JEI NEWSLETTER NO. 9 MAY 2013 PROVIDING RESOURCES FOR IOWA’S EDUCATORS A Word From The President JEI President’s Message

As summer approaches, many transcribed” many of the lines on those of us are putting together our summer recordings, which suggest themselves to reading lists utilizing suggestions from me at unexpected times while I am friends, the best seller list from the New improvising. Deep listening to a few York Times, and other trusted sources. choice cuts has provided me with a We rely on them to filter out works of seemingly limitless supply of ideas to lesser quality. Our students rely on us to draw upon and develop. I would be that trusted source for inspiring challenge students to pick one recording JEI BOARD listening suggestions. They may be that really speaks to them—just one track looking for guidance in not only who to —and listen to it every day for a month, PRESIDENT listen to, but also what to listen FOR, or then try to sing the solos without the even HOW to listen deeply. This issue of track. I think they will be surprised by CHRIS MERZ the newsletter attempts to address those how much sonic information they retain questions. Each article takes a slightly and can recall from a piece so absorbed, different slant on those issues. In addition, and by how much mileage they can get PRESIDENT-ELECT JEI members and invited guests have from this “limited” amount of recorded KYLE ENGELHARDT assembled “top five” (or a few more) lists information. of essential recordings for each instrument and voice. Again, each list In addition to the great articles reflects the unique perspective of its and listening lists from our board and PAST PRESIDENT contributor. Some offer suggestions for invited contributors, be sure to check out RODNEY PIERSON first transcriptions, while others attempt the camp and festival listing assembled by to give representative recordings from a Mike Pritchard. With the myriad camps number of different styles or eras. The offered around the state, there is common thread is quality. Each something to keep every interested VICE-PRESIDENT contributor has given us only “desert student engaged, and summer festivals to STEVE SHANLEY island” choices. inspire students, educators, and fans alike. Bring on the summer! There is no doubt that the rise of services like Spotify has created a Inspiring Writing SECRETARY “golden age” of accessibility to great jazz Christopher Merz JEFF SCHAFER recordings. These days, students have no excuse for not checking out the masters It has been said that the best on their instrument. Indeed, I have met jazz improvisations sound composed (in many young adults who have collections other words, have a clear structure and TREASURER of music files on a dedicated hard drive of proceed logically and elegantly), and the MYRON PETERSON a terabyte or larger. How things have best jazz compositions sound improvised changed! Growing up in rural Iowa in the (loose, free, and off the cuff). Here are a 1970’s and 80’s, I was lucky to have a Join us on few of my favorite jazz compositions, dozen or so real jazz recordings. Yet that each of which, in my mind, meets that was enough to keep me inspired to keep description. I had no agenda other than practicing. I think the difference is that to pick one piece from each of my now, because students have access to so favorite writers. Here they are, in the much music instantly, they rarely take the order in which I first discovered them: Listen to Jazz time to investigate any recording thoroughly. By contrast, I still remember “Piece for Five,” Kenny Wheeler, Deer every nuance on many of those first vinyl Wan, ECM 1977 lps I bought in high school, from the drum fills to the comping gestures. And, Still my favorite Kenny of course, the solos: growing up, we Learn more Wheeler cd, and his as well! I love the considered it a badge of honor to be able way this mini-suite has solo space for to sing along with all of the solos on a each member of the ensemble--different record. To this day there are CDs I buy settings for each, not the typical head- that might live in my cd player (old guy solos-head format of most jazz alert), listened to every day, for a month performances (except for the guitar solo or more. I have absorbed and “passively by John Abercrombie and the tenor

FOR JAZZ EDUCATORS www.jeiowa.org JEI NEWSLETTER NO. 9 MAY 2013 saxophone solo by Jan Garbarek, which “Miss Missouri,” Benny Carter, Kansas solo--even just a few phrases would be both develop the material from the City Suite, Roulette 1960 (Count Basie) beneficial. Another bonus of this track: second theme). This approach changed , John Coltrane, and the way I think about creating settings for Another blues. This one starts Cannonball Adderley play solos as soloists. sneaky, ends sneaky, and in the middle, well. smacks you between the eyes. Like Koko, it’s full of solo space, yet uses the “Fee Fi Fo Fum,” Wayne Shorter, Speak ensemble masterfully. 3-part counterpoint Jazz Trumpet No Evil, Blue Note 1965 and some brilliant tutti writing are featured, as well as some full-band Listening This composition is a great unison. Great variety of textures! example of a primarily diatonic melody Submitted by Kyle Engelhardt harmonized with chromatic chords. The Jazz Piano www.cfhsband.org unusual ABA form features a release section reminiscent of the blues, but Recommendations Here are my suggested recordings in no starting on the IV chord, a device Wayne particular order: used a lot during this period. Lots of fun Submitted by Steve Shanley to play on, too, once you can hang with [email protected] 1. Miles Davis, "Freddie Freeloader," the harmony. from the album Kind of Blue - great solo One of the most challenging line, easy to transcribe, excellent jumping “The Maids of Cadiz,” Leo Delibes, aspects of jazz education is getting young off point for improvisation to begin arranged by Gil Evans, Miles Ahead, students excited about listening to jazz. I happening with students (of any Columbia 1957 (Miles Davis) have had success using the following four instrument, really). tracks to get beginning jazz pianists One of the famous excited about listening to more jazz 2. Wynton Marsalis, "Never Let Me Go," collaborations between Miles and Gil, the (album title in parenthesis): from the album Standard Time Vol. 3. colors in this piece are stunning. Except When I think of a beautiful trumpet for a few brief moments, this is a ballad "Birdland," by Weather Report (Heavy sound, or I want to demonstrate how throughout. My favorite moments are the Weather) beautiful a ballad can be to a student, I brief bits of romantic French horn always play this example. leading the ensemble. "Cast Your Fate to the Wind," Vince Guaraldi (Greatest Hits) 3. and (bari “Koko,” Duke Ellington, The Blanton- sax) on "Line for Lyons," from the album Webster Years, Bluebird 1940 "Watermelon Man," by Herbie Hancock Gerry Mulligan and Chet Baker - Carnegie Hall (Takin' Off or Best of) Concert. I love this tune because of the Not to be confused with the counterpoint of the melody, and how all Charlie Parker contrafact on Cherokee, "Song for My Father," by Horace Silver of the lines are interwoven between the this blues is full of great writing. The (Song For My Father) soloists, plus it's a live track. introduction and ending vary from the blues form (and the feel—both are even For the inexperienced jazz 4. Clifford Brown - (anything, really) - but eighths), but otherwise everything in the musician, there are many new concepts if you force me to pick, I'll go to chart is based on that most ubiquitous to consider when listening to jazz: "Cherokee" from the album Study in progression in jazz. Each instrument is especially harmonic language, swing Brown. I think it's another great teaching used only when it can contribute to the style, and improvisation. With the example for students of how someone overall picture—typical Ellington. A exception of the middle section of can bebop in the changes (almost all of masterpiece. "Cast Your Fate to the Wind," the above the solo is straight out of the changes are all in the straight 8th style, which I diatonically), and play with great time at “Boom Boom,” Bob Brookmeyer, have found to be the style most young an unbelievably quick tempo. Celebration Suite, Challenge 1999 players can understand the quickest. These tracks feature a nice variety of 5. Dave Douglas, "Be Still My Soul" from This piece makes me smile straight 8th styles, excellent rhythm the album Be Still. This album is a fresh from the beginning to its end nine and a section and horn playing, and solos that take (released in 2012) on eight classic half minutes later. I first discovered Bob’s are somewhat easy to appreciate on the hymns, and is dedicated to the passing of music as a student at Iowa in the 80’s, first hearing. Usually a student will like his mother after a three-year struggle having the opportunity to play many of one of these recordings quite a bit, which with cancer. The tracks are all poignant the pieces from the Mel Lewis record, Bob will help you give them direction for and heartfelt, and highly recommended. Brookmeyer, Composer/Arranger, which I further listening ideas. If you have a found as a cutout for 99 cents!!! I thought pianist ready to transcribe for the first I was the luckiest kid in town. This piece time, I suggest: dates from his return to jazz after spending time writing “serious” music "Freddie Freeloader," by Miles Davis that “makes people’s teeth hurt.” By (Kind of Blue) contrast, this is unbelievably happy music. If you are having a rough day, The piano solo by Wynton listen to this cut! Kelly is a great lesson in swing and blues playing, and many licks in his solo are easy to figure out. The student does not need to worry about learning the whole FOR JAZZ EDUCATORS www.jeiowa.org JEI NEWSLETTER NO. 9 MAY 2013 “These days, students have no excuse for not checking out the masters on their instrument”

Great Jazz Saxophone Cannonball Adderly, Nat Adderly, Joe This recording is a great up Playing Jawinul, Sam Jones and Louis Hayes. tempo example of West Coast jazz. It showcases Getz’s virtuosity and While this particular cut is command of the instrument. Stan Submitted by Rodney Pierson instrumental, you have to listen to the expectedly delivers more linear than [email protected] entire recording. There is absolutely vertical lines that are reminiscent of If I may, I would like fantastic singing by Nancy Wilson on this Lester Young- on caffeine. Pay particular recommend some recordings that have album. She really uses her voice like an attention to how he weaves the melody provided me years of enjoyment and instrument. Cannonball demonstrates through the use of standard “licks”. inspiration. If you are not already doing effortless command of both changes and so, take time with your students to discuss melody. I love his soaring lines- soulful “Ya Gotta Try,” Buddy Rich Plays, Plays and the music THEY listen to. Encourage and bluesy, but with a virtuosic approach Plays (1977) them to broaden their palate with not to the horn. Listen to how he plays over This is one of my favorite big only these recordings but all of the great top of the melody, creating other band albums ever. I wore this record out suggestions in this newsletter. Critical melodies concurrently. as a kid! I learned how: 1. a drummer listening skills will prove to be invaluable “My Shining Hour,” Coltrane Jazz (1961) should set up the band, 2. to play w/ not only in the present but more John Coltrane, Wynton Kelly, Paul uniform section and ensemble importantly in the future development of Chambers and Elvin Jones. articulation, 3. how to move your air and your student’s musical lives. We need deliver up tempo lines with relaxed adults of all disciplines and career paths I love the joy in Coltrane’s power. As a young player I was inspired to understand how jazz has shaped our sound and his unique bop articulation. by then young Bob Mintzer’s playing and culture so that they continue to be It’s hard to find a tenor sax player that arranging/composing. Mintzer trades educated consumers of this music. No has not been influenced by his approach. with Steve Marcus in a tenor play off and apology for the heavy saxophone By not using much vibrato, Coltrane’s Dave Stahl’s lead trumpet playing is references or early bebop examples purity of line and tone really stand out. amazing. Next to Basie’s “Straight here…that’s what I play. Conspicuously This cut serves as a great example of Ahead” (first album I owned as a kid) this missing - Joe Henderson, Charlie Parker, early Coltrane and his approach to show is the big band recording/album I have Ornette Coleman and 1000+ other tunes. listened to the most. masters of jazz saxophone. “St. Thomas,” in Stockholm Post YOUR favorites on our Facebook “,” Miles Davis in Concert (1959) Sonny Rollins, Henry Grimes and page will ya? (Lincoln Center, NYC 2/12/64). Miles Pete LaRoca. Davis, George Coleman, Herbie Cheers! Hancock, Ron Carter and Tony I am amazed at Sonny’s direct Williams. approach to sound and melody. This was Rod recorded during his last tour before the Empathetic interplay and infamous 3 year “break” from playing in masterful command of form is present in public. This recording is a great example every song. All of these giants of jazz are for improvising without a chordal in fine form. There’s a playful approach accompaniment…illustrating the with melody and a feeling that things can importance of understanding form. turn on a dime anytime the soloist There’s a reckless control here that is chooses. George Coleman’s tenor solo is indicative of his struggle at the time. one of my favorites. “S-H-I-N-E,” The West Coast “I Can’t Get Started,” Nancy Wilson and Sessions- Vol. 1 (1955-57) Stan Getz, Conte Cannonball Adderly (1961). Nancy Wilson, Candoli, Lou Levy, Leroy Vinnegar and Shelly Manne.

FOR JAZZ EDUCATORS www.jeiowa.org JEI NEWSLETTER NO. 9 MAY 2013

Educational Resources some may not work for others, and vice them to start throwing some barlines in if versa. they don’t start with them already in place. That helps when using the chord Transcribing Identify the key. First and changes. foremost, the student will need to know Submitted by Mike McMann this to have a fighting chance. They may Connect the dots. If they mcmann_mike@north- need help initially figuring it out, but try get stuck on a few notes, have them skip scott.k12.ia.us to point out things like what the bass is ahead to a note they can identify. At that doing (particularly at the beginning or point, then they can fill in the blank notes end of the form), or showing them how between point A and point B. If they get Transcribing is arguably one of TONAL certain notes are within the solo stuck, have them move on and come back the most important tools used in learning that may point to the overall key. There to it later. They may discover something the jazz language. The process can be are different ways of getting them to later on in the solo that will help them intimidating to younger students or figure it out, but have them at least try with they return to that point. inexperienced players, primarily because before giving them the answer. they don’t know where to begin or what Slow down the recording. approach to take. There are of course Figure out the form. Is it a There are many devices/programs out hundreds of transcription books available 12-bar blues? 16-bar? 32-bar AABA there that can be used. We use for purchase- and those can possibly be form? Again, I try to start them out on a SmartMusic in our program and it works used to identify certain riffs you like and blues because it is the most familiar to great for this. Import the recording, open incorporating it into your vocabulary, but them, but that is up to the instructor. it in SM, choose your tempo, record it the real learning and deep understanding with the mic turned down or off, and save comes from sitting down with the Writing or playing? Two it as an mp3 file. This tool is especially recording and figuring out exactly what different schools of thought on helpful for fast moving, flurry-of-notes- the artist is doing melodically, transcribing include 1) writing it out as type line. The quality is of course harmonically, rhythmically, and you learn it; and 2) learning it/ affected a bit, but it really helps students stylistically. memorizing it on your instrument first and gives them time to process the and then writing it down. That of course pitches. The purpose of this newsletter depends on things like how the students entry is to provide some different process things, how their memory is, how These are a few approach approaches to transcribing that may much time they have to spend on it, etc. options you may take with your students, reduce the intimidation factor and make The majority of my students write it but the following points must be present it more user-friendly to younger students. down as they learn it. Ideally, the student to really make transcribing effective and There will of course be students who would learn it, memorize it, and then worthwhile: come along every once and awhile and write it down. This will keep it totally by can just do it, but the large majority will ear and help them dig into the style and 1) Students should master the notes, be needing a great deal of guidance to character of the soloist because they rhythms, dynamics, articulations, get started. aren’t reading notes on a page. phrasing, ornaments, and all stylistic However, it does provide a challenge to nuances of the soloist. They MUST get First, you will need to introduce the typical middle school/high school way beyond notes and rhythms. the concept of transcribing to your band student whose schedule is packed students, rather than just saying “figure with upper-level classes and a wide range 2) Students should memorize the solo. out what they are doing and imitate”. I of activities. For them to truly develop a jazz start by picking a fairly simple melody vocabulary, they have to build their (usually something blues-oriented with Figure out the chord collection of riffs from these repeated riffs) for my students and then progression. Again, blues is a great transcriptions and know them well teach it to them by ear. Sure, some of place to start because of the simple, enough to play them in various keys. I them balk at first thinking they can’t do it, familiar form and progression. Once the would recommend they record but if you start making connections changes are clear, identify chord tones themselves playing it and compare it to between notes and lines, repeated riffs, (1,3,5,7, etc.) in each measure. This is the original. pointing out any half-step motion, etc., it going to give them some tools going into suddenly becomes more feasible. the transcription that will keep it from 3) Help them make the connection. I being a complete guessing game. Let have seen many students transcribe a solo Once the introduction is made them know that if a note sounds “right”, and spend a lot of time learning it, and and the students feel like it is not such a chances are it is one of those. I have seen then hear no evidence of it at all in the foreign, scary concept, it is necessary to a lot of students try to figure out a pitch next jam session or performance. This provide as many different angles/ by guessing every note under the sun- but doesn’t mean recreating the entire solo- it approaches as possible. As “differentiated by that point, they have lost the pitch they means using the vocabulary learned from instruction” is a buzzword we are most were going for. Having those chord tones it to create their own. It is almost like likely all familiar with, it is certainly makes it more educated guessing. they forget everything when they have an applicable here. Students hear things opportunity for application in a differently, process things differently and Draw the dots. In other performance. Stress to them that they at different rates, and in most cases in words, the first step in writing a need to learn that vocabulary in the solo different orders. The remainder of this transcription is to get the pitches on the so they can make sentences out of words article will feature different approaches, page. They are going to have a hard instead of trying to make words with methods, and things to think about when enough time figuring out which notes are random letters. transcribing. Remember, what works for being played, let alone notate the rhythm right away. I do, however, encourage

FOR JAZZ EDUCATORS www.jeiowa.org JEI NEWSLETTER NO. 9 MAY 2013

4) Don’t be in a hurry to get them Spanish I and Spanish IV students. The choruses were taken, the feel created by transcribing a ton of solos. They need to Spanish IV students have a much broader the rhythm section etc. For the students LIVE with each one for a while to really vocabulary, understand the nuances of stuck on “language”, have them listen to get everything out of it. That is a very accents and dialects, and by then many a few lines repeatedly and assign common problem, and it probably has to have traveled to a Spanish-speaking durations and articulations to the do with all of the resources they have to country. The teachers will tell anyone syllables they heard. If the tempo is too EVERYTHING. Students aren’t always that immersing oneself in a foreign fast, I drag the song file into the content staying with one thing for an language is the best way to learn. I “Amazing Slow Downer” (highly extended period of time. Help them see would argue the same is true for learning recommended software available online) the light! to improvise. We must immerse ourselves and we bring the tempo back to Earth for by listening to the very art we are trying analysis. 5) Make sure the solos are accessible- not to create! just from a transcribing standpoint, but For beginning students, I from a playing standpoint. i.e. Don’t tell As vocalists, we deal with three believe there is no greater starting point your intermediate saxophonist to pillars of music: pitch, rhythm and text. than an instrumental transcription. Scat transcribe a Charlie Parker tune… From an improvisatory standpoint, I take syllables should be mostly neutral, though my cue from JEI Hall of Fame recent they can also help depict articulations 6) Friendly pedagogical reminder: inductee Al Naylor (congrats Al) who and durations. For example “dit” depicts Transcribing is a beginning- not a means to states that rhythm must be the priority in a short, accented note while “daht” an end. In other words, have them a jazz solo, followed by pitch. Jazz and depicts a longer, still accented note. Have transcribe to gain the vocabulary and improvisation educators Bob Stoloff and students learn a transcribed solo one concepts to be applied in a creative way Michele Weir both concur that syllables measure or phrase at a time by ear. After across the board- not learn a solo to be are much further down the totem pole of hearing the instrumentalist play the line, played note-for-note at a festival and then importance than rhythm and pitch. And ask them to sing it. They will naturally forgotten. Transcribing is a step in the yet, when I ask my students to improvise, begin to use syllables that match the creative process of jazz- one that will they frequently struggle with rhythms and articulation and style of the soloist. teach the students a great deal about the pitches because they continually get hung language and inspire them to pursue up on what syllables to sing! Whatever angle you use to more and dig deeper. approach improvisation, the integral So, I suggest that just as a component must be listening. Putting on Mike McMann serves on the student of a foreign language must recordings in the background and JEI Advisory board as Educational immerse themselves in the language and sending CDs home with students is a Materials/Content chair. culture to develop their own speaking great starting point, but if we intend for skills, so must a musician immerse their our students to truly develop their skills, ears in the world of improvisation to we must encourage them to be develop their singing skills. Listening, in intentional listeners. Only then will Listening for my opinion, is not only the most critical students thoughtfully analyze what they Language component of practice (other than hear and begin building depth and actually playing) it is also frequently the breadth as they immerse themselves in least included component in practice. As the language of improvisation. Submitted by Joel Foreman an educator, when was the last time you Here are some recordings I recommend: [email protected] had your students listen to a recording? Furthermore, when was the last time you Title: "Flyin' Home", Album: Ken Burns instructed them for specifically what they Jazz: Ella Fitzgerald Have you ever tried to speak a should hear? Ella Fitzgerald - The "First Lady of foreign language you didn’t know? Song". Improvised melody and scatting Embarrassment aside, it is hard to even Try having students borrow or throughout. Excellent example of get started because you have no previous purchase select recordings that showcase melodic variation, creativity and use of exposure to utilize, or prior knowledge quality improvisation. When they have syllables. Other similar artists to listen to: upon which you can build. As a teacher listened daily for a week, engage in a Mel Torme, Carmen McRae, Sarah in a building where the choir room is conversation that requires them to Vaughn, Dee Dee Bridgewater, Carmen close to the foreign language department, address aspects of the solo. They need to Bradford, Chet Baker, Joe Williams and it is interesting for me to walk the halls write down what syllables were used, the Diana Krall. and hear the development between contour of the solo, how many measures/

FOR JAZZ EDUCATORS www.jeiowa.org JEI NEWSLETTER NO. 9 MAY 2013

Title: Corcovado (Quiet Nights of Quiet Title: Red Top, Album: G2K * When listening, try to focus on just Stars), Album: The Diva Series: Astrud Genesis: Under the direction of Dave one instrument and listen to how that Gilberto Barduhn, Genesis was the first collegiate player is interacting with the band. Astrud Gilberto - The epicenter of vocal jazz group to have a recognized Latin singing and style. Additionally solos class in a school curriculum (1967). Also from Joao Gilberto and Stan Getz. the first vocal jazz group to appear at a * Listen to what the left and right hands Other similar artists to listen to: Joao national music convention (MENC 1974). are doing on the piano. Gilberto, Antonio Carlos Jobim, Eliane Outstanding example of jazz style, Elias. improvisation, balance and blend. * Listen to how the drummer uses the Charts heavily influenced by Carmen hi-hat and cymbals. Title: Cloudburst, Album: Everybody's McRae, Nancy King, Shirley Horn, Ray Boppin' Brown Trio, Stan Kenton, and more. * In jazz music there are huge Lambert, Hendricks and Ross - Other collegiate ensembles to note: differences in texture or tone when One of the main reasons vocal jazz Edmonds Community College, Columbia the same instrument is played by ensembles exist today. Revolutionized Basin College, University of Northern different musicians. Compare the music as a vocal bop trio in the late 50's Texas, Willamette University, Mt. San sound of Coleman Hawkins, to Lester and early 60's. Transformed dozens of Antonio College, Central Washington Young, or Sonny Rollins, or John instrumental jazz classics into their own University Coltrane. All sax players, all with a songs, taking scat solos and trading off very distinctive sound. licks and riffs in precisely the same Joel Foreman serves on the JEI EXAMPLES fashion as their favorite improvising Advisory board as Vocal Jazz Affairs musicians. John Hendricks, the chair. "Godfather of Vocalese" provides an These lists are a few important jazz excellent example of the art form with his recordings and artists. I'd also encourage vocalese solo on this recording. Focused Listening you to do a little background research on Other similar artists to listen to (bop): each recording, to learn more about the Mark Murphy, Eddie Jefferson, Kurt album and its performers. You can get Elling. Submitted by Colleen Hecht information on most albums at [email protected] allmusic.com. Title: I Wish You Love, Album: The Complete A Capella Sessions Most young students do both http://www.npr.org/series/4565717/ The Singers Unlimited: A four-part passive and active listening from time to basic-jazz-record-library vocal jazz ensemble founded by the great time, and they can both be important to arranger Gene Puerling. One of the first develop musicianship and new musical http://www.allaboutjazz.com/php/ to take advantage of multi-tracking skills. Passive listening is essentially any article_center.php?in_type=72 techniques to record his advanced listening that you do to music, when you harmonic concepts. Regarded as the aren’t specifically trying to learn the http://www.iwasdoingallright.com/ foundation for 6-part music. This music itself. Passive listening can be about/113/ arrangement showcases those techniques things like putting on the radio while Rather than simply tell your and is an example of a beautiful ballad driving or having the stereo blaring in the students to listen closely, select some that not only utilizes divisi, but is a locker room at school. If students really tracks and identify some specific things sensitive treatment of the text. want to learn jazz, they need to pay you want them to listen to. Here are a Other similar artists to listen to: Hi-Lo's attention while listening and try to absorb few examples: (Puerling's all male group), Take 6, M- the jazz language, patterns, style, Pact, Real Group, Groove for Thought. articulations and effects which are used. This is ACTIVE listening - when students LISTENING FOR SHARED MOTIFS Title: Sing, Sing, Sing, Album: Sing! Sing! are engaged in the music 100 % of the & PHRASES Sing! time. New York Voices: Known for their - Cannonball Adderley ends his solo with close-knit voicings, inspired arrangements Active listening activities: a phrase that Miles then turns into a and unparalleled vocal blend. motif for the beginning of his solo. Artist: Outstanding demonstration of how a Miles Davis, Album: "Milestones", Track: vocal ensemble should strive to perform * transcribe a solo that was recorded by "Milestones" as a vocal big band. Listen for the vamp a famous jazz musician on your and the layering in of the voices sounding instrument. - Ornette Coleman passes a phrase to like the instruments of the original Don Cherry. Artist: Ornette Coleman, recording. Album: "Change of the Century", Track: Other similar artists to listen to: The * get together with a friend and play "Ramblin'" Singers Unlimited, Manhattan Transfer, musical phrases back and forth, trying Four Freshman to imitate as closely as you can what the other musician is doing.

FOR JAZZ EDUCATORS www.jeiowa.org JEI NEWSLETTER NO. 9 MAY 2013

TRANSCRIPTION ACTIVE LISTENING

Transcribing is arguably one of the most important tools used in learning the jazz language.

LISTENING FOR EXPRESSIVE as they enter the bridge. Artist: Horace acquire is the ability to swing! Jimmy PLAYING Silver, Album: "Song For My Father", Cobb’s drumming on this song is SO Young musicians often overlook Track: "The Natives Are Restless clear and so very accessible that it is the the expression in their music. The ability Tonight" best place for a young drummer to begin (or inability) to put feeling into your their study of swing. The student should playing has a huge impact on your overall Listening to jazz is the most pay close attention to Cobb’s ride cymbal sound and your ability to convey your important thing you need to do if you feel and sound. When playing along with message to an audience. want to learn how to play jazz. the track the student should strive to Everything you need to know is contained emulate Cobb’s strong and musically - Louis Armstrong uses heavy vibrato to within the music. Young jazz musicians addictive quarter note feel. make his horn sound as if it's crying. just need some help understanding what Artist: Louis Armstrong, Album: they hear. It’s never too late to start 2. This I Dig of You – from the "Satchmo Plays King Oliver", Track: "St. listening actively! Hank Mobley album, Soul James Infirmary" Station Colleen Hecht serves on the LISTENING FOR GROUP JEI Advisory Board as Middle School Spending time with this song INTERACTION Jazz Affairs chair. will serve to enhance the student’s In jazz music, the entire understanding of the swing feel. Art rhythm section and the soloist are actively Blakey’s playing on this track is clear, and listening to each other, reacting to each swinging. However it differs from Cobb’s other and spontaneously creating music 5 Essential Jazz on Kind of Blue. The two main as a group. Students can build off of Recordings for Middle to differences are dynamic range and each other’s ideas. shaping of tunes. Blakey’s dynamic High School Age range was much broader than most Drummers drummers of his era. Blakey was also a - Miles is playing a great solo when Tony master of truly shaping a tune. A Williams starts playing a syncopated Submitted by Tom Giampietro thorough study of this track will deepen rhythm at the top of his ride cymbal. the student’s time feel, provide him or Miles follows suit with syncopated her with a better understanding of the phrases. Artist: Miles Davis, Album: dynamic possibilities on the drum set and "Miles Smiles", Track: "Footprints" 1. Freddie the Freeloader -- show clearly just how important the from the Miles Davis album, drummer is to the overall shaping of each - Listen to the rhythms played by Horace Kind of Blue tune! Drummers do NOT just play time. Silver on the piano. He's playing the They are very responsible for the overall same rhythm over and over again but The first and most important shape and dynamic of the music. changes to playing on nearly every beat skill any young jazz drummer MUST

FOR JAZZ EDUCATORS www.jeiowa.org JEI NEWSLETTER NO. 9 MAY 2013

3. Blue 7-from the Sonny Rollin’s Developing Jazz/Blues attention given to just one student, album, Saxophone Colossus lessening anxiety as they are Vocabulary Early with experimenting with their new blues Max Roach is the father of Harmonica vocabulary. Students also get more solo modern drumming independence, time this way in comparison to having comping and soloing. Every drummer only one student in the class improvise at MUST become familiar with Max’s Submitted by Erin Wehr a time, and students can work playing. This wonderful quartet [email protected] cooperatively to help each other keep recording provides the best place for a their place in the 12-bar blues form. student’s initial exposure to Max Roach. In the last JEI Newsletter I The playing is inventive, swinging, and wrote about using the “Play by Ear” Once students are familiar with always musical. An added bonus is the exercises in the SmartMusic software the 12-bar blues pattern and the four drum solo! It is a masterpiece of motivic program to help students connect the “sound words” introduced by Burt, there development. (as a side note: After sounds they were playing on recorders are many ways to build and transfer this thoroughly absorbing this song, the and/or barred instruments with what new knowledge. The blues backgrounds student is advised to listen to the classic they hear. This connection between provided on the accompanying CD are in album, Study in Brown by Clifford hearing and doing, at first without the key of G. The harmonica is in C for Brown. Study in Brown will expose the notation, is essential for developing a “cross-harp” playing that allows for a student to a more muscular example of connection with sound for improvisation. more “bluesy” sound. Students could also Max Roach’s drumming) Once students are comfortable matching play recorders with these backgrounds. pitches and imitating rhythms, we can In G blues, recorders could use the notes 4. Billy Boy-Miles Davis album, start adding jazz vocabulary. It is D, E, G, A, and sometimes B. Bb is better, Milestones imperative that jazz vocabulary is learned but is more difficult to play. Though there through imitation, that students first hear might be some better note choices, these Jazz Drumming took a big leap jazz style and inflection and repeat it are the easiest to play on recorder and forward when Philly Joe Jones took over back and play with it before reading from they work relatively well. Of course, the drum chair in the Miles Davis a page. Kevin Burt has a classroom students can and will want to experiment Quintet. Philly Joe advanced the harmonica method called Just Play It! with other notes as well, and should be technical possibilities of the instrument as that teaches in just this way, and helps to encouraged to do so after they have well as the drummer’s role in the music. develop the ear and build some jazz/ worked with the limited note range. On Thorough and repeated listening to the blues vocabulary. mallet instruments, various blues scales track “Billy Boy’ will provide the student could be used such as the basic blues a wealth of ideas for his or her soloing Burt’s method comes with a scale (G Bb C C# D F G) or the blues vocabulary! stand up book, harmonica, and CD. A pentatonic (G A Bb D E). The same four teacher curriculum guide is also available. “sound words” learned on the harmonica 5. Estamos Ai-from the Raul de The method begins with some folk could be the basis for students Souza album, A Vontade melodies to teach breathing and single improvising on recorder and mallet Mesmo note playing. The CD includes various instruments. They should be encouraged blues style backgrounds for each lesson. to experiment with different “sound Brazilian music, especially the Later sessions include learning sound word” combinations. Samba and Bossa Nova styles, are an zones and airflow patterns. All of this is integral component in every drummer’s taught using numbers and colors, and From here, try different vocabulary. This track by legendary without music notation. By the fourth backgrounds from the SmartMusic Brazilian musician Raul de Souza session, students are playing a 12 bar program mentioned in previous articles. features the GREAT Brazilian drummer blues background in a swing feel. Look for blues backgrounds such as those Airto! It is here that the student will Stomping and clapping exercises are listed under Jazz Improvisation and begin to gain an understanding of how included for whole body involvement. Aebersold such as Slow Blues in G, and just Brazilian styles fit into today’s jazz music. make sure that the backgrounds you I only wish I had known about this record Burt describes and choose are transposed to G. when I was younger. Highly demonstrates on the CD four blues recommended! “sound words” that can be used as The Just Play It! classroom building blocks for developing blues solos. harmonica method is designed for grades Tom Giampietro is an Assistant The “sound words” include Doodle, 5-8, but I can envision many applications Professor of Jazz Studies at UMass Tweet, Doowop, and Ooowee, and can for both younger and older students. The Amherst. be used in any jazz and blues styles. By curriculum guide is $14.95 and the the fifth or sixth lesson in this method student book and harmonica are $7.50 students can play the 12-bar blues from West Music. background on their harmonicas and play solos over the background. My Erin Wehr serves on the JEI suggestion is to have students sit in small Advisory Board as Elementary Jazz circles with 4 to 5 students per circle. Affairs chair. While one student solos, the others are playing background patterns. Organizing the classroom this way reduces the

FOR JAZZ EDUCATORS www.jeiowa.org JEI NEWSLETTER NO. 9 MAY 2013

Suggested Listening from tone quality have influenced many jazz Dave Holland: The Man trombonists that followed him. Who Can Do Everything. You want a a First Year Teacher lesson in harmony? Improvisation? 5. Wycliffe Gordon: Slidin’ Home (1999), Quality of tone? Playing with Submitted by Joel Nagel “It Don’t Mean a Thing” Wycliffe impeccable time while always (always) [email protected] Gordon (trombone/tuba); Victor Goines finding the core of the groove? (tenor saxophone/clarinet); Eric Reed Everything he has ever recorded is a (piano); Rodney Whitaker (bass); Herlin treasure trove of priceless information. My list, in no particular order: Riley (drums); Joe Temperley (soprano As an easy entrance, check his solo on the saxophone/baritone saxophone); Randy standard “A Weaver of Dreams” on Don 1. J.J. Johnson/Al Grey: Things Are Getting Sandke (trumpet); Milt Grayson (vocals). Grolnick’s album of the same title. Better All The Time (1983), particularly the Perfection. track "It's Only A Paper Moon" J.J. Another player who shows Johnson (trombone); Al Grey (trombone); great versatility. This album has spirituals, Rocco Prestia/Tower of Kenny Barron (piano, keyboards); Mickey hard bop, and Ellington standards. Power: listen to the bass lines, but also Roker (drums); Dave Carey (percussion); Wycliffe has one of the most expressive listen to the entire band for a clinic on Ray Brown (Bass). range of articulations and extended how to play grooves based on 16th-note techniques used by any trombonist, jazz subdivision. If you can sing, clap, and This captures the essence of or otherwise. play every figure in the song “What is what both players were really know for, Hip”, with precision of time and accent, J.J. for his style and bebop language and Joel Nagel is a band director at you’ll be on your way to first-call status Al for his plunger work. The album has a Washington High School in Cedar for anything of the funky persuasion. vibe much like the duo trombone Rapids. And here’s a secret: it swings, too. recordings J.J. produced during his career with Kai Winding. Suggested Listening for David Dunn is the Piano Maintenance Technician and 2. Urbie Green: East Coast Jazz/ Volume 6 Bassists Coordinator for the School of Music. (1955) Urbie Green (trombone); Doug Mettome (trumpet);Danny Bank (flute, clarinet, baritone saxophone); Ike Submitted by David Dunn Horowitz (tenor saxophone, bass clarinet, [email protected] flute); Jimmy Lyon (piano); Oscar Pettiford (bass); Jimmy Campbell (drums). Here are five bassists who had a significant influence on the development Urbie is a perfect link between of my playing. There are many, many the Tommy Dorsey lyrical trombone style others. and bebop trombone. This album features a wide variety of orchestration Paul Chambers: if you listen and instrumentation behind and with to the way he plays changes you’ll hear Urbie. It also showcases how versatile a history and invention at the same time. trombonist he really was. Transcribe and analyze a chorus or five from his playing under solos on any of 3. Frank Rosolino: I Play Trombone (1956), the Miles Davis Prestige sessions particularly the track “Doxy” Frank recordings (Workin’, Cookin’, Steamin’, Rosolino (trombone); Sonny Clark Relaxin’) and you’ll have a pretty good (piano); Wilfred Middlebrooks (bass); Stan start on how to construct an inventive yet Levey (drums). functional swinging bass line on any set of standard changes. Frank is known for his virtuosic jazz trombone playing. This album Charlie Haden: taught me showcases that, but more importantly, it is through each of his recordings that a great example of when speed is freedom and simplicity, applied with soul, appropriate and when moments call for a creates deep beauty. Learn his solo on simpler melody. Frank could play the song “The Cost of Living” from amazingly fast lines, but he could also Michael Brecker’s self-titled first solo play with great time and soul. This album recording. You’ll be glad you did. features all these facets. Jimmy Garrison: playing 4. Bill Watrous: Manhattan Wildlife Refuge under John Coltrane’s and McCoy (1974), “Tiger of San Pedro”. Tyner’s massive solos on the live recordings from the Village Vanguard, This was the evolution of Garrison had to have big ears, chops of trombone playing from what J.J. Johnson iron, and energy to burn. His playing on and Frank Rosolino had started. Bill this modal up-tempo literature is simply Watrous is widely regarded as one of the ferocious. Elvin may have lit the fire, but most technically proficient jazz Jimmy provided the wood. trombonists. His fast playing, range, and

FOR JAZZ EDUCATORS www.jeiowa.org JEI NEWSLETTER NO. 9 MAY 2013

Looking for a way to improve your students’ jazz chops? Send them to one of these camps.

Regg Schive Summer Jazz Camp Yellowstone Jazz Camp Estherville, IA Powell, Wyoming June 9-13 July 7-12 http://www.iowalakes.edu/music/jazz_camp/ http://area.northwestcollege.edu/area/music/Camps/Jazz %20Camp.htm Western Illinois Music Camps - Jazz Camp Macomb, IL KCCK Jazz Band Camp June 9-14 Cedar Rapids, IA July 8-12 http://www.wiu.edu/cofac/summermusiccamps/ http://www.kcck.org/jazz/jazz_band_camp.php Simpson College Jazz Camp Indianola, IA Northern Illinois University Jazz Camp June 9-14 Dekalb, IL July 14-19 https://sites.google.com/site/scjazzcamp/ http://www.niu.edu/extprograms/summer_camps/ University of Nebraska-Lincoln Summer Jazz Workshop JazzCamp.shtml Lincoln, NE June 16-20 Twin Cities Jazz Workshop Minneapolis, MN http://music.unl.edu/jazzstudies/summer-jazz-workshop Various sessions starting July 15

University of Northern Iowa Jazz Combo Camp http://www.tcjazzworkshop.com/ Cedar Falls, IA June 16-21 Nebraska Jazz Camp Lincoln, NE http://www.vpaf.uni.edu/events/jazz/instructors.shtml July 15-19

University of Nebraska-Omaha Jazz Camp https://www.facebook.com/NebraskaJazzCamp Omaha, NE June 16-21 Wartburg College Music Camp Waverly, IA http://www.unojazzcamp.com/ July 21-27

University of Iowa Summer Music Camps - Jazz Camp http://www.wartburg.edu/music/camps.aspx Iowa City, IA June 23-28 Birch Creek Jazz I Academy Egg Harbor, WI http://www.uiowa.edu/~bands/ISMC/Welcome.html July 22-August 3

Blue Lakes Fine Arts Camp http://www.birchcreek.org/ Twin Lake, MN Various sessions starting June 26 Birch Creek Jazz II Academy Egg Harbor, WI http://www.bluelake.org/majors/jazz.html August 7-17

Jamey Aebersold's Summer Jazz Workshops http://www.birchcreek.org/ Louisville, KY Various sessions starting June 29 http://workshops.jazzbooks.com/

FOR JAZZ EDUCATORS www.jeiowa.org JEI NEWSLETTER NO. 9 MAY 2013 Coda Schedule of Jazz Events, 2013 IBA Final Words Conference, Marriot Hotel, Downtown Des Moines From The President Submitted by Chris Merz JAZZ Wednesday, May 8 [email protected] All-State Jazz Bands in rehearsal, Johnston High School, all day EDUCATORS 9 PM jam hosted by Nick Leo, David I hope you find the listening Altmeier, and John Kizilarmut, Windows suggestions enlightening and inspiring for OF IOWA on 7th you and your students. The idea for the focus of this issue came from a Thursday, May 9 conversation I had with Mike McMann, All-State Jazz Bands in rehearsal, so thanks, Mike! If any of you have ideas Join us on Johnston High School, morning for topics you’d like to read more about, 4 PM All-State Jazz concert, Cities please feel free to contact me. Or better Ballroom yet, consider contributing an article 8 PM Iowa City West High School Jazz yourself. This organization belongs to Band, Cities Ballroom you, the members. Please take a minute 10 PM Al Naylor Band, City Center to think of music educators you know Listen to Jazz Lounge that should be members of JEI, but have not yet taken that step. Then grab them Friday, May 10 by the ear and drag them to the booth at 10 AM Tom Matta clinic, De-Mystifying the IBA. We’d be more than happy to sign College Audition Process: What Every them up! Prospective College Music Student Should Know, Learn more Windows on 7th Take some time this summer to 2 PM John Wojciechowski clinic, The Jazz recharge yourselves by attending a jazz Band Rhythm Section, from a festival, or even participating in one of Wind Player’s Perspective, Windows on 7th the jazz camps taking place around the 3 PM Christopher Buckholz clinic, Brass state. Many are open to educators, and in the Big Band: Basics that will Quickly some offer Continuing Education credit. Improve Your Brass Section, Windows on 7th Please contact the camp directors for 4 PM IBA Jazz Affairs/JEI/IJC Meeting, more information. Attending a camp Sioux City Room with your students is a great way to Visit our website 9:30 PM Reggie Schive Big Band, Des inspire them and show them that Moines Exhibits Hall studying music can be a lifelong pursuit. www.jeiowa.org 10:30 PM FunkStop, Windows on 7th Finally, On behalf of JEI, I Saturday, May 11 wish to congratulate trumpeter, arranger, 10 AM Steve Shanley clinic/concert, Jazz bandleader and long-time friend Al Renew your membership by Naylor, 2013 inductee into the JEI Hall of Rehearsal Techniques for Middle School and clicking here. High School Bands featuring the Ames High Fame. This honor recognizes Al’s School Jazz Ensemble, Andrew innovative contributions to jazz education Buttermore, Conductor, Dubuque/ in the state of Iowa. Please see the Davenport/Council Bluffs rooms website for a full biography.

I’ll be seeing you,

Christopher Merz Music washes away the dust of everyday life.

Art Blakey

The JEI Newsletter is edited by Michael Omarzu

FOR JAZZ EDUCATORS www.jeiowa.org