 90s. As for
my own development, Id noticed something important with
Royal Crown Revue. Wed literally open for Neil Diamond and
KISS in the same week. It was that crazy. We did jazz festivals,
we toured a whole summer with the B-52s and The Pretenders,
we were on blues festivals, we worked with James Brown, and
we played with Bette Midler. Because there was no obvious
place to put us, we were just put in a lot of diferent places.
I was continually looking for the instructional materials that
UNFORTUNATELY A LOT OF JAZZ EDUCATION REALLY BURIES ITS HEAD IN THE

SAND AND SORT OF LOOKS DOWN ON TODAYS POPULAR MUSIC.
So after your time in Boston and getting inspired through
working with Gullotti, what was next?
DG: A few years later I moved out to Los Angeles to really
seriously pursue a career in music. I went to The Dick Grove
School of Music in 1991, which was a really terrifc music
school. I got to study with the likes of Steve Houghton and
Emil Richards. There were so many great teachers who were
all real, working pros kind of like a Berklee type of situation,
I guess. I also got a really tremendous foundation in a number
of styles, which allowed me to begin making a living as a freelancer.
Were getting to the point where your professional career
began to take of.
DG: The next pivotal event was joining the band Royal
Crown Revue in 1994. That was one of two next big things,
really. After Dick Grove, I started studying privately with Freddie Gruber his students include Steve Smith, Dave Weckl, and
Neil Peart of Rush. Freddie was Buddy Richs best friend and
he had come up as a young man on the be bop scene in New
York, but his real forte in his later years was that he became a
tremendous private teacher.
Studying with him dovetailed beautifully with my joining
Royal Crown Revue because that band is focused on understanding a lot of diferent classic styles of playing from R&B,
be-bop, rockabilly, and big band. So what was cool was that
I could ask Freddie about all of these artists that we were exploring as a band and he knew them all everybody from Papa
Jo Jones to Charlie Parker he had hung out with them all and
were going to teach me as a drummer how to play these styles

that I was exploring. And, really, its pretty diverse: early jazz,
traditional big band swing from the 30s, be-bop, rockabilly,
rhythm & blues, rockabilly, early rock n roll. In terms of bebop theres a lot of material out there, but in general nothing
had been written about what I was wanting to know. So in
the late 90s I began interviewing the drummers who had
played on these records that had infuenced us. The oldest guy
I interviewed was Johnny Blowers who was 94 years old at the
time. He had played with Louis Armstrong and Sidney Bechet
and had learned press roll patters from Zutty Singleton, who
we consider to be one of the frst great New Orleans jazz
drummers going back to the teens!
In contacting and interviewing these drummers, were you
doing that for your own edifcation or had you already fgured out that this could be a unique path as an educator?
DG: My goal was to create the materials that I had always
wished that Id had. So in addition to researching in a more
traditional way, I really established friendships with these guys.
Eventually in the early 2000s I started doing clinics about
the history and evolution of the drum set. One of the things
that I think is important when you talk about drumming or the
rhythm section is you have to put a historical context onto it.
A lot of jazz students are told, Well heres this style and heres
that style, but if they cant understand how the instrument was
evolving at that time or what was happening in the rhythm
section at that time, they have kind of a disconnect. It doesnt
paint a full picture.
March 2014 JAZZed
17
spotlight
DANIEL GLASS
With everything that I do, I talk about not only how to

play in a certain style, but I try to bring it to life and talk
about what the era was like. How does prohibition effect
what happened in the 1920s with jazz? How does the
evolution of the drum set look at that point and how does
that influence how and why the music sounded as it did?
For many of these eras Ive actually gotten the answers to
these questions from the horses mouth from the guys
who played during those times, who helped create those
styles.
Talk about some of the publications that came out of all
of this research, all these interviews. In particular, Id be
interested to hear more about The Century Project.
DG: Well, I published my first book in 2003 and to date
Ive published five books about the evolution of American
music. I like to say that I talk about that evolution from the
perspective of the drummer, because a lot of what I do is not
necessarily just for drummers.
In 2012 I released two DVDs. One is called The Century
Project which really looks at the role of American music from
the end of the Civil War in 1865 through 1965 and the British Invasion. It really focuses on the evolution of the drum
set during that period, as it relates to the evolution of America and American music. People may or may not realize that
the drum set is a unique instrument also a uniquely Amer-
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18
JAZZed March 2014
ican instrument. If you

think about a piano or
a guitar or a trumpet
all of these instruments
and the way that they
were set up, tuned,
and played really hasnt
changed much for a
long time. Maybe you
electrified a guitar or
bass, or changed the
harmony in the way
you approach a piano,
but its still the same instrument. On the other
hand, the drum set is an instrument that radically changed
with every generation between the mid-1860s and the mid1960s. That evolution tells a really fantastic story. The tom
tom, for example, started out as a Chinese ethnic instrument that was first used mainly as a noise-making device
to create a certain tone or sound effect, but by the time
we get to the 1930s Gene Krupa transforms it into a major part of the drum set that becomes a featured part and
that changes everything within the music. The drum set is
kind of uniquely qualified to tell the story of America and
American music in a really interesting way. That was what I
realized from doing clinics for many years.
Am I correct in understanding that you primarily do
larger-format teaching master classes and clinics?
DG: I started doing private lessons mostly, then started
doing master classes around 2003. That really become
of interest to me I realized that I had some interesting
insights and had gathered some interesting information to
share and that was the idea behind putting together these
presentations about the history of the drum set and the
history of drumming which is unique different from your
typical drum clinic out there. Ive really tried to take what
I do and go into as many different settings as possible, in
terms of schools and universities, drum stores, festivals. Its
sort of like Royal Crown Revue in that its hard to categorize
in any particular way because I cover a lot of different eras,
so it can fit in a lot of different places.
Are there any particular challenges that you find, as a
teacher?
DG: Teaching people history is something that I have
been challenged by and its been an interesting process for
me in trying to figure out how to deal with it. I am someone
who specializes in teaching historical styles of drumming,
but the word history comes with a lot of baggage. One of
the biggest challenges for me, whether its doing a clinic at
a school or in a larger setting for several hundred people,
has been that many people today dont even know the
styles Im talking about, let alone the performers Im citing.
When I first started doing this I wondered if this would be
a problem, if [the students] eyes would glaze over. But
what Ive found, over and over again as both an educator
PHOTO: RICHARD UHL

PHOTO: LAUREN VOGEL WEISS
classical music what you listen to today is garbage and

you need to get him and listen to this stuff. I dont think
thats a particularly effective way to reach younger people,
in particular. It alienates them and makes them feel that
you and them dont have much in common. For me, when I
teach I get so excited about it and try to show [the students]
a million different connections between what came before
and what they listen to today.
Not to put you on the spot, but can you give me one example of how you try and demonstrate those connections?
DG: Sure thing. One of the ways that I start certain of my
clinics is, Ill play the first 15 seconds of Led Zeppelins Rock
and Roll from 1972. Everybody knows John Bonhams famous drum intro for that song. And then Ill play Little Richards Keep a Knockin (but You Cant Come In) from 1956
which literally starts, almost note for note, with the same
drum rhythm. Then I put on Louis Jordans Keep A Knockin
But you Cant Come In from 1937 which has a cool little
drum lick in it. In 90 seconds Ive taken the audience from
1972 back to 1937 and shown them a direct lineage of influence and give them kind of an a-ha! moment.
I think its really important that as jazz educators we really try to check in with where young people are at today.
So many people, from baby boomers through to kids today,
Daniel behind the kit during his clinics (The age disparity between the audience
members in the upper and lower photos speaks to the wide appeal of his approach).
and a performer is this: the content is not as important as

the presentation. I try to help people make connections
between diferent styles, so that they realize, Oh, okay I do
have a lot in common with this older music, I can access this
music, I get it. Swing music in its day, rhythm & blues music
in its day, be-bop in its day these were all radical forms of
music that parents didnt want their kids to listen to. This was
dangerous, vibrant, and revolutionary for its time.
I think my passion and excitement for this music has
really helped me to succeed in teaching something that
conventional wisdom says nobodys interested in. And I think
thats a hugely important point. I was actually told by some
mentors of mine when I frst started doing this, Why do you
want to talk about history? Nobodys interested in history.
Its got to be particularly rewarding, then, to be able to
connect as you do. I saw it, myself, at the recent JEN Conference there were definitely no eyes glazing over. In
fact, when time was up and the clinic over, there were
audible groans of dismay.
DG: Well thank you! I think that one of the wonderful
things about getting so deeply involved in the evolution of
the music is that it allows me, when I teach, to see things in
the long term. One of the things that I love doing is helping
people to understand what they have in common with it
today. Unfortunately a lot of jazz education really buries
its head in the sand and sort of looks down on todays
popular music and says, Jazz is great stuff, this is Americas
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spotlight
DANIEL GLASS
have grown up in a world without jazz. Thats something I really try to do as an

educator Hey, I dig where youre at. Let me show you some of the things that
Im into!
Any advice youd pass along to your fellow jazz educators?
DG: I know its a struggle sometimes, but dont close your mind to whats happening now. I am of the firm belief that if many people are into something and
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its popular, then there must be something to it. If something is popular, figure out why its popular and then find
the parallel to what made jazz popular
when it was the pop music of its day.
I sort of have come from outside of
the system. I didnt get a bachelors
degree in music, I didnt get a degree
in music education or jazz education. I
learned it all by doing it. If an educator
grows up within the academic system
and learns the conventional wisdom
about jazz and then sort of simply regurgitates that conventional wisdom
when it comes time for them to teach,
theres something missing. You have
teachers that may be well credentialed
and may be great players, but who are
nonetheless not talking from a real
world experience. I would hope and
wish that academics in more traditional
settings would try to be able to impart
more real world experience or at least
help their students get access to those
types of experiences for themselves. I
would advocate for remaining open to
the possibility that the conventional
wisdom that you learn in a classroom
may only be part of the story.
For more information on bringing
Daniel Glass to your institution for
a clinic or masterclass, please contact Josh Mighell at: (760) 660-1902,
or josh.mighell@gmail.com. www.
DanielGlass.com
focus session
BILL EVANS
Homage to Bill Evans

By Lee Evans
My Addiction
admit it! Im an addict! But dont be concerned. Its not
as bad as it sounds. You see, what Im addicted to is the
cable television channel that plays jazz 24/7. One major
advantage of listening to music this way rather than on a
radio station is the welcome absence of an announcers
commentary. Another is the enlightenment I acquire by
being exposed to musicians with whose work I might
otherwise be unfamiliar. And still another is the nostalgia
trip I always experience when hearing recordings of jazz
giants such as Louis Armstrong, Art Tatum, Dave Brubeck,
Stan Getz, Miles Davis, Carmen McRae, and many, many
other important jazz luminaries of the past.
Whenever something is played that I fnd irresistible,
I immediately log onto my computer and order the CD
which I listen to in my car on long-weekend getaways
from Amazon, whose one-click shopping procedure is
quick and convenient.
What has surprised me, however, is that the music of pianist Bill Evans (1929-1980) who departed this beautiful
world a little over thirty years ago receives
such scant attention on
that jazz channel, especially in light of the
high esteem in which his
work is still held; not to
mention the signifcance
of his accomplishments in the context of jazz piano history.
It is to those achievements, as well as to the characteristics
of his musical approach, that I now turn for the purpose
of this article, particularly for the beneft of younger jazz
students who may not have grown up experiencing Evans
jazz, especially in live settings, as I fortunately did many
times over the years.
was as a composer, may be recognized in varying degrees

in the piano work of Thomas Fats Waller, Earl Fatha Hines,
and Teddy Wilson, to name a few). There was also the prodigious pianistic technical command of Art Tatum, whose
inventive use of chord substitutions (reharmonizations) became models for all future jazz musicians. There was Horace
Silvers often Latin-based soul and blues-based sound,
which represented a new and unique gospel-funk type of
hard-bop jazz; George Shearing and his of-the-beat locked
hands (block-chord) piano style (especially during his earlier years, a style whos invention many people attributed
to the far less well-known pianist/organist Milt Buckner);
Thelonious Monks erratic and appealingly eccentric piano
styles frequently employed whole-tone scales, unpredictable chord progressions, dissonant tone combinations, and
irregular rhythms. Finally, perhaps the most infuential jazz
pianist of the latter half of the 20th century, we have classically trained Bill Evans, a towering fgure whose musical
characteristics and contributions will now be examined in
detail.
WHAT HAS SURPRISED ME IS THAT THE MUSIC OF PIANIST

BILL EVANS RECEIVES SUCH SCANT ATTENTION.
Famous Jazz Piano Styles

Thirty years ago, I wrote a book entitled Famous Jazz Piano Styles, published by Edward B. Marks/Hal Leonard, which
presented pianists whose individual styles were easily
identifable after only a few bars, or even a few notes. These
included the ubiquitous boogie-woogie of pianist Meade
Lux Lewis, the on-the-beat left hand and lag-behind right
hand of ebullient driving-beat pianist Errol Garner, and the
infectious ragtime/stride playing of Eubie Blake (whose piano style, while somewhat less well-known than his work
Bill Evans
Bill Evans piano playing is often described as having
been impressionistic that is to say ambiguous with respect to harmony and rhythm. As examples of this quality:
1. His chords, which featured distinctive voicings, were
ordinarily stated in inversions rather than in root position;
2. They often featured omitted or delayed root tones;
3. His rhythmic approach often refected a kind of
foating pulse an undefned across-the-bar-line
meter.
Chiefy responsible for Evanss harmonic and rhythmic
ambiguities, the above qualities constituted musical ambiguities often associated with the music of French Impressionist-period composers such as Claude Debussy and Maurice Ravel.
Evanss playing was often lyrical. Many musicians, includ-
March 2014 JAZZed
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focus session
22
JAZZed March 2014
BILL EVANS
bum Heartsongs. At times you may think youre hearing a

reincarnated Bill Evans Trio.
To these musical qualities, as well as to Evans far-reaching infuence, add his contributions as a composer of unusually appealing and distinctive songs, several of which
have inserted themselves into the standard repertoire of
jazz (examples: Waltz For Debby,Turn Out The Stars,Very
Early), and you have ample justifcation for his induction in
1981 into DownBeat magazines Hall of Fame.
On the previous pages appears my original composition,
Homage To Bill Evans, from Famous Jazz Piano Styles. It
represents both a tribute to his genius and my attempt to
capture the essence of his musical style and art.
Lee Evans, Ed.D., is professor of music at NYCs Pace University. His latest
book, Crash Course In Chords (Hal
Leonard, $8.99), is a 56-page theory
and performance workbook replete
with information that intermediate
level students pianists and non-pianists alike must know about chords,
from basic triads and 7th chords to inversions, chord voicing,
voice leading, transposition, harmonization, and more. Also included are a theory review and answer key.
JAZZedmagazine.com
ing Chick Corea, refer to it as having been introspective,

Evanss slumped-over body posture at the keyboard helping to reinforce that perspective of his playing. However, at
other times it could be quite aggressive and hard-driving.
His improvisations, rhythmically diverse to a considerable
degree, refected the musical thinking and approach of an
efective composer, in that they achieved a high degree of
unity through Evanss extensive development of melodic
motifs, rather than merely parroting standard jazz phrases
which often form a signifcant portion of quite a few jazz
players jazz vocabulary.
With respect to his various important piano/bass/drums
trios, Evans transformed the traditional roles of those trio
instruments from that of the usual piano-solo with bass and
drum accompaniment, to a kind of democratic musical interplay in which each instrumentalist often functioned in a
soloistic manner, but frequently did so simultaneously, in
collective improvisation. The drummer did not merely keep
time, but added subtle coloristic efects to the mix; and
the bassist contributed signifcant melodic lines as well as
chord-bottom reinforcement. In that respect, the balance
among the three players was unprecedented. In so doing
they introduced to jazz practice a new jazz-trio model, since
emulated by other trios, most notably those of Keith Jarrett
and Fred Hersch. As an example, listen to Herschs lovely al-
March 2014 JAZZed
23
2014 JEN CONFERENCE RECAP

Jazz Education Network Conference Recap Special Edition
View a video from
JEN President
Andrew Surmani at
YouTube.com/
JazzEdNet
Photo: Chuck Gee
John Adams, Marvin Stamm, and JEN LeJENd of Jazz

Education Ed Soph.
Photo: Chuck Gee
HKIED Jazz Ensemble from Hong Kong.
Photo: Ed Berger
Photo: Chuck Gee
Gwendolyn Brooks Middle School Jazz

Band, directed by Roosevelt Grifn.
Dena DeRose.
JEN Board of Directors (201314): Rubn Alvarez, Paul Bangser, Bob Breithaupt, Cheryl Carr, Caleb Chapman (Vice President),
John Clayton, Jos Diaz, Dr. Lou Fischer (Immediate Past President), Dr. Darla Hanley, Dr. Monika Herzig (Secretary),
Judy Humenick, Rick Kessel (Treasurer), Mary Jo Papich (Past President), Bob Sinicrope (President-Elect),
Andrew Surmani (President). Office Manager: Larry Green; Webmaster: Gene Perla; Marketing & Communications:
Marina Terteryan; Web Hosting: Holistic Solutions HotDrupal (hotdrupal.com); Bookkeeper: Lynda Chavez
24
JAZZed March 2014

View the entire #jen14 photo
gallery on our Facebook page:
Facebook.com/JazzEdNet
CONCERTS
Photo: Ed Berger
Caleb Chapmans Crescent Super Band with Randy Brecker and Ed Calle.
Photo: Ed Berger
Jef Cofn and the Mutet.
Photo: Ed Berger
The Thelma Yellin Band from Israel.
Photo: Chuck Gee
The New Collection, directed by JEN LeJENd of Jazz

Education Paris Rutherford.
March 2014 JAZZed
25
CLINICS
Photo: Chuck Gee
Peter Erskine: Drumset Profciency for All Jazz Curricula

Photo: Ed Berger
Elizabeth Frascoia: Women in Jazz: Inspiring our

Girls to Play!
Photo: Bob Frantz
Dariusz Terefenko: A New Perspective on Jazz Theory Pedagogy.
Photo: Bob Frantz
Lennie DiMuzio: Tales from the

Cymbal Bag.
Photo: Chuck Gee
A typical clinic room audience.
26
JAZZed March 2014

EXHIBITS
Photo: Bob Frantz
Attendees browse the famous Jamey Aebersold

Play-A-Longs.
Photo: Ed Berger
A performer tests out a new horn at the Jupiter/XO booth.
Photo: Chuck Gee
A student talks with a rep from the Berklee

College of Music.
Photo: Chuck Gee
TThe Disney All-American Jazz

B
Band held auditions at the
cconference.
Photo: Chuck Gee
Attendees chat with the rep at the DAddario booth.
March 2014 JAZZed
27

JENerations JAZZ FESTIVAL
Photo: Chuck Gee
Students from Hoover High School perform.
Photo: Chuck Gee
A young student from the Austin Academy

Jazz Ensemble performs.
Photo: Chuck Gee
Rubn Alvarez adjudicates students from the group

Jokobissimo.
Photo: Ed Berger
T Milton Academy Jazz band, directed by

The
Bob Sinicrope.
B
Photo: Bob Frantz
Bob Mintzer adjudicates students from Bemidji State University.
28
JAZZed March 2014

SCHOLARSHIPS & AWARDS
Photo: Chuck Gee

Photo: Chuck Gee
Dr. Darla Hanley and Andrew Surmani present the

John LaPorta Jazz Educator of the Year award to
Dan Gregerman.
The 2014 Student Composition Showcase Winners: Lucas

Apostoleris, Enrico Bergamini, Rafa- el Piccolotto De Lima, C
Tyler Denis, and Aaron Hendenstrom
KEYNOTE ADDRESS
Photo: Chuck Gee
The 2014 student scholarship recipients: Chris Parker, Alexa

Tarantino, Gibraun Kahn, and Brian Claxton.
Read the #JEN14 Tweets

View all the tweets from the
conference at
twitter.com/hashtag/jen14
Photo: Chuck Gee
Victor Wooten talks about the future of jazz.
March 2014 JAZZed
29

LeJENds GALA
Photo: Ed Bergerr
Cndido Camero, recipient of the LeJENds of Latin Jazz

Keeper of the Flame award, performed with the UNT
Latin Jazz Lab.
Photo: Ed Berger
President-Elect Bob Sinicrope and Co-Founder/

Past President Mary Jo Papich with LeJENds of
Jazz Education award recipient Paris Rutherford.
Watch Cndido Camero perform

with the UNT Latin Jazz Lab:
YouTube.com/JazzEdNet
Photo: Ed Berger
Bob Sinicrope with LeJENds of Jazz Education award

recipient Ed Soph.
Photo: Ed Berger
Mary Jo Papich with members of the African-American Jazz

Caucus and Larry Ridley, recipient of the Donald Meade
Legacy Griot Award.
30
JAZZed March 2014
March 2014 JAZZed
31
jazzforum
www.aajc.us
Dr. Larry Ridley, Executive Director, and Bill Myers, President
Representative Conyers
Introduces Jazz Preservation Bill
This AAJC Article was composed and submitted by Conyers
assistants Bill Brower, Cedric Hendricks, and Dr. Larry Ridley.
s many (hopefully all) of you know, Congressman

John Conyers, (D-Mich.) has been and remains a tireless legislative advocate for Jazz at the national level.
What you may not know is that Cong. Conyers has hosted
a Jazz Issue Forum and Concert during the Congressional
Black Caucus Foundation weekend every year since 1985.
As a result of the challenge issued by now NEA Jazz Master Jimmy Owens at the very first CBCF Jazz Issue Forum,
Conyers developed and led to passage House Concurrent
Resolution 57 in 1987. Interestingly, HR-57 passed the U.S.
House of Representatives that year on September 23, the
61st birthday of John Coltrane. HR-57 passed the U.S. Senate a few months later. Now Conyers is in the final stages of
the preparations to introduce new legislation for Jazz The
National Jazz Preservation, Education, and Promulgation
Act. On January 9, 2014, Conyers issued the following letter,
which we quote in part:
In 1987 the U.S. Congress passed House Concurrent
Resolution 57, legislation I authored that made a profound
statement about the origin and cultural importance of jazz.
This legislation encouraged new initiatives to affirm the value of Americas first great music. It states, Jazz is hereby
designated as a rare and valuable national American treasure to which we should devote our attention, support and
resources to make certain that it is preserved, understood
and promulgated. During the 26 years since its passage, the
National Endowment for the Arts (NEA), the Kennedy Center and the Smithsonian Institution have each taken significant steps to elevate jazz within their varied cultural offerings. However, I believe that now, even more must be done
at the national and local levels to realize House Concurrent
Resolution 57s mandate. That is why I developed and am
preparing to introduce the National Jazz Preservation, Education, and Promulgation Act.
Now that jazz is more than a hundred years old, many
historic artifacts, documents, and photographs are in private hands and are at great risk of getting damaged or lost.
In addition, I believe that we must invest in jazz educationat
the elementary and secondary school levels in order to ensure its continued prominence as a foundational element of
Americas cultural inheritance. This is why I am introducing
a bill to help our nation preserve our jazz heritage,
educate Americas youth about this national treasure
and assist those who create and present it to sub-
stantially contribute to the

cultural commerce of their
communities.
My legislation wouldestablish a National Jazz Preservation Program at the
Smithsonian
Institutions
National Museum of American History. The Program
would record oral and video histories of jazz artists,
Congressman John Conyers
acquire, preserve and interpret artifacts, and conduct exhibitions and other educational activities that would enable generations of Americans to learn about and enjoy Jazz. It would also sustain the
observance of Jazz Appreciation Month, foster agreements
with universities, museums and community organizations
for the sharing of jazz artifacts and enable the provision of
technical assistance for institutional capacity building at
the regional and local levels.
In addition,the legislation encouragesthe introduction
ofjazz to Americas young people by recreating aJazz Artists in the Schools Program.This program would be modeled on the successful one previously operated by the NEA
from 1978 through 1982 as a component of its Artists in
Schools Program.Dr. Larry Ridley was the National Coordinator of the program working with State arts agencies and
city school administrators selecting participating regional
jazz artists and schools. Those jazz artists chosen to participate would be required to attend an annual National Training Workshop in advance of placement.
The bill would resurrect thehistoricAmbassadors of Jazz
Program,which the U.S. State Department launchedback in
1956, and the more recentJazz Ambassadors Program,operated by States Bureau of Educational and Cultural Affairs
from 1997 to 2006. Both programs sent noted American
jazz musicians abroad to perform. My bill would authorize
funding for jazz artists and ensembles from secondary and
higher education schools to be sent abroad on missions of
good will, education and cultural exchange, to perform for
diverse audiences.
Lastly, in recognition of the need to address professional development for the jazz community to more fully realize jazzs potential contributions to the larger economy, I
CONGRESSMAN JOHN CONYERS HAS BEEN

AND REMAINS A TIRELESS LEGISLATIVE
ADVOCATE FOR JAZZ AT THE NATIONAL LEVEL.
32
JAZZed March 2014
am hoping to include a section in

this bill on promulgation. While
its text is still under development,
it will focus on the provision
of technical and grant assistance
to jazz artists and organizations
to promote entrepreneurship
and the expansion of our cultural
economy.
I am planning to introduce
this legislation in April 2014 in
concert with the kick-off of Jazz
Appreciation Month
We can tell you that much deliberation and consultation has
gone into the new legislation. In
his keynote address to the 2011
JEN Conference in New Orleans,
Conyers telegraphed that new
legislative initiatives were in order. Also, CBCF ALC Jazz Issue
Forum and concert executive producer Cedric Hendricks moderated a panel titled, Federal Government Support for Jazz: The Next
Opportunity during JEN 2011.
By the time you read this column, the comment period for the
Discussion Draft of the National
Jazz Preservation, Education and
Promulgation Act of 2014 will be
over and Legislative Counsel will
have translated all of the ideas
that have been reviewed, vetted,
and accepted into legislative language. Stay tuned for the bills
announcement in late March or
early April. In the meantime, if
you would like a copy of the Discussion Draft, direct an email to
Daniel.hervig@mail.house.gov.
Remember, Working Together,
Works.
JEN/AAJC JAZZ FORUM Dr.
Larry Ridley, executive director;
Bill Myers, president; Jacque Lesure, vice president; Dr. Triniece
Robinson, executive secretary;
Dr. Jesse McCarroll, treasurer.
JIMMY HASLIP
HELEN SUNG
JEFF ANTONIUK
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March 2014 JAZZed
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gearcheck
The Jazz Harmony Book
from Sher Music
Sher Music Companys The Jazz Harmony
Book by New York pianist David Berkman is
a course in how to add chords to melodies,
showing how a single melody can give rise
to rich harmonic variations. The Jazz Harmony Book is endorsed by Kenny Werner, Fred
Hersch, Mark Levine, and others. The book is 206 pages long, with
two CDs included.
shermusic.com
SwirlyGig SwirlyHook Solo
The SwirlyHook Solo is a single black hook that fts snuggly on

a standard mic stand to hold headphones, tambourines, cables,
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steel and coated in black PVC for grip and durability.
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Grover Pro Headless Tambourine

Grover Pros New Studio Pro Tambourines feature
hand-hammered German Silver and Phosphor Bronze alloy
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DAddario FlexSteels Bass Strings

FlexSteels are billed as DAddarios
most advanced strings, delivering the
unique combination of fexible feel
coupled with a deep, round tone and
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The FlexSteels recipe mixes a harmonic-rich steel alloy with precisely formulated core-to-wrap diameters wound to
exact specifcations. Available for 4-, 5- and 6-string basses.
daddario.com
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JAZZed March 2014
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In 50 Hard Bop Blues Licks You Must
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50 Slow Blues Licks You Must Know is
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Charlie Christian, Django Reinhardt, Wes Montgomery, Kenny
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all masters of jazz guitar. With the 50 Jazz Masters Licks You Must
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these masters are presented.
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Zonda Reeds
Zondas new rebranded
reed line is available for soprano, alto, tenor, and baritone saxophone, as well as
bass clarinet. They are also
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No pesticides are used in the harvesting of Zondas quality woods.
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Conn-Selmer 40 Series Saxophones

The Selmer 40 Series Saxophone
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Grade 5
Red Hot
Sidewalks Of New York
Jackson Square
By Nick Fernandez
Grade 5
By Denis DiBlasio
Grade 5
By Denis DiBlasio
Grade 5
Roy Campbell, Jr.

1952 2014
rolifc American trumpeter Roy

Sinclair Campbell, Jr. passed
away in January of heart dis-
ease at the age of 61. Campbell performed heavily among free jazz circles
CHICAGO PERFORMS. SO WILL YOU.
in the 1970s, including close work

with recently passed Yusef Lateef. He
spent much of his career, however,
mastering many styles of jazz, from
swing to bebop and funk.
Campbell grew up in New York and
participated in early studies at the
Jazz Mobile program with musicians
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
AYLIN BAYRAMOGLU
(2010-2012)
Cast member, Glee
Project II
like Joe Newman and Kenny Dorham.

He performed in big bands throughout the 1960s as part of the Manhattan Community College before moving on into free jazz.
Campbell moved the the Nether-
Study with accomplished faculty, who include Chicago Symphony and

Lyric Opera orchestra members, Metropolitan and Lyric opera sensations,
renowned soloists, Grammy-winning jazz musicians, and award-winning
composers. Enjoy opportunities to perform in professional venues. Live,
learn, and perform in downtown Chicago.
lands in the 90s, where he performed

regularly with Klaas Hekman and Don
Cherry, as well as collaborating with
diverse artists such as William Parker,
Peter Brotzmann, and Yo La Tengo.
roosevelt.edu/CCPA
(312) 341-6735
music@roosevelt.edu
Text CCPA to 57711
36
JAZZed March 2014
He eventually returned to the United

States and lead a new group called
Other Dimensions In Music, along with
the Pyramid Trio with William Parker.
Jazz Education Network | 6TH ANNUAL CONFERENCE
APPLY FOR A CHANCE TO

PERFORM OR PRESENT
January 7-10, 2015
Manchester Grand Hyatt
SAN DIEGO, CA
DEADLINE: MARCH 31, 2014
Learn more at
JazzEdNet.org
The Jazz Education Network is dedicated to building the

jazz arts community by advancing education, promoting
performance, and developing new audiences.
BE BOLD BE HEARD GET SERIOUS

The New JET from JodyJazz
The new JET mouthpiece utilizes state

of the art CNC techniques to create
innovative new baffe technology which
inn
maximizes airfow and generates an
extraordinarily clean, bright
yet versatile sound.
New JodyJazz
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Visit JodyJazz.com for more info.

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MARCH 2014

Jazz Camps & Workshops

Available from your favorite music source or visit

www.jazzbooks.com for a complete product listing.

The drum set is kind

ROUNDTABLE: JAZZ CAMPS & WORKSHOPS 10

LESSONS LEARNED: RABID ABOUT JAZZ 14

Anne Farnsworth recalls the challenges and rewards of her

HELEN SUNG: Whats On Your Playlist? 9

SPOTLIGHT: DANIEL GLASS 16

Rockabilly and swing revivalist Daniel Glass (Royal Crown

FOCUS SESSION: HOMAGE TO BILL EVANS 21

JAZZ EDUCATION NETWORK SECTION 24

JAZZed March 2014

Narrowing the Gap

6000 South Eastern Ave., #14-J

JAZZ EDUCATION NETWORK

The Official Publication of JEN

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Lawrence E. Clark III, Frank Smith, and Monika Herzig

ASCAPs Cia Toscanini, 2014 ASCAP Foundation Herb Alpert Young

CAPs Jazz Wall of Fame event on June 9th,

Thompson Joins New Late Night Band

Take 5 on International Jazz Day

people. It draws its inspiration from

Ask your students to draw or write

Have students listen to their favorite

Summer Institute Music Program

Request a brochure at uarts.edu/precollege-music, 215.717.6430 or precollege@uarts.edu.

JAZZed March 2014

Join. Participate. Advocate.

5790 Armada Drive Carlsbad, CA 92008 760.438.8001 www.namm.org

small a package it comes in. We want to

thanks to the generous support of the

JAZZed March 2014

I would like to sincerely thank

Designed specifcally for

Mike Carubia, the author of Thad

WHATS ON YOUR PLAYLIST?

1. Well Tempered Clavier, Book 1 J.S.

PHOTO BY KAT VILLACORTA

6. Music For Large & Small Ensembles

2. I Sing The Body Electric Weather

7. Low End Theory A Tribe Called

3. Equipoise Stanley Cowell on Max

8. Bitter Bitter Meshell Ndegeocello

4. Well Be Together Again Pat Martino

9. Music from the Motion Picture Bend It

5. Soul Station Hank Mobley

10. Largo (When It Rains) Brad

NECs Mike Tucker leads a saxophone workshop

JAZZed March 2014

June 29July 11, 2014

week. This is fve days with everyone

provide entrepreneurial training like

This intensive, performance-based

Jazz Performance Workshops

July 1325, 2014

Our summer music camp includes

Students reside on the scenic

What would you say are the marks of

JAZZed March 2014

temporary Improvisation, Composition