BartMarantz Anything is Possible By Christian Wissmuller

urrently director of Jazz Studies at the acclaimed Booker T. Washington High School for the Performing and Visual Arts (BWHSPVA) in Dallas and previously on staff at Jones County Junior College (Ellsville, Miss.) and Lake Sumter Com- munity College (Leesburg, Fla.), Bart Marantz has been playing an active role Cin shaping the future of jazz for nearly three decades. Since Bart joined the faculty at BWH- tors, all of them, did not understand Bart Martantz/Booker T. JAZZed: That settled that I guess. JAZZed: The ABCs? interesting thing though is that these SPVA in 1983, the school has seen a num- jazz and commercial music and didn’t Washington HSPVA Précis: young jazz students are now receiv- ber of high profile musicians matriculate make any effort to learn this wonderful BM: [laughs] Funny, I remember BM: I consider these men to rep- ing the same information I got as a including Roy Hargrove, Erika Badu, Keith art form. I felt that those who should Web sites: www.dallasisd.org/ him showing me his masters disserta- resent the ABCs of jazz education: senior in college as juniors and some- Anderson, Norah Jones, and Bart’s own have encouraged and supported me btw/; www.bartmarantz.com tion soon to be printed as Improvising Jamey Aebersold, David Baker and times sophomores, in our performing son, Matt. The school’s music department always looked down on me for loving Jazz, the first book of its kind in the Jerry Coker. Dan Haerle was a big arts curriculum! They are growing has received no fewer than 194 DownBeat this music. I played in the jazz band, BTWHSPVA Accolades and jazz education industry. He was leaving influence on me as well, as he was quicker and attaining information at Student Music Awards and the jazz stu- then known as the stage band, the Awards: DownBeat/Musicfest USA IU to take the newly formed position the assistant to Jerry Coker at the a faster pace. Anything I relate to my dents have performed at the Monterey In- wind ensemble, the orchestra and un- Invitational National Jazz Festival at the University of Miami hired by Dr. University of Miami when I was a students in the classroom at Booker vitational National Jazz Festival, the IAJE fortunately, the marching band. (10 Awards); Monterey Invitational Bill Lee, then the Dean of the Univer- freshman in 1968. All of these peo- T. Washington or at any of the col- Conference, and the White House. National Jazz Festival (Combo Win- sity and a wonderful jazz pianist and ple are indirect influences on my stu- leges where I have taught has come As a performer, Marantz has played JAZZed: Why do it if you were so ner 3 times); International Associa- writer. He knew that Jerry was one of dents and all I really do is pass on directly from those four men. with the likes of Gladys Knight and the against it? tion for Jazz Education Conference those special musician/instructors who the same information they gave me Also, while at IU I had the pleasure of Pips, Nancy Wilson, and Frankie Valli (17 Performances) DownBeat Stu- could bring the street into the class- to our Booker T. young artists. The playing with a young drummer named and has toured with a number of shows, dent Music Awards (194); Grammy room. Jerry has proven himself to be including Ray Charles and The Glenn National Signature School: (5 times truly one of the all time jazz education Miller Orchestra. Additionally, Bart has – 2000-2008). pioneers. contributed to a number of respected I was so intrigued by JC telling me jazz periodicals and has co-authored Bart Marantz Education: BM about IU, that I decided to go there three respected method books, Jazz Fig- in Instrumental Jazz Studies/Per- for my sophomore and junior years in ure Reading Studies, Trumpet Masterclass- formance – University of Miami; undergraduate school. I did this after es, and Teach Jazz – A Course of Study. Masters Degree in Afro-American a year between schools, touring with JAZZed recently sat down with Bart Jazz Music – New England Conser- shows starring Dick Clark, the Smoth- Marantz to discuss his background as a vatory of Music ers Brothers and the like. It was fun, scholar, performer, and teacher of jazz. but I wanted to play jazz and this cer- tainly was not it. JAZZed: Talk a bit about your first expe- riences with music – as a student and JAZZed: Valuable les- JAZZed: How was your time at Indiana as a fan. sons, all. University?

Bart Marantz: I was born in Brook- BM: In my senior year BM: While at IU I had the privi- lyn, New York in 1950 and moved to – that’s the 1967/1968 lege of studying with Bill Adam on Miami with my family when I was seven school year – I was the trumpet – who at 90 years of age is years old. I did study music in elementa- lead and jazz trumpet still one of the all time most respect- ry school as well as junior high school in player for the Florida ed trumpet instructors – and David Miami, which was where I heard a brass All-State Jazz Ensem- Baker, NEA Jazz Master, who still quintet for the first time. The group had ble. This was a big deal heads the IU jazz studies program. come over to my elementary school to do back then, as there David was always busy and on the an informance. The first trumpet player were really so few jazz road himself a lot, so I hooked up would become my trumpet teacher and programs in the US on with an IU alumni in New Albany, mentor about a year later. BM: If I didn’t do the Marching Band the college level. Indiana University Indiana once a week for jazz lessons. I couldn’t participate in any of the other had the first full university degree His name was Jamey Aebersold. This JAZZed: A pretty big deal then, that ensembles! They had me. Unfortunately program in the US started by Jerry was before the first Play-Along! Am I performance. many directors still use this policy today to Coker. The University of Miami, giving my age away? No, I did that populate their large ensembles, especially Berklee and a few more were run- before when I told you I was born BM: This was strictly a coincidence, marching bands. Shortly after coming to ning programs at that time as well. in Brooklyn in 1950. The hour and but our relationship continues today! Coral Park High School in Miami, I struck Jerry Coker was the clinician for the a half back and forth once a week to His name is Dr. Frank Biringer. He and a deal with my band director. I would play Florida All-State Jazz Ensemble in New Albany, Indiana for my lessons my Jr. high teacher, Mr. Wallace Mc- his marching shows if I could leave after the 1968, and after the first break in our with Jamey was spent listening to my Murry, would give me a foundation performance, that’s after half time, to go to first rehearsal, JC asked me where I 8-track recordings, allowing me to that would last me the rest of my life, Miami Beach to play shows at the hotels on was going to college. At that point I take in all my favorite jazz musicians both as a musician and a person. the strip. This was the mid-‘60s and it was really didn’t know. Jerry Coker had of the day. a nine-month performance season and the just moved from Indiana to start the JAZZed: How about your high school large hotels with show rooms were always program at the University of Miami. JAZZed: Time well spent. years? short on musicians. I cut my teeth on per- David Baker took over the Indiana forming major shows, playing a low book University program handed to him BM: Time well spent, indeed. My BM: My high school days were my in the trumpet section, learning early what by JC. Jerry offered me a full schol- relationship with the ABCs of jazz edu- worst musical experience. The direc- it was to be a working musician. arship and it was a done deal. cation remains intact to this day. 40 JAZZed November 2008 JAZZed November 2008 41 Peter Erskine and a pianist named Alan for scholarship and he was gracious to say, as compared to those I would then-girlfriend, now my wife of 30 Bart Marantz and Wynton Marsalis Pasqua. They are still working together enough to return it to me. rather listen to?” After stints on the years and the mother of my two at The University of Southern Califor- I had heard from David Baker some road with a number of artists including boys, was living near her parents. nia in LA. This has remained an on go- months before going back to Miami Ray Charles, I found myself wanting I started teaching in the back room ing friendship as well. that he had heard a 17 year old gui- the other side of life: a home, children, of a church and within six months I I find all of these wonderful mu- tarist at the Whita Jazz Festival who and a chance to pass this wonderful art was working out of my home. This sicians and educators have in com- was about to rewrite the instrument. form on to others. was in Hattiesburg, Mississippi – mon an innate love for the art form When I got to Miami I met him. He I’m old school: jazz is an oral lan- home of the University of Southern – a deep commitment to jazz music was an incoming freshman named guage and I teach that way. Yes, I use Mississippi. printed materials and have been part of three books, but JAZZed: So the private lessons lead to “When students can be convinced that they to me it’s really all about the other things? can achieve any level of excellence if they oral side. 20 years ago, when Jeff “Tain” Watts visited Booker BM: I was seeing some great in- work hard, it’s much easier to go there.” T. Washington HSPVA with terest in private study and was gain- a young 20-something trum- ing students pretty steadily. I was peter named Wynton Marsa- able to land a weekly column in the and a sense of never having finished Pat Metheny. By the way, like in most lis, I asked him where he had gone to Hattiesburg American Newspaper, the task of sharing new ideas in pass- cases with David, he was right. Pat school and he said, “I went to Berklee called the “Jazz Corner” and tied ing along this wonderful music. All of played in the Concert Jazz Band and, for a minute, but I really studied at the this into the WMSU Radio Station sistant to the band director teaching of Bill Berry, Mundell Lowe (guitar), these men, excluding Peter and Alan, from our getting to know each other, school of Blue Note!” I think this says for a weekly jazz show using my li- some jazz courses as a supplement Lenny White (drums), Lou Levey are now in their 70s and are still hard he kindly performed on my senior re- it best. I think I was never interested brary of vinyl. The following year I to the band program. That year I (piano), and George Duvivier (bass). at work releasing new books, music cital along with Mark Colby – tenor in teaching jazz music – I just wanted, was offered an adjunct position at brought in Woody Herman to do a What a great few days that was! This and participating in clinics on a regu- sax, Danny Gotlieb - drums, Mark Ea- and still do want, to pass it on. Jones County Community College one-night concert, which sold out, was breaking new ground in jazz lar basis, sharing the music with any- gan – bass, Carmen Lundy – vocals, in Laurel Mississippi. I worked for and, later that semester, I arranged a history for this part of the country one who wants to learn it. and a number of other wonderful art- JAZZed: A subtle distinction perhaps, the band department and was as- small group residency with the likes at the time. ists who were all at Miami studying at but a point well made. JAZZed: Let’s talk a bit about your expe- the time. riences as a touring musician. It has been such a privilege and in- BM: My degrees are in performance spiration in my life to have established – both my undergraduate and Masters. I Including information on BM: I had left the University of Mi- relationships with musicians of this want to see aspiring young artists who are over 100 music schools: ami after one year of instruction to try calibre during my college and graduate committed to and interested in jazz music ■ College Music Programs my hand at an offer of full time road- study years. To this day I’m in touch succeed, and the way to do this is now in NOW ON-LINE! ■ Universities work. I was out with a show at 19 per- with, or run into, these wonderful the classroom. I do very little “teaching” at ■ Conservatories forming with the Smothers Brothers, artists and it’s like very little time has Booker T.; it’s really a coaching gig more ■ Music Education Degrees the Rhodes Brothers, and hosted by passed. I saw Pat just about six weeks than anything else. There are now very ■ Technology Mickey Rooney and Dick Clark. It was ago and it was old home week! Many few big bands and gigs to hone the blade College Search ■ Performance fun, but not jazz music and I was frus- of these musicians have been over to of a jazz musician. The opportunity those ■ Commercial Business trated. We were performing in Cincin- Booker T. Washington, to give back to avenues once presented has now gone to ■ Instrument Repair nati at the Lookout House and Buddy the next generation. the performing arts high school, universi- ■ Military Band Programs Rich was performing downstairs in the ties, colleges and conservatories. We are & Career Guide ■ Recording Engineering small room. This is where I met Frank JAZZed: At what point did you first a “Peer to Peer” Arts School and are tied An Essential Resource for College Bound Music Students! Brown, a wonderful jazz trumpet play- become interested in teaching others? to The Thelonious Monk Institute along er who hooked up with me during a Did you have a specific instructor who with the Brubeck Institute, of which I week’s stay in Ohio. We went to din- inspired you to teach? have been a founding faculty member ner, listened to jazz, and just started since 2003, are where the final preps are Students will use this essential on-line hanging out together. He recommend- BM: Teaching never really inter- now done before going on to changing ed me to Indiana University and got ested me in the early years. Like with the jazz industry. Festivals like the Mon- resource filled with informative articles to help me into the studio of Mr. Bill Adam, most young players, all I wanted to do terey Jazz festival, and unfortunately, the them make decide on the best college who changed my life for the better as a was play. There comes a time when, now demised IAJE are and were all jump- person and musician. if your’e fortunate enough to be sur- ing off points for young artists inn the jazz music program. After my junior year at Indiana, rounded by great players, you come to music industry. I found out that many of my credits terms with just where you are musical- This dynamic 2009 edition can be found at: from Miami, especially in the area of ly. This is why I have never recorded – I JAZZed: What was your first teaching www.collegesearch.epubxpress.com music theory, would not transfer. As a would much rather listen to someone gig? result I asked Dr. Bill Lee, then dean of else. There are so many great players the School of Music at the University out there and I have always struggled BM: When I got married I came Expert Articles & much more! of Miami to consider my reapplication with the question of, “What do I have off the road and settled where my  42 JAZZed November 2008 JAZZed November 2008 43 JAZZed: What came next in your teach- producing a three-day jazz festival that My first month at the college I pro- to get back into our Bug and go back to Again, I would have to add ing career? brought about 30 bands in from a three- duced my first concert and at the re- Florida in hopes of finding something in the frustrations of having to state area to be adjudicated and take in ception the new college president told else that would work as a jazz educa- fill out countless amounts of BM: The next year an offer came some evening concerts with national my wife and I how much he enjoyed tion gig. Before we left the building, Dr. "paperwork" to comply with from Lake Sumter Community College jazz stars. We also had some wonder- the music, but unfortunately he was Douglas Cornell, department coordina- administrative policies and the in central Florida where I became head ful jazz clinicians including people like closing the fine arts department and tor dropped the needle on their group’s difficulty in raising the mon- of an instrumental department with an Willie Thomas, John Lockwood, and the new facility for music would be latest vinyl recording and after ten or so ies needed to give my students emphasis in jazz. This was a good teach- Bill Dobbins. It was a high level for any housing a new nursing program he seconds I asked if I could sign a contract more opportunities to travel ing gig, but was not a full time position area of the country and brought into the envisioned! He told us to start look- now or did I have to wait? and participate in worthwhile in jazz studies. I had to invent ways to region new ideas about, and more ac- ing for prospects elsewhere, as we only educational events. In that expand the curriculum and did this by ceptance of, jazz music. had three years before the program we JAZZed: It was that convincing – wow. vein, I would like to say a spe- SB&O 11/15/05 9:57 AM Page 1 presently taught in would close. cial thank you and express my BM: It was. I was told we would meet admiration for The Thelonius JAZZed: Your wife also taught at Lake for dinner that evening and we could Monk Institute and JB Dyas. Bart Marantz and Doc Severinsen. Sumpter? go over more details of the school and For several years they have jazz studies program. I was just blown it’s just so rewarding. Once in a while I’ll stepped in to fill this "finan- BM: Yes. My wife, Sara, and I taught away by the talent and immediately re- hear from a former student with a thank cial gap" by sponsoring our Combo I's The World’s in the same music program and it was alized the building had little to do with you letter or e-mail. These updates on travel as a "Peer-to-Peer" group, allowing going to be a challenge to survive. the program. It was all about the kids, their successes keep me aware that we are them the opportunity to serve as student I then began the chore of calling along with the responsibility of reinforc- making a real difference and it reinforces educators to other jazz students around Finest Mouthpieces friends in the jazz education business ing their musical desires with positive the notion that we need to continue the the country. It is a unique and highly ef- and letting them know I was looking feedback and new ideas for direction for effort in moving forward with our youth. fective concept, and I applaud them for for a gig. In July of 1983, I got a call their futures and, in turn, the future of their ingenuity and commitment to jazz from Willie Thomas who was doing a this wonderful music. JAZZed: Ok, flip that question on its education. This same Institute has also series of clinics at what was then known back – what do you find to be the most funded monthly clinics at our school, as the Dallas Arts Magnet High School. JAZZed: Do any lessons learned while frustrating aspect of being an educator? enabling me to invite in our local jazz It resumed its original title, Booker T. teaching at Booker T. Washington stick greats, including many of the noted jazz Washington (HSPVA) some ten years out? BM: My biggest disappointment as professors at the University of North later. Willie told me there was an open- an educator is that not all the students Texas, along with a wonderful mix of our ing at the school and the talent level was BM: One lesson learned from being at that you pour your time and energy into successful alumni. So, I may have started amazing. Yea, right: a high school kick- Booker T. Washington is that you have to put forth the amount of effort that you out lamenting my disappointments as an Hite ing jazz to a new level. Sure! remember that the gig is not about me or would like to see in return. Of course, educator, only to end on a positive note! any other instructor. It’s about the young some of those that didn't show that JAZZed: Skeptical, I guess. artists who bring the future of jazz into much interest in pursueing jazz have JAZZed: “Jazz,” as a topic is perhaps the building every day. In doing so, these gone on to successes in other musical more prevalent in jr. high and high school BM: To say the least. But, I called the wonderful young artists have changed genres, such as rock and pop, and I'm music programs than it once was, but school and spoke to Dr. James O. Gray, the future of jazz and commercial mu- proud for them, as well. But motivating for many music teachers it’s still an the Principal, and asked him if the school sic. I really learn from all my students. the underachiever is a difficult and of- unknown quantity or “difficult” – how had a marching band. He laughed, and I get just as much from them as I hope I ten disappointing task. would you advise a music director to in- said no. I told him I was interested in the am giving them. They bring a lot to the Also, I would have to say that deal- troduce jazz education into their overall position in the music program. He had table and for some it’s laying out their ing with difficult parents is always an curriculum? me send in my resume and support ma- artistic souls. I have always seen this in terials and I was offered an interview. We Roy (Hargrove). For him, it’s naked art, got into our trusty VW Bug and drove a from the time I met him in 8th grade to “I think I was never interested in thousand miles, round trip, to take the the present day. Every time I hear him Beautiful Music from jj Babbitt. tour. Upon our arrival at the school I was play he is standing in front of the world teaching jazz music – I just wanted, most unimpressed with a building that baring his inner most self. I can’t say this jj Babbitt produces the sax or clarinet mouthpiece for every was the worse for wear and used rags for about many artists. He is the truth. and still do want, to pass it on.” individual level and style of play—from easy-to-blow student models to super-responsive professional models. Under our label or yours, acoustic treatment in the jazz room! there is no finer quality mouthpiece or more choice in styles and JAZZed: What do you find to be the most facings than from jj Babbitt. That’s why our mouthpieces are the JAZZed: Yikes. rewarding element of teaching? issue. I don't so much mind the ones BM: Listening to the music is the number one choice of musicians worldwide. that seek to promote their talented essence of learning the art form. My BM: My wife and I looked at each BM: When you see the light bulb go child, as that just goes hand in hand first experience in jazz was hearing a other and thought what a mistake we on and you know that a young musician with being an interested parent, but recording at a friend’s house and be- Great-sounding Music had made in our long journey to Dal- has just gotten the concept you are trying it's the ones who always take the side coming overwhelmed by what I heard. Starts with a Great-Playing Mouthpiece. www.jjbabbitt.com las, Texas. After a couple of hours, which to relay, it’s the best. I might add that when of the child who is not putting in the I was ten years old and never looked E-mail: [email protected] included a verbal interview and a de- these same wonderful young artists come "woodshed" time to warrant a particu- back. Bring in recordings of great and tailed tour of the building, I was ready back and keep us posted on their progress lar position or opportunity. exciting “jazz” artists. Here is where the 44 JAZZed November 2008 JAZZed November 2008 45 crossroad divides the future for a pro- IAJE Conference all over the nation My teaching philosophy is simple: business and not a party. If they take Columbia College Chicago gram. Some directors don’t really know and Canada, going down to Miami Anything is possible. I use the three this seriously and treat our vocation about hardcore jazz music and think for the NFAA, working with and Ds: Desire, Discipline, and Dedica- as they would if they were becoming that crossover or fusion music along learning form the above mentioned tion. When students can be convinced a doctor or any profession that could with funk is jazz music. There is a way alumni, but visiting the White House that they can achieve any level of ex- change lives for the better, than they to teach this art form and it all starts in 2004 when now alumni, Matt Ma- cellence if they work hard, it’s much will have the right attitude to go for- with Louis Armstrong and evolves from rantz performed with the New Gen- easier to go there. I remind them that ward. Many of them have. him. Of course, it’s important to intro- eration II under the direction of Dr. there are no grantees and that this is a ...a new tradition in jazz! duce Buddy Bolden and all the early Billy Taylor has to be the highlight names to youngsters, but to hook them of my 25 years at “ARTS.” Matt was in one needs to let them hear Bird, part of a group that performed with We’re all about Jazz and we know what it takes for our students Art Blakey, Horace Silver or some big Dr. Taylor earlier in 2004 at the Ken- to succeed. Our Jazz Studies Program offers personalized bands like Woody Herman, Duke El- nedy Center in Washington DC and skill development, workshops, master classes and the unique lington and Stan Kenton. They need to this was a performance with the same Record & Listen & Improve experience of learning your craft within a community of hear something that will capture their group for the NEA Jazz Masters Se- imagination and show them what they ries. Enjoying the rehearsal at the Record Your Ideas professional Jazz artists. At Columbia, we teach more than the art can become. Even the RH Factor, Roy Kennedy Center, having private time Rehearsals & Gigs Direct to CD of Jazz performance. We teach the art of being a Jazz musician. Hargrove, can be a hook for these kids with the President and Mrs. Bush in if the director will go back and allow the Blue Room, and experiencing the &Change Key & Tempo them to hear Roy play with his trio on performance in the East Wing of the &Set A-B Loops Parkers Mood and then something as White House was surreal. & beautiful as Moment to Moment where Reduce Vocals Roy is playing with strings. Man, how JAZZed: Booker T. Washington’s music &Record LPs & Tapes to CD could you miss with those albums? program has achieved so much – nota- &Professional Inputs & Outputs Teaching the inner workings of jazz bly all of the DownBeat awards. To what theory comes later and should start with do you attribute the school’s and the “I love the Superscope the major scales and keys. From here students’ success? for recording concerts I use the modes to expand the theory and rehearsals!” these students already know. I use three BM: The “DownBeat Student Mu- - Jamey Aebersold approaches. Horizontal - scales, vertical sic Awards” have been a magical ride. - chords, and the combination of both, We won our first award in 1983, the patterns based on scales and chords year I arrived, but the preparation www.superscope.net &800-374-4118 within the key of the moment. An exam- for the first win was done the year ple would be C7 a V7 chord (mixolydian prior. I did see, though, that this mode) allowing the key center of F Ma- very motivating award was a way to Fall 2009 Alex jor. This allows the young student to vi- get our kids out into the public eye sualize these concepts when using chord by allowing their talent to be docu- New Student Jazz Studies changes and eventually gives them the mented by one of the most respected Audition Date: Class of 2010 freedom of just reacting to a key center jazz periodicals on the market. I re- February 7, 2009 for colors and ideas. member buying a DownBeat in Af- Auditions by Appointment Only Teaching Jazz: A Course of Study gives rica in 1989, as a Fullbright scholar a daily lesson plan that can be used by working in part with Darius Bru- any teacher who needs help with put- beck, and realized at that time the ting together a plan for teaching jazz. It importance of having this “world also gives these concepts listed above magazine” publicize and promote and many more including a listing of our talented students. Our kids are essential audio and video. The book self-motivated, knowing that if they was produced a number of years ago are prepared to play at the highest and took a long time to get into the levels of jazz and commercial music, colum.edu/music jazz education market, but in most ar- the sky is the limit. We, as a faculty [email protected] eas it is still fresh with ideas and teach- try our best to prepare materials that 312.369.6300 ing concepts. allow out kids to audition with top of the line technology. Of course JAZZed: What are some of the highlights they have to prepare for the oppor- of your career as an educator? tunity, but the many accolades and awards all prove our students to be BM: There have been wonderful hard working artists who take their Photo by NolaN Wells trips to Montreux Switzerland, The music seriously. 46 JAZZed November 2008 JAZZed November 2008 47