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Steve Houghton: Percussion Artist, Pedagogue, and Leader

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Steve Houghton: Percussion Artist, Pedagogue, and Leader Steve Houghton: Percussion Artist, Pedagogue, and Leader By James Robert Pendell, BM, MM A Document In Percussion Performance Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF MUSICAL ARTS Performance (Percussion) Approved Lisa Rogers Chairperson of the Committee Alan Shinn Stephen Jones Accepted Mark Sheridan Dean of the Graduate School May 2018 Copyright 2018, James Robert Pendell Texas Tech University, James Robert Pendell, May 2018 ACKNOWLEDGEMENTS I would first like to thank Dr. Lisa Rogers and Mr. Alan Shinn for their guidance and mentorship throughout my musical journey. Both of you have been monumental in shaping me into the musician and person that I am today. I would like to thank Steve Houghton for my incredible time with him as a student where my musicianship was completely transformed. I also want to thank him for his willingness to speak with me about his life and career. Thank you to Mr. Steve Jones for our time together in the jazz department at Texas Tech University. I appreciate your time and efforts as a member of my committee and towards this document. Last but not least, I would like to thank my entire family for the love and support throughout my life. Thank you for always being by my side and believing in me. !ii Texas Tech University, James Robert Pendell, May 2018 TABLE OF CONTENTS Acknowledgements . ii Abstract . .v Chapter I. Overview . 1 Justification for the Study . .7 Limitations of the Study . .8 Review of Related Literature . 9 II. The Early Years (1954-1979) . 11 III. The Middle Years (1980-2001) . .23 Background . .23 Artistry . 24 Pedagogy . .33 Leadership . .46 IV. The Later Years (2001-Present) . .50 Background . .50 Indiana University Jacobs School of Music . 51 Artistry . 56 Pedagogy . .57 Leadership . .62 V. Conclusion . 65 !iii Texas Tech University, James Robert Pendell, May 2018 Implications for Further Research. .66 Bibliography . 67 Appendices . .70 A. Interview Transcripts with Steve Houghton . .70 October 1, 2016 and October 3, 2016. 70 November 28, 2017 . .88 January 27, 2018 . 93 B. Interview with Dave Black . 95 C. Interview with Lou Fischer . .99 D. Interview with Julie Hill . 103 E. Interview with Clay Jenkins . .106 F. Interview with Josh Roberts . .110 G. Interview with Sherry Rubins . 114 H. Interview with Jim Rupp . 116 I. Interview with Mitch Shiner . .119 J. Interview with John Tafoya . 122 K. Lecture Recital Handout . .124 !iv Texas Tech University, James Robert Pendell, May 2018 ABSTRACT Steve Houghton is an internationally renowned jazz drummer and percussionist, author, and educator. It is the aim of this research study to “shine a spotlight” on Houghton’s career through three distinctive time periods documenting his work as a percussion artist, pedagogue, and leader. This study further provides a brief biographical glimpse into Houghton’s musical upbringing that ultimately has led to a long and successful career. As a jazz drumset artist, Houghton attributes more than one hundred recordings to his credit. Through an examination of Houghton’s collaborations with musical artists, this study exhibits how diverse and immersed in various styles he is as a jazz drummer. It also provides an examination of some of his work as an author and pedagogue, highlighting six of his published method books. The research study details information about his teaching ideas, philosophy, and methodology. Furthermore, this study discusses Houghton’s influence as a leader in companies and organizations such as the Percussive Arts Society, International Association of Jazz Educators, and Avedis Zildjian Company/Vic Firth Company. !v Texas Tech University, James Robert Pendell, May 2018 CHAPTER 1 OVERVIEW In the music profession, it is common to see individuals enjoy success in performance, artistry, or pedagogy, but it is rare when someone is noticeably accomplished in all three categories. According to Webster’s New Collegiate Dictionary, to perform means to “carry out or execute some action, engagement, or the like; to do something with special skill.”1 Additionally, an artist as defined by Webster’s New Collegiate Dictionary, is a “a person who possesses a skill in performance, acquired by experience, study, or observation; knack defines an artist.”2 Webster’s New Collegiate Dictionary defines pedagogy as “the art, practice, or profession of teaching; esp., systematized learning or instruction concerning principles and methods of teaching.”3 Steve Houghton exemplifies a person who has experienced success as a performer, artist, and pedagogue: “I'm a sideman, bandleader, solo artist (classical and jazz), author, international jazz and percussion clinician, recording musician, and now a professor.”4 In jazz music and percussion, particularly drumset, he has been a strong figure whose legacy will have a lasting impact. As a performer and artist, Houghton has a vast amount of professional experience playing drumset with world-renowned artists such as Woody Herman, Gary Burton, Toshiko Akiyoshi- Lew Tabackin Big Band, Freddie Hubbard, Scott Henderson, Tom Warrington, Lyle Mays, Clay !1.Webster’s New Collegiate Dictionary, s.v. “perform.” !2. Webster’s New Collegiate Dictionary, s.v. “artist.” !3. Webster’s New Collegiate Dictionary, s.v. “pedagogy.” !4. “Steve Houghton: Jazz Drummer, Author, Entrepreneur and Educator,” Indiana University Ja- cobs School of Music Project Jumpstart website, (accessed September 3, 2017). http://www.music.indi- ana.edu/departments/offices/entrepreneurship-careers/entrepreneur%20of%20the%20month/entrepreneur- houghton.shtml. !1 Texas Tech University, James Robert Pendell, May 2018 Jenkins, Bob Florence, Paul Anka and many others. Clay Jenkins, Professor of Jazz Studies & Contemporary Media at Eastman School of Music (Eastman) states: He’s just got such natural facility. He’s very knowledgeable and he really listens. He’s a big listening drummer. I’ve never played any music where he didn't just “kill it.” I’ve never played with Houghton one time where he didn't play well. He’s just so capable and such a professional.5 Although Houghton is an accomplished jazz drumset artist, he has also performed with symphony orchestras, fusing the two worlds of drumset and percussion. John Tafoya, Chair of Percussion Studies at Indiana University Jacobs School of Music (IU-JSoM) said, “Houghton is the perfect ‘chamber musician’-flexible (both musically and personally) and a pleasure to work with…He is incredibly comfortable and exudes a great deal of confidence when he performs.”6 Houghton’s discography from 2010-2016 includes over 15 albums, demonstrating just how in demand his musical ability remains. His professional network includes an overwhelmingly large amount of the best musicians living today. As a jazz drumset educator and pedagogue, Houghton’s contributions to percussion pedagogy, specifically drumset pedagogy, are unlike any other. Dave Black, Vice President and Editor-in-Chief of Alfred Publications believes: He was one of the forerunners of jazz education. He was a huge proponent for jazz and drumming education. He’s taught at the university level, privately, and has written good selling educational books. He was a “player” who was also an “educational guy.” When Houghton and I were growing up, the two didn’t really mix. You were either going to be a professional player or you were going to go on to academia and teach percussion. You didn't really hold both careers at the same time. He was playing with a ton of !5. Clay Jenkins, interview by author, tape recording, Lubbock, December 17, 2017. !6. John Tafoya, interview by author, email, Lubbock, December 9, 2017. !2 Texas Tech University, James Robert Pendell, May 2018 people, but was also teaching heavily in education and felt like that was a good thing to fall back on. He did exactly what he hoped to have done.7 Houghton has published musical materials that are used in educational settings all over the world including more than 30 educational books, three original compositions, and 20 commissions. Clay Jenkins said, “His books have been great. I’ve picked his brain a bit about writing books because I know his books are like textbooks for drummers.”8 Additionally, he’s been an invited clinician at more than 700 different venues for different camps, workshops, and conventions. “He was one of the first guys that was going out and doing clinics years and years ago.”9 His leadership in organizations such as the Percussive Arts Society (PAS) where he served as President, and a founding member of the Jazz Education Network (JEN) are other pillars in his career. John Tafoya said: As President of PAS, Houghton was instrumental in making sure that PAS was headed in the right direction…Houghton had the right combination of experience, confidence, and vision and showed incredible leadership during his Presidency of PAS.10 The purpose of this study is to properly recognize Steve Houghton’s career and contributions to jazz drumset, drumset pedagogy, and leadership. This document will paint a picture of the different time periods of his career and hence the development of his pedagogical materials. The author will connect Steve Houghton’s artistry as a musician with his published drumset method books and other literature. In an article in Modern Drummer magazine, the !7. Dave Black, interview by author, tape recording, Lubbock, December 4, 2017. !8. Clay Jenkins, interview by author, 2017. !9. Ibid. !10. John Tafoya, interview by author, 2017. !3 Texas Tech University, James Robert Pendell, May 2018 following was written about Houghton; “One reason Houghton is so respected as a teacher is that he remains an insatiable ‘student’ of drumming, always seeking new challenges and greater understanding of the craft.”11 It is his talent as a musician that is at the center of his career, leading to his successes in teaching and advocacy.
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