Dr . Michael Gould • Studio Handbook

P rofessor Michael Gould 1419 M oore, S OMTD 734‑615‑0215 [email protected]

GOULD SECTION NUMBER=279 DOBBINS SECTION NUMBER=090

This h andbook i s designed t o answer s ome o f the questions o ne m ight have regarding lessons, g rading and general policies f or percussion l essons. Also i ncluded in this h andbook are a h ost o f resources to help you f ind great listening a nd videos f ound in the SMTD Library.

Page 1 SOM Student Handbook/ Lesson Expectations/Grading Policy

SOM Student Handbook All students should familiarize him or herself with the School of Music Student Handbook. The handbook you receive your first semester in school is the curriculum and guidelines you will follow throughout your program at the University. Graduate students should also look at the Handbook for Rackham Students. These books detail all of the curricula and policies set forth by the School of Music, Theater & Dance. Make sure you understand these extremely well—if you have any questions at all regarding any of the contents of either handbook, I am always available for advising as are people in the admissions office.

Lesson Expectations Here are some general guidelines for everyone taking lessons with Professor Gould in regards to organization, weekly expectations and grading structure:

• Lessons will be set­up within the first week of class. It is YOUR responsibility to make an appointment with Professor Gould to set­up a lesson time (contact him in person (office 1419), e­mail ([email protected]) or phone (615­0215). Please make sure that the lesson time you arrange does not conflict with any of your other commitments, as changes in the schedule after the first week can be very difficult to rearrange. You must also have 4:30­5:30 available every Thursday for studio class. These are mandatory to attend unless you contact Professor Gould well in advance of meeting. It is also your responsibility to sign­up for the correct course and section number for lessons. Failure to do so will result in a whole plethora of problems for you—you must double­check this before the add/drop date. If you have a question whether or not you are enrolled ask me during your lesson time.

• Each lesson will be recorded on a “lesson sheet”. The lesson sheet is written documentation of what was reviewed during each lesson and identifies the new material that should be worked on for the following week. You are expected to be diligently working on all of the materials assigned to you for the following week. I realize that not everything we work on will be mastered in short order but sustained effort is what I am looking for in your practicing. All of the lesson sheets and supplemental materials given to you during lessons should be kept in a folder or binder. I will also have a duplicate copy in my file to review before each lesson, keep track of your grades and track your progress throughout the semester.

• During the first lesson, Dr. Gould will discuss with you a semester plan for covering repertoire, techniques, reading, styles and any goals one might desire to accomplish during the semester. There will also be a review of what was accomplished prior to lessons (if you studied with Dr. Gould or Prof. Dobbins prior to the current semester) as well as long­term goals. All of these will be written on the Lesson Sheet and factored into the final grade for the semester. Obviously, there are circumstances where one might not be able to achieve everything on the

Page 2 goals sheet—perhaps because of getting stuck on something highly technical or something highly personal—as long as one is working hard, it is a very fair system.

• Each student should be sufficiently warmed up before each lesson. Try to organize your schedule so that you are not running from another class or worse­­from across campus.

• If you are playing something that requires a special set­up (other than drumset or hand drums), this should be done before the lesson begins so that little time is wasted during the lesson. I am always willing to come to you—setting up something in a practice room is perfectly fine. Feel free to invite other students to your lesson if you are playing something together and need to work on it­­ie., bass player, pianist, etc.

• Please bring all of your implements to your lesson regardless of what is being worked on. We might need a different implement given a new musical situation, technique, etc.,so bring your stick bag.

• All students are required to purchase method books, music or other materials being worked on for lessons or recitals. Please refer to the list of books supplied in this handbook or your lesson sheet for items you may need to acquire. Please ask if you are having trouble finding a certain item. Everything listed in this handbook can be ordered from Steve Weiss Music or Columbus Pro Percussion:

Steve Weiss Music 2324 Wyandotte Rd. Willow Grove, PA 19090 (215) 659­0100

Columbus Pro Percussion 5052 N High St Columbus, OH 43214 (614) 885­7372 www.columbuspercussion.com

• Regular lesson attendance is required. Unexcused absences are not allowed. Each unexcused absence will result in one lowered final letter grade. In the case that you may need to miss a lesson, please let Dr. Gould know ahead of your scheduled lesson time. For excused absences, lessons will be made up with Dr. Gould at a mutually agreed upon time. In the case that Dr. Gould should be away for performances, clinics, conventions, etc., a make­up lesson sign­up sheet will be placed on the door to his office (or you will be contacted via e­mail). If you cannot find a suitable time, please contact Dr. Gould. Lessons start promptly at 30 minutes past the hour—if you are late…you will not have a lesson unless you have a very good excuse. This will also result in a lower grade at the end of the semester—no exceptions. If you are late—you will NOT receive an “A” for the semester’s grade. Each time you are late will result in a 1/3

Page 3 letter grade lower for your final grade. You need to plan to be in the building, warmed­up and ready to go at your lesson time.

Grading Policy

Regardless of degree program, each student should carefully prepare all of the materials assigned for each lesson. There should be progressive improvement throughout the semester in both technical and musical abilities. The grade will also account for how much of the semester goals were accomplished as discussed above in lesson expectations. You must also bring “something to the table”. This means have some questions ready on the material you have worked on for the past week (or weeks) bring in recordings you have listened to or are performing on (the Dobbins “fight tape”) that you may have questions about, big band or combo music, etc.—my hope is that this level of inquiry will spur more ideas, practice material or new pathways of study. If you are expected to perform a jury at the end of a semester, this will account for part of your final grade (you must pass the jury in order to move on to the next lesson number). P rofessor Gould also expects all of his students to attend all big band concerts and combo concerts, percussion related recitals, masterclasses, clinics and other percussion events held throughout the semester. Failure to do so without an authorized excuse will result in a 1/3 lower grade (A to an A­). YOU MUST SUPPORT YOUR PEERS.

Grade Breakdown:

A = Excellent. The student shows exceptional and solid preparation, practiced with extreme consistency between lessons, was professional in manner, and made superior progress in technique and musical understanding of all assigned material.

B = Average. Preparation shows some inconsistency in practicing, mild improvement in technical goals, and adequate enough progress that new materials may be assigned. However, given reasonable expectations, the student is clearly not working to his/her highest potential.

C = Fair. This grade represents poor preparation, lack of consistent practice between lessons and little improvement technically or musically. No new material will be assigned.

D = Poor. This grade is given for a lesson that is clearly not prepared and shows little or no consistent practice. No new material will be assigned.

E = Given only in the rarest of circumstances. Such a grade indicates that the student has made no effort whatsoever. (These grade descriptions I thought were very good and were taken from Clemson University Percussion Policies—Dr. Paul Beyer)

Page 4 Tips for Being a Responsible Percussionist (From Furman University and found throughout the percussion world)

• Assist your colleagues in striking the stage following a percussion recital ­­ even it you didn’t play. This is common courtesy and will be greatly appreciated when you are the performer. • Arrive far enough in advance of a rehearsal to guarantee that all equipment is set up and you are properly warmed up before the rehearsal begins. This may mean from ten minutes to an hour before a rehearsal depending on the complexity of the set­up. • Following a rehearsal, remain long enough to return all equipment to its proper location. Leaving before this task is complete is selfish and inconsiderate to those who remain. Even if you did not play an instrument, help everyone until the task is complete. • Never challenge a conductor’s musical decisions during rehearsal. "The conductor is always right, even when he/she is wrong." Use your section leader or principal to communicate alternative opinions. • Do not rely on other’s to bring music, mallets, or equipment you are required to provide. Avoid the reputation of being the "mallet moocher" or worse, the "percussion parasite." • Come to rehearsals with your music learned. Rehearsals are for rehearsing, not for practicing. • Your ears are extremely important to any musician. Wear ear protection when necessary. • Keep a calendar so that you do not "double book," forget engagements, or simply fail to have your time organized. • Attend as many percussion related performances as possible, especially those by professionals in the field. One can learn an incredible amount by witnessing your colleagues or the professional percussionist who makes a living at this craft. • Read as much as possible regarding percussion. The SOM Library has an excellent collection of books, videos, and music about percussion. Percussive Notes and Modern Drummer are found on the periodical shelves. Check out the websites on the Internet, too. • Share information with your colleagues by using the “Percussion Cage” bulletin board or via e­mail. Whether it be jobs, an interesting article, a new technique, a great concert next week, etc. share your ideas and information with your colleagues. Don’t be selfish with your knowledge. • Percussionists have a reputation for being cordial, positive, and good humored. Honor that reputation and continue to build a positive image wherever you take your musical activities.

Texts

The following texts are required for drumset/percussion lessons and form the foundation for building your personal library on percussion pedagogy and technique. As it may take you a while to acquire all of these texts either through time or funds, I have included the call numbers of those books found within the SMTD library. PLEASE be sensitive to others and share or return these items on time. Almost everyone will be at various levels of ability on drumset/percussion so not all of these texts may apply to everyone. If you have any questions about the following list please ask.

There are hundreds of drumset books out there which all have something to offer— these few are intended as a launching point for a particular reason: style, reading or technique. We will be looking at much more according to each individual’s performance level.

Page 5 Drumset Methods Chaffee, Gary Linear Time Playing MT 662.3 .C43 L7 1993

Chaffee, Gary Time Functioning Patterns

Dawson, Alan and John Ramsay The Drummer’s Complete Vocabulary

Houghton, Steve. Studio & Big Band Drumming MT 662.3 .H84

Reed, Ted Syncopation for the Modern Drummer

Riley, John. Art of Bop Drumming MT 662.3 .R56 1994

Riley, John. Beyond Bop Drumming MT 662.3 .R57 1997

Thigpen, Ed The Sound of Brushes

Uribe, Ed. The Essence of Brazilian Percussion and Drumset MT 655 .U76 1994

Uribe, Ed. The Essence of Afro­Cuban Percussion and Drumset MT 655 .U75 1996

Snare Drum Morello, Joe Master Studies MT 662.3 .M82 1995

Stone, George Lawrence. Stick Control MT662.3 .S88 1963

Fink, Ron. Chop Busters

Cirone, Anthony. Portraits in Rhythm MT 662.3 .C581 1990

Vibraphone Friedman, David. Vibraphone technique : dampening and pedaling MT 719.3 .F92

Lipner, Arthur. The Vibes Real Book

Page 6 Other Resources (not required, but excellent resources that one should eventually acquire).

Beck, John. Encyclopedia of Percussion . Garland Publishing; ISBN: 081532894X; (May 1997). ML 102 .P4 E53 1995

Blades, James. Percussion Instruments and their History . This book is currently out of print. ML1030 .B63 1984

Brown, Theodore, A History and Analysis of Jazz Drumming to 1942 Volumes I and II. , The University of Michigan, Ph.D., 1976, UMI Dissertation Services (77­7881) Library­ Shelved on second floor under dissertations

Cook, Gary. Teaching Percussion . G. Schirmer/Hal Leonard. MT 655 .C671 1997

Gridley, Mark, Jazz Styles , Englewood Cliffs, N.J. : Prentice­Hall, c1988. ML 3561 .J3 G85 1988 (There are new editions available)

Korall, Burt. Drummin’ Men­The Heartbeat of Jazz, The Swing Years , Shirmer, 1990. ML 399 .K661 1990

Korall, Burt— Drummin’ Men­BeBop Years

Lang, Arnold and Larry Spivack. Dictionary of Percussion Terms . Carl Fischer. ML102.P4 L27 1978 (shelved in Undersize)

Randel, Don Michael. The New Harvard Dictionary of Music , Cambridge, Mass. : Belknap Press of Harvard University Press, 1986. ML100 .R22

Weinberg, Norman. Guide to Standardized Drumset Notation , Percussive Arts Society,1998.

Implements/Other Important Items/Personal Equipment As with textbooks, CD’s and equipment, sticks and mallets can really add up! You should try and slowly build your collection of sticks and mallets according to when you might need them. If you run into a musical situation that calls for an implement you don’t own—try and buy it! This is also good for small percussion accessories. If you have any questions about any other implements, please ask.

Implements (Items in parenthesis are suggestions only—try them out to see if you like them) • 1 pair of lightweight drumset sticks (Innovative Percussion­Ed Soph Maple, Joey Woronker Hickory, Vater­Super Jazz, etc) • 1 pair of medium to heavyweight drumset sticks (Zildjian­Vinnie Colaiuta) • 1 pair of general snare drum sticks (Vic Firth General SD­1) • 1 pair of brushes (Regal Tip, 551 XL)

Page 7 • 1 pair of multi­rods (Pro­Mark, Hot Rods) • 1 set of (4) vibe mallets­ medium­ hard (Innovative Percussion Anders Astrand) • 1 set of soft timpani mallets or mallet suitable for rolling on cymbals or get a multi stick mallet—Innovative Perc IP 5AT or IP 5AM

Other Important Items Practice Pad (HQ Percussion "Real Feel") Metronome Conga Wrench Drum Key! Hand lotion with Lanolin for conga playing (unscented­try Eucerin hand lotion) 2 Black Hand Towels (for placing sticks on music stands, etc)

Personal Equipment You should have your own drumset cymbals. If you want to bring your bass drum and hi­hat pedals that is fine but you will need a place to store them. Everyone should consider purchasing a cowbell and synthetic woodblock as well as a shaker. The following are some suggested instruments:

Latin Percussion, Jam Block­Large (it’s red) Latin Percussion, Mambo Cowbell Rhythm Tech Studio Shaker Rhythm Tech DSM2 Universal Mount Pearl Adjustable Mount (PPS37) This is super strong for cowbells, etc.

Practice Rooms/Keys/Golden Rules For Living

The following is a listing of practice rooms you may use. There are three dedicated drumset practice rooms and two chamber jazz rooms for your use. It is important that you leave the contents intact so that the next student or combo does not have to search for equipment. There are also two drumsets found in the jazz cabinet in Kevreson rehearsal hall, a drumset stored in 1390 connected to Hankinson rehearsal hall and a drumset in the Cady Room of Stearns. When you move a drumset, make sure you take extreme care in loading everything onto a cart, use padding and collapse all of the stands (this is in consultation with Prof. Gould as all of the drums should stay where they are located unless otherwise instructed). There is also a checkout drumset stored in the Kevreson drumset cabinet. In order to check this drumset out—you must contact Professor Gould and the jazz percussion manager. If it is not already in use, you must provide safe transportation—make sure it leaves the building in cases. You may not check this out for more than one day without contacting Professor Gould. Please report all equipment problems to the jazz percussion manager.

Page 8

Practice Rooms Keep all of these practice rooms locked at all times—even if you are leaving for a short period of time! The three drumset practice rooms (1417, 1415, 1413) have very heavy doors­­please make sure you close these all of the way.

If someone is using a practice room you do not recognize, ask them who they are and report this immediately to one of the Jazz faculty as well as the info office. (This excludes audition days!).

DO NOT lend your key to anyone for any reason­ever! These facilities are for jazz majors only.

Do not leave your trash, cymbals, sticks, mallets or music in any of the practice Rooms. Please take all of your stuff with you when you leave—even if you are coming back later that day. No food or drink—ever (unless you have water in a plastic container with lid). Please return all of the instruments you use back to their original storage place or where you found them. You can get a locker and cubby hole in the percussion locker room to store your gear from the person at the info desk at the beginning of the year. Prof. Gould goes through these rooms often and will throw away trash and take your instruments, sticks and books hostage if left in the rooms.

Practice Rooms and Offices: 1419­Professor Gould’s office. Yamaha Oak Custom drumsets Congas Vibraphone Piano

1417 Practice Room 1 DW Jazz Series Drumset Yamaha YV 2700 Vibraphone

1415 Practice Room 2 Yamaha Maple Custom Drumset LP Congas

1413 Practice Room 3 Pearl Vision Drumset Yamaha Maple Custom Drumset

1390 Percussion Storage Room Yamaha Stage Custom Drumset Mapex Snare Drum

Page 9 Hardware in Case

1320 Kevreson Rehearsal Hall Yamaha Maple Customs Drumset (two of these) LP/Pearl Congas Yamaha Maple Custom Check Out Kit

1201 Combo Room (large) Yamaha Maple Custom Drumset Yamaha YV 2700 Vibraphone Pearl Conga

1191 Combo Room (small) Yamaha Maple Custom Drumset

2003 Professor Milne’s Office Pearl Vision Drumset and Cymbals Stearns Cady Room Pearl Vision Drumset LP Timbales and Stand

126 Stearns­Professor Hurst’s Office Pearl Vision Drumset and Cymbals

Golden Rules for Living (As found in many percussion studio’s across the country!) If you open it, close it. If you turn it on, turn it off. If you unlock it, lock it up. If you break it, admit it. If you can’t fix it, call in someone who can. If you borrow it, return it. If you value it, take care of it. If you make a mess, clean it up. If you move it, put it back. If it belongs to someone else, get permission to use it. If you don’t know how to operate it, leave it alone. If it’s none of your business, don’t ask questions.

Percussive Arts Society The Percussive Arts Society is an international organization that focuses on the study and advancement of the art of percussion. There is one chapter from each state and one chapter from each foreign country. In November of each year, the Percussive Arts Society International Convention is held which features concerts, clinics and many booths from the percussion industry. The convention is a lot of fun to attend, highly educational and recommended for

Page 10 anyone planning on a career in percussion. Once a year, the Michigan chapter of P.A.S. holds a Day of Percussion. The events change from year to year, as does the location. The society’s magazine, Percussive Notes can be found in the SOM library. You can find the most current subscription information at w ww.pas.org. T here are special rates for students and everyone should become a member if you are not so already.

"It's important that all percussionists and drummers, no matter what style of music, support each other. Organizations like PAS play a very important role in continually educating and supporting percussionists and drummers all over the world." ­ Kenny Aronoff

Modern Drummer It is good to keep up on current drummers in Pop, Latin and Jazz as well as new equipment, etc. When you need a break, it is in the library along with all of the other periodicals.

Listening/Videos Each student should be actively listening to as much music as possible from a diverse pool of styles and performers. I have tried to include a variety of resources in this handbook to help get you started discovering what the SMTD Library has to offer. It is important that you find the time to listen to music, play­a­long with tunes and listen to music that has been assigned to you during your individual lesson times.

Double Time Top 100 Historically Significant Recordings I have also included a listing of the Double Time Top 100 Historically Significant Recordings compiled by Jamey Aebersold. It is his company’s opinion of what they think are the top 100 recordings—it is just an opinion but a great place to start listening. I have searched the SMTD library to see what we own and have included the call numbers. (See Appendix A)

Latin Recordings Included in this handbook are a listing of ten collections of Latin CD’s purchased by the SMTD library. These will be quite useful for those of you who are studying these styles with me on drumset, congas, etc. (See Appendix B)

Juries Juries are mandatory for freshman and sophomores. They occur each year at the end of the Winter Term (the exact date will be announced by the Dept. with plenty of advance notice). You can find a list of the required tunes in the Jazz Department Handbook. Professor Gould will guide you during lessons to help prepare for the jury and what you may expect.

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APPENDIX A

Double Time Top 100 Historically Significant Recordings

Most of the recordings listed are from the 40's 50's & 60's Bebop era. This is due to the strong influence this particular period of music has had on our current "Modern Jazz" scene today. We have purposely left off early records due either to the tremendous amount of material recorded by the artist or the poor recording quality.

Enjoy! Jamey D. Aebersold

1.Cannonball Adderley ­ Somethin' Else 2.Herbie Hancock ­ Maiden Voyage Call No: CDS 463392 3.Clifford Brown ­ Study In Brown 4.John Coltrane ­ Blue Train Call No: CDS 460952 5.Cannonball Adderley ­ & Coltrane 6.Wayne Shorter ­ Speak No Evil Call No: CDS 465092 7.Horace Silver ­ Song For My Father Call No: CDS 841852 8.Dizzy Gillespie ­ Sonny Side Up 9.Miles Davis ­ Kind Of Blue Call No: CDISC 02479, Call No: CDS 40579 10.John Coltrane ­ Giant Steps Call No: CDS 13112 11.J. J. Johnson ­ The Eminent Volume 1 12.Eric Dolphy ­ Out To Lunch Call No: CDISC 02141 13.Oliver Nelson ­ Blues & The Abstract Truth Call No: CDS 5659 14.Lee Morgan ­ The Sidewinder 15.Hank Mobley ­ Soul Station 16.Miles Davis ­ Milestones Call No: CDISC 02451 17.Wes Montgomery ­ Smokin At The Half Note On Order 6/3/02 18.Lee Morgan ­ Cornbread On Order 6/3/02 19.Larry Young ­ Unity Call No: CDISC 03714 20.Sonny Rollins ­ Saxophone Collossus ­Call No: LP 7326 21.John Coltrane ­ Mainstream 1958 22.Mccoy Tyner ­ The Real Mccoy Call No: CDISC 03713 23.John Coltrane ­ A Love Supreme Call No: CDS 155 24.Johnny Smith ­ Moonlight In Vermont 25.Paul Chambers ­ Chambers Music 26.June Christy ­ Something Cool 27.Dizzy Gillespie ­ Jazz At Massey Hall Call No: LPB 0287 28.Art Blakey ­ A Night At Birdland Vol. 1 On Order 6/3/02 29.Dizzy Gillespie ­ Duets 30.Bill Evans ­ Undercurrent Call No: LPS 5640a 31.Gene Ammons ­ Boss Tenors 32.Kenny Burrell ­ & John Coltrane 33.Miles Davis ­ 'Round About Midnight Call No: CDISC 02878 34.Erroll Garner ­ Concert By The Sea Call No: CDM 40589 35.Miles Davis ­ Relaxin' With Miles On Order 6/3/02 36.Wes Montgomery ­ Incredible Jazz Guitar Call No: CDS 362a 37.Joe Henderson ­ Page One 38.Frank Rosolino ­ Free For All 39.Wes Montgomery ­ Full House Call No: CDS 1062

Page 12 40.Art Farmer ­ Modern Art 41.Carl Fontana ­ 5 Star Ed 42.Sonny Rollins ­ Tenor Madness Call No: CDISC 01993 43.Art Blakey ­ Moanin' Call No: CDISC 03584 44.Thelonious Monk ­ With John Coltrane Call No: CDS 3929 45.Chick Corea ­ Now He Sings, Now He Sobs Call No: CDISC 04894 46.Freddie Hubbard ­ Open Sesame 47.Bill Evans ­ Sunday At Village Vanguard Call No: CDISC 00223 48.Charlie Parker ­ Now's The Time 49.Stan Getz ­ For Musician's Only 50.Dizzy Gillespie ­ Groovin' High Call No: LP 12020 51.Dexter Gordon ­ Ballads 52.Charlie Parker ­ Bird & Diz Call No: LP 8006 53.Joe Henderson ­ Lush Life, Strayhorn Music Call No: CDS 117792 54.Freddie Hubbard ­ Red Clay Call No: CDS 40809 55.Bill Evans ­ Waltz For Debby Call No: CDS 182a 56.Kenny Dorham ­ Una Mas 57.Lester Young ­ The President Plays W/The Oscar Peterson Trio 58.Joe Henderson ­ In 'N Out Call No: CDS 892872 59.John Coltrane ­ & Johnny Hartman 60.Grant Green ­ Feelin' The Spirit 61.Nancy Wilson ­ With Cannonball Add. Call No: CDISC 00612 62.Miles Davis ­ Cookin' Call No: LP 7094 63.Red Garland ­ Groovy 64.Miles Davis ­ Steamin' With Miles Davis Call No: LPB 0406 65.Johnny Griffin ­ A Blowin' Session 66.Grant Green ­ Born To Be Blue 67.John Coltrane ­ Ballads 68.Johnny Hartman ­ I Just Dropped By To Say Hello 69.Carl Fontana ­ The Great Fontana 70.Grant Green ­ Idle Moments 71.Art Blakey ­ Ugetsu 72.Stanley Turrentine ­ Sugar 73.Bill Evans ­ Intermodulation 74.Art Blakey ­ A Night At Birdland Vol. 2 75.Freddie Hubbard ­ Hub Tones Call No: CDISC 00779 76.Hank Mobley ­ The Turnaround! Ordered: 06/03/02 77.Bud Powell ­ The Genius Of Call No: CDS 216692 78.Lee Konitz ­ Subconscious­Lee 79.Stan Getz ­ Stan Getz & Bill Evans 80.Milt Jackson ­ Bags Meets Wes 81.Jimmy Smith ­ Back At The Chicken Shack Call No: CDM 3154 82.Sonny Rollins ­ Plus Four 83.June Christy ­ The Misty Miss Christy 84.Joe Henderson ­ Inner Urge Call No: CDS 892872 85.Duke Ellington ­ Money Jungle 86.Woody Herman ­ Keeper Of The Flame 87.Chet Baker ­ Playboys 88.Bud Powell ­ The Amazing ­ Vol 1 89.Oscar Peterson ­ Plays Count Basie

Page 13 90.Clifford Brown ­ Brown/Roach Inc. 91.Stan Kenton ­ Duet 92.Joe Henderson ­ Mode For Joe Call No: CDS 892872 93.Horace Silver ­ Blowin' The Blues Away 94.Clifford Brown ­ More Study In Brown 95.Sonny Clark ­ Leapin' And Lopin' 96.Blue Mitchell ­ The Thing To Do 97.Johnny Griffin ­ Introducing 98.Sonny Stitt ­ Constellation 99.Slide Hampton ­ World Of Trombones 100.Keith Jarrett ­ Standards Vol. 1

APPENDIX B­LATIN RECORDINGS

Package Set, No. 1: Classic Salsa, Vol. 1 (15 CDs) Here you will find some of the best salsa to come out of New York, primarily from the 1970s — the decade when urban salsa exploded with raw energy and verve. Each selection has been carefully chosen, and each is important for its own reasons. This is a terrific starting point to immerse yourself in the intense and rich music of the salsa decade.

Alegre All Stars, The Alegre All Stars (CDISC 04494) CD (Alegre 8100) Re­Issued 1996

Celia Cruz, (con Johnny Pacheco) ­ Celia & Johnny (CDISC 04493) CD (Vaya V 31) Released 1974;

Cheo Feliciano, Cheo (CDISC 04492) CD (Vaya V 5) Released 1976;

Eddie Palmieri, Azucar Pa' Ti (Sugar For You) (CDISC 04491) CD (Tico 1122) Released 1965; Re­Issued 1994

Fania All Stars, Live at the Cheetah (Volume 1) (CDISC 04490) CD (Fania 415) Released 1974;

Grupo Folklorico Y Experimental Nuevayorquino, Concepts InUnity (CDISC 04489) CD (Sony/Salsoul 83904) Released 1975; Re­Issued 1994

Héctor Lavoe, Comedia (CDISC 04488) CD (Fania 522) Released 1978;

Johnny Pacheco, El Maestro (CDISC 04487) CD (Fania 485) Released 1975;

Justo Betancourt, Pa Bravo Yo (CDISC 04486) CD (Fania 426) Released 1972;

Ruben Blades, Siembra (CDISC 04485) CD (Fania 537) Released 1978; Category: Salsa/Son => Salsa: Classic 1960s Or 1970s New York

Louie Ramirez, Louie Ramirez Y Sus Amigos (CDISC 04484) CD (Cotique 1096) Released 1978; Category: Salsa/Son => Salsa: Classic 1960s Or 1970s New York

Ray Barretto, The Message (CDISC 04483) CD (Fania 403) Released 1972;

Markolino Dimond & Frankie Dante, Beethoven's V (CDISC 04482) CD (Cotique 1075) Released 1975; Re­Issued 1993

Page 14 Mon Rivera, Mon Y Sus Trombones (CDISC 04481) CD (Vaya 54) Released 1976; Re­Issued 1993

Orchestra Harlow, Salsa! (CDISC 04480) CD (Fania 460) Released 1974;

Package Set, No. 2: Latin Soul (12 CDs)

This is the Latin Soul / Boogaloo spectacular you have been waiting for. Twelve hand picked gems that are as important today as they were when they were first introduced around twenty five years ago. Fill up that glass of wine and get ready to boogie to that Sonido Bestial!

Pete Rodriguez, I Like It Like That (A Mi Gusta Asi) (CDISC 04457) CD (Alegre 8550) Released 1967;

Joe Cuba, Diggin' The Most (CDISC 04456) CD (Seeco 9259)

Johnny Colón & Orchestra, Boogaloo Blues (CDISC 04460) CD (Cotique C 1004) Released 1967;

Ray Barretto, Latino Con Soul (CDISC 04458) CD (WS Latino 4053) Re­Issued 2000

Ricardo Ray & Bobby Cruz, Lo Mejor De Ricardo Ray & Bobby Cruz (CDISC 04467) CD (Vaya V 65)

Willie Bobo, Spanish Grease / Uno, Dos, Tres (CDISC 04466) CD (Verve/Poly. 521 664­2) Released 1966; Re­Issued 1994

Ralfi Pagán, With Love (CDISC 04465) CD (Fania 397) Re­Issued 1996

The Lat­Teens, Buena Gente (CDISC 04464) CD (Cotique 1032) Released 1968; Re­Issued 1999

Joe Cuba, Bang! Bang! Push, Push, Push (CDISC 04463) CD (Tico 1146) Released 1966;

Joe Bataan, Gypsy Woman (CDISC 04462) CD (Fania 340) Released 1972; Re­Issued 1998

Jack Costanzo, Latin Percussion With Soul w/Gerrie Woo (CDISC 04461) CD (Tico 1177)

Monguito Santamaría, Hey Sister (CDISC 04459) CD (Fania 361)

Package Set, No. 3: Latin Jazz (12 CDs)

The vast scope of Latin jazz is spanned in this diverse mix of approaches to the genre. Early Cubop selections from Machito and his Afrocubans through the complex polyrhythms of Jerry Gonzalez and the Fort Apache band are offered here. Of course, what package could be complete without representation of Cuba's famed superband, Irakere, or from El Rey, Mr. Tito Puente? This well thought­out package will help you to define your own taste in Latin jazz, a genre that has taken many roads in the past 60 years.

Cal Tjader, Los Ritmos Calientes (CDISC 04406) CD (Fantasy 24712)

Candido Camero, Brujerias De Candido, Candido's Latin,"McGuffa's Dust" (CDISC 04407) CD (Tico 1142) Released 1971;

Page 15 Emiliano Salvador, Nueva Vision (CDISC 04408) CD (Qbadisc 9018) Released 1979; Re­Issued 1995

Irakere, The Best Of Irakere (CDISC 04404416) CD (Columbia/Sony 57719) Released 1994;

Jerry Gonzalez & Fort Apache Band, Rumba Para Monk (CDISC 04409) CD (Sunnyside SSC1036D) Released 1989;

Machito And His Afro­Cubans, Kenya: Afro­Cuban Jazz (CDISC 04417) CD (Roulette/Capitol 22668) Released 1957; Re­Issued 1999

Mario Bauza, Tanga (CDISC 04410) CD (Messidor 15819­2) Released 1992;

Mongo Santamaria, Skins (CDISC 04411) CD (Milestone 47038)

Poncho Sanchez, Sonando (CDISC 04415) CD (Picante/Concord 4201)

Ray Barretto, Ancestral Messages (CDISC 04412) CD (Picante/Concord 4549) Released 1993;

The Caribbean Jazz Project, Paraiso (CDISC 04412) CD (Picante/Concord 4946) Released 2001;

Tito Puente, Tito Puente's Golden Latin Jazz All Star's — Live At The Village Gate (CDISC 04413) CD (Tropijazz 80879) Released 1992;

Package Set, No. 4: Cuban Roots ­ Son And Spice (15 CDs)

Consider this fantastic package a primer in the wonderfully rich palette of Afro Cuban dance music. Listening to this material, you will begin to see why the music of this tiny island has influenced the course of music worldwide. Offered in this package is a full spectrum, from the sublime danzones of Arcaño to heart­felt son montunos, and then to the smokin' 1950s descargas of Israel "Cachao" Lopez that gave birth to modern salsa.

Abelardo Barroso Y La Orquesta Sensacion, No Hay Como Mi Son (CDISC 04530) CD (Caney 514) Re­Issued 1997

Afro Cuban All Stars, A Toda Cuba Le Gusta (CDISC 04526) CD (Nonesuch 79476) Released 1997;

Category: Salsa/Son => Salsa Cubana => Cuba

Arsenio Rodriguez Y Su Conjunto, Montuneando 1946­50 (CDISC 04527) CD (Tumbao 31)

Bebo Valdes, Mucho Sabor (CDISC 04525) CD (Palladium PCD 5123) Re­Issued 1989

Beny Moré, The Most From Beny Moré CD (BMG/Tropical Series 2445) Re­Issued 1990

Chappottin, Sabor Tropical (CDISC UNKNOWN) CD (Antilla 107) Re­Issued 1993

Chihuahua Martinez & Chihuahua All­Stars, Descarga Cubana (CDISC 04528) CD (Palladium PCD 5158) Released 1964; Re­Issued 1991

Eliades Ochoa Y El Cuarteto Patria, Sublime Ilusion (CDISC O4529) CD (Higher Octave 47494) Released 1999;

Page 16 Israel "Cachao" Lopez, Descargas Cubanas: Cuban Jam Session Vol. II (CDISC 04531) CD (Panart 1A501­00411) Re­Issued 1987

Los Naranjos, Mi Son Tiene Piel Morena (CDISC 04532) CD (Eurotropical EUCD­13) Released 1998;

El Son Entero, Cuba (CDISC 04533) CD (Playasound 65206) Released 1998;

Arcaño Y Sus Maravillas, Danzón Mambo 1944­51 (CDISC 04477) CD (Tumbao 29) Re­Issued 1993

Rolando Laserie, 15 Grandes Exitos De Rolando Laserie (CDISC 04520) CD (Disco Hit 1512)

Celina Gonzalez, ¡Que Viva Changó! (CDISC 04521) CD (Qbadisc 9004) Released 1993;

Various Artists, Cuban Counterpoint: History Of Son Montuno (CDISC UNKNOWN) CD (Rounder 1078) Re­Issued 1992

Package Set, No. 5: Salsa Cubana (12 CDs)

This unique package offers a range of modern Cuban salsa from the last couple of years. From the legendary veteran dance band, Los Van Van, who developed and popularized a hybrid rhythm known as songó, to the talented high energy Cubanismo who incorporate elements of son and descarga, to the new timba sounds of Charanga Habanera, Klimax and Bamboleo, this package will surely fire up any party. This is an important package, representing the best contemporary Cuban dance music.

Bamboleo, Ñño! Qué Bueno Está CD (Ahi­Nama Records 1027) Released 2000;

Cubanismo!, Reencarnación (CDISC 04424) CD (Hannibal/Rykodisc 1429) Released 1998;

David Calzado Y Su Charanga Habanera, Tremendo Delirio (CDISC 04423) CD (Universal 40068)

Issac Delgado Y Su Grupo, La Formula (CDISC 04422) CD (Ahi­Nama Records 1030) Released 2000;

Klimax, Juego De Manos (CDISC 04421) CD (Eurotropical EUCD­3)

La Caro Band, Vale La Pena ­ It's Worth It (CDISC 04420) CD (Bembé 2021) Released 1999;

Los Van Van, Llego...Van Van / Van Van Is Here (CDISC 04419) CD (Havana Caliente 83227) Released 1999;

Azucar Negra, Andar Andando (CDISC UNKNOWN) CD (BIS 215) Released 2000;

Manolito Y Su Trabuco, Para Que Baile Cuba (CDISC UNKNOWN) CD (Eurotropical 0022) Released 2000;

Ng La Banda, En La Calle (CDISC 04418) CD (Qbadisc 9002) Released 1992;

Paulito Y Su Elite (Paulo Fg), Una Vez Más...Por Amor (CDISC UNKNOWN) CD (Promusic 00013) Released 2000;

Andy Gola And Colé Colé, En Colombia (CDISC UNKNOWN) CD (Tumi 079) Released 1998;

Page 17

Package Set, No. 6: The Folkloric In Latin Music (15 CDs)

This important package focuses on the folkloric and religious aspects of caribbean Latin music. Prime examples of Afro­Cuban Lucumí (Santeria) cantos, sung by an Akpwon accompanied by batá drums are offered. Additionally, the different forms of rumba (literally "party," but here referring to the voice and percussion music that accompanys specific dances between men or men and women are fully represented. Also exemplified are folkloric musical styles indigenous to Puerto Rico, specifically the Bomba and the Plena. Examples of traditional as well as modern treatments of these forms are explored.

Carlos 'Patato' Valdes, Patato Y Totico (CDISC 04604) CD (Mediterraneo MDC­10065) Re­Issued 1992

Carlos 'Patato' Valdes, Authority: Patato & His Latin Percussion Friends (CDISC UNKNOWN) CD (Latin Percussion 103) Released 1976; Re­Issued 2000

Conjunto Guaguanco Matancero, Guaguanco ­ Con Papin Y Sus (CDISC UNKNOWN) Rumberos CD (Antilla 565)

Grupo Afro Boricua With William Cepeda, Bombazo (CDISC 04601) CD (Blue Jackel 5027) Released 1998;

Grupo Afrocuba De Matanzas, Oyelos De Nuevo (CDISC 04597) CD (Qbadisc 9013) Released 1970; Re­Issued 1994

Los Muñequitos De Matanzas, Rumba Caliente 88/77 (CDISC 04608) CD (Qbadisc 9005) Released 1992;

Los Papines, Homenaje A Mis Colegas (CDISC 04609) CD (Vitral 4105) Released 1989;

Milton Cardona, Bembe (CDISC 04610) CD (American Clave 1004) Released 1994;

Mongo Santamaria, Drums And Chants (CDISC 04598) CD (Vaya 56) Released 1978; Re­Issued 1994

Totico Y Sus Rumberos, Totico Y Sus Rumberos (CDISC 04599) CD (Montuno 515) Re­Issued 1992

Paracumbé, Tambó (CDISC 04602) CD (Ashé 2005) Released 1997;

Plena Libre, Plena Libre (CDISC 04607) CD (Ryko Latino 1006) Released 1998;

Ecué Tumba, Buenavista En Guaguancó (CDISC UNKNOWN) CD (Envidia 7024) Re­Issued 2001

Tata Güines, Aniversario (CDISC 04605) CD (Egrem 0156) Released 1996;

Conjunto Folklorico Nacional De Cuba, Música Yoruba (CDISC 04606) CD (Bembé 2010) Re­Issued 1995

Package Set, No. 7: The Danzón, Mambo And Cha Cha Chá (12 CDs)

We had decided to form this package in response to the many, many requests we get for good mambo, cha cha chá dance material. Highlighting the heyday of this form ­ the 1950s and '60s, we bring you the royalty: Tito Puente, Tito Rodriguez, Orquesta Aragón, Noro Morales and many others. Enjoy!

Page 18 Machito And His Afro­Cubans, Tremendo Cumban 1949­52 (CDISC 04470) CD (Tumbao 04) Re­Issued 1991

Noro Morales, Rhumbas And Mambos 1948­51 (CDISC 04479)

CD (Tumbao 27) Re­Issued 1993

Orquesta Aragón, The Heart Of Havana, Vol. 1 (CDISC 04472) CD (BMG/Tropical Series 3204) Released 1958; Re­Issued 1992

Orquesta Broadway, Pasaporte (CDISC 04473) CD (Musical Productions 6261)

Pérez Prado, Mondo Mambo! The Best Of Pérez Prado & His Orchestra (CDISC 04469) CD (BMG/Rhino 71889) Re­Issued 1995

Tito Puente, Dancemania Vol. 1 (CDISC 04474) CD (BMG/Tropical Series 2467) Released 1957; Re­Issued 1991

Tito Rodriguez, Tito, Tito, Tito (CDISC 04475) CD (WS Latino 4088) Re­Issued 1989

Tito Rodriguez, Back Home In Puerto Rico (CIDSC 04476) CD (WS Latino 4177) Re­Issued 1989

Arcaño Y Sus Maravillas, Danzón Mambo 1944­51 (CDISC 04477) CD (Tumbao 29) Re­Issued 1993

Noro Morales, Rumba Rhapsody (CDISC 04478) CD (Tumbao 36) Re­Issued 1994

Pupi Campo And His Orchestra, Rhumbas And Mambos 1948­51 (CDISC 04479) CD (Tumbao 07) Re­Issued 1991

Tito Puente, No Hay Mejor (CDISC 04468) CD (Tico 1401) Released 1975;

Package Set, No. 8: The New Salsa (15 CDs)

In this package we bring you some our writers favorite salsa CDs from the last couple of years. In this package you will see some recognizable names like veterans Rubén Blades and Eddie Palmieri, as well as some newcomers who became stars within the past five years: India and Marc Anthony. Additionally, there are some shining new stars as well as some lesser known names that deserve more recognition. In any case, this package represents some of the best salsa to be released from 1993 to the present.

Africando, Vol. 1 — Trovador (CDISC 04425) CD (Stern's Africa 1045) Released 1993;

Celia Cruz, Mi Vida Es Cantar (CDISC 04426) CD (RMM 82068) Released 1998;

Victor Manuelle, Instinto Y Deseo (CDISC 04439) CD (Sony Discos 83768) Re­Issued 2001

Eddie Palmieri, El Rumbero Del Piano (CDISC 04429) CD (RMM 82197) Released 1998;

Gilberto Santa Rosa, A Dos Tiempos De Un Tiempo (CDISC 04430) CD (Sony 80895)

India, Llegó La India Via Eddie Palmieri (CDISC 04431) CD (Soho Records 80864)

Page 19 Fruko Y Sus Tesos, ¡Esto Sí Es Salsa De Verdad! (CDISC 04432) CD (Fuentes 11001) Released 1999;

José Alberto "El Canario", Herido / Heartbreak (CDISC 04427) CD (Ryko 1009) Released 1999;

Richie Ray, Mas Duro Que Antes (CDISC 04438) CD (Rodven/Polygram 559 020) Released 1998;

Oscar D’Leon Y Su Orquesta, La Formula Original (CDISC 04428) CD (RMM 82268) Released 1999;

Wayne Gorbea, Cogele El Gusto (CDISC 04437) CD (Shanachie 66013) Released 1997;

Jimmy Bosch, Soneando Trombon (CDISC 04436) CD (Ryko Latino 1004) Released 1998;

Carlos Manuel Y Su Clan, Malo Cantidad (CDISC 04435) CD (Palm Pictures 2064) Released 2001;

Frankie Ruiz, Mirandote (CDISC 04433) CD (Rodven 3154) Released 1994;

Marc Anthony, Contra La Corriente (CDISC 04434) CD (RMM 82156) Released 1997;

Package Set, No. 9: The Diamond Collection, Vol. 1 (15 CDs)

Here is a special collection of fifteen gems, selected from our pool of contributing reviewers and editors. We created this catagory because we felt that a smorgasboard of perfect appetizers will be the the right thing to turn you on to some of the best material available. We took pains not to duplicate items that appear in our other collections.

Alfredo De La Fé, Orchestra Rytmo Africa­Cubana, Vol. 1 (CDISC UNKNOWN) CD (TKIOS Musique 7779VOL1) Released 1992;

Batacumbele, Con Un Poco De Songo (CDISC 04448) CD (Disco Hit 1692) Released 1989;

Caravana Cubana, Late Night Sessions (CDISC 04443) CD (Dreamer Music/Rhino 78028) Released 1999;

Cortijo Y Su Combo, Cortijo Y Kako ­ Ritmos Y Cantos Callejeros (CDISC UNKNOWN) CD (Ansonia 1477) Released 1970;

Chocolate Armenteros, En El Rincon (CDISC 04450) CD (Sony/Salsoul 83908) Released 1999;

Edwin Y Su Son, Edwin Y Su Son (CDISC 04455) CD (SAR/Guajiro 1080) Released 1999;

Sonsublime, Irresistible (CDISC 04452) CD (Lasemco 2822) Released 2001;

Cuco Valoy, Epoca De Oro (CDISC 04454) CD (Kubaney 412) Released 1995;

Israel "Cachao" Lopez, Master Sessions, Volume 2 (CDISC 04445) CD (Crescent Moon/Epic 67319) Released 1995;

Henry Fiol, Lo Maximo (CDISC 04451) CD (Exclusivo 1294) Released 1995;

Héctor Lavoe, Hector's Gold (CDISC 04449) CD (Fania 574) Released 1980;

Quinto Mayor, Salsa Con Golpe (CDISC UNKNOWN) CD (Codiscos 11280) Released 2000;

Page 20

Los Zafiros, Bossa Cubana (CDISC 04442) CD (Nonesuch 79572) Re­Issued 1999

Papaito, Rinde Homenaje A A. Barroso (CDISC 04453) CD (SAR/Guajiro SCD­1014) Released 1990;

Tito Puente, Top Percussion (CDISC 04447) CD (BMG/Tropical Series 3264) Released 1957; Re­Issued 1993

Package Set, No. 10: Classic Salsa, Vol. 2 (15 CDs)

You knew we had to do it. It was impossible to confine this explosive era of classic salsa to just one package. Here are 15 more golden selections distilled from our vast collection of reviews from our esteemed writers. This is more of the best of the best. Que viva la música!

Celia Cruz, Son Con Guaguanco (CDISC 04509) CD (Tico 1143) Released 1966;

Eddie Palmieri, Eddie Palmieri & Friends Con Lalo Rodriguez ­The Sun Of Latin Music (CDISC 04508) CD (Musical Productions 5­6253)

Ismael Rivera, El Unico (CDISC 04507) CD (Tico 1442) Released 1992;

Johnny Pacheco, La Perfecta Combinacion — with Pete "El Conde" Rodriguez (CDISC 04506)

CD (Fania 380) Re­Issued 1991

Manny Oquendo Y Libre, Increible (CDISC 04505) CD (Salsoul 83907) Re­Issued 1994

Louie Ramirez, Pete Bonet & Louie: Beautiful People (CDISC 04504) CD (Fania 390) Released 1971; Re­Issued 1995

Monguito, Pacheco Presents Monguito (CDISC 04503) CD (Fania 341) Released 1971; Re­Issued 1993

Orchestra Harlow, Hommy, A Latin Opera (CDISC 04495) CD (Fania 425) Released 1973;

Willie Colón, Cosa Nuestra (CDISC 04496) CD (Fania 384) Released 1972;

Ray Barretto, Rican/Struction (CDISC 04497) CD (Fania 552) Released 1979;

Fania All Stars, Commitment (CDISC 04502) CD (Fania 564) Released 1980;

Ruben Blades, Metiendo Mano CD (Fania 500) Released 1977;

Tipica ‘73, Tipica '73 (CDISC 04499) CD (Inca I 1031) Released 1973;

Tito Puente, El Rey Bravo (CDISC 04500) CD (Tico 1086) Released 1963; Re­Issued 1999

Tommy Olivencia, Plante Bandera (CDISC 04501) CD (Inca I 1042) Released 1975;

Page 21 I HAVE READ AND UNDERSTAND PROFESSOR GOULD’S LESSON EXPECTATIONS, GRADING AND ATTENDANCE POLICIES.

I HAVE READ AND UNDERSTOOD PROFESSOR GOULD’S SYLLABUS INCLUDING ALL LESSON EXPECTATIONS, GRADING AND ATTENDANCE POLICIES. I REALIZE IN CONJUNCTION WITH GRADE/ATTENDANCE POLICIES FAILURE TO REGISTER FOR THE CORRECT SECTION OR PAY ATTENTION TO THE ADD/DROP DROPS WILL SIGNIFICANTLY AFFECT MY GRADE.

DATE: ______

______PROFESSOR MICHAEL GOULD

______STUDENT

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