CAUGHT THE ACT The Current State Of College

Collegiate azz Festival not always together at the festival; the performance, though some of the inter­ f Notre Dame, drummer tended to play too much, all but action between the two musicians was tl, Ind. drowning out the bassist, who nonetheless intense. His Cecil Taylorish explorations made a valiant effort to hold things to- were almost always delightful. The control The Music played by the 18 competing gether when the going got rocky. he had over his instrument and his material groups at the ninth annual Collegiate Jazz For the finals, ,Baker used only his own was impressive, particularly so when one Festival, held March 3-4, ranged from arrangements, which, in the end, worked considers that Tolson is in his very early excellent to mediocre. The nine small against the band, since the scores had 20s. groups heard at the festival ran from similarities to each other. Nevertheless, At the finals the duo played Linear Ex­ highly professional to merely competent. his writing on 4-5-6 (composed by Lanny positions and Swan Lake Recapitulations. The big bands were generally better; even Hartley), The Professor, and Scream in' Tolson's interpretation of the Tchaikowsky so, there was more than a little sloppiness, _Meemies (both composed by Baker) was ballet music was deeply moving as the bad intonation, and limping rhythm heard ~ familiar passages became more fragmented, among them. g more distorted (in a truly artistic way), But if all the music played at CJF this and filled with melancholy. Tolson won year could be averaged out, the median ! > awards as the best pianist and as outstand­ quality would be somewhere near very ~ ing instrumentalist at the festival. good, much higher than it would have ~ The MIT Sextet had great spirit. Evi- been, say, five years ago. And higher than dently some thought had been given to any other collegiate competition. creating a closely woven ensemble and to The judges who decided which bands and keeping the solos within the mood of the groups were to compete in the finals-and piece being played. For example, all solo­ of those, which were the best-were trum­ ists played lyrically on Miles Davis' peter , pianist-composer Her­ Eighty-One, but they went "out" on Herb bie Hancock, composers William Russo Pomeroy's Evil Irving, which had out-of­ and Lalo Schifrin, Berklee School of tempo sections and collectively improvised Music administrator Robert Share, and "free" passages. The horn men-trumpeter this writer. Sam Alongi, trombonist Richy Orr, and The choices were not always easy. altoist Brage Golding-were stronger solo­ For example, among the big bands, six ists than those in the rhythm section. were considered for the finals, but the As its finals offering, the Indiana five­ number had to be narrowed to three. Two piecer played Chelsea Bridge and All of the bands were almost-unanimous Blues-the first sequeing into the second. choices: the University of Illinois Jazz Altoist Green was the main soloist on Band, a mammoth-sized orchestra (at one Illinois at CJF The Solvotion Army contingent marches in. Chelsea. He played warmly and with con­ point, it swelled to 25 pieces, including trol; the emotional content of his impro­ nine reeds) directed by John Garvey, and thick-voiced, exciting, and obviously chal­ visations never overcame their order and Indiana University's Jazz Ensemble I, a lenging to the players. And some of the form. Trumpeter Sandke did an excellent highly-charged band directed by Dave ensemble passages rolled like a juggernaut. bit of playing on All Blues, flying fast and Baker. The judges then had to choose Illinois, on the other hand, strove for straight. Green again played with great from the Michigan State University Jazz variety-in composition, in orchestral heat on the second tune, but the drum­ textures and colors, and in presentation. Ensemble, the Ohio State University Jazz ming behind him, for all its urgency, was Workshop, the University of Missouri in The presentation got the band in trouble distracting. Kansas City Jazz Workshop, and the with the judges, though not with the large Washington University Concert Jazz Or­ final-session audience. The last composi­ Vibraharpist Schipper's quintet, from chestra from St. Louis, Mo. The judges tion the band played-They Just ... (as the San Francisco area, was cast in the decided, perhaps not too wisely, on the preceded by "Old soldiers never die")­ mode of John Handy's group--closely Washington U. band. called for a segment of the band, playing knit, though loose, ensembles; long lyrical Four combos were selected for the fi­ Salvation Army style, to march in from solos; and constant interplay among the nals: the MIT Jazz Sextet from Cambridge, the back of the hall while the rest of the musicians. And though the music became Mass.; 1/l=One, a piano-drums duo from band played a fragmented section that somewhat complex as the musicians in­ Santa Rosa, Calif., Junior College; the slowly evaporated as the players, after teracted, it always was under control, Leon Schipper Quintet from the University pretending to continue to play, left the stimulating and imaginative. of California in Berkeley; and the Indiana stage one by one, leaving the drummer Besides the leader, the quintet is made University Jazz Quintet. alone, acting as if he were battling some up of reed man Bob Claire (who played The Washington U. band, depending al­ unseen monster. It was a funny sight, but alto, tenor, and flute almost equally well), most wholly on compositions and arrange­ the judges had strong negative reactions guitarist Bob Strizich (a sensitive ac­ ments by Oliver Nelson, who taught at to the theatricality of it all. companist and economical soloist), bassist the college last summer, tried hard but Before this display, however, the band Peter Marshall (another sensitive ac­ was somewhat below the quality of In­ performed imaginatively scored arrange: companist), and drummer Tom Aubrey diana and Illinois, even though it had an ments of Love Walked In and Lady Bird. (the most tasteful and facile drummer at outstanding soloist in tenor saxophonist The group showed good control of dy­ the festival). The group's performances­ Fred Washington. namics, and obviously much work had Sam Rivers' Beatrice and the leader's J 05 The Illinois and Indiana bands were al­ gone into achieving an uncommonly well­ -flowed easily, building in such a way most equal in excellence. blended balance within and between sec­ that the whole performance had shape and Baker, in his first year as head of In­ tions. was not just a string of solos. diana's jazz department, has done a fine The Illinois band, despite the exhibition­ The quintet easily won the small-group job of shaping his band into a hard-hitting, ism, won the contest and a prize of $500. award: $300. driving unit with exceptional soloists in The most unusual small group was The members also won several of the the persons of altoist Jerry Green ( also a 1/l=One, which consisted of pianist Jack individual awards given at the competi­ skilled arranger) and trumpeter Randy Tolson and drummer Mike Brandenburg. tion: Schipper as best player of a "miscel­ Sandke. The rhythm section, however, was Tolson, a gifted musician, dominated the laneous" instrument, Strizich and Aubrey April 20 0 17 as top men on their instruments, and to the extent that the young drummers do by Gerry Wondrak of lndi1)1la University. Claire as "most promising" reed man. -and they never do it at the expense of The performance was highlighted by the Other individual awards went to trumpeter the "wave," the pulse. beautiful alto saxophone playing (solo Sandke, altoist Green (he also won the ar­ Hopefully, now that other problems of and lead) of Charley Baroile, at 19 the ranger's award), and baritone saxophonist college jazz are being worked out, more most mature soloist heard atthe festival. David Luell, all from the Indiana band; attention will be given to this very serious An 11-piece ensemble fro Duquesne trombonist Dave Pavolka of the John one. -Don DeMicheal University had interesting d unusual Cascella Trio and One from Ball State ideas about instrumentation d show- University, Muncie, Ind.; tenor saxophonist Intercollegiate Jazz Festival cased a notable talent in comp Fred Washington of the Washington U. Villanova University, Villanova, Pa. er, oboist, and baritone saxoph band; bassist John Hatton of the UMKC This year's Villanova festival (the sev­ McCandless, whose Mirage for des was band; and composer Don Owens of the Jlli­ enth) was the curtain-raiser for the In­ a surprisingly sophisticated blend of im­ nois band for his Collage, which was tercollegiate Music Festival, scheduled to pressionism and "freedom." played at the semifinals. "Most promising" consist of five regional rounds, climaxed Also worth singling out were the much awards were given to trumpeter Alongi of by a grand finale when winners from the improved MIT Concert Jazz Band, the MIT and drummer Julio Coronado of the regionals compete in Miami Beach, Fla., swinging West Chester Criterions (who Northwestern University Stage Band. in May. sorely missed their outstanding drummer All these soloists (plus some who didn't Thus, participation was restricted to of previous years), and the Peter Lewis win) and most of the units speak well for groups from the East, and the judges (al­ Workshop Band from Musi­ the quality of jazz on campus. Yet college toist , trumpeter , cal Academy, a clean and extremely mu­ jazz, even as good as that heard at this educator-drummer Clem DeRosa, jazz sical band. festival, remains on the plateau it reached sage John Hammond, and this writer) The Pedicin quintet had no serious com­ three or four years ago when it developed were to pick only the best , com­ petition among combos. The rhythmic able soloists. It's a high plateau but not bo, and vocalist. Though there were no weakness (mainly the result of poor drum­ the highest. awards for outstanding individual musi­ ming) that marred most of the big bands The most pressing problem, aside from cians, the judges singled out several play­ was even more noticeable among the the obvious and understandable need for ers for the quality of their work. combos. maturity, is one that has hampered young The emphasis was on big bands, of The Pedicin group had no such prob­ musicians for many years-rhythm, and which 10 competed in the semifinals. There lems, having the most swinging and best­ most especially the welding of the rhythm were also six combos and three vocalists. integrated rhythm section of the festival section into a unit. Because the horn men The big-band winner was the Ohio State (pianist Steve Friedberg, bassist Ron appear to be well on their ways to con­ University Jazz Workshop Band, directed Gilotti, drummer James Paxson). The horn quering their major problems-intonation, by composer-arranger and reed man Ladd' men, trumpeter Steve Weiner and tenor phrasing, and attack in the sections, ideas McIntosh. The Mike Pedicin Jr. Quintet and soprano saxophonist Pedicin, also had and emotion in solos-the weakness of the from the Philadelphia Musical Academy more drive and swing than the competi­ rhythm sections are all the more notice­ won the combo award, and singer Kim tion. able. Parker took vocal honors. Pedicin came on strong, with a big In the small groups, the drummers al­ The Ohio band was the most impressive sound and no lack of confidence. Weiner, most invariably play too loud and too group at the festival. It performed five who showed appropriate touches of Clif­ much, probably the result of coming under excellent pieces ( all written and arranged ford Brown on Tiny Capers, had good the spell of such masters as Elvin Jones by McIntosh) with fire as well as precision, chops, fine tone and control, and tasteful but without comprehending the masters' drive as well as looseness. The band was ideas. Friedberg's The Prophet was a taste, control, and time. The bassists mark together from the first note and never good blowing line. This group has an idea the tempo, but little conviction or strength faltered. what jazz is about. is forthcoming from them. The pianists McIntosh is a gifted writer and an or­ The runners-up were a quintet from the usually are of little help; they sometimes chestrator with his own ideas. Using an West Chester big band, led, like its sire, give the impression that they are unaware instrumentation of five trumpets and by the accomplished trumpeter Jeff Stout. of being part of the rhythm section. fluegelhorns, five trombones, five saxo­ It was a group with a penchant for happy In the big bands, rhythm-section playing phones ( all doubling clarinets and flutes), music in a Terry-Brookmeyer vein, but demands different kinds of subtlety, and three rhythm-piano, bass, drums­ tenseness and somewhat erratic rhythm strength, and time conception than does augmented by a guitar and a vibraharpist support marred a potentially fine perform­ combo work. Not one of the big-band doubling miscellaneous percussion, he ance. rhythm sections seemed aware of what created a full spectrum of orchestral colors. The third semifinalist was fluegelhornist Count Basie guitarist once His use of clarinet solis was striking; Bruce Cameron's quintet, which was closest called the "rhythmic wave," that is, the he also employed such unusual combina­ to avant-garde jazz at the festival. The coming together of all the rhythm instru­ tions as three clarinets and two flutes. He music was clean and pleasant, and pianist ments to create one pulsing, living sound made good use of the vibraharp in the Steve Robbins and bassist Rich Levine from which the rest of the band took its ensemble and in guitar-vibes unisons. A played exceptionally well, but the over-all strength. The pulse should be there for variety of mutes were employed by the effect was a bit effete and self-conscious. the horns to bounce off of; it must be trumpet section, which was first-rate as The winsome Miss Parker was a bit too the constant, immovable yet supple. It were the trombones. ambitious in choice of material (Miles should not be a case of the horns implying McIntosh's most interesting score was Davis' All Blues is not an easy vocal line) a tempo that the rhythm section makes Forever Lost in My Mind's Own Eye; also and evidenced intonation problems that explicit-but so it seems. excellent were Machu-Picchu ( dedicated need much homework. On the other hand, The college bands, perhaps because of to Gerald Wilson) and And So, We she has a pleasing voice, relaxed stage misdirected directors, too often have Swang. His alto and soprano saxophone presence, and lots of charm. The two other drummers who evidently find it obligatory work demonstrated ample technique and singers, both male, were less jazz-oriented, to catch every brass lick and fill every good tone but tended toward virtuosic though Harry Gieg's Whisper Not was hole. Unfortunately, this conception of the display ( on Swang he sounded, at times, perhaps the best single vocal performance. drummer's function has resulted from a like in full fliglit). But as Honorable mention went to trumpeter prevalent misinterpretation of what pro­ a "'.l'iter, this 25-year-old is ready for the · Stout, trumpeter Sam Alongi of MIT (who fessional big-band drummers do. It may major leagues. played a sterling solo), altoist Barone, seem that Buddy Rich, ( an The Ohioans left their competition be­ oboist McCandless, and bassist Pete Markis extraordinary band drummer, though he's hind, but there were some impressive run­ of Duquesne. A pre-festival high school seldom heard as such), Louie Bellson, ners-up. big band competition was won by the , Jake Hanna, Sonny Payne, The Case Institute of Technology Con­ Pennsbury, Pa., High School ensemble, et al., are catching all the brass figures cert Jazz Ensemble from Cleveland, Ohio, which was better than some of the college and closing gaps, but they do not do it performed a single, ambitious composition groups. -Dan Morgenstern 18 D DOWN BEAT for Keito by pianist Dennis Kalfas, won honorable mention). There were touches ~A_UGHT IN THE ACT of a Lennie Tristano sound in some of Int rcollegiate Music Festival State Studio Band, directed by Bob Del- the San Francisco quintet's two-saxophone Municipal Auditorium, Miami Beach warte, and the Ohio State University Jazz passages, a good sense of group dynamics, excellent drumming by Bill Weichart (who One of the oddities of the first Inter- Workshop Band, under Ladd McIntosh. was chosen best drummer at the festival), co eg,iate Music Festival, held May 4-6, The Ohio State band eventually took and an over-all feeling of variety engen­ w~s that it was the culmination of five the Duke Ellington Award as the best dered not only by the use of varying r~gional collegiate jazz festivals. Some- big band. tempos and voicings but by Kalfas' brief ere en route to Miami Beach the word Both finalist bands depended entirely use of a Pakistani flute and his equally jazz" got lost at the request of some of on student originals, compositions which brief dive into the piano strings. -...-a'llll•the sponsors (among whom were TWA, showed that student writing is getting away The third competitive category, vocal­ Sero Shirts, and the City of Miami from the Count Basie and ists, was relatively unrewarding. It will be· Beach). However, what had been "jazz" stereotypes that had been emphasized in dropped at next year's festival and re­ at the Villanova Intercollegiate Jazz Fes- earlier years of the stage-band move­ placed by a category for vocal groups. tival, the Mobile Jazz Festival, the Little ments. Though Kenton's influence hangs Winner ·of the Tony Bennett Award Rock Jazz Festival, the Intermountain on, Terry Jones, Gene Siegel, and John as the best vocalist was Joe DeVito of (Salt Lake City) Jazz Festival, and the Newsome of San Fernando Valley State, Rider College, Trenton, N. J., who re­ Cerritos College Jazz Festival in Nor- and Ladd McIntosh, who wrote all the vealed some potential as a pop-jazz per­ walk, Calif., turned out to be the same Ohio State book, gave constant evidence of former, although, like the other singers, jazz at Miami Beach even though it was a probing exploration of fresh directions, generalized as "music." fresh voicings, and fresh thinking. Both he was not on a level with the instrumen­ talists at tlie festival. The most interesting The five bands and six combos that bands have dropped piano and, instead, aspects of DeVito's performance were the survived the five regional tests (there was use electric guitar, .which opens possibili­ original songs and arrangements by his one extra combo because the Mitch Farber ties of rhythm, solo, and ensemble colora­ pianist, Kirk Nurock, a Juilliard student Duo of the University of Miami and the tion. John Morrell, San Fernando Valley who showed a promising flair as a song­ Quintet of North State State's guitarist, was particularly effective writer, particularly in a lilting bit that University tied at Mobile) indicated that in establishing an organlike quality in made an effective opener for DeVito, the level of collegiate jazz performance some ensemble passages. A Joyful Noise. is getting extremely high. Polish and pre- McIntosh has come a long way during In addition to the major awards, indi­ cision in a big band is no longer unusual, the several years that his work has been vidual instrumentalists chosen for $200 and an accomplished soloist in a combo heard at college jazz festivals. He uses scholarships to the Berklee School in no longer startles a listener. the virtuosity of his reed men (who, in Boston were Gary Barone, trumpet, San The judging seemed to reflect this de- common with the other reed sections heard Fernando Valley State Studio Band; Gary velopment. A mere mastery of mechanics, in Miami Beach, now triple as a matter Campbell, tenor saxophone, the Mitch which in past college festivals might have of course-flutes are used as often as Farber Duo, University of Miami; Bruce been enough to distinguish a group, did saxophones) with confidence and imagi- Fowler, trombone, the Mike Johnson . Octet, University of Utah; Jerry Green, alto saxophone, Indiana University; Lou Marini, soprano and tenor saxophones, North Texas State University; John Monaghan, bass, North Texas State Lab Band; Bill Weichart, drums, San Francisco State College Quintet; and Arno Marsh, tenor saxophone, University of Nevada Stage Band. (Marsh, who was featured with in the early '50s and has been playing for more than 20 years, recently decided to complete his ~ education at Nevada.) ~ Other band and combo entrants were ~ the Modern Jazz Ensemble of Milliken ~ University, directed by Roger Schueler, ~ and the Mike Pedicin Jr. Quintet of the ~ Philadelphia Musical Academy. The other singers were Joe Restivo, Bradley Uni­ OHIO STATE UNIVERSITY BAND: Top big band. versity; Cheryl Olson, Brigham Young not suffice in this instance. Originality nation, alone and in v01cmgs with ele­ University; Kim Parker, Hofstra Univer­ and creativity, combined with a high per­ ments of the brass. There was a constant sity; and Paul Walberg, University of formance level, were present in sufficient excitement of discovery in McIntosh's Southern California. quantities to swing the emphasis to these writing, an excitement that was conveyed The Intercollegiate Music Festival's first aspects. by the band in performance. His Forever Hall of Fame Award was presented to One consequence of this new balance Lost in My Mind's Own Eye, an imagi­ Stan Kenton "for the work he has done between polish and originality was what native and climactically, guttily driving in furthering the creative spirit in music." must have seemed a shocker to some fol­ piece, won the Stan Kenton Award as Judges were Gary McFarland, Oliver lowers of college jazz: the vaunted North best composition. Nelson, Phil Woods, the Rev. Norman Texas State Lab Band did not even get In the choice of combos, an able but J. O'Connor, and Robert Share. Willis into the finals. In the preliminaries, direc­ relatively straight-forward blowing group, Conover, Alan Rock, and Chuck Zink tor 's group ripped through the Jerry Greene Quintet of Indiana Uni­ served as emcees. arrangements by Don Sebeskey, Bob versity (alto, trumpet, piano, bass, drums) The festival was taped by the Voice Florence, Billy Harper, and Bill Staple­ lost out in the finals for the of America and by the American Broad­ ton that showed off the band's clean Combo Award to the San Francisco State casting Company for radio and television. precise ensembles (and, aside from reed College Quintet (tenor, alto doubling flute, The final night was recorded by Impulse man Lou Marini, its lack of solo strength), piano, bass, drums), which, like the big­ records. but the two bands the judges chose for band finalists, devoted itself to originals The total attendance for the three nights the finals were the San Fernando Valley from the group ( one of which, Charisma was 3,900. -John S. Wilson

30 D DOWN BEAT choruses. Ernie Caceres on baritone sax McGarity, incidently, paid tribute to one Just You, Just Me Don plays very fashion­ is holding a powwow in the low register of the greatest musician-singers ever to able, in and out style, era to era. They all and stretching out. Bassist Jack Lesberg come out of Texas-the late Jack Tea­ played great on this one. Oooh, but hat plays. George gets off a beautiful piano garden-with Stars Fell on Alabama, a funeral march-whew! chorus on If I Had You. He only plays silky, velvet-toned, feelingful instrumental­ After the intermission of the last one chorus, but it is going great. ,Mc­ ist. last program, guitarist Charlie (One- ote Garity really plays with marvelous control. George plays a frolicking Honeysuckle Samba) Byrd and his two-man battery all Caceres puts some nice chord com­ Rose-gives it the smooth, red-carpet treat­ dressed in natty grey ensembles, quiet ~d binations together-good spacing. (Those ment. elegant and quite Brazilian-like) open ·th spaces make a lot of difference. Sometimes Braff's I Can't Give You Anything but a composition (unannounced) in 10/4 silence is golden.) Emilio Caceres, jazz Love is real authentic Louis Armstrong the most part. Hand vibrato used here a fiddler and brother of Ernie, plays just type roots-feeling. Cracks 'em up with very simple chord progression. An o fine-most men his age are probably in that crackling rich trumpet sound. rhythm pattern is used on Pretty Butterfly. a rocking chair (if they can rock at all). On the slow blues they sound like a I never did quite get the count as to meter Tate is featured on an old Lester Young soulful New Orleans going-away party, a but the audience seemed to like it tune, Lester Leaps In, and Buddy leaps r-e-a-1 funeral in slow four. Don Lamond So ... ? out in his own (out of Pres) personal is beating the drum-a really chic, hip A tune by the late Django Reinhardt, style-jabbing, punctuating, swinging. drummer when the time calls for it. On Nuages, brings big applause. Travelin' Man is a real western type of hip hoedown -roll around the barrel, square-dance melody. On the second chorus Charlie hits some leather-ultra-mod for a chorus or so. Then he goes back to melody with an ending reminiscent of W. Lee O'Daniel's (former governor of Texas) Dough Boys in the early 1940s. Yeah! If I Were a Rich Man is done as a Latin melody with Afro-rhythms. (It's got that psychedelic, India, B. ·B. King type of thing. Now that must be ESP. Oh, yeah, it's also got some of that bugaloo thing.) I was impressed by the bull-fight ending-like the gallant matador. Manha de Carnaval is frolicking and basking in the Brazilian-Texas sun. I have a special affection for this music-seems to be the music of many languages­ internationale. begins with Stompin' at the Savoy, one of his solo excursions I've heard him play many times. Teddy is an Austin, Texas, alumni of the same high school I went to, and we had the same piano teacher, Mrs. Clara Brown. Undecided is next-fast, light, and tasty. It isn't necessary to say a lot about a great pianist, and furthermore, I was fatigued. Some of the sets were really long. Tenor saxophonist Illinois Jacquet comes on with On a Clear Day, followed by Ghost of a Chance with lush organ ac­ companiment by Milt Buckner. Then Jacquet is joined by Cobb and Tate for that famous ( once famous) Fly­ ing Home. Jacquet first, then Cobb clean-up spot for Buddy. Clean-up spot can be a hot spot, fun spot, cold spot in a competitive "play ball" type of atmos­ phere like this, as everything is, already revved up. After about 30 minutes of taking turns soloing, building, and soloing, they re­ ceive the only standing ovation of the three-day festivities, which leaves an ex­ hausted house for Art Blakey and his group (Bill Hardman, trumpet; Joe Hen­ derson, tenor; McCoy Tyner, piano; Junior Booth, bass). All play excellently, but the previous sets were s.o long they made me think about getting the hook. There was a huge "Welcome Mr. Gil­ lespie" sign at the Downtowner Motor Inn that should be seen for quite some dis­ tance. We all know how great Diz is-he truly is. Hope to play my way to that tremendous level or even write my way one day. Thanks to everyone.

June 15 D 29 NEWS AND INFORMATION SERVICE 108 Administration Bldg.

Date: MAR 5 -1967

COLUMBUS DISPATCH

Jazz Wo,~ksho p 1 -I Places Fi.rst, Eyes Montreal The OSU Jazz Workshop took first place in the Big Band C ate gory at the re­ cent ViJlanova Jazz Festival. Ladd McIntosh, leader, composer-~ copyist, , and Dave Haldeman, presi- 1 dent and business manager, I and 20 musicians from the Ohio State University School ' of Music will travel to Miami ---·'Beach to compete in the na­ (Lantern Photo by Fred Leeder) tional finals, the Intercolle­ The Ohio State University's Jazz Worksliop performed before a near giate Music Festival, May 4-6. capacity crowd in the Conference Theater · af the Ohio Union last night. First prize on the national level is a week's appearnace level is a week's appearance summer and a recording con­ NEWS AND INFORMATION SERVICE tract with ABC Paramount and Impulse Records. 108 Administration Bldg.

Date: 'APR 301967. NEWS AND INFORMATION SERVICE 108 Administration Bldg. COLUMBUS DISPATCH

Date: MAY 2 1967 won the Villanova Intercolle­ Workshop Bond giate Jazz Festival and the COLUMBUS DISPATCH right to meet Millikin Univer­ In Jl,fusic Fest sity, North Texas State Uni- The Ohio State Univeristy versity, the University of Ne­ .Tazz Workshop Big Band will vada and San Fernando Val­ Jazz Works~op e O m pet e with collegiate l~y Sta~e College for the na- bands from four other t nal htle. J Plans Send-Off schools for the national music championship at the Intercol- :For Wednesday legiate Music Festival in Mi- ami Beach on May 4-6. 1 The OSU Jazz Workshop The festival brings togeth-1 from the School of Music at er the winners of five region­ The Ohio State University 0 .._al competitions. Ohio State will give a "send-off" concert Wednesday , afternoon at 1 o'clock in Hughes Auditori­ um. Ladd McIntosh, director and composer-arranger, and Dave Haldeman, president and business manager, and the 20 other musicians from ---the School of Music, will then ~--__... travel to Miami Beach, Fla., to compete in the Intercolle- giate Music Festival, May 4-6. Among the selections to be performed am "the Jazzers" "Machu Picchu," "Cibola'." "Forever Lost in My Mind's Own Eye," ''The Naz," "You "'f'N# 0/IIO 5dFf' c.Au'IIIN WH.Mt,fd,, ,.,, /Jo 3 Jazz Workshop Wins at Festival OSU Jazz Last Saturday the OSU arranged all the music used Workshop Jazz Workshop won the best by the Workshop at Villan­ big band category at the Vil- ova. The five works perform­ lanova University Intercolleg- ed were: "Machu Picchu," Winner iate Jazz Festival. The Work- "Cibola," "You Turn Me On The OSU Jazz Workshop, shop outplayed six other Sump'n Fierce," "J!' ore v er bands in the category. Lost In My Mind's Eye," and from the School of Music at The win at V,illanova allows "And So We Sway." Ohio St at e, last Saturday the group to journey to Mi- Membership in the work­ took first place in the Big ami Beach in May to compete shop is open to all Ohio State Band Category at the Vil­ in the National Intercollegi- students. Instruments in the lanova Jazz Festival, Villa­ ate Jazz Finals. The Workshop band inc 1 u de saxophone, nova University in Phliadc:­ will compete with other bands trombone, trumpet, p i a n o from colleges across the coun- bass, and drums. Tryouts ar1 phia. try. held every fall. Ladd McIntosh, 1 e a d e r. composer - arranger, copyist. According to president .. - - - - • Dave Haldeman, the 21 mem- and Dave Haldeman, presi, bers of the Jazz Workshop I -BE. dent and business manager, earned the money necessary plus the other 20 musicians for the Villanova trip through I Don't t. from the OSU S c h o o l of - concert appearances. Locally, Music will now travel to com• they appear Wednesdays. .. pete in the national finals, The group has presented Actic I the Intercollegiate Music Fes· concerts in the Ohio Union. I They can be heard Wednes­ Marvin's Men's\ tival, Inc., at Miami Beach. day evenings at the Travel The all-expenses-paid t r i p Agency, a local night spot. I will be May 4 to May 6. Ladd McIntosh, a graduate First prize on the national student in music, wrote and .. - , level is a week's appearance at Expo '67 in Montreal this summer and a recording con­ tract with ABC Paramount and Im,pulse Records.