Notre Dame Collegiate Jazz Festival Program, 1969

Archives of the University of Notre Dame Archives of the University of Notre Dame Archives of the University of Notre Dame

art. a different target, and that for the most part the two are fundamental­ A much more valid point could be made by outlining the distin­ ly different in character. guishing characteristics of the rock True, there has been a growing and jazz worlds. rapprochement between the rock and jazz worlds. On the one hand, Despite the reference to "rock jazz artists have turned to rock bands," which as often as not may tunes and arrangements on an if ­ refer to rhythm-and-blues, the fact you - can't ­ beat ­ 'em - join - 'em remains that the teen pop scene in bas is (Gerry Mulligan actually general today is essentially geared used this phrase as the title of an to lyrics rather than music. album). Their motive, by their own Jazz has yet to produce a lyricist admission, was increased sales rath­ with the perception, the intellectual er than esthetic uplift or artistic insight, or the gift for imagery of fusion. a Bob Dylan or a Paul Simon. By On the other hand, many rock the same token, rock has yet to musicians have turned to jazz and come up with an Art Tatum. its practitioners for guid:mce and THE RECENT BeatIe recordings, advancement. Rock guitarists, con­ through wildly inventive use of scious that their world still lacks a tap trickery, baroque concepts, and Charlie Christian, a Barney Kes­ unusual instrumentation and voic­ sel, or a Kenny Burrell, have stud­ ings, have greatly expanded the ied with jazz guitarists. (Howard musical interest a f their work. Roberts, for instance, has number­ Nevertheless, the Beatles depend ed several rock players among his primarily for their success on the pupils.) They learn from jazz and moving stories they tell, through jazzmen as one would learn to speak words, of their concern for such a foreign language. (Mike Nesmith problems as loneliness, lack of com­ of the Monkees told me he searched munication, the horror of war, and around for months to find a collec­ the many other issues that are deep­ tion of old 78s, in order to study ly troubling to this generation. what had happened in jazz history.) However, I have yet to hear of a Jazz, on the other hand, with rare jazz guitarist who has turned to FIRST AND FIRMEST, let it be ness names, whose talents va r y lieved to be the purist of authentic exceptions such as Strange Fruit Jimi Hendrix in order to bone up stated that the discussion below is widely, and whose relationship to jazz. In the past few years he has and some blues, has produced rela­ on the technique of setting fire to in no way to be interpreted as jazz is at its best peripheral and become more and more deeply in­ tively few compositions or perfor­ a guitar. either a defense or a denigration of most often nonexistent. These art­ volved with the rock scene; present­ mances that rely essentially on the pop, rock, jazz, sacred music, pro­ ists, however, represent a different ly, he spends much of his time merit of their verbal content. Even In the fan fraternity, too, there fane music, or any other branch of breed of pop, which will be dealt building up the young rock groups, the bulk of songs sung by Billie are many who have come around our burgeoning tree. Though opin­ with later. while devoting proportionately Holiday dealt with trivia, with un­ from rock to jazz. The tremendous ions will be quoted and analysis in­ The relationship of pop or rock to much less time and space to the critical examinations of various as­ success of Charles Lloyd and sever­ volved to a certain extent, the main jazz is the subject I plan to deal great individualists both he and I pects of the Great American Dream, al other jazz artists at the Fillmore, issue here is a definition of terms. with here. It is too easy to resort have long believed to represent un­ expressed as often as not in shallow San Francisco's Gibraltar of rock, During 1967, there were several to such glib cliches as "I like any qualified jazz. Tin Pan Alley doggerel. The defects does not indicate any magic conver­ sIgnificant developments that con­ kind of music as long as it's well Suprisingly, too, he devotes many and paradoxes of our society, too sion of these musicians into rock cerned both the wide world of pop played," or "What sounds like jazz paragraphs in the same article to a often ignored in the material pur­ performers. Think back. Arthur music and the struggling micro­ to me may not be jazz to you." proud recitation of the commercial veyed by our Armstrongs and Fitz­ Fiedler and his legions once made a cosm of jazz. Of direct interest to Notwithstanding the s e verbal successes 0 f the Moby Grape, geralds, are tackled head-on by the record of the. Lennon-McCartney Down Beat readers was a decision crutches, when the subject is Miss Cream, et. a1., citing their positions best of the pop-rock composer-per­ I Want to Hold Your Hand. Did to broaden the publication's base by Clooney or Maurice Chevalier or on the best seller charts and the formers. this make the Boston Pops a rock including popular music, or more the Beatles, one knows that one is tremendous sums of money they are orchestra? By the same token, Or­ Musically, jazz has built up a po­ nette Coleman might draw an SRO specifically rock 'n' roll, in the edi­ not dealing with performances of earning on record royalties. I can­ tent library of sublime achieve­ torial coverage. the caliber that we have chosen not recall Gleason ever having used crowd to a concert in a bull ring, ments; it has made tremendous but would that make him a mata­ The welcoming hand extended to through the years to designate as this tactic-an implicit attempt to progress melodically, rhythmically, THIE HARMONY COMPANY dor? 460B S. Kolin Avenue Chicago, Ill. 60632 pop actually represented a return jazz. The three are as different show that financial accomplishment harmonically; it has probed beyond to a long-established, briefly aban­ from one another as they are dif­ is related to musical achievement harmony into modality, atonality, The rock-jazz schism, and the ten­ doned policy. Go through the back ferent from jazz itself. - in his writings on jazz. and aleatory music. Pop, in the dency among some young musi­ Name Age issues, all the way from the 1934 Last year there appeared in print There is also an undertone of de­ main, is as far behind jazz in tech­ cians to move out of rock and into Address beginnings through the early 19­ a remarkable statement: "T h e fensiveness in the claim that rock nical virtuosity and improvisation. jazz, was brought into focus by 60's, and you will find features or rock bands are really jazz bands; is really jazz, as though this were al fluency as jazz is behind rock in reader Charles Bosworth of Fort Cltv cover photos dedicated to Rose­ the guitar soloists . . . are really an attempt to upgrade a young, verbal creativity. Worth, Texas, a 16 - year - old mary Clooney, Johnny Green, Jane jazz players." The writer was an old growing, but often maligned form drummer. He told Down Beat that State Zip Clearly, these two conclusions do Powell, Bobby Darin, Keely Smith, friend and seasoned journalist, by identifying it with one that has he once followed Ringo but was Name of your favorite MUStC Stot=e--- Maurice Chevalier, the Kingston Ralph J. Gleason. Gleason was re­ been established for a half century not indicate that one form of music now turned on to Max Roach and Trio, Diahann Carroll, and many spected for some 30 years as a and has achieved a belated modi­ is necessarily superior to the other. Slore Address and City others whose names are show busi­ staunch supporter of what he be­ cum of recognition as a genuine They signify only that each aims at (Cont'd on Page 37)

4 5 q Archives of the University of Notre Dame

ROBERT A. UIHLEIN, JR. President and Chairman of the Board JOS. SCHLITZ BREWING CO.

The JOS. SCHLITZ BREWING COMPANY is proud to be able to par­ ticipate in this outstanding collegiate jazz event as part of its 1969 Schlitz Salute to Jazz. Schlitz has long been interested in assisting notable cultural activities aad we feel that jazz is an aspect of American culture most deserving of support and encouragement. It's an uniquely American art form that's eminently enjoyable. We know you'll enjoy the 11th annual Collegiate Jazz Festival and we look forward to presenting the best overall jazz group to the Newport audience this summer. Robert A. Uihlein, Jr. President JOS. SCHLITZ BREWING COMPANY

6 7 Archives of the University of Notre Dame

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8 9 Archives of the University of Notre Dame

Another problem I have had with some of the jazz efforts in the past has been a suspected lack of hon­ sty on the part of the music. It's nothing I can put my finger on but I somehow question the religiosity by Ern. ~l'pr91' lItaktrr41'tl, r.lf.r. stimulate the worship of God? It is based on religious themes or music of some of the musical statements. not enough to say that a piece of for sacred concerts. My basic reser­ What happens musically when an Many might ask why should we art or music is objectively good and vation comes from the puritanical omnibus mass is created that can even consider trying to develop jazz that as such it is automaticallv background of Americans whose be used in three ways: as a classi­ settings for the liturgical services. suitable for inclusion in the wor­ immediate associations with a jazz cal setting of the texts for choir Isn't there enough church music ship service. rhythm is the tavern and all the and organ; then take the same chor­ available to make such an effort non-religious connotations it car­ al setting and add folk guitars, bass superfluous and perhaps meaning­ Others have, in their efforts to ries with it. For most of the white, stimulate the audience into a wor­ and drums; or again take it and less? Don't we have enough music church-going public a hi-hat sets add bass, drums and an improvis­ shipping community, sold out to from the polyphony of the 16th the foot to tapping and in our ing horn to have jazz? century? Aren't there enough pub­ "effectiveness". Disregarding any minds there is something contra­ lications from the contemporary artistic canons they have published dictory between foot tapping and Since I have been unsatisfied composers to satisfy any needs? and promoted music that has an ap­ the worship of God. with the efforts to produce a jazz peal to the congregation, but which liturgy that I have encountered and These questions can be easily an­ is, by any standards, amateurish and sinc I had some serious questions swered. Since the Second Vatican Let's look briefly at some of the just plain bad music. It interests attempts. I would like to dismiss about the validity of jazz as a form Council the Catholic Church has the people and gets them involved of worship music, I decided to at­ modernized itself significantly in many of the so-called jazz masses but is a musical disgrace. out of hand as not being jazz. Some tempt to put together a jazz liturgy many areas and not the least of to test the possibilities. these has been in the area of wor­ There has to be a solution to this are obviously folk music that in the ship. The mass has been put into problem of relevant church music ignorance of the publishers have been called jazz. We don't produce The following are some of the the vernacular and the ceremonie.:; somewhere and perhaps it will fil­ thoughts and guidelines that we modernized or made more relevant. ter to the surface through the pro­ jazz by adding drums and a string bass to a melody. Some of the re­ worked out. I say we because the While the old music is excellent liferation of attempts. compositional parts of the mass are from a musical point of view and corded masses have been basically ::"'et us turn to the specific prob­ classical music in line, concept and the work of James McNeely and the must always remain a significant improvisational parts are the work part of a choir's repertoire, it de­ lem of the Jazz mass. We have had phrasing to which or over which masses and hymns '~ouched in the has been added improvisation in the of the students of the Notre Dame fies and defeats congregational par­ Jazz Lab. ticipation by and large either be­ folk idiom. Some have gone un­ form of a noodling and filling in­ cause of its difficulty or because its abashedly to "pop" and others to strument solo. Some are fragment­ First of all the music had to be style and musical vocabulary are the Negro spiritual style. Some ed works that vacillate between subordinate to and contribute to irrelevant to modern man. Even the have attempted to produce jazz classically oriented choral sections the liturgy. In other words we were music publishers with huge cata­ masses. In listening to some of the and swinging improvisational sec­ not attempting to produce a sacred logs on their shelves will readily recorded jazz masses I personally tions. Of course we have the great jazz concert but rather a viable admit need for new works. have had several problems. sacred concerts by Ellington which form of worship music that would I honestly don't know if jazz can are unquestionably jazz, but they be unified into what hopefully We need new music, but is jazz be a viable form of liturgical music. are not designed for use in the ac­ would be a fitting act of liturgy. a suitable genre for church use? In I hasten to point out that I am tual worship service. These compo­ Secondly we decided to avoid what the past, and I feel still pertinentlv, speaking of music for the actual sitions are religiously related more I.consider one of the pitfalls of pre.. but any vocal improvisation would So we come back to the title of liturgical service and not music by theme and content. this article; Is jazz a valid form of two basic criteria were laid down VlOUS attempts. The music must be be out of the question. Also because for sacred music. Was the music jazz and not an attempted marriage of the nature of the mass we would worship music? We attempted to God-centered; did it direct the between musical idioms. probably face so m eobjections come to grips with the problem in minds of the people to considera~ since it would not involve congre­ a straight forward series of jazz: t~ons of the divine; did it help estab- . We also decided to avoid the gational participation. We partial­ pieces designed to augment the 11sh for the people an attitude and "cop-out" of writing the vocal line ly solved this problem by attempt­ Catholic Mass. atmo.sphere of prayer? Secondly, and then superimposing a jazz ing to develop participation through Throughout we felt that jazz is a was It good musical craft? It is my rhythm section or improvisational the use of readings and communal modern musical art form that can sincere belief that much of the mu­ sections over it. It would be com­ prayers in a jazz context. communicate deeply and immedi­ sic that has found its way into the posed for large jazz orchestra and The compositional style involved ately with people. It is one of the church in recent years does not the vocal line would be an integral in the major parts of the mass most personal of the musical forms satisfy one, other or both of these part of the composition. To avoid (Lord Have Mercy; Glory to God; of expression. We felt, sorto! in­ requirements. the "pop" approach or the Gersh­ Holy, Holy, Holy; OUf Father and tUitively, that it might have a defi­ winesque approach to vocal writ­ Lamb of God) are those of modern nite place in the updating of wor­ Some have alleged in their phil­ ing we decided to treat the voice big band scoring that leans fairly ship or better, in the helping to osophical and theological rush to line as a section of the large jazz heavily on the polyphonic pitting of make religion relevant for modern divinize the natural that anything, orchestra on a par with the sax, line against line and independent man or at least a segment of society. provi~g it was artistically good, brass and rhythm sections. movement. Free improvisational ef­ I honestly don't know if we have was faIr game for inclusion in the fects were used to back up the read been successful. After our perform­ worship service. I feel that there is We were immediately faced with texts and prayers as well as pro­ ance at C.JF we wiH have to evalu­ still room to apply the criteria of some limitations since we would be viding improvisational music in the ate and assess. We welcome your subjectivity. How will the people performing the mass with a high best "church organist" tradition help in this task. receive it; will it help them to come school vocal group. They could be during some of the sections of the Maybe then we can answer our into contact with divine; will it taught to phrase in a jazz manner liturgy. question.

10 11 Archives of the University of Notre Dame

'-'UDGES '-'UDGES

CLARK TERRY, the seventh child DAN MORGENSTERN was born and youngest boy in a large St. Lou­ GARY McFARLAND was born in in Vienna, Austria, where he began Los Angeles in 1933. His early inter­ is family, began his musical career violin studies as a child. He was on a coiled-up length of a water ests were centered in the Negro hose, but he realized his ambition raised in Denmark and Sweden. His blues. His second road 1 d to the to play the trumpet when he joined interest in jazz began when he saw unsung university of the U.S. Army his high school band. After a hitch Fats Waller in Copenhagen. H in the Fifties. H tried both trum­ in the Navy, he joined George Hud­ came to the United States in 1947 pet and valve trombone and even son's band. His next st ps into the piano lessons, but became bored and became active in journalism. with all of these. H was led to th public eye were with the Charlie He served in the army from 1951­ Barnet, Charlie Ventura, and Eddie vibes finally by an Oklahoma mus­ '53, and then he attended Brandeis ician called Drum and by a radio Vinson bands, but it was after join­ announcer who talked him into ing Count Basie in 1948 that his University until 1957. He began writing about jazz in 1958 as the playing th instrument in a local name became widely known. In talent contest. McFarland began 1951 Clark became a member 0 f New York correspondent for the composing tunes, but did not know D u k e Ellington's orch tra, in Jazz JournaL of London. Morgen­ how to write. H eventually gain­ whi h he was to be a featured 10­ stern was the Editor of Metronome ed th skill at the urgings of flut­ i t for eight years. In 1959 h w nt magazine in 1962-'63. He joined ist Santiago onzalez and sent. tap­ to Europ with Quincy Jones to Down Beat magazine in 1964 as the ed samplings to John LewiS, Cal play and act in the Harold Arlen ew York Editor, and becam Edi­ Tjader, and Ralph Gleason; they ~peedily show "Free and Easy." A year later tor in June, 1967. He produced an sent him on a scholarship to Berklee School of Music in Bos­ he joined the NBC staff as a featur­ annual concert series, Jazz in the ERNIE WILKINS, composer, ar­ ton. In 1960 McFarland did some ed member of Skitch Henderson's Garden. at the Museum of Modern writing for G rry Mulligan and in ranger, conductor, saxophonis~, was THAD JO ES, one of the famous orchestra. Clark is one of the most Art in New York from 1961-'66, and 1962 h arranged and conducted for SO Y STITT is perhaps best born Ernest Brooks Wilkins, Jr. :n "Jones boys", comes from Pontiac, known the e days as the exponent in demand players in New York St. Louis, Missouri. He started stud­ he produced the Jazz on Broadway Stan Getz Big Band Bossa ova. In and records albums under his own concerts in New York in 1963 which Michigan where he was born on 1963 McFarland recorded under hi' of the ampJi ied saxophon . But, ying violin as a 12-year old; in high May 28, 1922. Thad's uncle started were the occasion for the comeback own name a band album featuring t chnique aside, he is also well leadership and with artists of all school Ernie studied saxophone. He him on the trumpet by giving him known in his playing as the con­ kinds. In public, he appears with became interested in arranging as o( Earl Hines. He also conducted a Bill Evans on piano. Also in 1963 an old horn a long tim ago which he recorded tinuation of the styles of Johnny concert groups at Carnegie Hall radio program, "The Scope of Jazz", he played in the Arcadia Club Band Point of Departure: a high school student. Wilkins at­ The Gary McFarland Sextet which Hodges, Benny Carter, and e pe.ci­ and Lincoln Center, with the quin­ on WBAI-FM, New York, from in Pontiac, and he wrote hi' first ally, Charlie Parker remolded With ten d e d Wilberforce University contained one of his "minor mast 1'­ tet he and Bob Brookmeyer jointly 1963-'67. Morgenstern served on the arrangemen at age 13. He starred where he majored in Public Schoc)t pieces", Pecos Pete. In rec nt y ars th individuality that is Sonny lead, and whenever he is available, Music and earned his tuition play­ Symposium panel at CJF '67, has for nine year in th band of the besides conductin th f stival band Stitt. Stitt play d with Tiny Brad­ great Count Basi and was an often as an invaluable element in Gerry ing in the college band. After be­ been a judge at the Villanova Jazz at the short-lived Down B at Jazz <'haw back in 1943 and with Billy featured soloist on both the corn t Mulligan's Concert J a z z Band. ing discharged from the Navy, Er­ Festival several times, and is back Festival in Chicaao, McFarland has Eck t in in 1945. Shortly after, in Clark served as a CJF judge in for the second time in a row on the and th flugelhorn. After his tay ]947, he won the Bronze Esquire nie played and wrote for the last with Basie, Jones join d 'errv Mul­ been experimenting with Mexican regular judging panel of CJF '69. Jazz Award. As for the early years 1964. big band of Earl Hines, and after­ ligan for a while and did arrange­ and other types of Latin tunes, rock, wards joined the fine big ba.nd of ment.s for Harry Jame.. Most re­ and he has been approached by a o( the 1950's most everyone is fa­ Broadway producer for a number of George Hudson. In 1951 he was hir­ c ntly, Thad Jone' has been mak­ miliar with th "broth rhood" Gene show compositions. This is his sec­ ing an ven bigg l' name for him­ Ammons - Sonny Stitt Combo. ed by Count Basie and he remained ond appearance as a CJF judge. with the Count until 1955. During ~elf in his work with Mel Lewis The in-between years were odd this time he also did arrangF::ments and "The Jazz Orchestra" formed jazz jobs including soloing with for the bands of Tommy Dorsey in December, 1965. He acts as co­ various roups and making records ond Harry James. In 1956 Ernie leader with drummer Lewis and from tim to time. Sonny played took time out to join Dizzy Gilles­ also as flugelhorn soloist with the with Jazz at the PhilhaTmonic from pie's big band for the famous State band that is featured very Mon­ 1956 through 1959, with Dizzy Gil­ Department sponsored Middle East day night at the Village Vanguard. lespi in 1960, and with Miles Davis tour. He has arranged for Sarah The orchestra acts as an outlet for in 1964 - '65. Also in 1965 he was Vaughan, Billy Eckstine, Dinah Thad's composing and arranging award d "Best Alto Saxophonist" ability which showed itself in many Washington, Oscar Peterson, Ray b. the PLayboy Magazme readers of Count Basie's pieces and con­ Brown, Cannonball Adderley, Ted poll. Stitt has played in almost tinues now in his very personal, Heath, Carmen McRae, Milt Jack­ every state in the union and most melodic, and highly rhythmic style. son, Quincy Jones, Ernestine An­ cities of any size as well as alL over Some of his recent compositions derson, and Buddy Rich. Presently, Europe, England. and Japan. He is include: Don't Cit Sas y, Mean Ernie is in partnership with Clark currently touring with his saxo­ What You Say, Once Around, Three Terry in a New York-based music phone - organ - drums trio, and in One, and Don't Ever Leave Me. firm Clark Terry big band. Inc. This is his first appearance as D. CJF judge. a CJF judge.

12 13 Archives of the University of Notre Dame •

BIG BA os

UNIVERSITY OF ILLINOIS JAZZ BAND The U. of 1. Jazz Band returns to CJF for the sixth straight year, winning the Festival in '64, '67, and '68, and playing in the finals in '65 Most and '66. After their triumph last year, they performed at the New­ port Jazz F stival, and went on a tour of Europe, sponsored by the Poll-Winning State Department. An account of these activities is given by their leader, John Garvey, on page 32 of Jazz Composers this pr gram. The band, one of five jazz bands at U. of I. was featured at the Chicagoland Stage Band Fes­ tival in February, where John Gar­ lice se vey was a judge. In June, th y will appear at the New Orleans Jazz Festival, at the invitation of Festiv­ their usic al Musical Director, Willis Con­ over. through BMI MICHIGAN STATE UNIVERSITY JAZZ ENSEMBLE Th MSU Jazz Ensemble makes NELSON, SHORTER, MONK, SCHIFRIN, its sixth appearance at the CJF this year, winning the Best Big Band HANCOCK, JOBIM, BRUBECK, EVANS and award in 1962, and playing in the finals in 1964 and 1968. The band performs in an annual jazz festival innumerable other composers who make involving Michigan schools, and makes many television appearances jazz an expression of emotion and throughout the year. This year they were guest performers on the imagination have elected to license their NET series "People in Jazz." The band is led and plays arrangements by Mr. George West, who has play­ music th.rough 8MI. ed and written for such names as Glenn Miller, Kai Winding, Les We pay tribute to them and to the many Brown, and Woody Herman.

other poll-winning composers whose

tale.nt brings credit to us and to thousands

of their fellow affiliated composers in ILLINOIS CENTRAL COLLEGE STUDIO BAND all fields of music. The Illinois Central College Stu­ dio Band is a credit course at ICC, and is composed mostly of music majors. Their director, Mr. Rich­ All the worlds of music ard Richardson, studied composi tion with Oliver Nelson, and he does the band's arrangements. An for all of today's audience. unusual feature of the band is the use of ight woodwinds. BMI BROADCAST MUSIC, INC. 15 Archives of the University of Notre Dame

MEMPHIS STATE STATESMEN M.1. T. CONCERT JAZZ BAND The Memphis State Statesmen Having its origin in the Tech­ make their second consecutive ap­ tonians dance band of the 1930's, pearance at CJF this year. The the M.l. T. Concert Jazz Band has band is part of a credited jazz pro­ in the past five years developed gram at MSD, begun in 1961, which into a leading college big band, includes three jazz bands. Included comprising eighteen students under in the band's concert season is a the direction of Boston jazz trum­ tour of high schools and college::;. peter and Berklee School of Music and a jazz program on the Southern educator Herb Pomeroy. All the Regional Educational Network (54 members are undergraduates or TV stations). They also cut an LP graduates majoring in engineering, each year, last· year's album featur­ science, or mathematics at M.L T., ing guest artist Doc Severinsen. thus making participation in the The band, consisting almost entire­ band for each member's musical ly of undergraduate music majors, enjoyment rather than for academ­ is under the direction of Mr. Thom­ ic credit. The Jazz Band has par­ as Ferguson, an Associate Professor ticipated in the CJF and the Villa­ of music at MSU. nova Jazz Festival for the past five years, and last year in the first Quinnipiac Jazz Festival. They placed in the finals in all of these festivals and received many indi­ vidual awards. UNIV. OF MISSOURI STUDIO BAND The Dnh ersity of Missouri Studio Band makes its first app arance at the CJF this year. The band wa~ BALL STATE UNIVERSITY organized by Lawrence Suther­ JAZZ ENSEMBLE land. Director of Bands at Dl.iC, The B.S.U. Jazz Ensemble is the 10 September 1966 as a credited newest ensemble in the school's De­ course. In this short time, the band partment of Music, making its de­ has placed second in the Little Rock but at the Homecoming Variety Jazz Festival, won the Kansas Cit\' Show last Fall, before an audience Jazz FestivaL made television ap­ of 3,200. The band has plans for a pearances, played concerts with tour of Indiana high schools and for George Roberts and Marilyn Mayc. a concert in April, "Dimensions in and made two tours of Missouri. The Jazz." The band's leader is Mr. Jim band plays compositions by UMC Houston, currently solo clarinetist students and faculty. with the Henry Mancini orchestra and president of StudioPublications and Recordings, Inc. Houston has a Bachelor of Music degree from In­ diana D., an M.A. from Ball State, CASE CONCERT JAZZ ENSEMBLE and 10 years experience teaching in high schools and colleges. The Case Concert Jazz Ensemble was formed in 1962, and in 1968 joined with the Western Reserve band, when the two schools were federated into Case Western Re­ serve. The band has played at a UNIVERSITY OF NORTHERN IOWA great number of colleges, and play­ JAZZ ENSEMBLE ed concerts with Buddy DeFranco, The UNI Jazz Ensemble makes Alan Raph, and Doc Severinsen. its first appearance at the CJF this They performed at CJF '66, and year. The band, established in 1965, were finalists in the '67 Little Rock makes an annual tour of Iowa high Jazz Festival, and the '67 and '68 schools, and presents a concert Villanova Jazz Festivals. The band "Dimensions in Jazz" in conjunc­ plays arrangements by their direc­ tion with a high school festival, tor Robert Curnow. Mr. Curnow sponsored by Phi. Mu Alpha Sin­ was the student director of the fonia. In April, the band will be Westchester Criterions, after which featured at the North Central Re­ he earned a Master's Degree at the gional Convention of IvlENC at University of Michigan and played Fargo, North Dakota. In 1968, the for a y ar with the Stan K nton band finished first in the Eau Claire; Band. Wisconsin Jazz Festival.

Hi 17 • Archives of the University of Notre Dame

FRIDA Y AFTERNOON

EO March 14th, 1:30 p. m.

1:30-CONTEMPORARY JAZZ QUINTET - DePaul University, Chicago, Illinois. Personnel: Leader, Bass - Rudolph Penson. Trombone - Patrick Dalton. Tenor Sax - Howard Bell. Piano - Rodney Crosby. Drums - Thomas Warzecha.

1: 55 -AVANT-G RDE DIXIELAND JAZZ ENSEMBLE - Northwestern University, Evanston, Illinois. PersonneL: Leader, Piano - Jon Hipps. Trumpet, Flugelhorn - Benton Darda. Bass - Dennis Gar­ dino. Vocals, Kazoo - Joanie Tumpson. Guitar,·Vocals - Chris Allport. Drums - William Talvitie. P 2: 20 - RON ELLISTON-JEFF FOOTE-CECIL BRIDGEWATER QUINTET - University of Illinois, Cham­ paign, Illinois. Personnel: Piano - Ron Elliston. Bass - Jeff Foote. Trumpet, Flugelhorn-Cecil Bridg water. Tenor R Sax - Larry Cangelosi. Drums - Rick Kvistad. o INTERMISSION G 2: 55 - ILLINOIS CENTRAL COLLEGE STUDIO BAND - Illinois Central College, East Peoria, Illinois. PersonneL: Leader - Richard Richardson. Alto Sax - Duane Freidlinger, Greg Christy. Alto Sax, R Clarinet-Richard Smith. Tenor Sax-Gary Johnson. Tenor Sax, Bass Clarinet-Charles Laughrey. Baritone Sax - Greg Geiger. Flute, Bass Clarinet - Jack Hedden. Flute, Bassoon - George Trout. A Trombones - Dean Slocum, Bob Applegate, John Kelley, Herb Eaton. Tuba - Walter Graves. Trum­ pets - Don Lewellen, Tom Beggs, Ron Allgaier, Doug Bennett, Bill Wetherington. Piano - Byron Gipson. Bass - Fred Lee. Guitar - Bob Miller. Percussion - George McCullough. Latin Percus­ M sion - Dave Porter.

3: 20 - FRED HESTER TRIO - Memphis State University, Memphis, Tennessee. PersonneL Leader, Bass - Fred Hester. Trombone - Danny Hollis. Drums - Don Patterson.

3: 45 - CASE CONCERT JAZZ ENSEMBLE - Case Western Reserve University, Cleveland, Ohio. PersonneL: Leader - Robert Curnow. Alto Sax - Charles Barone, Dennis Pesek. Tenor Sax - Ray Matlin, Don Goton. Baritone Sax - Les Bloom. Trombones - Barry Agan, Tim Miller, John Staf­ ford, Ernie Lukas. Tuba - Len Orcino. Trumpets - Eric Cohen, Neil Reminick, Charlie Langston, Bill Drotning, Henry Solano. Vibes - Mike Kaplan. Guitar - Randy Young. Piano - Alan Dicenzo. Bass - Barry Lieberman. Drums - Don Krahn.

19 Archives of the University of Notre Dame

FRIDA Y EVENING March 14th, 7:30 p. m.

7: 30 - ALAN ROSENTHAL TRIO - University of Chicago, Chicago, Illinois. Personnel: Leader, Piano - Alan Rosenthal. Bass - John Loehrke. Drums - Dave Mielke.

7: 55 - RON DEWAR QUARTET - University of Illinois, Champaign, Illinois. Personnel: Leader, Tenor Sax - Ron Dewar. Trumpet, Flugelhorn - Jim Knapp. Bass - John Mon­ aghan. Drums - Chuck Braugham.

8: 20 - B.S.U.U.I.I.S. QUINTET - Ball State University, Muncie, Indiana. Personnel: Leader, Trombone, Bass Trumpet - Dave Pavolka. C and G Flutes - Warren Jones. Bass - Wayne Darling. Drums - Jim Ganduglia. Piano - Bill Isom. KUSTOM KOlOR KATAlOGS P 8:45-MEMPHIS STATE STATESMEN -Memphis State University, Memphis, Tennessee. AVAILABLE Personnel: Leader - Thomas Ferguson. Alto Sax - Steve Morrow, Bill Banker. Tenor Sax - Gary KUSTOM Goldsmith, Phil Smith, Lewis Keel. Baritone Sax - David Kelley. French Horns - Cerez Taylor, ELECTRO NICS, George Pokorski, Gene Williams, Tony Cason. Trombones - Phil Morgan, Gary Russell, Ronny Sher­ INC. R er, Danny Hollis, Billy Wooten. Tuba - James Perper. Trumpets - Andy Woodard, Tim Wood, Mark DEPT. f3Rr -/0 1010 W. CHESTNUT Blumberg, Reid McCoy. Guitar - David Reilly. Percussion - Harry Beadle. Bass - Fred Hester. CHANUTE, o Tympani - Don Patterson. Piano - GT Taylor. KANSAS 66720 G INTERMISSION R 9: 20 - UNIVERSITY OF MISSOURI STUDIO BAND - University of Missouri, Columbia, Missouri. Personnel: Leader - Lawrence Sutherland. Alto Sax - Bill Noll, Mike Cantwell. Tenor Sax - Greg Howard, Larry Williams. Baritone Sax - Mike Stephens. Trombones - Phil McCullough, Benny Gowler, Mike Brewen, Jim Sochinski. Tuba - Wes Lowe. Trumpets - Mike Metheny, Bob Davidson, A Art Autenrieth, Art McElroy, Randy Holmes. Piano - Don Kenneson. Bass - Jim Widner. Drums M - John Brophy. Bongos - Rich Oberto. Conga Drums - Kev Sims. 9: 45 - UNIVERSITY OF ILLINOIS JAZZ BAND - University of Illinois, Champaign, Illinois. Personnel: Leader - John Garvey. Alto and Soprano Saxes - Howie Smith. Alto Sax, Flute - John Wonsowicz. Tenor Sax, E Flat Clarinet - Ron Dewar. Tenor Sax, Clarinet - Larry Cangelosi. Bari­ tone Sax, Bass Clarinet - Bill Feldman. Trumpets - Ken Ferrantino, Jerry Tessin, Ron McWil­ liams. Trumpet, Flugelhorn - Cecil Bridgewater, Jim Knapp. Trombones - Paul VanderGheynst, Al Engelberg, Al Andreasen. Bass Trombone, Baritone Horn - Rich Roush. Tuba .- Dean Leff. Drums - Chuck Braugham, Maurice McKinley. Bass - John Monaghan. Piano _. Ron Elliston. Guitar, Banjo, French Horn-Terry Pettijohn. Singer, Flute-Don Smith. French Horn-Jim Keays.

10: 10 - MELODONS - Notre Dame High School, Niles, Illinois. Personnel: Leader - Rev. George Wiskirchen, C.s.C. Alto Sax, Clarinet, Bassoon - Jeff Pilarski. Alto Sax - Henry Bieniek. Tenor Sax, Fluie, Soprano Sax, Baritone Sax - James Feldman. Tenor Sax, Clarinet - Gary Hillebrand. Baritone Sax, Bass Guitar - Gary Glowacz. Trumpets, Flugelhorns - Vic LoVerde, Marty Vinci, Tom Devitt, Roebrt Glees, Scott Buetler. Mellophoniums - John Resch­ ke, Ron Sindelar. Trombones - John Redman, Michael Halpin, Donald Banas, David Chavich. Bass Trombone - Steve Adams. Tuba .- Andy Paul. Piano, Tenor Sax, Clarinet - David Ciemiega. Organ Harmonica, Vocal - Michael Meyer. Guitar - Mark Madsen. Bass, Piano - Dan DeLorenzo. Vibes - Dan McDonnell. Percussion - Tom Kost, John Burkhart. 21 20 Archives of the University of Notre Dame

With A Little Help From Our Friends PRIZES

This is the spot where the Chair­ CJF judges and audience, and who time: Thad Jones, Gary McFarland, man customarily brags about what so patiently put up with our un­ Sonny Stitt, Clark Terry, and Ernie Collegiate '-'azz Festival 1969 a terrific Festival this is and thanks avoidable red tape. Wilkins; to our M.C., Willis Con­ everyone who made it possible. over; and to the judges of the High We're proud, of course. But even Also to the administration and School Contest, Jim Phillips, Don Best Overall Jazz Group - Trip to 1969 Newport Jazz Festival, 'sponsored by/os. Schlitz Brewing Co. more than that we're humbled by Student Government of the Univer­ Tolosko, and Paul Tolosko. Selmer Benny Goodman Trophy the great number of people who sity of Notre Dame, for their sup­ have given freely of their time and port. Our thanks to the local busi­ Finally, for advice and assistance money for the good of the Festival. nesses and national companies of various kinds, we'd like to thank Over the years, the letters "CJF" whose ads you see in this program. Rev. Carl Hag e r, C.S.C., Rev. Finalist Big Bands - $150.00 Cash Awards have become a magic word that (Tell 'em CJF sent you.) Also the Selmer Porta Desks Charles McCarragher, C.S.C., Mr. Schlitz Globe Radios draws from many sources the kind very generous prize donors: Jos. Robert O'Brien, Mr. William Suth­ of support that has made this festi­ Schlitz Brewing Co., donors of the erland, Mrs. Joyce Bizot, the Peter val what it is today, on its eleventh top prize of the Festival; Artley, Michelsons, Mr. Lou Lanwermey­ birthday. This support has made us Conn, Getzen, Garrard, Zildjian, er, Mr. Richard Rembusch, Mr. Lar­ on the CJF staff feel that our hard Ludwig, and especially Jim Heren­ Finalist Combos - $50.00 Cash Awards ry Balling r, Mr. George Wein, Mr. Schlitz Globe Radios work and pure intentions have been deen and Selmer for their great Homi Mehta, Mr. John oel. Mr. repaid. I'd like to take this oppor­ help over the years. Jack Varick, and Mr. Tom Davis. tunity to acknowledge some of our To these and any I may have debts. Special thanks to the "patron miss d, and to all who have helped Outstanding Instrumentalist -CJF Trophy saints" of the CJF, Mr. Dan Mor­ us in the past, our sincere thanks. First, our thanks to the partici­ genstern and Rev. Gorge Wiskir­ Outstanding Composer - Arranger - CJF Trophy pants, who came at great personal chen, and also to our other judges, expense to do their thing for the who gave so generously of their -Gregory J. Mullen Best Saxophone Soloist - Varitone Conversion Outfit and Amplifier, donated by Selmer CJF Plaque

Best Flute Soloist - Artley Gold-Plated Flute, donated bArtley CJF Plaque

Best Trumpet Soloist - Getzen Flugelhorn, donated by Getzen CJF Plaque

Best Trombone Soloist -CJF Plaque

Best Piano Soloist - Garrard Turntable, donated by Garrard CJF Plaque

Best Bass Soloist -CJF Plaque

Best Big Band Drummer - Ludwig Drum Set and Paiste Cymbals, donated by Ludwig CJF Plaque

Best Combo Drummer - Zildjian Cymbals, donated by Zildjian CJF Plaque

Best Misc. Instrumentalist - Conn Plaque

Seated, left to right: Ron Mosca, Producer; Nick Talarico, Assistant Chairman; Greg Mullen, Chairman; Best High School Band - Selmer Benny Goodman Trophy Kathy Martin, Publicity; Ann Heindricks, Production: Dick Bizot, faculty Advisor. Standing left to right: Selmer Porta Desks Steve Zon, High School Contest; John Buchanan, High School Contest Chairman; Bill Schweitzer, Production; larry Stewart, Advertising Manager; Jeff Day, Production; Curt DeClue, Publicity Chairman; CJF Plaque Fred Welcher, Applications; Don Patrician, Applications Chairman. Not shown: Nick Ritter, Art; Mike Schoo, Prizes Chairmon; Tom Edman, Applicotions; Frank LaBelle, Production. Superior High School Bands - CJF Plaques

22 23 Archives of the University of Notre Dame

SATURDA Y AFTERNOON SATURDA Y EVENING March 15th, 1:30 p. m.

1: 30 - BALL STATE UNIVERSITY JAZZ ENSEMBLE - Ball State University, Muncie, Indiana Personnel: Leader - Jim Houston. Alto Sax, Piccolo, Flute, Alto Flute - Warren Jones. Alto Sax, Clarinet - Doug Miller. Tenor Sax, Clarinet - Dale Baker. Tenor Sax, Clarinet, Contrabass Clarinet March 15th, 7:30 p. m. - Tom Peters. Baritone Sax, Clarinet, Bass Clarinet - Steve Stickler. Soprano Sax, Clarinet - Nick Brightman. Trombones - Dave Pavolka, Tom Landon, Eric VanEtter, John Dyer. Tuba - Sande MacMorran. Trumpets - Ron Hoffer, Tom Baker, Charles Law, Dave Strater. French Horns - Loren 7: 30 - FINALIST COMBO Hard, Ron Beach, John Finley. Piano - Bob Ambrose. Guitar - Sam Leseman. Bass - Wayne Darling. Drums - Tim Lautzenhiser. 7: 55 - FINALIST COMBO 8: 20 - FINALIST COMBO 1: 55 - M. 1. T. JAZZ QUINTET - Massachusetts Institute of Technology, Cambridge, Massachusetts. PersonneL Leader, Trombone - Rich Orr. Alto Sax, Flute - John Halkyard. Piano - Ned Lagin. 8:45-FINALIST BIG BAND Bass - Larry Cohen. Drums - Ken Madell.

2:20-MICHIGAN STATE UNIVERSITY JAZZ ENSEMBLE-Michigan State University, East Lansing, INTERMISSION P Michigan. Personnel: Leader - George West. Alto Sax - Andy Goodrich, Ed Polhamus. Tenor Sax -- Chris P Colclesser, Jerry Kalber. Baritone Sax - Mark Gridley. Trombones - Paul Hostetter, Jeffrey Kres­ sler, Jan Moorhead. Bass Trombones - Bruce Early, Ed Boyd. Trumpets - Gregory Hopkins, Eddie 9: 20 - FINALIST BIG BAND R Meadows, Steven Fuller, Gary Maki. Piano - John Nelson. Bass - Eugene Rebeck. Guitar - Gre­ gory Shenaut. Drums - Cameron Phillips. 9: 45 - FINALIST BIG BAND R 10: 10 - CJF HIGH SCHOOL CONTEST WINNER o INTERMISSION 10:30-PRESENTATION OF AWARDS o G 2: 55 - UNIVERSITY OF NORTHERN IOWA JAZZ ENSEMBLE - University of Northern Iowa, Cedar Falls, Iowa. G Personnel: Leader - James Coffin. Alto Sax-Paul Ahrens, Tom Moore. Tenor Sax - Roger Birke­ R land, Andrew Muse!. Baritone Sax - Robert Kvam. Trombones - Carl Hermanson. James Oleson, Bob Rannells, Rick Stendel. Bass Trombone - Lee Cause. Trumpets - Mark Ellis, Steve EentzelmC'll, R Steve Jones, Alan Naylor, Ronald Post. Piano - Jeff Benson. Bass - Parker Foley. Drums - Randy A Hogancamp. MASTER 'OF CEREMONIES A 3: 20 - M. 1. T. CONCERT JAZZ BAND - Massachusetts Institute of Technology, Cambridge, Massachusetts. M Personnel: Leader - Herb Pomeroy. Saxophones - Chuck Fee, Brian Good, John Halkyard, P. Nick Lawrence, Steve Shields. Trombones - Don Krasnick, Rich Orr, Glenn Reyer. French Horn - Bill WILLIS CONOVER is perhaps the In 1951, Conover was involved Grossman. Trumpets - Tom Gibson, Fred Jacobs, Greg Olson, Nate Seely, Mike Throckmorton. Gui­ best known jazz radio personality with The Orchestra, a cooperative tar - Fred Milder. Piano - Ned Lagin. Bass - Larry Cohen. Drums - Ken Madell. in the world. For the past thirteen big band in Washington, D.C. years his voice has been beamed which was led by Joe Timer. For 3: 45 - ANDY GOODRICH QUINTET - Michigan State University, East Lansing, Michigan. all over the world as part of a most the past several years, he has been successful jazz show over the Voice a member of the Board of Directors Personnel: Leader, Flute, Alto Sax - Andy Goodrich. Flugelhorn, Trumpet - Louis Smith. of America. The show has been so of the Newport Jazz Festival and Drums - Billy Parker. Bass - Gene Rebeck. Piano - Bruce Early. well received by the people of oth­ has often handled the emcee chores. er countries that Conover has sev­ Conover was a judge at the 1960 eral fan clubs and is always given 4: 10 - INTERLOCHEN ARTS ACADEMY STUDIO ORCHESTRA - Interlochen Arts Academy, Inter­ CJF. Mr. Conover's current activi­ a diplomatic reception on his for­ lochen, Michigan. ties include serving as musical di­ eign tours. In addition to his Voice rector of the New Orleans Jazz Personnel: Leader - David Sporny. Saxophones - Richard Focht, Charles Roberts, Christopher Kel­ of America work, Conover presides Festival, which will take place the ton, Walter White, Grant Swanson. Trombones - Gary Paige, Mary Beth O'Quinn, Robert Radock, over Voices of VISTA, a program first week in June of this year. Christopher Brubeck. Horns - Rebecca Root, Timothy Gregg, Richard Runnels, Paul Birmingham. heard weekly over 2000 U.S. radio Tuba - Robert Burstein. Trumpets - James Snapp, Gary Richards, James Hecker, David, Harney, stations. He has also had regular John Yow. Piano-Peter Bankoff. Bass-Christopher Brown. Guitar-Richard Kessler. Drums radio shows on CBS and is a much The Collegiate Jazz Festival is - Peter Erskine. sought-after emcee, lecturer, and very pleased, for the sec 0 n d jazz critic. He has written many straight year, to have such a know­ 4: 30 - ANNOUNCEMENT OF FINALIST GROUPS. articles on jazz and liner notes for ledgeable and engaging personality jazz albums. serve as Master of Ceremonies.

24 25 Archives of the University of Notre Dame •

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LOCATIONS

SOUTH BEND MISHAWAKA ELKHART PLYMOUTH

NILES, MICHIGAN BENTON HARBOR, MICHIGAN

26 27 Archives of the University of Notre Dame COMBOS Welcome to the RestfuI Comfort of aus ANDY GOODRICH QUINTET Hans Andy Goodrich, winner of the Best Alto Player Award at CJF '68, 2803 So. Michigan St. again appears with a quintet from Michigan State University. Louis Phone 291-5522 Smith is a graduate student at the ~OWARDJOJ.l University of Michigan and plays nson'S flugelhorn and trumpet in the German Food group. He formerly played with the Horace Silver Quintet. Billy Parker MOTOR LODGE Our Specialty i::, an applied music major and member of the 113th Army band 52939 u.s. 31, No., South Bend, Indiana 46637 besides holding down the drum­ Telephone: 272-1500 ming job in the group. Gene Re­ German b ck, the bassist and Bruce Early, pIanist are both graduate students and are involved in junior high music programs.

Serving Business Men's luncheons

Open 10:30 a.m. to 10:30 p.m. RON DEWAR QUARTET on Dewar (BesL Tenor Sax, Len Davis, Manager Closed Sundays and Holidays CJF '68) a )pears WIth a quartet made up of members of the Uni­ \'ersity of Illinois Jazz Band. The group' was one f the small groups featured in the appearances of the U. of 1. Jazz Band on their tour of Europe. (See page 32). things go b~~th COke

FRED HESTER TRIO The Fred Hester Trio was form­ ed outside of school activities when Hester and drummer Don Patter­ son joined trombonist Dannv Hol­ lis, who is also a pianist, on lobs in M mphis night spots. All three are music majors at emphis State University, and hope to make a career pIa yin g professionally. They are the first combo from MSU to appear at the CJF.

THE COCA-COLA BOTTLING COMPANY OF SOUTH BEND, INC.

28 29 Archives of the University of Notre Dame

B.S.U.U.I.I.S. QUINm This group is a result of friend­ ship among the players and has never played together until enter­ M.1. T. JAZZ QUINTET in,;; CJF. Dave Pavolka has won the The M. 1. T. Jazz Quintet is an en­ Best Trombonist award the past semble composed of soloists and two years at CJF, and Jim Gandug­ members of the rhythm section of lia, of Indiana State, won the Best the M.l.T. Concert Jazz Band. The Big Band Drummer award at CJF group was formed three years ago, '68. Bill Isom has appeared with the and appeared at a concert at M.l. T. Illinois jazz band and sextet at CJF. as a sextet, and later performed at Warren Jones appeared as flutist the CJF and the Villanova and with the Ball State U. quintet. All Quinnipiac Jazz Festivals. Leader the players met at jobs or other Rich Orr has been a mainstay of musical situations, but never work­ the group since its inception, both ed before as a quintet. writing and arranging for the big band and quintet.

ALAN ROSENTHAL TRIO After a year at the University of Michigan, Alan Rosenthal trans­ ferred to the University of Chicago, where he is studying composition with Easley Blackwood. He began writing piano pieces at age seven, RON ELLISTON~JEFF FOOTE.CECIL and plans to eventually work for BRIDGEWATER QUINTET a Ph.D. in composition, combining This quintet with three leaders work in jazz and classical music. is made up of five music majors Bassist John Loehrke and drummer from the University of Illinois. Dave Mielke are students at the Cecil Bridgewater does many of University of Michigan. the compositions and arrangements used by the big band. Ron Elliston, Larry Cangelosi, and Richard Kvis­ tad are in Music Education, and bassist Jeff Foote is a voice major. AVANT-GARDE DIXIELAND JAZZ ENSEMBLE J on Hipps returns to CJF, this times with the Melodons, once with year with a sextet. Last year his the Ed Sheftel Quintet (Best Com­ trio, after appearing at CJF, won bo, CJF '66) and last year with the Elmhurst Jazz Festival. He re­ Hipps. Trumpeter Benton Da:da cently composed a score for a film directs the Northwestern U. Jazz by Howard Smith under the aus­ workshop, and vocalist Joanie pices of the American Film Insti­ Tumpson is a Woodrow Wilson tute. Bassist Dennis Gardino re­ Fellow in Philosophy. CONTEMPORARY JAZZ QUINTET turns to CJF for a sixth time, three Rudolph Penson, leader and bas­ sist of th Contemporary Jazz Quin­ tet, is a music major at De Paul University studying with Warren INTERLOCHEN ARTS ACADEMY Benfield of the Chicago Symphony. STUDIO ORCHESTRA Drummer Thomas Warzecha, also CJF is proud to present the jazz a De Paul music major, studies band from the famed Arts Acad­ with Bob Tilles and James Slaught­ emy and music camp at Interloch­ er. Pianist Rodney Crosby attended en, Michigan. The band gives many Tennessee State University for two concerts and tours in the Midwest, years, and is now a student at the and their appearance at the CJF is American Conservatory. Trombon­ part of a weekend of appearances ist Patrick Dalton attends the Van­ for the group. Their director is dercook College 0 f Music, and David Sporny, an instructor of saxophonist Howard Bell is a music trombone at the Academy. Mr. major at the Loop Junior College. Sporny has appeared at CJF in past The group is the result of associa­ years playing trombone with the tions in jobs in the Chicago area, University of Illinois Jazz Ensem­ and this is the first year that they ble. have played together as a quintet. 31 30 = Archives of the University of Notre Dame

Interestingly enough, the band also HE M ODONS, 10th TIME AROUND SNeE LAST CJF cut its first commercial record, for (A SeLective Account) Electrecord Records, in Romania. Our singer, Don Smith, was a great By JOHN GARVEY favorite everywhere. U. of Illinois Jazz Band The majority of the best charts of the band were written by mem­ bers of the band (past and pres­ ent): Knapp, Bridgewa~er, Smith, Last June, we were winners of Dwyer, Richmond, Ferrantino, and "another jazz festival" (to indulge three Illinois faculty writers, Pow­ in the habit of anonymity-confer­ ell, Fredrickson and Johnston. ring which was sillily endemic in NFL-AFL football relations a few The tour was a howling success, years back; each referred to the not only musically, but more im­ other as "the other league")' then pleas~re portantly, humanly. All members in July, we had the of of the band knocked themselves playing on the Newport Jazz out at all times, not only when they Festival. were on stage. Thos eight weeks are deeply impressed on our memo­ The trip consisted of four days on ries and emotions, and we mean to a bus and two days in Newport. and a Dixie group; the latter ap­ go back! The former was fun (as are most peared on almost all of the big big band jaunts) and had as its band concerts. There were lots of jazz sessions with local musicians Post-plaint - presently, we have main side-effects the familiarizing firm invitations for the Fall of of our younger members with the invariably they were a gas for ali concerned. Th band had its con­ 1969 to play in the jazz festivals at national consistencies of the How­ Berlin, Vienna, Ljubljana and ard Johnson menu. The latter was certs televised in major shows in Bucharest, Ljubljana, Belgrade, Vi­ Prague, but we lack the money to 1969 marks the tenth time in as piring arrangers and composers can Dame with a Masters in Music fun also, and had its own consisten­ get there! cies, but these I think were vari­ enna, Helsinki, Oslo and Prague. many years that CJF has had the hear and test their works. from Northwestern University, Fa­ ously experienced by different pleasure of introducing to the pub­ The accomplishments and awards ther Wiskirchen is probably famil­ members of the band. lic the MELODONS from Notre earn d by Notre Dame's MELO­ iar to most jazz enthusiasts via his Dame High School for Boys in DO S seem never-ending. At the two regular columns in Down Beat magazine. On the educational level, We ha~ the pleasure of hearing Niles, Illinois. These select music­ Chicagoland Stage Band Festival Duke Ellmgton, Count Basie, Woo­ ians, recently named "Best of at Oak Lawn, they have grabbed he has taught summer sessions at Eastman School of Music and at dy Herman and Dizzy Gillespie; Show" at the 1969 Chicagoland ten consecutive firs t division Northwestern where he directed the then we played some 45 minutes Stage Band Festival, form the top awards, six of which are "Best of and had a ball. performing and study group of Show" in class AA. And when a Jazz Workshop from 1963 to 1965, Notre Dame's constantly expand­ combo competition was introduced once bringing the Northwestern ing music program. The MELO­ to the Oak Lawn contest in 1968, big band into the CJF finals. He We spent the rest of the summer DONS, organized in 1956, provide a group composed of members of also has authored two books of preparing for a tour of eastern Eu­ a n important opportunity for the MELODONS made that first techniques for the development of rope and Scandinavia sponsored by studying and performing modern place award theirs. The band has the high school stage band and a Cultural Presentations of the U.S. American music in conjunction also won "Best of Show" awards trumpet method manual. Beyond Dept. of State. This 8-week tour with the classical works studied in at the Milwaukee Stage Band Fes­ his regular duties at Notre Dame .(from Sept. 29 through Nov. 23) the other musical organizations of tival in 1963 and at the Mundelein High School, Father Wiskirchen mcluded concerts in Ireland Ro­ reserves time to act as a clinician, mania, Yugoslavia, Austria,' Fin­ the school. Although the group be­ Stage Band Festival in 1967. They gan as the typical high school dance have performed with Sonny Stitt judge (CJF '65), and lecturer on land, Sweden, Norway and Czecho­ Educational Jazz while, in addition, slovakia. Although supported by band with its book of stock arrange­ and with Stan Kenton and Woody ments, in its thirteen years of exist­ Herman at Chicago's late McCor­ serving as Coordinator of Instru­ the Dept. of State and strongly as­ ence, the musical "diet" of the band mick Plac . Numerous television mental Music for the Archdiocese sisted by the American embassies members has grown to include all appearances in the Chicagoland of Chicago and President of the all th~ a~tivities in each country phases of jazz from basic swing to area along with clinic appearances National Catholic Band Masters As­ were mdIgenously sponsored: in sociation and consultant to Selmer, Romania by the state cultural or­ the avante-garde, show music, and at universities and for music edu­ rock. Several combos provide small cator groups round out their year­ Inc. Four graduates of Rev. Wis­ ganization, O.S. T.A.; in Yugoslavia kirchen's band have gone on to be and Scandinavia by the powerful group experience for the students ly schedule. with the important aspect of allow­ The most familiar face at the CJF Chairmen. university student organiz~tions' in ~ustria ing even more room and freedom CJF, and the most valuable person Just as CJF has established a tra­ by a ba?k; in Ireland 'by dition of the finest in college jazz, Jazz lovers; and m Czechoslovakia for improvisation, the creative es­ to the Festival in terms of advice az~ sence of the art. In addition, the and assistance over the years is the the MELODONS have likewise by the sponsors of the Prague J progr ssed and built a thirteen year Festival. Notre Dame jazz lab emphasizes leader of this outstanding group of the necessity of a study of theory high school musicians, the Head of history of the finest in high school and encourages music writing and the Music Department at Notre jazz. It is with the greatest pride The big band (with four alter­ arranging among the students. One Dame High School since 1955, Rev. that CJF '69 once again presents nates, one per section) was supple­ of the main functions of the jazz George Wiskirchen, C.S.C. A grad­ the "Big Band From Notre Dame." mented by three small groups from lab is to provide a place where as­ uate of the University of Notre within the band, two jazz combos 33 32 Archives of the University of Notre Dame

Dame High School, Niles, Illinois. W ERE IS We of the CJF staff who have heard PRE-FESTIVAL ACTIVITY: the production being built up in rehearsal find it a fascinatingly well MciNTYRE AND HURD NOTRE DAME THE JAZZ AUDIENCE? thought out fusion of modern music In keeping with the emphasis on COLLEGIATE JAZZ FESTIVAL CJF '69 continues for a third year and liturgical texts. We are proud education, CJF, in conjunction with the policy of opening the Festival to present this new addition to the the Notre Dame Music Department, Judges Sheet with a symposium on a pertinent CJF weekend. presented a jazz lecture-demonstra­ and controversial aspect of the cur­ tion, by Ken McIntyre, in the Mem­ Big Bands rent jazz scene. The CJF, bringing 3rd ANNUAL CJF orial Library Auditorium on March Appearance Time _ together as it does musicians of 8. Mr. McIntyre lectured to a group varying backgrounds, offers a n HIGH SCHOOL CONTEST of Notre Dame and St. Mary's Col­ No. of play in!!; musician ideal opportunity to discuss these Three years ago, recognizing the lege students on the elements of I arne of Band Direclor topics from differing points of view. growth of the high school stage jazz and improvisation and demon­ ------­ City _ The symposium series, titled "The band movement, CJF introduced strated on several woodwinds (he School Slate ----- Current State of Jazz", has covered the Collegiate Jazz Festival High plays them all). Selections (l) (3) _ the topics Art versus Commerce, School Contest, in an effort to help ------Avant-Garde, Education, Pop and stimulate further growth on the Ken McIntyre is an established (2) _ (4) _ Jazz: Fission or Fusion, and the high school level, as well as expose recording artist, with a number of a great number of high school mu­ LPs on the Prestige and United Art­ Role of the Jazz Composer-Arrang­ (J udges eheck evaluation in each category. Number one is highest) er. This year's topic, in a session sicians to the best in college jazz ists labels, including one with Eric held in the Center for Continuing at the CJF. After two very success­ Dolphy. He does a lot of writing Education on Thursday, March 13 ful years, the high school contest for other artists, and his bands have at 8: 00 p.m., was "Where is the now moves into its third year. given concerts at Town Rall in New ST DARDS 1 2 3 4 5 GE ERAL REMARKS Jazz Audience?" The discussion Once again, the winning group York and at a great number of night covered areas such as the age groups will perform at the end of the Sat­ clubs and universities. But his main BLE D AND BALANCE (Quality of of the jazz audience, the relation­ urday night finals.. The winning interest is in education. After six ensemhle sound or tone) ship between the jazz and rock au­ band for the first two years was years of teaching in New York and the band from Lincoln High School Boston, he was appointed to the diences, and live versus recorded I TERPRETATIO (Phrasing of the jazz. in Vincennes, Indiana, directed by faculty of Central State College in Walter Anslinger. The band was Wilberforce, Ohio. There he directs music in proper style) Dan Morgenstern was the mod­ very well received by the CJF the CSU Jazz Lab Band. and teaches erator for the discussion. The pan­ audience both years, and is back a credit course in jazz, with an ap­ PRECISIO (Do sections and band elists included Thad Jones, Clark again for a third try at the top proach based on the old masters play together precisely?) Terry, Gary McFarland, Ernie Wil­ spot. such as Bach and Palestrina. His kins, Rev. George Wiskirchen, C.­ A complete list of this year's par­ course is reportedly the most popu­ S.C., and Rev. Carl Hager, C.S.C., ticipating bands includes: lar course in the music school at SOLOISTS (How imaginative and Chairman of the Notre Dame Music John Adams H.S., South Bend CSU. original?) Department. Central H.S., Memphis Crawfordsville H.S., Crawfords­ McIntyre's efforts at CSU and RHYTHM (Does band maintain ville other schools are based on goals accurate rhythmic pulsalion?) Crown Point H.S., Crown Point sympathetic with those of the CJF. THE JAZZ MASS Bishop Dwenger H.S., Fort He says, "I feel that it (jazz) must ENSEMBLE (How well does it achieve CJF is proud to present in con­ Wayne be an integral part of any music what it intends to?) junction with the Festival, a jazz Elmhurst H.S., Fort Wayne curriculum someday." Mass in S t epa n C e n t e r on Garfield H.S., Terre Haute DY lIC (Doe the band make mosl of Hillcrest H.S., Memphis Saturday, March 15, at twelve noon. * * * * dynamic contrab1s and shadings?) The Mass setting entitled "Mass En Archbishop Hoban R.S., Akron Jefferson H.S., Lafayette Masse" was recently composed by On March 9 in Washington Hall, James McNeely from Chicago, Il­ Lincoln H.S., Vincennes MUSIC (Are the arrangements and Warren Central H.S., CJF presented the Bill Hurd Sex­ ompositions of a creative quaJity?) linois and presently a sophomore tet in concert. Bill is a senior honors music major at the University of Indianapolis Washington H.S., East Chicago student in engineering, the out­ Illinois. Jim is a graduate of Notre standing track star at the school for Dame High School and is an alum­ West Lafayette H.S., West INTO Al'ION (Are the instrument· Lafayette several years, and Notre Dame's in tune with each oth r) nus of Rev. George Wiskirchen, C.­ foremost jazz musician. Hurd ap­ S.C.'s MELODONS. Judges for this year's contest are James Phillips, Donald Tolosko, peared with the big band and com­ The Mass itself combines a big and Paul Tolosko. bo from Notre Dam in CJF '66, TOTAL POINTS band and a vocal unit for the main made the finals, and won an alto sections, the Lord Have Mercy, flute as the most promising reed Glory To God, Holy'Holy Holy, and soloist. the Lamb of God, and utilizes a Comments: combo for incidental music. Also appearing with the group ------was Larry Dwyer, who appeared The piece will be conducted by at CJF several times in groups Rev. George Wiskirchen, C.S.C. and from Notre Dame and the Univer­ will be performed by the big band, sity of Illinois, winning the best combo, and vocalists from Notre trombone award in 1965 and 1966.

34 35 Archives of the University of Notre Dame

LEONARD FEATHER vocal," which came toward the end NOTRE DAME (Cont'd from Page 5) of the track. COLLEGIATE JAZZ FESTIVAL Joe Morello; that he once loved Hutcherson added that "some­ Judges Sheet rock and now loves jazz. body could be a really good jazz musician and come in and do some­ Combos "Although I still feel that a lot thing like this and completely turn FOR THE BEST of rock is worth listening too," he his playing around because he's Appearance Time _ wrote, "I was very depressed to see thrown into this groove." an album by The Who receive five o. of playing musicians _ stars ... The Who forced me away This brings up another central Name of Band Director ------from rock; watching them destroy issue. Many jazz musicians every IN RECORDS ------their instruments (the destruction day in New York and Hollywood School City _ State _ of the drum set. was particularly are, as Hutcherson would say, Selections (I) (3) _ sickening) while playing their ear­ thrown into this groove. They take splitting music and reciting their this work because jazz records have (2) (4) _ nihilistic lyrics symbolized all that a very small sale, while the calls is wrong with rock." for performances in the rock field, V SIT Ou dges check evaluation in each category. umber one is highest) and consequently the work oppor­ THERE IS massive evidence that tunities and earning potential have rock and jazz musicians for the been growing daily. Jazz musicians most part consider their worlds mu­ have no difficulty assimilating the STA DARDS 1 2 3 4 5 GE ERAL REMARKS tually exclusive. Innumerable in­ instrumental qualities of the rock THE terviews with rock instrumentalists idiom. This does not indicate that :md singers, often in the Melody they have become rock musicians. GENERAL MUSICIANSHIP Maker, have revealed that while Jimmy Smith, interviewed on a some express great admiration and national television program late in respect for the Coltranes and 1967, was discussing his role in the OVER-ALL CREATIVITY Lloyds, few have any true under­ popularization of jazz organ when HAMMES (Originality and imagination) standing of jazz or any deep and the interviewer, Joey B ish 0 p, abiding interest in it, let alone any brought up the name 0 f Little Richard. SOLOISTS matured facility for playing 0 r writing it. Smith bridled. "Little Richard is NOTRE Conversely, Oscar Peterson, as a rock 'n' roll organist. I," and there RH YTHM SECTIO accomplished and articulate a mu­ was a touch of hauteur in the tone sician as you will find in jazz or of voice, "am a jazz organist." anywhere else, stated unequivocal­ ENSEMBLE (How well does it ly a few months ago: "It's crazy to The muddied waters of the two achieve what it intends to?) say that jazzmen can learn any­ streams were further fouled, and DAME thing from rock en' roll. They call the confusion was compounded, TOTAL POINTS it the big beat, but often it's harder when Playboy announced last fall to discern the beat in rock than in that its annual jazz poll would jazz, because they have so many henceforth be a jazz-and-pop poll. Comments: confusing things going on ... Sure, Among the musicians outraged B you can play some of the pop things by this decision was Shelley Manne. that are adaptable to your style "Too many people," he fumed, o but you don't have to go all out and "are trying to give the impression prostitute yourself." that there are no more boundary o lines between jazz and pop ... this Another significant indication of is ridiculous' I don't want to put K the jazz musicians' attitude toward pop music down; pop has produced the rock-pop dichotomy was expres­ some important artists ... What sed on Bobby Hutcherson's Blind­ concerns me is that jazz involves S fold Test. Listening to a predomi­ something very special, a particu­ nantly instrumental number by the lar style of rhythmic improvisation Strawberry Alarm Clock (Unwind which you don't find in any othe; TO With the Clock), he remarked that form of music. it was hard to tell whether this was a jazz group trying to play rock 'n' "People who confuse the public R roll or a rock 'n' roll group trying into believing it's all one music are to play jazz. If it were true that just creating another obstacle for E rock 'n' roll is jazz, clearly such a jazz players, who have trouble reaction would make sense. But enough already. Jazz has never Hutcherson finally decided that this really been popular music, other­ was in fact a rock rather than a jazz group, "mainly because of the (Cont'd on Next Page)

36 37 Archives of the University of Notre Dame

It is to be hoped that the trade lyrically and musically to establish treatment to all three idioms, with­ (Cont'd from Previous Page) cini and Johnny Mercer: such per­ Fugs, or the Mamas and the Papas. formances, while certainly neither and music press, as well as news itself as an art form no less vital out any attempts to obfuscate the wise that's what it would always jazz nor rock-pop, have a valid place The more resourceful of the rock papers and general interest maga­ and durable than jazz. issues by pretending that one form have been called - pop music. in contemporary music. zines, radio and television, will is the same as another. artists have been well aware of the Pop, the traditional brand of pop, existence of this bottomless well of move toward a more complete, needs help particularly, since in the Popular music as we have known "People are letting dollar signs It is frustrating to find enormous superior pop music. One of the Su­ honest, and critical coverage of all confuse their vision. With this new past few years it has suffered des­ it since the birth of the phonograph, magazine spreads supposedly de­ preme's most successful records three branches of music. poll concept, a brilliant young jazz voting space to a comprehensive was an album of songs by Rogers & parately from lack of adequate rock as we have heard it since Elvis drummer like Tony Williams, who's coverage of the pop scene, yet total­ Hart. Dionne Warwick and others Jazz needs this attention because, press coverage. There is no reason first writhed, jazz as we have fol­ not known to the general public, is ly ignoring the immense popular previously identified with rock ma­ except in a couple of areas (festivals to assume that this brand of popu­ lowed it in person, on new and old forced to compete with a Ringo contributions of Rodgers & Ham­ terial are turning to similar sources. and sometimes concerts), it has LPs, and at festivals, all can thrive Starr. Or a Carmen McRae with a merstein, the Gershwins, Duke El­ lar music, performed chiefly on run into an economic crisis. In the and show the capacity to outlive Petula Clark, a Sonny Rollins with lington and Billy Strayhorn, Alec LPs, sung on the Broadway stage, Pop music on this level also takes music trade the very word jazz is a Boots Randolph. Wilder, Bart Howard, Vernon Duke, in a fair number of instrumental written by mature professionals, these semantic distractions. Cole Porter, Andre and Dory Prev­ groups, such as Herb Alpert & the looked on in some circles as a sy­ and performed most often by art­ If a merger of any two of these "Pop groups have brought the in, Johnny Burke and Jimmy Van Tijuana Brass. The members of AI­ nonym for No Sales. Artistically, ists in their late 20s and up, cannot forms (or of all three) ever comes sitar into prominence, so suddenly Heusen, Comden & Styne, and doz­ perts group were all associated at too, jazz is in a state of flux and coexist with rock, folk-rock, blues­ about-and, as I have pointed out, Ravi Shankar is rated as a pop art­ ens of others whose works have one time or another with jazz, confusion; new experiments of ist. He's not; he's a great classical transcended the lesser output of Tin rock, raga-rock, shock-rock, and all there certainly is evidence of more chiefly through membership in big every kind need all the attention musician." Pan Alley to become an important swinging bands; their musicianship the rest, performed on hit singles and more healthy cross-pollination and analysis we can offer them via part of music of this century. is beyond reproach. Thus, though and LPs by the 15-25 age group. The - then the evidence of our ears will the printed or spoken word. Manne feels that if these deliber­ collectively they are no more clas­ latter has been blessed with a pub­ be proof enough. But for the pres­ Rock deserves attention, for it ate distortions in the press continue, It is hard to believe that because sifiable as jazz than the rock bands, licity campaign (part spontaneous, ent, if such amalgamations repre­ the jazz world, already in a pre­ pop music composed and/ or re­ they are musically valid on their has now emerged from its embry­ part synthetic) grounded in the sent the ultimate in musical evo­ carious position, will cease to exist. corded by the Who, the Grateful own terms. The same analysis might onic stage when almost all it pro­ eternal American equation of multi­ lution (as well they may), we can "It's true," he says, "that some jazz Dead, or Country Joe and the Fish hold good, ironically for most of duced was a white recrudence of artists have crossed the line and has sold millions of records, we Wes Montgomery's recent albums. million dollar sales with news­ safely assume that the milennium superior Negro rhythm-and-blues. reached the pop audience, but those must therefore exclude from any Though we are all well aware of worthiness and artistic merit. has not yet arrived. who have done it sincerely, like discussion of pop such a song as his genius as a jazz guitarist, the Rock beyond doubt is producing, in Cannonball Adderley, have still re­ When the World was Young. critics who judge his current re­ increasing numbers, talents on the What we need now is a regulation - (Reprinted from tained a basic jazz quality in every­ This exquisite French melody, with corded output by jazz standards are artistic upgrade; it is attempting of publicity that accords reasonable Down Beat's Music '68) thing they play. From the other side its poignantly lovely lyrics b y dealing with him unfairly and ig­ of the fence, the former rock art­ Johnny Mercer, seems as likely to noring the obvious and calculated ists who have come across the line last as anything dreamed up by the shift into a different medium. into jazz - like Larry Coryell, for instance - are using a few devices CJF '69 they may have learned in pop mu­ ORDER FORM sic, but are now essentially jazz STE EO TAPES Phone 513 ­ 434-7582 musicians, because they are able to improvise to the very special re­ quirements of the jazz idiom." BY: WHILE MANNE AND many other jazz musicians are inclined to use P.O. Box 2071 the terms "rock" and "pop" indis­ criminately, still another unresolv­ KETIERING, OHIO 45429 ed problem underlies this semantic muddle, for actually there are two worlds of popular music. One en­ Professional tape recordings are being made available in 4-track Stereo at 7% ips. compasses rock, r&b, and the vari­ The "Finals Performance Set" will include ALL groups that participate in the Finals. ous hyphenated rock manifesta­ tions. The lay press, always looking Recordings of the various groups are also available individually at a cost of $5.00 each, for a bandwagon, has jumped on or any two groups for $7.00. (i.e. such as Semi-finals performances) this group and identified it as "pop," thereby implicitly excluding a vast Please turn in this form at the Recording Desk or mail to the address above: body of work that has at least an Your name: _ equal claim to the same considera­ tion. Address: _ City & State: Zip'-, _ I am referring, of course, to mu­ sic of the type frequently played on Please send me tape set(s} of "CJ F '69 Finals Performance Set" at $12.00 each. what are known in radio circles as the "good music" stations. Sinatra singing September of My Years, An additional sheet may be used to order other performances, specify name of group, Streisand in a ballad from one of and indicate Semi-finals or Finals. ($5.00 each, $7.00 for each two groups) her albums, Andy Williams singing the nonpareil songs of Henry Man­ 39 38 - ...... Archives of the University of Notre Dame

WHY A COL LEG IATE JAZZ FEST IVAL? by GREGORY MULLEN overseas tours, as guests of the Herbie Hancock RIN...·ALL Paul Horn ~rn[Q]Q]~:rdl~fl,Q~R~ State Department. Once again, the This year marks the 11th year of best group will aprear at the New­ Quincy Jones A COMPL• .,ILY the CJF's existence, and after elev­ port Jazz Festiva, guests of J as. Thad Jones ~~~ ~ en years, no one on the CJF '69 Schlitz Brewing Co. Many of the Stan Kenton .. . "'"rO. -. .dJ Com pliments of staff knows anyone on the CJF '59 individual participants have gone Hel1.[y Mancini NIW KIND OF staff, and there are no participants on to professional careers: Dave Gary McFarland ~u ~~ ~ ~ in this Festival who performed Sandborn, Jamey Abersold, Frank Oliver Nelson here in 1959. From one point of Tesinski, Lee Schipper, Randy Johnny Richards S...ORI THa... WNDU-TV view, this is good. The CJF is Sandke, and Ladd McIntosh. to William Russo made up of continually changing name just a few. George Russell \ X i '\.~ X');.'x'x'x'F:.'A ,,'t< personalities, and is therefore rela­ Lalo Schifrin tively free of the "it's always been Not satisfied with promoting jazz Sonny Stitt I!!!!!!! RENTS I!!!!!!! WNDU-AM, FM RADIO in th high schools and colleges, "'~\\~"-,d !i"t8 ~!!~ """. '~1!1~l' .~. F';' ~H?"'WI done that way" traditions. There Billy Taylor '>= .. l _1'11 uJrr Urll are new ideas, new sounds, new CJF has striven to promote a more Clark Terry (MMOST) experiments, and fresh approaches enlightened audience, and in 1967 Art Van Damme EVERYTHING each year. Yet there is a continuity, initiated a series of pre-Festival Ernie Wilkins ~. :~~~~ THE an element that makes this Festi­ jazz concerts, lectures, and sympo­ Gerald Wilson YOU NEED rOR val somehow recognizable from sia. Critics and Educators NOTRE DAME year to year. It is a rationale, a These are the reasons why CJF Willis Conover rr-~r.\I~ raison d'etre, that is handed down was founded and why it continues. Don DeMicheal from chairman to chairman, and Although we've had groups from Leonard Feather ANY OCCASION STATIONS xists tangibly in the files of old the far corners of the country, we Frank Holzfeind Tool. of all kind" yard equlpm.nt. ,.thllion. party IVp­ programs and correspondence. Arif Mardin pU.., .uk ro"" oquipmMf, baby ond gu••' n.-ef., htolth realize that distance prevents many and ,..ducing aid•. Dan Morgenstern RENT-All ratH aN surpri.lngly low. Stop That rationale, simply stated, interested groups from participat­ wha~.r Robert Share In or phone for you rtMd. ing. For this reason, we are pleased P,omp, 0.11.....,. would be something like this. Jazz Charles Suber 302 Uncoln Way Eall, So"th lend, Ind. musicians are increasingly better at the growth of the jazz festival rhone 232-'444, Af..,6 p.m. 272-26n movement in other parts of the Robert TrendIer educated. Johnny Richards, recent­ George Wiskirchen, C.S.C. ly deceased, studied composition country. We like to feel that our success, and the success of the mul­ with Arnold Schoenberg and Darius CJF CHAIRMEN Mi haud, for example. The exist­ tiplying jazz festivals, is sufficient ence of the Berklee School of Music evidence that the original, and the 1959 William Graham and the number of colleges and current, rationale for the CJF is 1960 James Naughton universities that have jazz on the still valid, and will be increasingly 1961 David Sommer OLIVER NELSON curriculum indicate that jazz has so in years to come. 1962 Thomas Eiff become a serious academic pursuit. * * * 1963 Charles Murphy It would make sense, then, to look PAST JUDGES 1964 Sydney Gage [or the jazz professionals of tomor­ 1965 Daniel Ekkebus SUMMER C INIC row among the college musicians of Musicians and Composers 1966 Tony Andrea INSTRUCTORS: OLIVER NELSON today. So for eleven years, the CJF Cannonball Adderley Tony Rivizzigno RON CARTER has brought over two hundred out­ Manny Albam 1967 Paul Schlaver JOHN COTTER standing college groups from 25 Ray Brown 1968 John Noel states (and for the past three years, Donald Byrd 1969 Gregory Mullen OTHER TOP AMES TO BE ANNOUNCED high school musicians as well) to­ Terry Gibbs 1970 Nicholas Talarico gether for a weekend of exchange SIX WEEKS JAZZ I STRUCTION I BIG BAND of ideas, of mutual enlightment. C0M30 and of the interested guidance of I PROVISING top jazz professionals. THEORY The result of the weekend for the TECH IQUES OF JAZZ BASS participants is that they've gained exposure and experience, they've BECI:\r I~C J 1 E 16 FOR 6 WEEKS AT WA HI CTO U IVER ITY, ST. L heard and talked to their contemp­ Ol'aries, whom they probably never APPLICATIONS NOW BEING ACCEPTED would have met if it weren't for festivals such as this, they've met TO APPLY OR OBTAIN INFORMATION WRITE: and been criticized by six experts. OLIVER NELSON SUM ER CLINIC 1969 and the very best have received the DONN BEARMAN, COORDINATOR encouragement that comes from WASHINGTON UNIVERSITY SCHOOL OF MUSIC winning trophies, cash awards, and LINDELL AND SKINKER instrument prizes in recognition of ST. LOUIS, MISSOURI 63130 their efforts. CJF has led to other endeavors in many cases. The last three winning groups have gone on

40 Archives of the University of Notre Dame

BLUE Be GOLD ./ MOTOR LODGE ;/ The swing is to coordinated 'j~.,shirts and cardigan sweater

Air Conditioned TV - Large Swimming Pool Room Phones Selmer Presents the Coveted Benny Goodman Stage Band Award Phone 272-6010 204 Dixie Highway South South Bend, Indiana Thousands of musicians eagerly vie for the highly coveted Benny Goodman trophy at school stage band competitions and collegiate jazz festivals throughout "Closest to the Campus" the country. They know that winning this award, which is identified with two of the greatest names in music making - Benny Goodman and H. & A. Selmer, Inc.­ is a true mark of superior performance. In recognition of the importance of the Notre Dame Collegiate Jazz Festival, Selmer is proud to again participate in the event by awarding this trophy. The handsome prestige-building trophy, specially designed for presentation to outstanding school mu­ sicians, stands nearly 15 inches high and has a mir­ ror polished silver finish. Its free-flowing sculptured form represents a modernistic treble clef sign mount­ ed on a walnut base with a plaque that can be suitably THE SOUNDS OF JAZZ engraved. AT NOTRE DAME . ..

TUESDAY and THURSDAY 7 - 8 P.M. FRIDAY . .. 11 P.M. - 2 A.M. WSND-FM 88.9 MHZ $tlmtr ELKHART, INDIANA FRIDAY . .. MIDNIGHT until 2 A.M. WSND-AM 640 KHZ

42 Archives of the University of Notre Dame