The 2020 Jazz Education Network Conference

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THE 2020 JAZZ EDUCATION NETWORK CONFERENCE

JEN FEATURES

ADONIS ROSE’S NEW ORLEANS! When Adonis Rose took over as artistic director of the New Orleans Jazz Orchestra, the group was on the verge of collapse. Through sweat, hard work and lots of faith, the drummer/bandleader has the 18-piece group cooking again. Witness them at the JEN Scholarship Concert on Friday night!

38 MEET THE 98 CHECKING IN ARTISTS! WITH ROXY COSS Meet the Artists is a new fea- The wicked good tenor player ture at this year’s JEN con- is also a staunch advocate for ference. During dedicat- equity in jazz. She discusses ed exhibit hours this week, how she founded the Women attendees have an opportu- In Jazz Organization, serves nity to say hello to dozens of on JEN’s Women In Jazz stars from jazz and jazz edu- Committee and strives to help cation. Just head down to create more opportunities for Elite Hall (Level 1)! women on the bandstand!

WELCOME TO JEN! JEN CONFERENCE SCHEDULE 10 JEN President’s Welcome 36 Meet the Artists 12 Mayor of New Orleans’ Welcome 38 Hyatt Regency New Orleans Map 14 Meet the Sponsors 40 Tuesday, Jan. 7, Jazz Industry/Music 16 The JEN Board of Directors Business Symposium Schedule 18 JEN Initiatives 42 Tuesday, Jan. 7, JEN Conference Schedule 44 Wednesday, Jan. 8, JEN Conference Schedule 60 Thursday Jan. 9, JEN Conference Schedule Friday, Jan. 10, JEN HONOREES 78 JEN Conference Schedule 22 Scholarship Recipients 24 Composer Showcase Honorees VISIT OUR JEN EXHIBITORS! 26 Sisters In Jazz Honorees 92 Exhibitor List 28 JEN Commissioned Charts 93 Exhibition Hall Map 30 JEN Distinguished Award Honorees 94 JEN Guide Advertiser Index

On the cover, clockwise from top left: Bass Extremes with Steve Bailey and Victor Wooten, The New Orleans Jazz Orchestra, the Dirty Dozen Brass Band, Bria Skonberg, Western Michigan University’s Gold Company, Chucho Valdés, the ChiArts Jazz Combo, Carmen Bradford and RJAM, Brubecks Play Brubeck, Tia Fuller and Mark Whitﬁeld.

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Welcome to JEN

Dear Jazz family: On behalf of the board of directors and staff of the Jazz Education Network, it is with great pleasure, pride and antic- ipation that I welcome you to our 11th Annual JEN Conference. There are few places on the planet as well-suited and appropriate to host a jazz education conference as this locale—the Cradle of Jazz, the Crescent City, New Orleans, Louisiana! Our conference this year includes all of the usual (and spectacular) highlights. You can experience the JENerations Jazz Festival, workshops, master classes, research presentations, jam sessions and concerts full of dynamic, diverse and amazing artists and ensembles! We hope you take advantage of these many events and come away inspired and refreshed. In between all that JEN has to offer this week, I encourage you to also take advantage of the incredible culture that is New Orleans. The people, the architecture, the music and the FOOD will have you thinking about relocating! Please go out and grab a meal at one of the area’s amazing local restaurants. There are so many that it’s difficult to choose. So, just ask around, go online or drop into the first cool spot you see. This is a city whose chefs are almost as famous as its musicians. We guarantee you will be gastronomically delighted with the result! Feel free to email us for recommendations, too. It takes a small nation of people to organize, build and execute this conference each year. A special thank-you goes out to all of them, especially our conference coordinator, Dr. Lou Fischer, for his tireless work as well as his dedicated staff of volunteers. These are folks who work and devote their time behind the scenes to make sure your conference experience is positive, productive and enjoyable. The JEN Conference would be impossible to present without them. And another thank-you goes out to you for being here. Your dedication to this art form, your profession and your craft is what makes jazz education so amazing. I am sure we would all agree that in these divided times, the arts exist to call us home to our highest aspirations and greatest achievements. Jazz insists on equality, liberty and freedom. It can help inspire and lead us to a better understanding of each other and our place in this fast-paced world. I hope this conference can play a small, but significant, role in developing that understanding for us all.

Todd Stoll President Jazz Education Network

Welcome to New Orleans

Dear Friends, It is my absolute pleasure as the Mayor of the City of New Orleans to welcome you to the 2020 Jazz Education Network Annual Conference. We are honored to host your event in our city, the birthplace of jazz! I admire your organization’s dedication to building the jazz arts community by advancing education and promoting performance. During the conference, I encourage you to embrace this opportunity to listen, ask questions and network with your peers. Collaboration sparks innovation and innovation moves us forward together. During your visit, I invite you to explore our city and enjoy the unique experiences she has to offer. New Orleans overflows with culture, and I encourage each of you to treat yourself to our famous cuisine, dance to our local music and visit our exceptional muse- ums. The energy of our city is unmatched and the culture unparalleled. Regardless of whether you are visiting New Orleans or you call it home, we hope you enjoy every minute of your time with us.

Sincerely,

LaToya Cantrell Mayor, City of New Orleans

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2020 JEN Conference Sponsors & Special Thanks

Conference Show Guide Sponsor: DownBeat Magazine

Associate Sponsors: Inspirations Stage: Yamaha LeJENds Stage: Jupiter/XO/Mapex/Sonor/Majestic Visions Stage: Berklee College of Music New Voices Stage: Ella Fitzgerald Charitable Foundation Conservatory Stage: University of New Orleans School of the Arts JENerations Jazz Festival: Presented in partnership with Music For All

Contributing Sponsors: Scholarship Concert: Yamaha

Acknowledgements/ Special Thanks: Mapex/Sonor: Drumsets Yamaha: PA systems for clinic rooms, drums for Yamaha artists, pianos, electric keyboards Aria Lights: Stand lights for Inspirations & Visions Stages Capital University: Dollies Tycoon Percussion: Congas, bongos, timbales, Percussion tables Fender Musical Instruments: Amplifiers AXXIS Productions of Louisville: Audio/Visual Freeman Decorating: Exhibit & Storyville Hall Preservation Hall: Storyville Memorabilia True Focus Security and Hospitality Group: On-Site Security Hospitality Performance Network: Casey Kruer & Miranda Frederickson EmBee Ideas: JEN Saxophone Fronts Noteﬁght: Noteflight membership to the Young Composer Showcase selectees & his/her director Conference Outreach: Mary Jo Papich, Sonya Robinson & Jonathan Black University of New Orleans School of the Arts: Music stands Loyola University New Orleans: Vibes, timbales

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JEN Board of Directors

To learn more about our board, please go to jazzednet.org

TODD STOLL SEAN JONES CALEB CHAPMAN President President Elect Immediate Past President

ASHLEY LONNIE DAVIS DUSTIN ROHRER SHABANKAREH Secretary Treasurer Vice President

ROBERT ROXY COSS JOSÉ DIAZ BREITHAUPT

DOUG DUBOFF TIM FELLOW JOHNAYE KENDRICK

MARY JO PAPICH TRINEICE JULIUS Co-Founder/Past President’s ROBINSON MARTIN TOLENTINO Advisory Council Rep

PHAREZ WHITTED DAVID KAUFFMAN DANIEL FLORES NAfME Liaison Legal Counsel

JEN Initiatives

Since JEN’s inception in 2008, this organization has served the jazz community with a wide variety of important services and programs.

JAZZ2U REGRANTING PROGRAM Since its inception in 2010, JAZZ2U has dis- munity centers or other cultural institu- tributed more than $135,000 in grants, tions to present performances, informanc- reaching more than 95,000 people in the es, workshops or master classes. All JAZZ2U U.S. Generously funded by the Herb Alpert grant requests are screened and approved by Foundation, JAZZ2U is an important part of a panel of experts in the field of jazz educa- our commitment to support local jazz out- tion. This regranting program not only helps reach and provide year-round member ben- to advance the presentation of jazz to young efits. JAZZ2U grants are provided on a first- and diverse audiences, but also increases paid come, first-served basis, exclusively to schools opportunities for professional jazz musicians. and communities throughout the U.S. With It also fulfills the JEN mission of advancing Darman Meader, a founder of New York Voices, JAZZ2U, JEN members can apply for a $300 jazz education, promoting performance and teaches children about at the Medical Nursery School or $500 grant to assist in funding a speak- developing new audiences. Funding is for full in New York City with the help of a JAZZ2U grant. er, clinician, performer or performing group JEN members with all levels of experience in an ensemble) must be current full JEN mem- at any event that will bring jazz to new and/ presenting in-school/community programs, bers at the time of application and the date of or existing audiences. This is typically done whether a director, educator or artist. Both the event to be eligible. through partnering with local schools, com- the applicant and the artist (the leader if it is (jazzednet.org/jazz2u)

CONFERENCE OUTREACH PROGRAM During the annual JEN Conference, performers and presenters volunteer their time to visit communities around the host city, providing free master classes and performances at local-area schools and community venues to expand the knowledge, enjoyment and reach of jazz. Result: More than 18,000 students served since 2010. (jazzednet.org/outreach)

MENTOR PROGRAM JEN hosts a mentorship program that matches students with industry professionals for a full year to help network, learn and teach the next generation of jazz musicians, educators and industry professionals. NEW IN 2020! JAZZ EDUCATION Result: More than 25 students mentored since 2012. IN RESEARCH AND PRACTICE ( jazzednet.org/mentor) The JEN Research Journal explores diverse topics of jazz scholarship and its applications to pedagogy. It provides a forum for interaction and exchange between researchers and practitioners grounded in scholarship. It was JENERATIONS JAZZ FESTIVAL MENTORING developed by and is an extension of the Jazz Education The JENerations Jazz Festival, presented in partnership with Music For All, runs Network Research Interest Group (JENRing) founded in concurrently with the Annual JEN Conference. The JJF pilot program began in 2014. The journal aims to be inclusive of a wide range of 2012, and with each passing year, JEN has added space for MORE ensembles to perspectives, from musicology to cultural studies, from participate in the festival! This year, JJF has three venues dedicated to the festival. psychology to business, that can be applied in the field. More than 800 elementary school, middle school, junior high school, high school, In this respect, the editors particularly welcome articles community and college musicians of all ages will be participating in this exciting that provide models, resources and effective techniques weekend of jazz! We invite YOU to add your ensemble to this ever-growing list! for the teaching and learning of the art form. Available at Join us in this enriching event where world-class education is delivered to students the JENeral Store in the Elite Exhibit Hall (Level 1). in a totally non-competitive, nurturing environment. (jazzednet.org/research) (jazzednet.org/jjf)

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JEN Initiatives

advancing jazz education. promoting performance. developing audiences.

The New Orleans Jazz Orchestra headlines this year’s JENerosity Concert! JENEROSITY FOR THE FUTURE SCHOLARSHIP CONCERT The fourth annual JENerosity for the Future Scholarship Concert will take place on Friday night. This ticketed event is a special evening of friends, music and philanthropy, raising funds for new scholarships and education initiatives. It gives students the opportunity to study, explore their interests and become tomorrow’s leaders in jazz. This year’s all-star concert includes performances by the New Orleans Jazz Orchestra conducted by Adonis Rose with Tia Fuller, Mark Whitfield and Chucho Valdés.

PLEASE NOTE: Admission to the JEN Scholarship Concert requires purchasing an addi- tional registration credential speciﬁcally for the event. Visit Registration for information.

SISTERS IN JAZZ COLLEGIATE COMBO COMPETITION To support JEN’s commitment to represent and cultivate diversity and inclusion in jazz, the JEN Women in Jazz Committee has re-established the Sisters in Jazz Collegiate Combo Competition. Full-time university students identifying as young women or non-binary jazz artists, ages 18–29, audition to perform in this quintet at the conference. Year-round JEN Initiatives

THE JEN RESEARCH NEWSLETTER OPPORTUNITIES Submit articles to be Learn about research and published in JEN’s monthly academic opportunities! newsletter. JazzEdNet.org/Research JazzEdNet.org/Newsletter

JOB LISTINGS PROMOTE JAZZ FESTS Need a job? Need to ﬁll a Browse and promote annual job? Submit your listing or jazz festivals around the browse the job openings at world. JEN’s Jazz Jobs page. JazzEdNet.org/ JazzEdNet.org/JazzJobs WorldwideJazzFestivals

PROMOTE YOUR PROJECTS JEN members! Tag JEN in your social posts so we can help promote your albums, tours and projects! Facebook.com/JazzEdNet Twitter.com/JazzEdNet

20 JAZZ EDUCATION NETWORK 2020 CONFERENCE PROGRAM CONFERENCE PROGRAM JAZZ EDUCATION NETWORK 201 21 JEN Student Scholarship Recipients

JEN Scholarships recognize outstanding jazz students & help fund their educational pursuits. Since 2010 Jen has committed to offering these scholarships.

CAMILA NAOMI NAKANISHI MENNITTE HAL LEONARD COLLEGIATE PEREYRA SCHOLARSHIP MARY JO PAPICH JEN Naomi Nakanishi is a pianist, CO-FOUNDER WOMEN IN composer and activist at the JAZZ SCHOLARSHIP Eastman School of Music under the Camila Mennitte Pereyra is a drum- guidance of Gary Versace. She per- mer from Argentina pursuing a forms regularly with Dave Rivello’s Master’s in Jazz Studies at Indiana New Jazz ensemble, and various University. Professionally, she chamber groups. Nakanishi recent- has performed with Walter Smith ly participated in the Rochester III, Geoffrey Keezer, Greg Ward Jazz Festival, Washington and others. She has earned two Women in Jazz Festival and the DownBeat Student Music Awards. Monterey Jazz Festival.

VIVIAN SHANLEY MARC SCHWARTZ MARY ANN FISCHER JAMEY AEBERSOLD SCHOLARSHIP SCHOLARSHIP Vivian Shanley is a sophomore Currently pursuing his Doctorate from Washington High School in Jazz Studies at the University in Cedar Rapids, Iowa. She is an of Northern Colorado, Marc accomplished musician, hav- Schwartz also holds degrees in ing been selected as both prin- jazz saxophone performance and cipal bassist of the Iowa All- composition from the Eastman State Orchestra and bassist School of Music. He has worked for the Class 4A All-State Jazz in New York City for sever- Band. Vivian plans to pursue a al years and toured with profes- career in music education and sional groups such as the Glenn performance. Miller Orchestra.

GABRIEL SEVERN SOLOMON ABANG

DR. LOU FISCHER JEN DAVID BAKER SCHOLARSHIP CO - FO U N D ER SC H O L A RS H I P Deeply rooted in a wide range of Gabriel Severn, a 15-year-old musical sounds and genres, bassist, has been playing and Solomon Temitope Abang has performing since age 7. Of surfaced as an aspiring jazz all genres, jazz is his favor- trumpeter, educator, com- ite. Severn has received five poser and vocalist. Born in DownBeat Student Music Ibadan, Nigeria, the largest city Awards, recorded and released in western Africa, Abang has his original music, and per- been actively engaged as an formed throughout the coun- award-winning performer, edu- try as a soloist and with his jazz cator and composer of jazz, clas- fusion band, Teen Town. sical and African music.

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2020 JEN Young Composer Showcase

The 10th annual Young Composer Showcase presents the best original jazz compositions submitted to the conference. All works are adjudicated by top professional jazz composers and educators, and every entrant receives written feedback from the judges.

ANNIE BOOTH PHILIP RYAN GOSS Large Group Composition: Jolly Large Group Composition: Untitled No. Beach—Annie Booth is an 1—Philip Ryan Goss is a composer, award-winning pianist, com- arranger and educator currently resid- poser and educator based in ing in Boston. He received his Master’s Denver, Colorado. She is cur- in Jazz Composition from New England rently pursuing a Master’s in Jazz Conservatory, where he studied with Performance and Pedagogy at jazz artists Ken Schaphorst and Frank the Thompson Jazz Studies at the Carlberg. Goss’ music draws inspiration University of Colorado. Booth is from poetry, literature, visual art and a recipient of two ASCAP Young cosmic phenomena. Jazz Composer Awards and the GABRIEL SEVERN 2017 ASCAP Phoebe Jacobs Prize for young, female composers. Small Group Composition: Canção— Gabriel Severn has been playing bass, performing and composing since he was ERI CHICHIBU 7 years old. He has won five DownBeat Small Group Composition: The Student Music Awards, recorded with Sea–Seven Years Voyage— some of his favorite jazz artists and his Japanese composer/arranger/pia- tunes have been played on radio world- nist/keyboardist Eri Chichibu wide. He performs as a soloist and with majors in Jazz Composition his jazz fusion band, Teen Town, which and Film Scoring at Berklee made its debut in 2017. College of Music. She studies NATHAN POEHLKE Jazz Composition under Greg Large Group Composition: Feeling Hopkins, Bob Pilkington and Sleepy—Nathan Poehlke is a jazz guitar- Ayn Inserto. Her works have ist, composer and graduate employee at the earned an ASCAP Young Jazz University of Oregon, where he is pursuing Composer Award and an ISJAC his Master’s in Music Performance. He has Symposium presentation. performed at numerous jazz festivals (Reno Jazz Festival, Roseville Jazz Festival), is a ANDREW SALIBA master class clinician for the Oregon Jazz Festival and serves as a combo coach for the Small Group Composition: Silent University of Oregon Jazz Camp. Minority—Andrew Saliba is a guitarist and composer from MAYA KEREN San Diego, California. Based in Small Group Composition: Wyndmoor— Kalamazoo, Michigan, Saliba Maya Keren is a pianist and compos- regularly performs throughout er from Philadelphia currently pursu- Michigan, the Chicago area and ing a Bachelor of Arts degree in Music at the Midwest. A winner of mul- Princeton University. Recognized by the tiple DownBeat Student Music National YoungArts Foundation for her Awards—as both a composer and musicianship, Keren has studied at Jazz at soloist—Saliba is also a member Lincoln Center’s Summer Jazz Academy of a DownBeat award-winning and the Kimmel Center Creative Music group called Lushh. Program under Anthony Tidd.

The very best works are pre-selected by the committee and will be performed by The U.S. Navy Band Commodores at this year’s JEN Conference, with the young composers present to be honored and receive mentoring sessions with professional composers. Thanks to the generous support of the Noteﬂight, a Hal Leonard Company, all showcase participants also receive annual subscriptions to the Noteﬂight online notation community, and their professors receive annual classroom subscriptions for up to 25 of their students.

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sisters in jazz

This year’s Sisters In Jazz honorees will perform at 2 p.m., Thursday, on the LeJENds Stage/ Storyville Hall (Level 3). Recording artist Tia Fuller is serving as mentor & director.

DOMI EDSON ZAHRIA SIMS Domi Edson’s music career has taken Zahria Sims is a 2018 graduate of Baton her across the country. A bassist from Rouge Magnet High School, in Seattle, Washington, she received her Louisiana, and is currently a student at Bachelor’s in Classical Bass Performance Loyola University New Orleans major- from Central Washington University ing in Music Business with a concentra- and is currently pursuing a Master of tion in Jazz Studies and Performance. Music degree in Jazz Studies from the Over the years, Zahria started play- University of Northern Colorado. She ing the piano at the age of 7 and picked maintains a lively performance sched- up the saxophone when she was 12. ule. In addition to playing bass with the Boxley Pro-Am Big Band, She is now studying music, recording and performing throughout Edson has aperformed with John Clayton, Dawn Clement, Terell Baton Rouge and New Orleans. Some of her accolades include Loyola Stafford and Brian Lynch. She served as a faculty member at the University Jazz Festival Outstanding Soloist Award in 2016 and 2017, SheBop Young Women in Jazz workshop and works as a graduate Loyola Jazz Camp Scholarship Recipient in 2016 and 2017, and BRCC teaching assistant at University of North Carolina. Mid-City Jazz Festival Outstanding Soloist in 2017.

MAYA KEREN KATE WILLIAMS Maya Keren is a Philadelphia-raised pia- Kate Williams is from Vacaville, nist and composer pursuing a Bachelor California, where she graduated from of Arts degree in Music at Princeton Vanden High School in 2018. She start- University. During high school Keren ed playing jazz in 6th grade while living had the participated in Lincoln Center’s in Anchorage, Alaska. In California, she Summer Jazz Academy and the Kimmel has been involved in a number of Bay Center Creative Music Program with Area student and professional groups, Anthony Tidd. At Princeton, Keren including the SFJAZZ High School All- performed in large and small ensem- Stars big band and combo, the Marcus bles directed by Darcy James Argue and program head Rudresh Shelby Orchestra and the Electric Squeezebox Orchestra. She has Mahanthappa. Last year, she studied with Kris Davis, who exposed received numerous awards for her compositions and arrangements. her to the lineage of free improvisors such as Ornette Coleman and Now 19 years old, Williams is attending the University of the Pacific, Anthony Braxton as well as 20th century classical composers like where she is a member of the Pacific Jazz Ambassadors (previously the Morton Feldman and Arnold Schoenberg. Dave Brubeck Institute).

MISAKI NAKAMICHI TIA FULLER Misaki Nakamichi is a drummer from Sisters In Jazz Mentor & Director Osaka, Japan. She started playing Grammy-nominated saxophonist Tia drums at the age of 10 and has per- Fuller balances a demanding sched- formed in various styles including ule as a touring and recording art- jazz, funk, fusion, Latin and pop. She ist with working as a full-time profes- received a Bachelor of Music degree in sor at Berklee College of Music. She Performance from Berklee College of was already an established jazz musi- Music, receiving a full-tuition scholar- cian when she was selected to join ship. In 2017, she was selected to par- the all-female band touring with pop ticipate in Betty Carter’s Jazz Ahead. She has won the Yokohama Jazz star Beyoncé. As a leader, Fuller has recorded five acclaimed, full- Promenade Competition 2010 Grand-Prix and Best Player Award, length projects. Her most recent, Diamond Cut, received a 2020 the Kanazawa Jazz Competition 2010 Grand-Prix and the Yamaha Grammy nomination for Best Instrumental Jazz Album. She also Young Performing Artists 2015 Jazz. Currently, Misaki is pursuing her performs with Terri Lyne Carrington, Esperanza Spalding and Master’s at the Berklee Global Jazz Institute. others.

The JEN Women In Jazz Committee once again presents the Sisters In Jazz Collegiate Competition. Female college musicians who are JENeral members are invited to audition. The Committee selects honorees to perform in the Sisters In Jazz combo at the JEN Conference under the mentorship of renowned female artists and teachers. These honorees receive an all-expenses-paid trip to JEN, thanks to the generous sponsorship of North Coast Brewing Company. For more information, or to apply next year, go to jazzednet.org/sisters-in-jazz.

26 JAZZ EDUCATION NETWORK 2020 CONFERENCE PROGRAM CONFERENCE PROGRAM JAZZ EDUCATION NETWORK 2020 27 The 2020 JENeral Member Commissioned Charts

These six new charts, available free to all JEN Individual Members, will be posted at jazzednet.org/charts. The JEN Commissions Committee of Greg Yasinitsky (chair), Roxy Coss and Horace Alexander Young selected this year’s composers.

RICK HIRSCH KATHLEEN Composer Rick Hirsch established HOLLINGSWORTH himself internationally with his Vocalist and composer Kathleen inventive, evocative works for jazz Hollingsworth, director of Vocal and saxophone ensembles. Music at Clackamas Community He has apprenticed with composers Toshiko Akiyoshi and Bob College, arranged “New Orleans Mintzer, and composed “Food Hop Scop Blues” for SAA vocal Coma” for developing big bands. jazz ensemble. The premiere of The premiere of “Food Coma” “New Orleans Hop Scop” Blues will be presented at the JEN will be presented by the Sallie B. Conference by the Soundhouse Howard Vocal Jazz Ensemble, Time Check Jazz Orchestra, which is directed by Manuel which is directed by Caleb Martinez—Thursday, Jan. 10, 11 Chapman—Wednesday, Jan. 9, 3 a.m., New Voices Stage, Empire p.m., Strand 13, Level 2. Ballroom A, Level 2.

DEE SPENCER WAYNE WALLACE Composer and pianist “Dianthe” Five-time Grammy nominee, Dee Spencer is a professor of Latin jazz expert and trombonist jazz and musical theater at San Wayne Wallace is professor of Francisco State University, and practice at Indiana University’s former director of the School of Jacobs School of Music. He com- Music at SFSU. Spencer composed “Fillmore Street Mambo” posed “Sweet Emma B” for for advanced-level big bands. combo with a premiere of that The premiere of “Fillmore Street piece being presented by the Combo” will be presented by the University of Nebraska-Omaha Oklahoma State University Jazz Combo I, under the direction of Orchestra, which is directed by by Darren Pettit—Friday, Jan. 11, Tommy Poole—Thursday, Jan. 10, 9 a.m., Conservatory Stage Elite from 5 p.m., Visons Stage, Empire Foyer, Level 1. Ballroom C-D, Level 2.

BEN MARKLEY JENNIFER Recording artist and composer BARNES Ben Markley is director of Jazz Vocalist and composer Jennifer Studies at the University of Barnes is director of Vocal Jazz Wyoming. An active composer Studies at the University of North and arranger, Markley is published Texas. Barnes oversees four through UNC Jazz Press. He com- vocal ensembles and directs the posed “Red-Light Green-Light” for UNT Jazz Singers. She composed medium-level big band. The pre- “Bourbon Street Blues” for SATB miere of “Red-Light Green-Light” vocal jazz ensemble. The premiere will be presented by the Arlington will be presented by the Bellevue High School Jazz Machine, direct- Jazz Singers, which is directed by ed by Rich Guillen—Thursday, Jan. Thomas Almli—Wednesday, 10, 9 a.m., Visions Stage, Empire 2 p.m., New Voices Stage, Empire Ballroom C-D, Level 2. Ballroom A, Level 2.

28 JAZZ EDUCATION NETWORK 2020 CONFERENCE PROGRAM CONFERENCE PROGRAM JAZZ EDUCATION NETWORK 2020 29 JEN award honorees

In Recognition of Outstanding Contributions to Jazz Education

EDWARD ‘KIDD’ JORDAN PAUL PITTS LEJENDS OF JAZZ EDUCATION AWARD JOHN LAPORTA JAZZ EDUCATOR OF THE YEAR AWARD Legendary saxophonist and New Orleans resi- Paul Pitts has been in music education for 40 dent Sir Edward “Kidd” Jordan is a true mas- years, serving on the state, regional and local ter improviser. Jordan was recognized as a jazz levels in Massachusetts. He served as director of maverick in the ’40s, intent on exploring jazz’s bands at Oliver Ames High School and direc- outer reaches. He has shared his passion for tor of music at Nashoba Regional High School, more than 50 years, including 34 at Southern and is the fine arts director at the Boston Latin University at New Orleans (SUNO) until he School. Pitts has led many award-winning retired in 2006 as head of jazz studies. Citing him junior high and high school jazz ensembles. He as a visionary educator and performer, the French currently supervises six concert bands, two jazz government recognized Jordan in 1985 as a Knight (Chevalier) of the ensembles, a jazz combo, seven orchestras and nine choirs, as well as Ordre des Arts et des Lettres, the nation’s highest honor. In May of 2017, he nine full-time and 11 adjunct arts staff members. He served two terms received an honorary doctorate from Loyola University New Orleans. as president of the Massachusetts Association of Jazz Educators.

CHUCHO VALDÉS STEPHEN FOSTER LEJENDS OF LATIN JAZZ AWARD DONALD MEADE LEGACY JAZZ GRIOT AWARD Born into a family of musicians, Cuban pianist, Musician, educator and arranger Stephen composer and arranger Dionisio Jesús Foster is a native of New Orleans. A gradu- “Chucho” Valdés Rodríguez is one of the most ate of University of Arkansas at Pine Bluff and influential figures in modern Afro-Cuban Loyola University, Foster studied under the jazz. A recipient of nine Grammy awards, tutelage of Dr. Ernest G. Chachere. He found- Valdés has received a Lifetime Achievement ed the Children’s Academy of Music, Mid-City Award from the Latin Academy of Recording Full Arts Workshop, Foster Family Programs Arts & Sciences and induction into the Latin and developed the jazz curriculum for Stax Songwriters Hall of Fame. The son of compos- Music Academy. He is a member of the African er and bandleader “Bebo” Valdés, Chucho was the founder, pianist and American Jazz Caucus and the Quincy Jones Muziq Consortium. Using a composer and arranger of the landmark ensemble Irakere. He continues to holistic approach, he has spent 46 years inspiring thousands of students to tour and record today, pushing Afro-Cuban music and jazz even further. become viable, contributing professionals in our society.

RYAN ADAMSONS JASNA JOVICEVIC JEN PRESIDENT’S SERVICE AWARD ELLA FITZGERALD CHARITABLE FOUNDATION JEN A native of Springfield, Virginia, Ryan RESEARCH FELLOWSHIP Adamsons is based in Chicago, where his tal- Jasna Jovicevic graduated from Franz Liszt ents have led to a career in education and the Music Academy in Budapest, Hungary, with music industry. Adamsons has been an active a degree in jazz saxophone performance trumpet player, clinician and instructor for and teaching. She received a Master’s in nearly two decades, with experience ranging Music Composition from York University in from small group jazz to championship-level Toronto. Currently, she is enrolled in Doctoral drum corps. He is an accomplished author and Transdisciplinary Studies in Contemporary co-editor of the forthcoming book Rehearsing Arts and Media in Belgrade, Serbia, focusing the Jazz Band, from Meredith Music. Adamsons serves as JEN On Site on jazz and free improvised music and the gender performativity with- Conference Production Coordinator, serves on the board of the Chicago in the jazz discourse. Jovicevic tours internationally and has recorded Jazz Orchestra and is the jazz area manager for The Midwest Clinic. five albums.

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JEN SCHOLARSHIP CONCERT Friday, Jan. 10, 7:30 p.m. Inspirations Stage/Celestin Ballroom (Level 3) STARRING! The New Orleans Jazz Orchestra “Songs: The Music Of Allen Toussaint” FEATURING: Tia Fuller, Chucho Valdés & Mark Whitfield TICKETS—$25 Available at the JEN registration desk in the Elite Foyer.

32 JAZZ EDUCATION NETWORK 2017 CONFERENCE PROGRAM donis Rose, the talented drummer and artis- alent in New Orleans. A lot of kids that play in the Atic director of the New Orleans Jazz Orchestra, marching bands, naturally, move toward being in a said he’s looking forward to performing at brass band. It’s a very easy way for them to be intro- JEN. As the headlining act for the JEN Scholarship duced to playing some form of jazz music. Concert, Rose sees an opportunity to spread the word of jazz, New Orleans and NOJO while raising funds Alkyer: What was your first gig? for the next generation of this music. Rose: Oh, man. Clyde Kerr Jr. was the jazz instructor It’s also simply an opportunity to perform, which at NOCCA when I was there. He taught me and is something the Orchestra almost stopped doing Nicholas Payton and Abram Wilson and so many of back in 2016 when the group’s then-leader, trum- the other guys that were there. But he took us on gigs peter Irvin Mayfield, was forced to leave his post to early on. I mean, Nicholas, he was already playing. begin facing charges of embezzlement, a legal quag- He was out playing with Clark Terry on the road. But mire he remains embroiled in today. my first job was some event gig around town, doing In 2017, Rose was named artistic director, giving that in high school. But my first professional gigs him the responsibility of putting the organization on were at Snug Harbor here in New Orleans. And then his back and bringing it back to prominence. And my first touring gig, I actually picked up because I through sheer determination, he has, reestablishing was playing at Snug Harbor. That was with Terence NOJO’s musical performances and tours as well as Blanchard when I was 17 years old. releasing to rave reviews the group’s latest recording, Songs: The Music Of Allen Toussaint. Alkyer: How did Terence Blanchard approach a Frank Alkyer, the publisher of DownBeat maga- 17-year-old to go on tour? zine, caught up with Rose to discuss his musical Rose: You know, he didn’t. He came into the Snug upbringing, the Scholarship Concert, the legacy of Harbor. I can’t remember who I was playing with. Toussaint’s music and, of course, Rose’s love for New But Terence came into Snug, just showed up. And, Orleans. The following is an edited transcript of that I didn’t actually see him there, but people were say- conversation. ing that Terence Blanchard showed up at the club that night. A couple of days later, I’m at home and Frank Alkyer: How’d you get your start in jazz? the phone rings. I hear my dad on the phone with Adonis Rose: My grandfather was a drummer and my somebody speaking about me. And my dad was like, father is a drummer. So, I grew up as a drummer at “Well, yeah, if he goes out there on the road, you’re a very early age, listening to all types of music. But I going to have to take care of him. Cause I mean, got my start in jazz when I attended the New Orleans he’s under 18. He’s finishing school. You’re going to Center for Creative Arts (NOCCA), which I’m sure have to watch over him.” He was on the phone with you’re familiar with. So, I got my start in jazz there, at Terence Blanchard. But I didn’t know that. My dad that school. Before that, I played primarily in march- had been playing with Terence for years. They played ing bands around the city. I was a drum line section top 40 bands in the ’70s. So, my dad came into my leader as well as playing a drum set and practicing a room and said, “That was Terence Blanchard on the lot of funk and things like that. phone. He wants you to go on tour with him.” And that’s how it happened. Alkyer: What do you think it is about New Orleans that makes playing music such a family tradition? Alkyer: From your view viewpoint, what’s the state of Rose: Well, it’s the birthplace of jazz and almost all New Orleans jazz today? American music. It’s just deep-rooted in the people Rose: It’s strong. I mean, just look at the people. We and everything that we do. The brass band was the have the New Orleans Jazz Orchestra. We have 18 of first form of the jazz band, and that tradition is prev- the best musicians in New Orleans that play in our

CONFERENCE PROGRAM JAZZ EDUCATION NETWORK 2020 33 NOJO performing on the Dee Dee Bridgewater Rose: We have three guests who are going to be Stage at the Jazz Market. performing with us. The organization is going to be presenting an award to Chucho Valdés. So, Chucho is going to play a song with us, and we have to find out what that song is gonna be so we can we can arrange it. [Laughs.] We’re going to feature Tia Fuller as well as Mark Whitfield. We’ll probably do some arrangements of tunes out of their repertoire that they would like to perform for the show. Outside of that, we’re going to do the music from our new record called Songs: The Music Of Allen Toussaint.

Alkyer: Talk about the legacy, the impact and the importance of Allen Toussaint on music and why you chose him as a focal point of your new record. band alone and contribute to the local music at the time we were without a leader, which that Rose: Allen Toussaint was music royalty, and he scene—and they tour internationally. We really didn’t last long. It was just the transition was a musical genius. He was a guy who real- have some strong music programs here. We took some time. But the first thing I wanted to ly put New Orleans artists on the map nation- have the University of New Orleans. We have do was get the band back together and just play, ally with his songwriting. And all of the people Loyola. We have NOCCA. And we have peo- whether it was rehearsals or just to hang out that he produced, I mean, when it came to new ple moving in from all over the country. But and talk about things. I just wanted to be trans- Orleans r&b, he was a pioneer. Of course you’re not only that, you have people like myself, parent with the band about everything that was familiar with his music, you know, the big hits, you have Terence Blanchard and Delfeayo going on with the organization and let them like, “Everything I Do Has Got To Be Funky” Marsalis and Nicholas Payton who live here. know that we were making plans to come back. or “Working In A Coal Mine” or “Here Come And we contribute to the scene. We perform And, let them know that we were going to The Girls.” But he was also producing things and we go out, and we have musicians, and we start our concert season again. And we were like “Lady Marmalade,” “Yes We Can Can” or take them on the road. going to get another booking agent and man- “Southern Nights.” So, I think that the music scene is strong. We ager. And we were going to get another record He wrote for so many different types of art- have Galactic here. We have Josh Porter and deal. And we were going to go back out on the ists. For Al Hurt, he wrote “Java,” which was Zigaboo Mondelise. We have a strong New road and be successful. It was kind of hard to a huge hit, “Fortune Teller” by Dr. John and Orleans funk scene. We have a strong gospel see that happening. [Laughs.] “Ruler Of My Heart” and “It’s Raining” for scene. We have a strong blues scene here. We have Irma Thomas. Allen Toussaint was just a pro- so many different types of music that all contrib- Alkyer: Were there moments where you found lific writer, amazing musician, a stand-up guy, ute to the sort of local music scene here. Local yourself saying to yourself … “I hope”? kind soul and just a complete musician. musicians work almost every night of the week. Rose: Absolutely. I really had to put the organization on my back and take my 25 years of Alkyer: Beautiful. For all the folks coming down Alkyer: When you took over the New Orleans experience in relationships with people in the for JEN, can you name some of your favor- Jazz Orchestra, it was a difficult time. jazz community to bring this organization back ite places to play or to see music on the New Rose: Yeah. to where it is now. I had to leverage every rela- Orleans scene today? tionship I’ve ever had in the music business to Rose: Oh, absolutely. When it comes to my favor- Alkyer: What was the the mindset of the group, be able to get this back. ite space, it has to be the New Orleans Jazz at that time, and what has it taken to turn this Market, our home. [Laughs.] around? Alkyer: What’s the state of the organization Rose: On the state of the group at the time, the today? Alkyer: Of course! And that’s no joke! guys were always committed. We had been Rose: We’re in a good place. We’ve been able to Rose: That is not a joke! And, then Snug Harbor around for 13 or 14 years as an organization. keep the doors open. We have performances and would be on the top of that list. And then we We had already won a Grammy Award, put events that happen in our space. We have the band have the Jazz Playhouse, which is in the Royal successful records out. We were on the road out and performing again. We put out a record in Sonesta Hotel. We have Prime Example, which with Dee Dee Bridgewater for almost two years March this year, a tribute to Allen Toussaint. is a great local jazz spot that people should when all of this happened. And things hap- We have the support of Ellis Marsalis and check out. And then, you know, we have a lot of pened so quickly. It really slowed down. And Dee Dee Bridgewater and Wynton Marsalis. hotel bars. We have the Carousel Bar & Lounge before you know it, we hadn’t done a concert We went out and did St. Lucia. We’re doing in the Hotel Monteleone. in our performance space, the New Orleans Jazz at Lincoln Center. We’re doing a tour in We have Frenchmen Street. We have the Jazz Market, in a year. You look, and it’s like, February of Canada. We’re going to China in Spotted Cat. We have the Blue Nile. If you go on OK, a year—a year—had passed and we hadn’t March. We went to Europe this past summer. Frenchman Street, you can’t miss. You’ll catch performed. We didn’t go out on the road. Our foundations are funding us again. And, everything from reggae to blues. You might Everything just came to a halt. we’re getting positive press, which is definitely catch an Afro-Cuban band, or you might catch what we need. Kermit Ruffins. His place, the Kermit’s Treme Alkyer: It was a grinding halt, too, wasn’t it? Mother-In-Law Lounge, is another good one. Rose: It was like, hit the brakes—hard—with Alkyer: What kind of music are we going to be It’s tough to choose! But those are a few of the two feet. The guys were always committed, but hearing during the Scholarship Concert? places that I frequent…often.

34 JAZZ EDUCATION NETWORK 2020 CONFERENCE PROGRAM CONFERENCE PROGRAM JAZZ EDUCATION NETWORK 2020 35 MEET THE

Tahira Clayton Ted Nash

Matt Wilson Aubrey Johnson Dave Stryker

WEDNESDAY, JAN. 8 6-7 p.m. Bill Warfield 3-4 p.m. Catherine Yaghsizian, Heights Books Terry White 5:30-6:30 p.m. Tish Brubeck and Scores Alfred Music Booth 703 Dave Stryker Darius & Cathy Brubeck Booth 600 Booth 404 Benedetto Guitars Doug Beach, Mike Dana, Chris Buzzelli Booth 227 6:30-7:30 Jeff Jarvis, David Benedetto Guitars Springfield & Jerry Tolson Ellen Rowe Dawn Clement Booth 227 Kendor Music Jazz Port Townsend Jazz Port Townsend Booth 505 Orbert Davis Workshop Workshop Chicago Jazz Philharmonic Booth T7 Booth T7 Adam Nussbaum Booth 701 KHS Music 5:30-7:30 p.m. THURSDAY, JAN. 9 Booth 120 Tia Fuller & Nick Finzer Ryan Erik Adamsons, Conn-Selmer Doug Beach, Andres Neu Jennifer Barnes, Booth 100 & David Springfield Wayne Wilkinson Michelle Weir Kendor Music Benedetto Guitars & Christine Guter Chris & Tish Brubeck Booth 505 Booth 227 Sound Music Publications Darius & Cathy Brubeck Booth 704 Jim Thornton, Author of Tom “Bones” Malone, Booth 404 New Orleans Trumpet: A Bria Skonberg Ted Nash Down Home Conservatory Woody Witt & Todd Kelly Ted Nash Music Sher Music Eastman Conn-Selmer Booth 307 Booth 200 Booth 700 Booth 100 Tahira Clayton Ted Nash Ric Frank Chris & Tish Brubeck Women in Jazz Ted Nash Music Heights Books and Scores Darius & Cathy Brubeck Organization Booth 307 Booth 703 Booth 404 Booth 709 Roxy Coss, Tahira Clayton Matt Wilson & Aubrey Johnson Woody Witt Jeff Coffin Jazz Port Townsend Women in Jazz Organization Eastman Yamaha Workshop Booth 709 Booth 208 Booth 110 Booth T7

36 JAZZ EDUCATION NETWORK 2020 CONFERENCE PROGRAM ELITE HALL ARTISTS! (LEVEL 1)

Orbert Davis

“Bones” Malone Jeff Coffin

Adam Nussbaum Chris Brubeck Darius Brubeck Howard Levy

Doug Beach, Jeff Jarvis, John Wayne Wilkinson Roxy Coss, Doug Beach, LaBarbera, Pete McGuin- Benedetto Guitars Emily Pecoraro Mike Dana, ness & David Springfield Booth 227 & Elsa Nilsson Jeff Jarvis, Kendor Music Women in Jazz David Springfield Booth 505 Drew Zaremba Organization & Steve Wiest Conn-Selmer Booth 709 Kendor Music Brad Goode Booth 100 Booth 505 KHS Music Jeff Coffin Booth 120 Woody Witt Yamaha Howard Levy Eastman Booth 110 KHS Music Peter Martin & Booth 208 Adam Maness Booths 120 Open Studio 3-4 p.m. Bill Warfield Jeff Coffin James Thornton Booth 718 Heights Books and Alfred Music Sher Music Scores Rosanna Eckart Booth 700 Booth 703 Booth 600 & Justin Binek Sound Music Publications Dave Mooney Greg Yazinitsky Doug Beach, Jeff Jarvis, & Matt Falker Booth 704 Ellen Rowe, Jerry Tolson, Benedetto Guitars Booth 227 Sound Music Ted Nash David Springfield & Publications Greg Yasinitsky Ted Nash Music Dave Pietro Booth 704 Booth 307 Kendor Music Booth 505 Conn-Selmer Ted Nash Booths 100, Aubrey Johnson Ted Nash Music Women in Jazz Organization Chris Buzzelli & Dave Barduhn Woody Witt Booth 307 Booth 709 Sound Music Eastman Roxy Coss Publications Booth 208 friday, JAN. 10 Booth 704 Women in Jazz Ric Frank Organization Kris Berg & Aldo Mazza Ted Nash Heights Books and Booth 709 Alfred Music Ted Nash Music Scores Booth 600 Booth 307 Booth 703 Hyatt regency new orleans map Jan. 7-10

2020 JEN Conference

38 JAZZ EDUCATION NETWORK 2020 CONFERENCE PROGRAM CONFERENCE PROGRAM JAZZ EDUCATION NETWORK 2020 39 Jazz Industry/Music Business Symposium TUESDAY, Jan. 7

10 a.m.-5:30 p.m. Foster 2 (Level 2) TORY WILLIAMS RICARDO NELSON

Alexa Tarantino Nick Finzer Quentin Angus JEN REGISTRATION OPEN professor and CEO of Heights 1630 Music WHAT’S NEXT? AN EARLY 9 a.m.-Noon & 2-8:30 p.m. Publishing Services—offers insights into CAREER TOOLKIT Elite Foyer (Level 1) European Union copyright laws, publish- PRESENTER: Alexa Tarantino & Nick Finzer ing contracts and copyright societies. 2:30-2:55 p.m. CROWDFUNDING: FUNDAMENTALS OF MUSIC Young working musicians share ITS PRIZES AND PITFALLS COPYRIGHT keys to success for those enter- PRESENTER: Derek Cordoba ing the freelance jazz scene. PRESENTER: Tim Kappel 10-10:25 a.m. Noon-12:25 p.m. This presentation explores the suc- FROM JAZZ MUSICIAN Tim Kappel, a New Orleans-based cesses and failures of crowdfunding TO STARTUP FOUNDER attorney specializing in the music indus- and some successful strategies. try, offers an overview of the must-know PRESENTER: Peter Martin, Adam Maness fundamentals for music copyright. SPONSOR: Open Studio CREATE, CONNECT, REPEAT! 3-3:25 p.m. PRESENTER: Nick Finzer PANEL DISCUSSION Peter Martin will walk the audience through 10:30-10:55 a.m. his journey as the founder of the online How to Start and Sustain a Jazz This session presents a reliable and jazz education startup Open Studio. Camp in Your Community effective content model will help jazz artists at any career stage develop MODERATOR: Bria Skonberg PANEL DISCUSSION: and grow a passionate audience. PANELISTS: Gregg Miller, Hal Melia, Bill Dendle, Banu Gibson & Darrian Douglas Women in Jazz FROM 400 TO 10K INSTAGRAM 12:30-1:25 p.m. MODERATOR: Kate Duncan FOLLOWERS IN 18 MONTHS Jazz artist Bria Skonberg, founder of the PANELISTS: Roxy Coss, Ashley Shabankareh & Peggy Stern PRESENTER: Quentin Angus NY Hot Jazz Camp, moderates a panel of 11-11:25 a.m. current jazz camp directors to share experi- A deep dive into an important subject. 3:30-4:25 p.m. This presentation focuses on the Instagram ences of their success, strife and strategy. platform and why it is important. Learn through a step-by-step walk-through PANEL DISCUSSION HOW TO USE SOCIAL MEDIA AS how to develop an Instagram following. Building Brand & Audience A 21ST CENTURY MUSICIAN Through Creative Partnerships PRESENTER: Rick Beato HOW TO PUBLISH, PLACE & MODERATOR: Marty Ashby 4:30-5:25 p.m. MONETIZE YOUR EDUCATIONAL PANELISTS: Paul Fingerote, Keith Kelly Rick Beato discusses how his back- BOOKS IN THE EUROPEAN UNION and Jay Weigel ground as a jazz guitarist, music theory PRESENTER: Steven Reich 1:30-2:25 p.m. professor and a pop music record pro- 11:30-11:55 a.m. Industry leaders offer their insights into ducer have led to him having more than Steven Reich—attorney, pianist, adjunct creative audience development. 1 million subscribers on YouTube.

40 JAZZ EDUCATION NETWORK 2020 CONFERENCE PROGRAM

JEN SCHEDULE TUESDAY, Jan. 7

MEETING PERFORMANCE CLINIC JJF RESEARCH JAM SESSION

Sara Caswell säje

JEN REGISTRATION OPEN together to explore an array of original represents the caliber of the school’s 9 a.m.-Noon & 2-8:30 p.m. material, contemporary reimaginings teachers, and is an afﬁrmation of jazz Elite Foyer (Level 1) and jazz standards. Säje is rooted in the education with Erskine on drums, tradition of joy, lush harmony, heartfelt Pasqua on piano, Sheppard on saxo- PERFORMANCE: expression and profound sisterhood. phone and Oleskiewicz on bass. In true PROFESSIONAL/INSTRUMENTAL jazz education tradition, Pasqua and Er- WITH VOCALS PERFORMANCE: skine met at Indiana University in 1971. Sara Caswell Quintet SCHOOL/INSTRUMENTAL 8:10-9 p.m. Tuscon Jazz Institute Ellington JAM SESSION: Inspirations Stage/Celestin Ballroom (Level 3) Big Band PRO NETWORK HANG The 2018 Grammy nominee and winner DIRECTOR: Jonathan Black 11:30 p.m.-1:30 a.m. of the 2017 DownBeat Rising Star–Vio- 10:10-11:00 p.m. Vitascope (Level 3) lin award, Sara Caswell will present an Inspirations Stage/Celestin Ballroom (Level 3) intriguing mix of original compositions The TJI Ellington Band will perform JAM SESSION: STUDENT and reimagined standards. Caswell will big band music from the Ellington and JENerations JAM (Beginner) perform with guitarist Keith Ganz, bass- Basie big band repertoires and oth- Midnight-1:30 a.m. ist Jeremy Allen, drummer Michael W. ers. The ensemble is likely to include Strand 10A (Level 2) Davis and vocalist Rachel Caswell. songs from the its Essentially Ellington festival performances and auditions. JAM SESSION: STUDENT PERFORMANCE: JENerations JAM PROFESSIONAL/VOCAL PERFORMANCE: (Intermediate) säje PROFESSIONAL/INSTRUMENTAL Midnight-1:30 a.m. 9:10-10 p.m. USC Thornton Jazz Faculty Quartet Strand 11 (Level 2) Inspirations Stage/Celestin Ballroom (Level 3) 11 p.m.-Midnight Säje is a collaboration between artists Conservatory Stage/Elite Foyer (Level 1) JAM SESSION: JJF STUDENT Sara Gazarek, Amanda Taylor, Johnaye The USC Thornton Jazz Faculty Quar- JENerations JAM (Advanced) Kendrick and Erin Bentlage. These tet—with Peter Erskine, Alan Pasqua, Midnight-1:30 a.m. critically acclaimed vocalists have come Bob Sheppard and Darek Oleskiewicz— Strand 13 (Level 2)

42 JAZZ EDUCATION NETWORK 2020 CONFERENCE PROGRAM

JEN SCHEDULE WEDNESDAY, Jan. 8

MEETING PERFORMANCE CLINIC JJF RESEARCH JAM SESSION

New York University Wayne Shorter Ensemble Brubecks Play Brubeck

Bria Skonberg LSAT Loyola University New Orleans Jazz Ensemble

JEN REGISTRATION OPEN Movement and Improvisation 9-9:25 a.m. 9 a.m.-5 p.m. in the K-5 Music Classroom Imperial 12 (Level 4) Elite Foyer (Level 1) CLINICIANS: Allison Kipp, Darla Hanley This session highlights a qualitative investi- 9-9:50 a.m. gation of applied instruction in jazz impro- CLINIC: REHEARSAL TECHNIQUES Imperial 11 (Level 4) visation within a hybrid internet-mediated Learning to Play By Ear This session will showcase creative communication virtual learning environment. Instructional content for the environ- CLINICIAN: Todd Kelly teaching strategies to engage children 9-9:50 a.m. using the music of legendary Dave ment is delineated as both asynchronous Foster 2 (Level 2) Brubeck and The Dave Brubeck Quartet. and synchronous; incorporating descriptive Sharing methodology behind the aural Participants will experience jazz as they web-content, podcast/video-cast mate- tradition of learning jazz and improvised listen, trade solos, create compositions rials, and synchronous online lessons. music, exploring its potential as part of and arrangements, and perform original an existing large instrumental ensemble dances. Playlists and handouts provided. PERFORMANCE: PROFESSIONAL/ curriculum, Todd Kelly will teach a New VOCAL & INSTRUMENTAL Orleans brass band tune to the Niles RESEARCH PRESENTATION Shake ‘Em Up Jazz Band West High School jazz ensemble from Exploring Jazz Improvisation 9-9:50 a.m. Illinois, concluding with a performance. Through a Hybrid Internet- LeJENds Stage/Storyville Hall (Level 3) Mediated Communication We are an all-female traditional jazz CLINIC: CLASSROOM TEACHING Virtual Learning Environment: band based in New Orleans who Everybody’s Jumpin’: An Instrumental Case Study highlight songs written by wom- Using Brubeck to Inspire Creative PRESENTER: Lonnie Easter en from the 1910s to the 1930s.

44 JAZZ EDUCATION NETWORK 2020 CONFERENCE PROGRAM

WEDNESDAY, JAN. 8

CLINIC: VOCAL Quality Repertoire in Vocal Jazz: Adapting & Commissioning Arrangements CLINICIANS: Amanda Taylor, Brennan Baglio 9-10 a.m. Strand 12A (Level 2) Quality, accessible repertoire is key to the success of a vocal jazz ensemble. This clinic explores elements of quality literature, techniques for adapting existing arrangements and the beneﬁt of commissioning custom arrangements for vocal jazz ensembles. It will feature discussion with directors and arrangers who regularly collaborate. Bellevue College Jazz Singers PERFORMANCE: JJF PERFORMANCE/CLINIC JJF PERFORMANCE/CLINIC SCHOOL/INSTRUMENTAL Denton High School Temple High School Blues Loyola University New Orleans Lab Band 2 DIRECTOR: Marcos Duran Jazz Ensemble DIRECTOR: Jesse Woolery 9-10 a.m. DIRECTOR: Gordon Towell 9-10 a.m. Strand 13 (Level 2) 9-9:50 a.m. Strand 10A (Level 2) Visions Stage/Empire Ballroom C-D (Level 2) MEETING JJF PERFORMANCE/CLINIC Unit & Chapter Formation RESEARCH PRESENTATION First Take Vocal Jazz Meeting RIPM Jazz Periodicals: Ensemble FF MODERATOR: Jesse Nolan, JEN Preserving and Accessing an DIRECTOR: Jeremy Fox Membership Manager Historic, Ephemeral Literature 9-10 a.m. 9-9:55 a.m. PRESENTER: John Ehrenburg Strand 11 (Level 2) Strand 3 (Level 2) 9:30-9:55 a.m.

46 JAZZ EDUCATION NETWORK 2020 CONFERENCE PROGRAM WEDNESDAY, JAN. 8

Imperial 12 (Level 4) Foster 1 (Level 2) DEMO ENSEMBLE: Lakewood High School This presentation examines: 1) Why, despite The clinic is a presentation of licks by Jazz Ensemble, Ft. Lauderdale, FL, their value and significance, are jazz peri- great jazz artists that have been rhyth- DIRECTOR: Michael Kernodle odicals conspicuously absent from library mically expanded into more playable 10-10:50 a.m. collections; 2) How is RIPM (Retrospective rhythms. The simplification of the licks Imperial 5 (Level 4) Index to Music Periodicals) addressing this gives a different visual perspective to Designed to provide a foun- issue; and, 3) The richness of content in students as they intuitively internalize the dation for building a success- the 105 jazz periodicals contained in the sound of great jazz artists while matching ful jazz program, including first installment of RIPM jazz periodicals. muscle memory to the creative process. the art of listening, learning the language, jazz styles and articulations, PERFORMANCE: RESEARCH PRESENTATION layering techniques, selecting mu- SCHOOL/INSTRUMENTAL Musical Investment In Early sic, learning how to groove and Five Towns College Jazz Childhood: An Exploration of Par- where to find jazz resources. Guitar Ensemble ent-Child Organized Jazz Activities DIRECTORS: John Kelly, Steve Briody PRESENTER: Adriana Diaz Donoso CLINIC: INTERMEDIATE 10-10:50 a.m. 10-10:25 a.m. IMPROVISATION Conservatory Stage/Elite Foyer (Level 1) Imperial 12 (Level 4) Take 5, or 9, or 17: This advanced group, comprised of under- Adriana Diaz Donoso’s research examines Odd-Meter Strategies for graduate students, is known for performing issues of social class and musical parent- Young Improvisers interesting and complex arrangements ing in the context of an early childhood jazz CLINICIAN: Patrick A. Donaher of songs by Johnny Smith, Tal Farlow, program. Using administrative and survey 10-10:50 a.m. George Barnes, Tony Mottola, and Joe data of 469 families, she explored what Imperial 9 (Level 4) Pass. This semester’s theme has been the factors play a role in parental decisions Sixty years out from Dave Brubeck’s classic arrangements of Tony Mottola. for enrolling and whether those factors Time Out, odd-meter improvising has were associated with their social class. become a fairly normal part of jazz CLINIC: BEGINNING IMPROVISATION playing and writing. This workshop will Approaching & Understanding CLINIC: REHEARSAL TECHNIQUES offer accessible strategies for introduc- Great Jazz Licks Jazz Rehearsal Techniques ing odd meters to young players, using CLINICIAN: Ron Kischuk and Strategies great artists and recordings, providing 10-10:50 a.m. CLINICIAN: J. Richard Dunscomb study tools to improvise confidently.

CONFERENCE PROGRAM JAZZ EDUCATION NETWORK 2020 47 WEDNESDAY, JAN. 8

Sherrie Maricle Roxy Coss

PERFORMANCE: 10:30-11:30 p.m. PROFESSIONAL/INSTRUMENTAL Strand 10A (Level 2) John Mahoney Big Band 10-10:50 a.m. JJF PERFORMANCE/CLINIC Inspirations Stage/Celestin Ballroom (Level 3) Denton High School This big band is comprised of musician/ed- Lab Band 1 ucators from the New Orleans region. Ded- DIRECTOR: Jesse Woolery icated to the performance of the composi- 10:30-11:30 a.m. tions of John Mahoney, professor emeritus Strand 11 (Level 2) of Loyola University New Orleans, and the preservation of the ﬁne traditions of large JJF PERFORMANCE/CLINIC jazz ensemble playing and improvisation. Temple High School Highlighters PERFORMANCE: SCHOOL/VOCAL DIRECTOR: Brent Mathesen Edmonds-Woodway 10:30-11:30 a.m. High School Mello-Aires Strand 13 (Level 2) DIRECTOR: Charlotte Reese 10-10:50 a.m. CLINIC: VOCAL New Voices Stage/Empire Ballroom A (Level 2) An Artist in the Making: The Edmonds-Woodway High School Expressing Beyond the Song Mello-Aires embrace and strive to carry on and Arrangement the rich northwest vocal big band tradition Jennifer Madsen, Mel Shore featuring vocalese, improv, student writing, CLINICIANS: & Lauren Kinhan new arrangements and old chestnuts. 11-11:50 a.m. MEETING Foster 2 (Level 2) Mentoring Committee This clinic will give vocalists an opportunity to look beyond the execution of a CHAIR: Julius Tolentino song by delving into the development of 10-10:55 a.m. an artist through practicable techniques Strand 3 (Level 2) and performance concepts. Participants will leave with tools and information on RESEARCH PRESENTATION how to make a connection with their Dave and Iola Brubeck at Home audience and develop as an artist. PRESENTERS: Monk Rowe, Romy Britell 10:30-10:55 a.m. CLINIC: TECHNOLOGY Imperial 12 (Level 4) Modernize Your Jazz Dave and Iola Brubeck were interviewed With Ableton Live! in their Wilton, Connecticut, home by CLINICIAN: Darren Kramer Monk Rowe, director of the Fillius Jazz 11-11:50 a.m. Archive. Videotaped in 2001 and 2011, Imperial 11 (Level 4) the Brubecks shared poignant and vivid Electric Trombone DJ & Ableton Certi- memories of their professional and private ﬁed Trainer Darren Kramer will demon- lives in a relaxed and intimate atmosphere. strate how you can combine your jazz skills with Ableton Live software to JJF PERFORMANCE/CLINIC create amazing beats, sounds, loops, Los Angeles City College full-blown song productions, and Jazz Combo even customize your own play-alongs DIRECTOR: Kristina Raymond for theory practice and transcribing!

48 JAZZ EDUCATION NETWORK 2020 CONFERENCE PROGRAM WEDNESDAY, JAN. 8

Modern genres include NuJazz, Elec- troFunk, Downtempo, Latin, etc.

RESEARCH PRESENTATION Brubeck, Armstrong, and The Real Ambassadors PRESENTERS: Sarah Rose, Ricky Riccardi 11-11:25 a.m. Imperial 12 (Level 4) In 1961, Dave Brubeck and Louis Arm- strong collaborated to record The Real Ambassadors. This presentation will utilize the monumental Research Collections of the Louis Armstrong House Museum, including audio letters, rehearsal tapes, rare photographs and scripts, to tell the story of how this work came to be.

PERFORMANCE: PROFESSIONAL/INSTRUMENTAL Sangre de Caballo: The Allison Miller/Jeff Lederer Duo 11-11:50 a.m. LeJENds Stage/Storyville Hall (Level 3) Rising drum star Allison Miller and multi-reedist Jeff Lederer present a program of compositions and improvisations in duo that span jazz tradition and innovation in the intimate setting with just saxophone and drums. Sponsored by Zildjian cymbals, Evans drumheads, Tama drums and Vandoren reeds and mouthpieces.

CLINIC: COMPOSITION/ARRANGING Composing and Arranging from the Voice and the Heart CLINICIAN: John Daversa 11-11:50 a.m. Strand 12A (Level 2) Practical tools and philosophies for composing and arranging with inspiration and honesty. MEETING Industry & Music Business Committee CHAIR: Jay Ashby 11-11:55 a.m. Strand 3 (Level 2)

PERFORMANCE: SCHOOL/INSTRUMENTAL Downey High School Jazz Ensemble DIRECTOR: Cory Olariu 11-11:50 a.m. Visions Stage/Empire Ballroom C-D (Level 2) As the winner for the last two years of the DownBeat Student Music Awards High School Large Ensemble category as well as winner of 2019 Berklee HS Jazz Festival and the Monterey NextGen Festival, the

CONFERENCE PROGRAM JAZZ EDUCATION NETWORK 2020 49 WEDNESDAY, JAN. 8

CLINIC: PANEL DISCUSSION Griot’s Corner: Memoirs of a Jazz Griot and His Inﬂuences on the Past, Present and Future MODERATOR: Stephen Foster PANELISTS: Trineice Robinson-Mar- tin, Marvin Sparks, Nate Lawrence Noon-12:50 a.m. Foster 1 (Level 2) The 2020 Donald Meade Legacy Jazz Griot Award recipient, Stephen Foster, is a cultural ambassador, community lead- Chucho Valdés Rick Sebastian er, and devoted advocate for jazz, jazz education, and community engagement. Downey HS Jazz Ensemble shares its will reward musicians and scholars for This session will discuss Mr. Foster’s talent with the 2020 JEN audience. centuries to come—and explains how to purpose, process, legacy and the im- access these one-of-a-kind materials. portance of community engagement. RESEARCH PRESENTATION The World’s Largest PERFORMANCE: RESEARCH PRESENTATION Duke Ellington Archive SCHOOL/INSTRUMENTAL Composition, Jazz PRESENTER: John Hasse The New York University Improvisation, and Copyright 11:30-11:55 a.m. Wayne Shorter Ensemble PRESENTER: Alexander Stewart Imperial 12 (Level 4) DIRECTOR: Dave Pietro Noon-12:25 p.m. The Smithsonian’s staggering Duke Noon-12:50 p.m. Imperial 12 (Level 4) Ellington collection includes some Conservatory Stage/Elite Foyer (Level 1) Improvisation has been deﬁned as com- 100,000 pages of unpublished music Wayne Shorter. These include his position in real time. In music copyright he and Billy Strayhorn composed, and works with Art Blakey, Miles Davis litigation, it is often argued that impro- another 100,000 pages of documents. and Weather Report as well as his re- visation is performance, and should be This presentation showcases these cordings as a leader on VeeJay, Blue considered part of the separate sound bounteous riches—a goldmine that Note, Columbia and Verve Records. recording copyright rather than the

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composition. This presentation examines apply scales to common chord progressions Music Award for Large Vocal Jazz Ensemble several recent cases and their poten- through group/individual playing exercises. in the Undergraduate College division. tial ramifications for jazz musicians. PERFORMANCE: JJF PERFORMANCE/CLINIC CLINIC: INSTRUMENT TECHNIQUES PROFESSIONAL/INSTRUMENTAL Hoover High School Swing, Swang, Swung Socrates Garcia Latin Jazz Band 3 on Drums Jazz Orchestra DIRECTOR: Matthew Cicero CLINICIAN: Sherri Maricle Noon-12:50 p.m. Noon-1 p.m. Noon-12:50 p.m. Inspirations Stage/Celestin Ballroom (Level 3) Strand 10A (Level 2) Imperial 5 (Level 4) Performing original compositions by Drummers and educators, learn how to Socrates Garcia, this ensemble presents JJF PERFORMANCE/CLINIC create and teach a deep and powerful a symbiotic combination of Afro-Domini- Roosevelt High pocket of swing in your ongoing beat can and Afro-Caribbean genres within the School Vocal Jazz patterns, fills, kicks and solos. Through a aesthetic of contemporary orchestral jazz. DIRECTOR: Dr. Jean-Marie Kent series of exercises, a swinging application The SGLJO award winning album Back Noon-1 p.m. of rudiments and realization of specific Home (MAMA Records) has received Strand 11 (Level 2) style components, you will be driving numerous accolades by critics and jazz and swinging your band into happiness. fans nationally and internationally. JJF PERFORMANCE/CLINIC Niles West Jazz Ensemble PERFORMANCE: SCHOOL/VOCAL CLINIC: BEGINNING IMPROVISATION DIRECTOR: Justin Johnson Moving Beyond the Blues Berklee College of Music Noon-1 p.m. Scale: A New Approach to Teach- Advanced Vocal Jazz Ensemble Strand 13 (Level 2) ing Beginning Improvisation DIRECTOR: Ned Rosenblatt CLINICIAN: Stephen Guerra Noon-12:50 p.m. MEETING Noon-12:50 p.m. New Voices Stage/Empire Ballroom A (Level 2) JEN Area Unit Leadership Imperial 9 (Level 4) The Berklee College of Music Advanced Meeting See an alternative approach to teaching Vocal Jazz Ensemble has performed at the MODERATOR: Jesse Nolan, JEN beginning improvisation in action. During the 2014 JEN Conference and 2016 ACDA Membership Manager session, Stephen Guerra will present meth- Eastern Division Conference. The ensemble Noon-10:50 a.m. ods to teach students how to associate and is the winner of the 2019 DownBeat Student Strand 3 (Level 2)

CONFERENCE PROGRAM JAZZ EDUCATION NETWORK 2020 51 WEDNESDAY, JAN. 8

Martin Wind Jamey Haddad

RESEARCH PRESENTATION band students where they were divid- PERFORMANCE: Ungendering the Vocal jazz ed into two groups during two months SCHOOL/INSTRUMENTAL Ensemble of jazz instruction revealed that only Jane Addams Middle CLINICIANS: James Redden the students learning to improvise School Jazz Band 12:30-12:55 p.m. showed increases in executive func- DIRECTOR: Deborah Schaaf Imperial 12 (Level 4) tion including cognitive ﬂexibility and 1-1:50 p.m. The results of a case study of how a vocal attentional focus. A control group Visions Stage/Empire Ballroom C-D (Level 2) jazz ensemble removed all gender terminol- learned jazz scales, articulation, and Jane Addams Middle School boasts ogy and norms related to any ensemble history, but did not improvise. one of the strongest jazz programs interaction, rehearsal and performance in the Northwest. This Seattle band, will be presented during this session. PERFORMANCE: only in its sixth year, has already PROFESSIONAL/ INSTRUMENTAL won top honors in major festivals CLINIC: VOCAL Jupiter All-Stars throughout the west, as well as two Vocal Improvisation: 1-1:50 p.m. DownBeat Student Music Awards It’s A Matter of Style LeJENds Stage/Storyville Hall (Level 3) for Outstanding Performance. CLINICIAN: Justin Binek The Jupiter All Stars include John 1-1:50 p.m. Fedchock, trombone; Brad Goode, RESEARCH PRESENTATION Foster 2 (Level 2) trumpet; Howard Levy, harmoni- Bud’s Bebop Many singers (and instrumentalists) fall ca; Adam Nussbaum, drums; and PRESENTER: Jeffrey Benatar into the trap of improvising with the same Chuck Bergeron, bass. This is 1:30-1:55 P.m. melodic/harmonic material, on every tune, high-energy bebop at its best! Imperial 12 (Level 4) regardless of style. This session will explore Transcriptions of Bud Powell’s Be- ways of making improvisational soloing CLINIC: PANEL DISCUSSION bop language of introductions, more appropriate to the style of the tune. WIJO Presents: Women compositions, and/or improvisa- This clinic is presented with support from in Jazz and Jazz Education tions are dissected, discussed and Kansas City Kansas Community College. PANELISTS: Roxy Coss, Aubrey demystiﬁed. Through analyses and Johnson and Tahira Clayton CLINIC: MEET THE LEJEND listening, this session illuminates an 1-1:50 p.m. approach to inserting Powell-isms The LeJENd Interview Strand 12A (Level 2) into one’s improvisational concept. with Chucho Valdés WIJO will host a diverse panel of women 1-1:50 p.m. in jazz. Panelists will speak on issues JJF PERFORMANCE/CLINIC Imperial 11 (Level 4) in the jazz community, reasons for the Los Angeles City College A Conversation with the 2020 LeJENd underrepresentation of women in jazz, Jazz Guitar Ensemble of Latin Jazz Recipient Chucho Valdés. the impact of approaching jazz educa- DIRECTOR: Karl Kerfoot tion with an inclusive and intersectional 1:30-2:30 p.m. RESEARCH PRESENTATION focus, and ways to promote equity and Strand 10A (Level 2) Will Jazz Make You diversity in jazz through education. Smarter? Potential Links Between Improvisation MEETING JJF PERFORMANCE/CLINIC Instruction & Executive Function JEN Committee Chairs Hoover High School PRESENTER: Martin Norgaard Training and Meeting Hoover Jam 1-1:25 p.m. CHAIR: Sean Jones DIRECTOR: Sallie Vines White Imperial 12 (Level 4) 1-1:55 p.m. 1:30-2:30 p.m. A study involving 155 middle school Strand 3 (Level 2) Strand 11 (Level 2)

52 JAZZ EDUCATION NETWORK 2020 CONFERENCE PROGRAM WEDNESDAY, JAN. 8

JJF PERFORMANCE/CLINIC challenges and opportunities of playing in 2-2:50 p.m. Downey High School a duo of saxophone and drums. Histor- Imperial 5 (Level 4) Jazz Ensemble ical examples will be looked at includ- For more than 20 years, the trustworthy DIRECTOR: Corneliu Olariu ing John Coltrane and Rashied Ali; Ed bass-and-drum team of Martin Wind 1:30-2:30 p.m. Blackwell and Dewey Redman; and, Max and Matt Wilson (MW), has performed Strand 13 (Level 2) Roach and Anthony Braxton. Some of the with a wide range of artists on hun- special challenges and opportunities of dreds of gigs around the world. They PERFORMANCE: this musical context will be examined. have played on 35 recordings togeth- SCHOOL/INSTRUMENTAL er. Sponsored by D’Addario strings, Brigham Young University RESEARCH PRESENTATION Acoustic Image ampliﬁers, Craviotto Jazz Legacy Band Radiohead Runs drums, Zildjian cymbals and Remo DIRECTOR: Kristen Bromley the Voodoo Down drumheads. 2-2:50 p.m. PRESENTER: Pete Carney Conservatory Stage/Elite Foyer (Level 1) 2-2:25 P.m. CLINIC: COMPOSITION/ The BYU Jazz Legacy Band specializes in Imperial 12 (Level 4) ARRANGING Traditional Jazz, giving the audience a taste Starting in 1996, Radiohead modeled Miles Bird with Strings, Big Band of New Orleans through the music of early Davis’s Bitches Brew. After a Grammy and Voices: Secrets Revealed jazz masters like Jelly Roll Morton, King award, the group’s rock exodus went from the Manuscripts Oliver, Sidney Bechet and Louis Armstrong. deeper into jazz. This presentation shows CLINICIAN: Jeffrey Sultanof Radiohead borrowing directly from Louis 2-2:50 p.m. CLINIC: ADVANCED Armstrong, Miles Davis, Alice Coltrane Imperial 9 (Level 4) IMPROVISATION and Charles Mingus. It includes two new Jeffrey Sultanof examines the manifold The Art of the Saxophone and interviews Dr. Pete Carney conducted with musical and professional consider- Drum Duo in Historical Context jazz musicians working for Radiohead. ations of the Charlie Parker recorded and in Performance with string, wind and vocal ensem- CLINICIANS: Jeff Lederer & Allison Miller CLINIC: BANDSTAND bles. In the course of preparing this 2-2:50 p.m. ASSURANCE music for publication with Rob Du- Foster 1 (Level 2) Sonic Liberation Via a Spirited Boff for Jazz Lines Publications, new Drummer Allison Miller and multi-reedist Bass & Drum Team research revealed information that Jeff Lederer present a brief overview of the CLINICIANS: Martin Wind and Matthew Wilson was previously unknown…until now.

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MEETING AAJC: African American Jazz Caucus Meeting CHAIR: Dr. Triniece Robinson-Martin 2-2:55 P.m. Strand 3 (Level 2) The African American Jazz Caucus is a 501(c)3 charitable volunteer-based organization that aims to preserve, promote and perpetuate African Diaspora contributions to the rich cultural heritage of jazz. The Jazz Caucus meeting is open to all interested in learning about ways to get involved in supporting this vital organization.

RESEARCH PRESENTATION Kenny Werner Kidd Jordan Dave Brubeck: Cold War Jazz Ambassador, on Air and PERFORMANCE: PERFORMANCE: SCHOOL/VOCAL In Person PROFESSIONAL/INSTRUMENTAL Bellevue College Jazz Singers PRESENTER: Maristella Feustle The Rodger Fox Big Band DIRECTOR: Thomas Almli 2:30-2:55 P.m. 2-2:50 p.m. 2-2:50 p.m. Imperial 12 (Level 4) Inspirations Stage/Celestin Ballroom (Level 3) New Voices Stage/Empire Ballroom A American jazz acts made inroads behind New Zealand’s premier big band led by (Level 2) the Iron Curtain in the late 1950s, but it was jazz-big band, trombone legend Rod- This is a nationally acclaimed, award-win- Willis Conover’s program on the Voice of ger Fox is performing in its ﬁrst JEN ning vocal jazz ensemble, presenting America that helped cultivate and sustain performance, presenting a completely a wide array of vocal jazz gems. The audiences beforehand. Dave Brubeck’s composed New Zealand program and group won the 2019 DownBeat Student 1958 journey to Poland exempliﬁes the features vocalist Erna Ferry. New Zea- Music Award for Large Vocal Ensemble connection between Conover’s program land jazz comes to the home of jazz! in the community college division. and jazz artists’ tours to Eastern Europe.

54 JAZZ EDUCATION NETWORK 2020 CONFERENCE PROGRAM WEDNESDAY, JAN. 8

CLINIC: BEGINNING PRESENTER: Shawn Purcell JJF PERFORMANCE/CLINIC IMPROVISATION 3-3:25 p.m. Hoover HS First Edition Developing Ideas through Imperial 12 (Level 4) Jazz Ensemble Rhetorical Devices: An Innova- This study compares and contrasts DIRECTOR: Sallie Vines White tive Approach to Beginning and traditional vs. modern melodic and 3-4 p.m. Intermediate Improvisation harmonic devices employed by jazz Strand 11 (Level 2) CLINICIAN: Jeff Erickson guitarist Peter Bernstein through anal- 3-3:50 p.m. ysis of transcribed solos recorded JJF PERFORMANCE/CLINIC Foster 2 (Level 2) between the years 1992 and 2008. Time Check Jazz Orchestra Ideal for beginners, this hands-on clinic is for any level improviser or teacher. PERFORMANCE: DIRECTOR: Caleb Chapman Student volunteers from the audience will PROFESSIONAL/INSTRUMENTAL 3-4 p.m. Strand 13 (Level 2) demonstrate how the rhetorical devices Dave Stryker Quartet presents used by Sonny Rollins and other master Organ Bird improvisers can transform simple ideas 3-3:50 p.m. CLINIC: VOCAL into coherent, effective improvisation- LeJENds Stage/Storyville Hall How to Dig Your Vocal al phrases. Bring your instrument! (Level 3) Jazz Charts Deeper! Guitarist Dave Stryker and his quartet CLINICIAN: Jeremy Fox CLINIC: MEET THE LEJEND will perform interpretations of Charlie 3-3:50 p.m. The LeJENd Interview Parker’s songs as played in an organ Strand 12A (Level 2) with Kidd Jordan combo setting with Jared Gold, organ; Dig deeper to uncover the textural 3-3:50 p.m. Adam Nussbaum, drums; Tom Walsh, and harmonic techniques that vocal Imperial 11 (Level 4) tenor; and John Raymond, trumpet. (as well as instrumental) jazz arrang- A conversation with the 2020 LeJENd of ers use to help deepen your musical Jazz Education recipient Kidd Jordan JJF PERFORMANCE/CLINIC understanding and better guide your Temple High School ensemble’s musical decisions. Exam- RESEARCH PRESENTATION Brass Band ples of several techniques will be shown An Analysis of Traditional and DIRECTOR: Markus Bonilla and demonstrated with Jeremy Fox’s Modern Devices in the Improvised 3-4 p.m. First Take ensemble from the School Solos of Peter Bernstein Strand 10A (Level 2) for Music Vocations in Creston, Iowa.

CONFERENCE PROGRAM JAZZ EDUCATION NETWORK 2020 55 WEDNESDAY, JAN. 8

Dave Stryker Matt Wilson ChiArts Jazz Quartet

Allison Miller Roger Treece Rosana Eckert Jeff Lederer

MEETING In this presentation, Mathias Heyman dis- insight into the improvisation of legend- Women in Jazz Committee cusses how two international jazz contests, ary pianist Ferdinand Jelly Roll Morton. Meeting the B-Jazz International Contest and the Analysis of three solo piano performance CLOSED MEETING: Committee Members Only Herbie Hancock International Competition, transcriptions of “King Porter Stomp” CHAIR: Roxy Coss mediate certain cultural meanings and from the 1920s demonstrates that impro- 3-3:55 p.m. values, in particular relating to authen- visation takes place at the background Strand 3 (Level 2) ticity and ownership. In the process, he and foreground levels, and is deliberately will demonstrate how these competi- organized to serve compositional goals. PERFORMANCE: tions aid the global circulation of jazz . SCHOOL/INSTRUMENTAL CLINIC: NEW ORLEANS The Oberlin Conservatory Genre CLINIC: BEGINNING Street Smarts: Using New Nova Ensemble with Kenny IMPROVISATION Orleans Music Traditions to Werner and Jamey Haddad 10 Techniques to Help Mentor and Inspire Jazz Students DIRECTORS: Jay Ashby and Jamey Haddad Developing Jazz Soloists CLINICIAN: Evan Christopher 3-3:50 p.m. CLINICIAN: Mike Dana 4-4:50 p.m. Visions Stage/Empire Ballroom C-D (Level 2) 4-4:50 a.m. Imperial 5 (Level 4) Oberlin Conservatory’s Genre Nova Foster 1 (Level 2) The birthplace of jazz is also the birthplace Ensemble consists of a diverse group of Many developing jazz improvisers struggle of jazz pedagogy. New Orleans music and students from both the Jazz and Clas- with their solos, which often lack rhythmic music-making traditions are invaluable for sical departments, resulting in a truly drive, melodic development, and a solid teaching jazz improvisation, instrumen- unique instrumentation. While exploring grasp of the chord changes. This clinic tal techniques as well as performance repertoire from various styles of Global will offer directors at all levels 10 ways to strategies for soloists and ensembles. music, fundamental principles of impro- help their students craft more compelling Clarinetist Evan Christopher shares a visation, arranging/composition, and solos using available rehearsal time. historically informed framework for men- ensemble playing are developed. toring and inspiring students of any level. RESEARCH PRESENTATION RESEARCH PRESENTATION King Porter Stomps: Improvi- CLINIC: VOCAL For Horses, Not For Artists: sation in the Solo Piano Music of 3-D Exercises for Singers: Meaning and Value in Jelly Roll Morton Integrating Theory, Ear-Training and International Jazz Contests PRESENTER: Gordon Sheard Voice Technique into One Exercise PRESENTER: Mathias Heyman 4-4:25 a.m. CLINICIAN: Roger Treece 3:30-3:55 p.m. Imperial 12 (Level 4) 4-4:50 p.m. Imperial 12 (Level 4) In this presentation Gordon Sheard offers Imperial 9 (Level 4)

56 JAZZ EDUCATION NETWORK 2020 CONFERENCE PROGRAM WEDNESDAY, JAN. 8

This session offers a new method for understanding and creating music. Systematic exercises create the elements of a complete vertical musical structure (meter, subdivi- sion, melody and harmony) in real-time, within a repeating vamp. These exercises guide participants in constructing rhythmic, harmonic and melodic elements, cultivating an inside-out understanding of music.

PERFORMANCE: PROFESSIONAL/VOCAL Rosana Eckert Quintet 4-4:50 p.m. New Voices Stage/Empire Ballroom A (Level 2) Rosana Eckert, a jazz singer/songwriter and dynamic improviser, presents music from her acclaimed new album Sailing Home, which was released this summer on Origin Records. Pro- duced by Peter Eldridge, the music takes a ride from funky grooves to bluesy swing to heartbreaking ballads to modern and ethereal landscapes. MEETING International Welcome Gathering HOSTS: Mary Jo Papich, Lou Fischer 4-5 p.m. Strand 1 (Level 2) MEETING Young Composer Showcase Committee Meeting COORDINATOR: David Fodor 4-4:50 p.m. Strand 3 (Level 2)

PERFORMANCE: SCHOOL/INSTRUMENTAL The Chicago High School for the Arts Honors Jazz Quartet DIRECTOR: Anthony Bruno 4:30-5:30 p.m. Conservatory Stage/Elite Foyer (Level 1) In celebration of Dave Brubeck’s and Char- lie Parker’s 100th birthdays, the ChiArts Honors Jazz Combo be performing classic compositions by each artist. The ensemble will perform its own contemporary arrangements including elements of Latin, r&b, and New Orleans second-line styles.

RESEARCH PRESENTATION Understanding the Music of Gerry Mulligan PRESENTER: David Larsen 4:30-4:55 p.m. Imperial 12 (Level 4) This presentation will showcase the compositional style of Gerry Mulligan.

CONFERENCE PROGRAM JAZZ EDUCATION NETWORK 2020 57 From interviews with musicians and analysis of his original scores, manuscripts, and the parts used by his Con- cert Jazz Band, David Larsen will be showcasing his unique style of chamber music in his compositions.

PERFORMANCE: PROFESSIONAL/ INSTRUMENTAL Ricky Sebastian Quintet 4:30-5:20 p.m. LeJENds Stage/Storyville Hall (Level 3) The Ricky Sebastian Quintet with Steve Masakowski, Oscar Rossignoli, Brian Quezergue and Derek Douget pays respect to the tradition of early New Orleans jazz, but focuses on the evolution of jazz as an American art form and how it has in- corporated musical styles from other countries. We draw inspiration from Cuba, Puerto Rico, Brasil and the Caribbean.

JJF PERFORMANCE/CLINIC Temple High School Wildcat Jazz Combo DIRECTOR: Marcos Duran 4:30-5:30 p.m. Strand 10A (Level 2)

JJF PERFORMANCE/CLINIC Kirkwood Community College Jazz Transit DIRECTOR: Fred Kiser 4:30-5:30 p.m. Strand 11 (Level 2)

JJF PERFORMANCE/CLINIC Los Angeles City College Studio Jazz Band DIRECTOR: Kristina Raymond 4:30-5:30 p.m. Strand 13 (Level 2)

RESEARCH PRESENTATION Discovering Marian McPartland’s Solo Piano Style Used in Portraits PRESENTER: Theresa Chen 5-5:25 p.m. Imperial 12 (Level 4) The presentation is part of a future book project on the evolution of Marian McPartland’s piano style. It includes a discussion of the musical elements in her free improvisation and analyses on three newly transcribed Portraits taking place during early 2000s.

EXHIBITS OPEN Exhibitor Welcome! Meet the Artists and VIPs 5:30-7:30 p.m. Elite Hall (Level 1) JEN REGISTRATION OPEN 7:30-8:30 p.m. Elite Foyer (Level 1)

PERFORMANCE: PROFESSIONAL/INSTRUMENTAL LSAT Quintet 8:10-9 p.m. Inspirations Stage/Celestin Ballroom (Level 3) Lauren Sevian, baritone saxophonist, and Alexa Tarantino, alto saxophonist, present their ﬁery and engaging quintet LSAT. These saxophonists fuse with a dynamic rhythm section that propels their music to new heights. LSAT presents original compositions highlighting the unique combination of baritone and alto saxophone, and favorites from the jazz repertoire. They will be joined by Steven Feifke on piano, Marcos Varela on bass and Matt Wilson on drums.

PERFORMANCE: PROFESSIONAL/ INSTRUMENTAL WITH VOCALS The Bria Skonberg Quartet with Roxy Coss 9:10-10 p.m. Inspirations Stage/Celestin Ballroom (Level 3) The Bria Skonberg Quintet—with Darrian Douglas, Devin Starks, Mathis Picard and Hal Melia—perform Louis Arm- strong to Leonard Cohen and beyond. This New York-based quartet led by trumpeter/vocalist Bria Skonberg links the present with the past by playing inventive arrangements of traditional jazz repertoire, clever reinterpretations of contemporary classics and original compositions with genuine heart and dynamic ﬂair. Skonberg is a Bach Conn-Selmer Artist.

PERFORMANCE: PROFESSIONAL/INSTRUMENTAL Brubecks Play Brubeck 10:10-11 p.m. Inspirations Stage/Celestin Ballroom (Level 3) The Brubecks Play Brubeck ensemble features the Brubeck brothers—Darius (piano), Chris (electric bass & trombone) and Dan (drums)—with British international tenor sax star Dave O’Higgins celebrating Dave Brubeck’s centennial year in a concert of music from different periods of his long, illustrious career.

PERFORMANCE: SCHOOL/INSTRUMENTAL Western Michigan University Gold Company DIRECTOR: Greg Jasperse 11 p.m.-Midnight New Voices Stage/Empire Ballroom A (Level 2) Western Michigan University’s award-winning Gold Com- pany regularly explores the edges of vocal jazz and dynamic creativity in an ensemble setting. For this performance, the group adds the spirited wizardry of special guests Johnaye Kendrick and Peter Eldridge to the mix.

JAM SESSION: PRO NETWORK HANG 11:30 p.m.-1:30 a.m. Vitascope (Level 3)

JAM SESSION: STUDENT JENerations JAM (Beginner) Midnight-1:30 a.m. Strand 10A (Level 2)

JAM SESSION: STUDENT JENerations JAM (Intermediate) Midnight-1:30 a.m. Strand 11 (Level 2)

JAM SESSION: STUDENT JENerations JAM (Advanced) Midnight-1:30 a.m. Strand 13 (Level 2)

CONFERENCE PROGRAM JAZZ EDUCATION NETWORK 2020 59 JEN SCHEDULE THURSDAY, Jan. 9

MEETING PERFORMANCE CLINIC JJF RESEARCH JAM SESSION

U.S. Navy Commodores Terell Stafford

Dirty Dozen Brass Band Bass Extremes

MEETING/CLOSED veloping a jazz saxophone tone, which ing concepts from Jerry Bergonzi’s Education Committee projects and blends, as well as tips to Inside Jazz Improvisation Series. CHAIR: Dan Gregerman play the instrument more in-tune. Hand- 8-8:55 a.m. outs included with every day exercises. RESEARCH PRESENTATION Strand 3 (Level 2) We Knew What We Had: The CLINIC: TECHNOLOGY Greatest Jazz Story Never Told JEN REGISTRATION OPEN Beginning to Advanced PRESENTER: Marty Ashby 9 a.m.-5 p.m. Improvisation Using SmartMusic 9-9:50 a.m. Elite Foyer (Level 1) CLINICIAN: Ted Scalzo Imperial 12 (Level 4) 9-9:50 a.m. We New What We Had is a documentary CLINIC: SAXOPHONE TECHNIQUE Imperial 11 (Level 4) ﬁlm screening and question-and-answer Taming and Tuning SmartMusic is a play-along accom- session. This ﬁlm explores social conditions Your Saxophone Section paniment tool with a huge library of and historical events that conspired to make CLINICIAN: Justin Pierce jazz methods, improvisation mate- Pittsburgh a leading contributor to the leg- 9-9:50 a.m. rial and jazz ensemble performance acy of jazz music. Packed with compelling Foster 1 (Level 4) pieces. In this clinic we will demon- interviews, historical photographs and more Do you have a great band, but the strate techniques and materials in than 20 live performance clips by George saxophone section and/or soloists need SmartMusic that are appropriate for Benson, Ray Brown, Billy Strayhorn, Mary work? Come and learn the keys to de- each level of jazz improvisation us- Lou Williams and more—all Pittsburghers.

60 JAZZ EDUCATION NETWORK 2020 CONFERENCE PROGRAM CONFERENCE PROGRAM JAZZ EDUCATION NETWORK 2020 61 THURSDAY, JAN. 9

Sallie B. Howard School Vocal Jazz Ensemble

Jeff Coffin

Ali Ryerson Bob Breithaupt John Beasley

CLINIC: VOCAL Performing an energy-ﬁlled selection 9-9:55 a.m. Jazz Choir: Rendition, of songs from their latest album Move- Strand 3 (Level 2) Spontaneity, Improvisation & ment, the Kobie Watkins Grouptet is JEN fosters substantive one-to-one Styling the Chart taking music in an exciting direction, mentoring between student musicians CLINICIAN: Frank DeMiero on a quest to infect music lovers spir- and experienced, master-level profession- 9-9:50 a.m. itually, creatively and emotionally. als. Join us as we provide skills you can Imperial 5 (Level 4) use to create and foster the best men- This session offers exciting educational JJF PERFORMANCE/CLINIC torship experience for young students. and entertaining methods for develop- University of Vermont ing rendition, spontaneity, improvisation Post Bop Ensemble PERFORMANCE: and the lyrics in jazz choir charts. DIRECTOR: Ray Vega SCHOOL/INSTRUMENTAL 9-10 a.m. Arlington High School CLINIC: PRESENTING Strand 10A (Level 2) Jazz Machine Let’s Get Real About DIRECTOR: Richard Guillen Being an Inspirational Clinician JJF PERFORMANCE/CLINIC 9-9:50 a.m. CLINICIAN: John Wittmann Blue Valley High Visions Stage/Empire Ballroom C-D (Level 2) 9-9:50 a.m. School Trebleaires The award-winning Arlington High School Jazz Machine from LaGrangeville, New York, Strand 12A (Level 2) DIRECTOR: Taryn Gervais John Wittman will discuss the attributes 9-10 a.m. performs a dynamic set of big band jazz and tactics of great clinicians. Attendees Strand 11 (Level 2) spanning a wide range of styles and eras. will be challenged to evaluate and up their game. Active and aspiring clini- JJF PERFORMANCE/CLINIC DEDICATED EXHIBIT HOUR cians will gain real-life insight and an East Texas Youth Orchestra Meet the Artists & VIPs action plan to improve their practices Jazz Academy 10-11 a.m. and impact. Sponsored by Yamaha. Elite Hall (Level 1) DIRECTOR: Sarah Roberts 9-10 a.m. Exhibits Open 10 a.m.-5 p.m. PERFORMANCE: Strand 13 (Level 2) PROFESSIONAL/INSTRUMENTAL PERFORMANCE: Kobie Watkins Grouptet MEETING SCHOOL/INSTRUMENTAL 9-9:50 a.m. Mentoring Training The Stamps Jazz Quintet LeJENds Stage/Storyville Hall (Level 3) CHAIR: Ashley Shabankareh DIRECTOR: Chuck Bergeron

62 JAZZ EDUCATION NETWORK 2020 CONFERENCE PROGRAM THURSDAY, JAN. 9

11-11:50 a.m. Individuals will present their research CLINIC: APPRECIATION Conservatory Stage/Elite Foyer (Level 1) methods and attendees can ask ques- Experiencing Chick Corea: The Stamps Jazz Quintet is a student tions. The idea of research is quite an A Listener’s Companion ensemble from the University of Miami’s open concept. Several experienced PRESENTERS: Monika Herzig, Frost School of Music. The group just re- researchers (including: Daryl Kinney, Peter Kienle & Joshua Roberts leased its ﬁrst CD of original compositions, Ohio State; Martin Norgaard, Georgia 11-11:50 a.m. called Blue Paint, on ArtistShare. Stamps State; Monika Herzig, Indiana Uni- Foster 2 (Level 2) trumpet player David Sneider recently won versity; and Harry Price, Kennesaw This clinic on Chick Corea’s music looks the 2019 National Trumpet Competition. State) will present approaches to at the full span of Corea’s career, de- research demonstrating many ways cade by decade, touching on the vast CLINIC: RHYTHM SECTION this work can be done. There will be array of musical styles he engaged in, Focus on Drum Set and Its time for questions to address any- and provides tools for classroom ap- Evolution—Improvisation, Rhythm thing the audience would like to ask. plications and personal listening based and Phrasing for All Instruments on Herzig’s 2017 book, Experiencing CLINICIAN: Ricky Sebastian CLINIC: INTERMEDATE Chick Corea: A Listener’s Compan- 11-11:50 a.m. IMPROVISATION ion from Rowman & Littleﬁeld. Imperial 11 (Level 4) Expanding Your Blues This clinic focuses on the history and evo- Vocabulary—From Bird’s PERFORMANCE: lution of the drum set, and Ricky Sebas- Blues to Modal PROFESSIONAL/INSTRUMENTAL tian’s approach to improvisation as well as CLINICIAN: Dave Stryker New Orleans Jazz Professors rhythm and phrasing for all instruments, 11-11:50 a.m. 11-11:50 a.m. displacement and how to accent phras- Imperial 5 (Level 4) Inspirations Stage/Celestin Ballroom (Level 3) es. Sebastian will also cover knowledge Guitarist Dave Stryker will explain and The New Orleans Jazz Professors: of various jazz styles in this clinic. demonstrate strategies you can use to Jazz History and Revival Show is open up ideas that make your blues presented by the New Orleans Jazz RESEARCH PRESENTATION sound more interesting and modern. Professors, a rotating ensemble of Jazz Research Approaches By explaining different substitute chord local New Orleans greats who also PRESENTER: Harry Price changes and melodic phrases that work share their gift and expertise in the 11-11:50 a.m. over them, new improvisational and educational world. This group is led Imperial 12 (Level 4) compositional ideas can be unleashed. by local jazz artist Matt Lemmler.

CONFERENCE PROGRAM JAZZ EDUCATION NETWORK 2020 63 THURSDAY, JAN. 9

JJF PERFORMANCE/CLINIC Folsom High School Jazz Choir DIRECTOR: Curtis Gaesser 11 a.m.-Noon Strand 11 (Level 2)

JJF PERFORMANCE/CLINIC Blue Valley West HS Jazz 1 DIRECTOR: Cheryl Lee 11 a.m.-Noon Strand 13 (Level 2) MEETING Development Committee 11-11:55 a.m. Oklahoma State University Big Band CHAIRS: Ashley Shaban- kareh & Doug DuBoff PERFORMANCE: SCHOOL/VOCAL The substance of our program high- Strand 3 (Level 2) Sallie B. Howard School for lights the elements of many genres the Arts & Education Vocal and fusions. The element of harmony CLINIC: CLASSROOM TEACHING Jazz Ensemble and pizazz will be exempliﬁed. Guest JazzSLAM (Jazz Supports DIRECTOR: Manuel Martinez artists include Al Strong, trumpet, and Language Arts & Math): Acedemics 11-11:50 a.m. Lenora Helm Hammonds, vocals. Through Jazz New Voices Stage/Empire Ballroom A (Level 2) CLINICIAN: Mari Mennel-Bell This performance is a combination of JJF PERFORMANCE/CLINIC 11-11:50 A.m. jazz, soul and blues. Sponsorships Milton Academy I Strand 12A (Level 2) include North Carolina Central Univer- DIRECTOR: Bob Sinicrope By using their aural, visual and tactile intel- sity’s Jazz Studies Program, The City 11 a.m.-Noon ligences, students of all ages can be mo- of Wilson and The Wilson Arts Council. Strand 10A (Level 2) tivated to learn academics through jazz—

64 JAZZ EDUCATION NETWORK 2020 CONFERENCE PROGRAM THURSDAY, JAN. 9

math through subdivisions of whole notes; dynamics, orchestration, defining form and collaboration with Woody Witt and Daniel social studies through understanding the the unique combination of simultaneously Dufour. The concert will feature personal roots of jazz from Africa to the Caribbean interpreting and improvising within a drum compositions from Zlat’s new album The to NOLA and across the United States; chart. This clinic will define strategies in Land of Dreams as well as rearranged and essay structures through song forms. guiding your young drummers toward suc- standards from his extensive repertoire. cess. Sponsors: Capital University, Yamaha, With influences from pop, rock, neo-soul, CLINIC: TOURING TIPS Sabian, Innovative Percussion and Remo. Romanian folklore, classical and Latin What Needs To Be music combined with jazz, this musi- Done Before Leaving Your CLINIC: VOCAL cal journey is one not to be missed. Driveway On Tour? Tell Your Story Through MEETING CLINICIAN: Jeff Coffin the Lyrics of Jazz Standards Noon-12:50 p.m. CLINICIAN: Kate Skinner with Josh Skinner Collegiate Panel Discussion Strand 12A (Level 2) Noon-12:50 p.m. MODERATOR: Natalie Wilson You want to be a touring musician? Jeff Imperial 9 (Level 4) Noon-12:55 p.m. Coffin, jazz artist, saxophonist and member Get personal with jazz vocalist Kate Strand 3 (Level 2) of the Dave Matthews Band explores the Skinner! Often, it can be easy for vocalists All Collegiate students are invited and en- many things that need to be done before to feel trapped in the same interpreta- couraged to share, discuss and learn from a even leaving the driveway on tour. From tions of jazz standards that we sing over panel of jazz educators about opportunities choosing a band, making a budget and and over. This clinic will delve into strat- for teaching and performing jazz. Prepare selling merch to getting gigs, filling out egies for finding a personal connection to be enlightened and connect with other contracts and more. This clinic covers it all. to those lyrics, and then techniques for collegiate members attending JEN! sharing that story with an audience. CLINIC: REHEARSAL TECHNIQUES PERFORMANCE: Communicating With the PERFORMANCE: SCHOOL/INSTRUMENTAL Young Drummer—It Is Possible! PROFESSIONAL/INSTRUMENTAL Stephen Foster All-Star CLINICIAN: Robert Breithaupt The Land of Dreams Jazz Legacy Orchestra Noon-12:50 p.m. Noon-12:50 p.m. DIRECTOR: Stephen Foster Foster 2 (Level 4) LeJENds Stage/Storyville Hall (Level 3) Noon-12:50 p.m. The drummer is a key component of any The Land of Dreams features Interna- Visions Stage/Empire Ballroom C-D (Level 2) jazz ensemble from stylistic interpretation, tional Award-Winning Pianist Sorin Zlat in The African American Jazz Caucus and

CONFERENCE PROGRAM JAZZ EDUCATION NETWORK 2020 65 THURSDAY, JAN. 9

PERFORMANCE: SCHOOL/INSTRUMENTAL Thelma Yellin 4 Flute Flight DIRECTOR: Matten Klein 1-1:50 p.m. Conservatory Stage/Elite Foyer (Level 1) The Thelma Yellin 4 Flute Flight ensemble from Israel was established in 2013 and combines four unique ﬂute voices with an energetic acoustic rhythm section playing Brazilian music fused with jazz, Middle Eastern, ’70s fusion hits and original compositions.

RJAM CLINIC: PIANO TECHNIQUE The Physical Mechanics of Historically Black Colleges & Universities JJF PERFORMANCE/CLINIC Jazz Piano Technique: A Differ- Ensemble present the Stephen Foster All- Fairview HS Age of ent Way to Study the Lineage Star Jazz Legacy Orchestra with legendary Guinevere CLINICIANS: Dave Meder & Steven Harlos New Orleans saxophonist James Rivers DIRECTOR: Janice Vlachos 1-1:50 p.m. and vocalist Jermaine Bazzle. This Orches- 12:30-1:30 p.m. Imperial 11 (Level 4) tra consists of 20 outstanding musicians Strand 11 (Level 2) We often study the solos, voicings from Mr. Foster’s 46 years of serving as and other musical aesthetics of our a music instructor and bandleader. jazz pianist heroes, but what about JJF PERFORMANCE/CLINIC their unique physical approaches to JJF PERFORMANCE/CLINIC The Jazz Studio the instrument? This clinic analyzes Downey High School Combo A Community Big Band a handful of jazz pianists in terms of DIRECTOR: Corneliu Olariu DIRECTOR: Hosea London their technique and mechanics—an 12:30-1:30 p.m. 12:30-1:30 p.m. invaluable, yet oft-neglected, approach Strand 10A (Level 2) Strand 13 (Level 2) for achieving an authentic sound.

66 JAZZ EDUCATION NETWORK 2020 CONFERENCE PROGRAM THURSDAY, JAN. 9

MEETING Gabriel Espinosa will be performing Foster 2 (Level 2) The RING: Research music of his latest production called Practice techniques culled from more Committee Meeting Nostalgias De Mi Vida. The CD came than 40 years of experience, drawing CHAIR: Monika Herzig out on Zoho Records in 2018. It is a on lessons from Gary Campbell, 1-1:55 p.m. set of compositions with a Mexican/ Sonny Stitt, Gerry Niewood, Dave Imperial 12 (Level 4) Brazilian flavor featuring Kim Nazari- Liebman and Michael Brecker. an, Jay Ashby, Misha Tsiganov, Adri- Through transcription and assimi- CLINIC: COMPOSITION/ARRANGING ano Santos and a few other guests. lation of the jazz language, and its Bob Brookmeyer’s transformation, Rick Margitza will Compositional Exercises CLINIC: PANEL DISCUSSION provide a specific path geared toward CLINICIAN: Dave Rivello Dave Brubeck the finding your own, personal voice. 1-1:50 p.m. REAL Ambassador Imperial 5 (Level 4) MODERATOR: Todd Stoll CLINIC: PANEL DISCUSSION This clinic will focus on the three primary PANELISTS: Stephen Crist, Keith Hatschek Crossing the Divide: compositional exercises that Rivello got and Darius Brubeck Healing Racial Tension from Bob Brookmeyer during lessons. 1-1:50 p.m. at our Jazz Festivals These exercises are included in his Strand 12A (Level 2) MODERATOR: Allyssa Jones new book, Bob Brookmeyer in Con- MEETING PANELISTS: Gregory J. Holt, Ronald versation with Dave Rivello. Rivello Carter, Doug Stone & Jiana Hunter currently teaches these to his students JAZZ2U grant info/virtual 2-2:50 p.m. at the Eastman School of Music. outreach meeting Imperial 9 (Level 4) CHAIR: Mary Jo Papich Last school year, students of color PERFORMANCE: 1-1:55 p.m. navigated racism at a competitive PROFESSIONAL/VOCAL Strand 3 (Level 2) jazz festival, amplifying long-stand- Gabriel Espinosa Nostalgias ing tensions in our field. This session De Mi Vida featuring Kim Nazarian CLINIC: INSTRUMENTAL provides a safe space to come & Jay Ashby Practicing Toward Developing together and talk as fellow musi- 1-1:50 p.m. Your Individual Voice cians. Hear from panelists, share New Voices Stage/Empire Ballroom A CLINICIAN: Rick Margitza with peers and walk away with (Level 2) 2-2:50 p.m. a sense of a place to start.

CONFERENCE PROGRAM JAZZ EDUCATION NETWORK 2020 67 Research Poster Sessions THURSDAY, JAN. 9

2-4 p.m. STRAND FOYER (Level 2)

Dave Brubeck Charlie Parker

DON WILKERSON AND THE providing a detailed catalogue and analysis ists, the presentation will address creative TEXAS TENOR TRADITION of each player’s musical vocabulary. and practical elements of the compositional PRESENTER: David Detweiler process, presenting strategies for develop- Don Wilkerson comes from the Texas A COMPARISON OF CHARLIE ing a personal compositional methodology. tenor tradition perhaps best associated PARKER SOLOS ON CHEROKEE with Arnett Cobb and Illinois Jacquet. PRESENTER: Russell Haight AN ANALYSIS OF THE MUSICAL This presentation will focus on the Texas This session will compare and contrast VOCABULARY OF MELISSA ALDANA tenor lineage, with particular attention to several Charlie Parker improvisations over PRESENTER: Bennett Wood Don Wilkerson’s improvisatory style. An the chord progression to the jazz standard This research provides context for Melissa analysis of select solos will show his take “Cherokee.” The solos will range from Aldana’s musical vocabulary within the canon harmony, melody and nuance of sound. Parker’s earliest recorded work with the on of jazz saxophonists, tracing a range of Jay McShann Orchestra to his final years. influences from Sonny Rollins to Mark Turn- A COMPARITIVE ANALYSIS OF THE er and highlighting the elements of Aldana’s MUSICAL VOCABULARY OF FATS A SURVEY OF COMPOSITIONAL approach, which cement her position as a NAVARRO & CLIFFORD BROWN METHODOLOGIES USED BY unique and essential voice in jazz today. PRESENTER: Christopher Navarrete CONTEMPORARY JAZZ MUSICIANS This research is designed to provide PRESENTER: Joel Linscheid COMPOSING WITH THE MODES musical examples chosen from a body of This presentation will examine the composi- AND CHORDS OF HARMONIC 30 transcribed solos of the performance tional approaches of several contemporary MINOR AND HARMONIC MAJOR influence Fats Navarro had on Clifford jazz musicians, including Jerry Bergonzi, PRESENTER: Greg Weis Brown. The objective is to highlight the Dave Holland and Donny McCaslin. Based This poster session examines the modes musical link between Navarro and Brown, on interviews and private study with the art- of harmonic minor and harmonic ma-

68 JAZZ EDUCATION NETWORK 2020 CONFERENCE PROGRAM jor (Ionian 6) and their implementation IMPROVISATION IN TRADITIONAL in turn. The primary focus will be on the in modal jazz composition. Topics will BRAZILIAN POPULAR MUSIC evolution between these periods of mod- include constructing strong voicings PRESENTERS: Janet Grice & Paulo Siquiera ern jazz historiography. Projected visual for each mode, strategies for modal This study addresses performance practice imagery and text will support the talk. composition, balancing bright and dark in Brazilian music—choro and samba— sonorities within a progression and the through an analytical study of improvisation THE ADAPTATION OF SAXOPHONE- appropriate nomenclature for each mode. that examines different types of melo- LIKE PHRASING INTO THE IMPROVI- dies and bass lines, presenting research SATORY VOCABULARY OF JAZZ CONSEQUENTIAL SAINTS: A MORAL on improvisational styles. Participants GUITAR: AN ANALYSIS OF MELODIC ECOLOGICAL UNDERSTANDING OF will develop a deeper understanding DESIGN & ARTICULATION RELIGION & JAZZ IN NEW ORLEANS of the repertoire, gaining insight to the PRESENTER: Daniel Pinilla PRESENTER: David Baker musical language of Brazilian music. This study investigates how different gui- Through the lens of moral ecology, the tarists introduced saxophone-like phrasing religious influence on the culture of early LITTLE BIRD: AN EXAMPLE OF into the improvisatory vocabulary of jazz jazz in New Orleans can be redefined. THE EARLY ALTO SAXOPHONE guitar through their collaborations with Complex identity structures combine with STYLE OF JIMMY HEATH saxophonists. Daniel Pinilla will present a other factors to show that jazz musicians PRESENTER: Jeff Rzepiela comparative analysis of phrasing, articula- looked to one another for guidance—a trait Although Jimmy Heath is known pri- tion and melodic design in solo improvisa- that can be observed in jazz culture today. marily as a tenor player, he began as an tions to demonstrate how style in jazz flows alto saxophonist, drawing so heavily on between different instrument lineages. DAVE BRUBECK’S NOMAD: Charlie Parker that he earned the nick- INCORPORATION OF NON-WESTERN name Little Bird from musicians. This THE LIFE AND WORKS OF LATE DAVE ELEMENTS research examines several transcriptions MATTHEWS BAND SAXOPHONIST PRESENTER: Fumi Tomita of Heath’s solos and traces the influence LEROI MOORE This presentation focuses on pianist Dave of Parker on Heath’s early development. PRESENTER: Bob Fuson Brubeck’s use of non-Western musical A rarely studied figure, LeRoi Moore traditions as a means of expanding the MUSIC EDUCATION: (co-founder of Dave Matthews Band) was improvisational and compositional lan- AN OBSERVATION OF THE one of the most influential musicians of the guage of jazz that led to his experiments in SOCIOCULTURAL CONTEXT AS IT last 30 years. His life and works are pre- odd time signatures. The theme and piano RELATES TO GENDER ROLES sented to highlight his enormous contribu- solo on “Nomad” from his album Jazz PRESENTER: Natalie Wallace tions to improvisation and American music. Impressions of Eurasia will be analyzed. This study addresses the vast contrast of gender roles in music educator posi- THE SACRED AND LITURGICAL EXPLORING APPLIED JAZZ tions. This collection includes data from JAZZ WORKS OF DAVE BRUBECK IMPROVISATION THROUGH A HYBRID North Carolina cities. Qualitative study is PRESENTER: Derick Cordoba CMC LEARNING ENVIRONMENT: managed by participant observation. This Dave Brubeck has composed some of the AN INSTRUMENTAL CASE STUDY will gauge the perception of the individ- most innovative and revered music in the PRESENTER: Lonnie Easter ual in connection to the expectations jazz canon. In this paper, Derick Cordo- This session highlights a qualitative and decisions we make in present day. ba explores his sacred and liturgical jazz investigation of applied instruction in jazz works. From 1968 to 1985 Brubeck com- improvisation within a hybrid of inter- SOUNDING THE HUMAN CONDITION: posed many sacred works, which range net-mediated communication in a virtual STUDENT PERCEPTIONS OF JAZZ AS from a jazz cantata to a jazz-infused Mass. learning environment. Instructional content A CONDUIT FOR SOCIAL JUSTICE for this environment is delineated as both PRESENTER: David Clark THREE AND ONE: EXPLORING THE asynchronous and synchronous; incorpo- Because many students go through the STYLE, SOUND AND STRUCTURE OF rating descriptive web-content, podcast/ American education system without a com- THAD JONES AS A JAZZ TRUMPETER videocast materials and synchronous online plete understanding of American history or PRESENTER: Shawn Williams lessons—for example, Skype or FaceTime. the systemic structure of American society, Through an analysis of several Thad Jones there is often miseducation or a lack of trumpet solo transcriptions, this lecture will FRENCH IMPRESSIONISM IN JAZZ: knowledge about the context from which highlight the relationship of Jones’ playing EXAMINING NELSON RIDDLE’S social justice issues arise. Jazz may provide style with his big band composition and ARRANGING TECHNIQUES IN FRANK a conduit for understanding these issues. arranging style. The lecture will be pre- SINATRA’S ONLY THE LONELY sented verbally and will be accompanied PRESENTER: Zachary Rich THAT MODERN MALICE: EXPLORING with visual aids and audio examples. The music of French Impressionist REPRESENTATIONS AND UNDER- composers such as Claude Debussy and STANDINGS OF BEBOP OVER 50 WNWLAP—WHAT NOTE WOULD Maurice Ravel continues to impact jazz. YEARS OF JAZZ HISTORIOGRAPHY LOUIS ARMSTRONG PLAY Nelson Riddle’s arranging and orchestra- PRESENTER: Brian Casey PRESENTER: James Thornton tion on Frank Sinatra’s Only The Lonely This presentation addresses issues in This poster session will present a are a prime example. This presentation will the historiography of modern jazz where math-based analysis of Louis Arm- draw parallels between Riddle’s arrang- three specific periods regarding the origins strong’s 125 jazz breaks as a ba- ing and major Impressionist works. of bebop will be proposed and codified sis of learning traditional jazz.

CONFERENCE PROGRAM JAZZ EDUCATION NETWORK 2020 69 THURSDAY, JAN. 9

CLINIC: LIVESTREAMING You’ll Hear It Podcast CLINICIANS: Adam Maness & Peter Martin

DON VER PLOEG 2-3 p.m. Strand 3 (Level 2) Learn about Livestream by Open Studio.

CLINIC: FLUTE Intermediate Improvisation Jazz Flute Masterclass CLINICIAN: Ali Ryerson with Frank Potenza, guitar 2-2:50 p.m. Strand 12A (Level 4) Ali Ryerson will demonstrate her approach to improvisation, how to use Dave Rivello accents to swing harder, voice leading in solos, how to practice changes, jazz articulation and phrasing, vibrato and tone PERFORMANCE JJF PERFORMANCE/CLINIC production and more. Please bring your Sisters in Jazz Concert Fairview HS Excalibur ﬂutes for this interactive session, accom- MENTOR/DIRECTOR: Tia Fuller DIRECTOR: Janice Vlachos panied by a jazz guitarist. Sponsored 2-2:50 p.m. 2-3 p.m. by Gemeinhardt Musical Instruments. LeJENds Stage/Storyville Hall (Level 3) Strand 11 (Level 2) PERFORMANCE: JJF PERFORMANCE/CLINIC JJF PERFORMANCE/CLINIC PROFESSIONAL/INSTRUMENTAL Milton Academy II Folsom High School Jazz Band 2 David Caffey Jazz Orchestra DIRECTOR: Bob Sinicrope DIRECTOR: Curtis Gaesser 2-2:50 p.m. 2-3 p.m. 2-3 p.m. Visions Stage/Empire Ballroom C-D (Level 2) Strand 10A (Level 2) Strand 13 (Level 2) The David Caffey Jazz Orchestra, a

70 JAZZ EDUCATION NETWORK 2020 CONFERENCE PROGRAM THURSDAY, JAN. 9

17-piece big band of outstanding jazz CLINIC: COMPOSITION/ PERFORMANCE: musicians, performs selections from its two ARRANGING PROFESSIONAL/VOCAL recent recordings All In One (2018) and En- Finding the Heart of Joe Zawinul Michelle Nicolle Sings ter Autumn (2015). The band’s repertoire is CLINICIAN: John Beasley Charlie Parker composed and arranged by David Caffey. 4-4:50 p.m. 4-4:50 p.m. This performance is sponsored by HDC Imperial 11 (Level 4) New Voices Stage/Empire Ballroom A (Level 2) Music Publications and UNC Jazz Press. John Beasley will compare Joe Zawinul’s Hearing Parker for the ﬁrst time woke “Borges Buenos Aires” with Beasley’s vocalist Michelle Nicolle with a jolt, and DEDICATED EXHIBIT HOUR own arrangement, a chart with no name helped decide her musical path. His Meet the Artists and VIPs that Zawinul gave Wayne Shorter and virtuosic technique and sublime artis- 3-4 p.m. Beasley at a rehearsal. Zawinul passed tic conception continue to inspire her Elite Hall (Level 1) the chart to Beasley to arrange. But today. During this performance, she Peter Erskine discovered the “found” will be singing Charlie Parker origi- PERFORMANCE: song was not “lost,” but recorded in nals and standards that he recorded SCHOOL/INSTRUMENTAL 2005 by The Zawinul Syndicate. in a trio setting to honor his legacy. San Francisco Conservatory of Music: RJAM Plays Brubeck CLINIC: MASTERCLASS JJF PERFORMANCE/CLINIC DIRECTOR: Jason Hainsworth The New Orleans Baltimore School for the 4-4:50 p.m. Jazz Professors Arts Dixieland Jazz Band Conservatory Stage/Elite Foyer (Level 1) Matt Lemmier CLINICIAN: DIRECTOR: Chris Ford 4-4:50 p.m. Having completed a one-month inten- 4-5 p.m. sive on the music of Dave Brubeck, Imperial 5 (Level 4) Strand 10A (Level 2) students and select Roots, Jazz and The New Orleans Jazz Professors con- American Music (RJAM) faculty present sist of a rotating ensemble of local New RJAM Plays Brubeck. Faculty include Orleans jazz greats who also share their JJF PERFORMANCE/CLINIC Edward Simon, Carmen Bradford, Matt gift and expertise of jazz music in the Downey High School Wilson, Mike Rodriguez, David Sanchez, educational world. For this masterclass, Vocal Jazz Ensemble Matt Brewer, Julian Lage, Steve Davis, the Professors include Matt Lemmler, DIRECTOR: Corneliu Olariu Warren Wolf, Chad Lefkowitz-Brown, Steve Masakowski, James Singleton, 4-5 p.m. Jason Hainsworth and Simon Rowe. Jason Marsalis and John Mahoney. Strand 11 (Level 2)

CONFERENCE PROGRAM JAZZ EDUCATION NETWORK 2020 71 THURSDAY, JAN. 9 CATHY FOREMAN

Sorin Zlat Kobie Watkins

JJF PERFORMANCE/CLINIC CLINIC: SONGWRITING Folsom High School Jump Start Your Songwriting Jazz Band I CLINICIAN: Rosana Eckert DIRECTOR: Curtis Gaesser 5-5:50 p.m. 4-5 p.m. Imperial 9 (Level 4) Strand 13 (Level 2) Renowned singer/songwriter and jazz educator Rosana Eckert will present a MEETING content-heavy clinic on methods and Jazz Education Committee approaches to songwriting. Addressing lyr- Open Forum ic-writing concepts and workouts, melodic CHAIR: Dan Gregerman structure, understanding and exploration 4-4:55 p.m. of song form and chordal ins and outs, Strand 3 (Level 2) this clinic is appropriate for all levels.

CLINIC: FUNDING PERFORMANCE: Accessing Title IV-A PROFESSIONAL/INSTRUMENTAL Grants for Your Program Venezuelan Jazz Collective CLINICIANS: David Jewell & Heather Mansell 5-5:50 p.m. 4-4:50 p.m. LeJENds Stage/Storyville Hall (Level 3) Strand 12A (Level 2) Venezuelan Jazz Collective is an inno- Learn how you may be eligible for a Title vative jazz ensemble comprised of an IV-A Grant for Your K-12 public school outstanding cast of world-class musi- program. Sponsored by Yamaha. cians. Their awareness of the jazz tradition, concert music and an upbringing CLINIC: RHYTHM SECTION surrounded by Caribbean and South Just Connect: The Art American genres allow these performers of the Rhythm Section in to go from one idiom to the other with Group Jazz Performances masterful spontaneity and musicianship. CLINICIAN: Peter Malinverni 5-5:50 p.m. CLINIC: CLASSROOM TEACHING Foster 2 (Level 2) The Process-Based There are essential “guywires” between Jazz Program members of the performing jazz ensem- CLINICIAN: Maeve Royce ble. Attention to each of these important 5-5:50 p.m. connections will result in a group that Strand 12A (Level 2) sounds more together, more collabora- How do we create a culture of inclusion tive—in short, better. This clinic, featuring and retain a diverse group of students in a trio led by Pete Malinverni, will demon- school jazz ensembles across divisions? By strate how those elements are addressed. incorporating non-traditional jazz instrumen-

72 JAZZ EDUCATION NETWORK 2020 CONFERENCE PROGRAM CONFERENCE PROGRAM JAZZ EDUCATION NETWORK 2020 73 THURSDAY, JAN. 9

5:30-6:30 p.m. Empire Ballroom Foyer (Level 2)

JJF PERFORMANCE/CLINIC University of Nebraska Omaha Jazz Ensemble DIRECTOR: Peter Madsen 5:30-6:30 p.m. Strand 10A (Level 2)

JJF PERFORMANCE/CLINIC Lakewood High School Jazz Ensemble DIRECTOR: Michael Kernodle 5:30-6:30 p.m. Gabriel Espinosa & Kim Nazarian Matt Lemmier Strand 11 (Level 2) tation and keeping the focus on student Visions Stage/Empire Ballroom C-D (Level 2) JJF PERFORMANCE/CLINIC engagement, we can cultivate a community The OSU Jazz Orchestra is the pre- Roosevelt University of jazz students with agency, empow- mier performing group of the OSU Large Jazz Ensemble ered to lead their own music education. Jazz Studies program. Averaging eight DIRECTOR: Marshall Vente concerts per year, the OSU Jazz Or- 5:30-6:30 p.m. PERFORMANCE: chestra regularly premiers arrangements Strand 13 (Level 2) SCHOOL/INSTRUMENTAL and compositions speciﬁcally written Oklahoma State University for the group for its on- and off-cam- CLINIC: INSTRUMENTAL Jazz Orchestra with Jack pus concerts and/or CD recordings. Lessons from the Master: Helsley & Howard Potter Charlie Parker DIRECTOR: Tommy Poole MEETING CLINICIAN: Mark Watkins 5-5:50 p.m. College Fair 6-6:50 p.m.

74 JAZZ EDUCATION NETWORK 2020 CONFERENCE PROGRAM THURSDAY, JAN. 9

Foster 1 (Level 2) Ray Smith will demonstrate success- Pacific Standard Time is the top vocal Charlie Parker is considered a founding ful teaching and rehearsal approaches jazz ensemble at California State Uni- father of modern jazz. Twelve Parker and techniques based on the fact that versity Long Beach and has garnered solos are used as material for this meth- jazz teachers must constantly work four DownBeat Student Music Awards for od in two parts: 1) articulation, subdi- areas: 1) The wind instruments—tone the past 10 consecutive years. The vision, rhythm; and 2) theory, devices, production, intonation, section playing ensemble has performed at some of the patterns. Written and aural excerpts are and more; 2) The rhythm section—time most prestigious educational confer- given and practice techniques applied. feel, comping, drum fills and setups; 3) ences in the U.S. The group performs Playing styles—rhythm/time feel, ar- a wide variety of jazz literature and CLINIC: CAREER PATHS ticulation, phrasing, etc.; and, 4) The styles from many different arrangers. soloists—improvisation and more. Those Who Teach Also Play JEN REGISTRATION OPEN CLINICIANS: John Raymond & Jeff Coffin 6-6:50 p.m. PERFORMANCE: 6:30 p.m.-7:30 p.m. Imperial 11 (Level 4) SCHOOL/INSTRUMENTAL Elite Foyer (Level 1) Jeff Coffin (saxophonist with Dave The New School Improvisation Matthews Band, Vanderbilt Univer- Ensemble JAM sity) and John Raymond (trumpeter DIRECTOR: Keller Coker Dirty Dozen Brass Band with Real Feels, Indiana University) 6-6:50 p.m. Second Line Parade team up to share their passion for Conservatory Stage/Elite Foyer (Level 1) 6:40-7 p.m. being both highly regarded educators The New School Improvisation Ensemble Top of the Escalators (Level 3) as well as world-renown performers. will perform original and newly arranged Step up to a Second Line celebration at They make the case that every great works by the members of the group. the top of the Lobby Escalators on Level teacher must also be a great player. 3. The Dirty Dozen Brass Band, one PERFORMANCE: SCHOOL/VOCAL of the Crescent City’s favorite groups, CLINIC: REHEARSAL TECHNIQUES Cal State Long Beach will lead a true New Orleans-style, How to Build a Superior Vocal Ensemble: Pacific second-line parade through the ho- Jazz Ensemble Standard Time tel and into to the Celestin Ballroom, CLINICIAN: Ray Smith DIRECTOR: Christine Helferich Guter stopping at the front of the stage at 7 4-4:50 p.m. 6-6:50 p.m. p.m. for the beginning of the JENeral Imperial 5 (Level 4) New Voices Stage/Empire Ballroom A (Level 2) Session. Bring your horns and join in!

CONFERENCE PROGRAM JAZZ EDUCATION NETWORK 2020 75 THURSDAY, JAN. 9

Hyatt Regency to the Celestin Ball- room at 6:40 p.m. to begin the JEN- eral Session at 7 p.m.! Then, DO NOT miss the Dirty Dozen kicking off the evening concert on the main stage!

PERFORMANCE: PROFESSIONAL/INSTRUMENTAL The Terell Stafford Sextet, featuring the Temple University Jazz Faculty 9:10-10 p.m. Inspirations Stage/Celestin Ballroom (Level 3) Terell Stafford Sextet is comprised of celebrated Temple University Boyer College of Music and Dance faculty members Tim Warﬁeld, Dick Oatts, Bruce Barth, Byron Landham and David Wong performing music from their John Raymond Kate Skinner record, Family Feeling, released 2018.

JENERAL SESSION PERFORMANCE: PERFORMANCE: Awards Ceremony PROFESSIONAL/INSTRUMENTAL PROFESSIONAL/INSTRUMENTAL 7-8:30 p.m. Dirty Dozen Brass Band U.S. Navy Band Commodores Inspirations Stage/Celestin Ballroom (Level 3) 8:30-9 p.m. with Brad Leili and Jon Faddis HOST: Todd Stoll, JEN President Inspirations Stage/Celestin Ballroom (Level 3) 10:10-11 p.m. The JENeral Session will be headlined Join the Dirty Dozen Brass Band in a Inspirations Stage/Celestin Ballroom by the JEN All-Stars Big Band under Second Line parade from the top of (Level 3) the direction of Greg Yasinistky. the escalators on the 3rd ﬂoor of the Jazz is America’s music and the U.S.

76 JAZZ EDUCATION NETWORK 2020 CONFERENCE PROGRAM THURSDAY, JAN. 9

Rick Margitza

Navy Band Commodores, the Navy’s premier jazz ensemble, has been performing the best of big band jazz for 50 years. Formed in 1969, this 18-member group continues the big band legacy with some of the ﬁnest musicians in the world.

PERFORMANCE: PROFESSIONAL/INSTRUMENTAL Bass Extremes, Featuring Victor Wooten, Steve Bailey and Special Guests! 11:10-11:59 p.m. Visions Stage/Empire Ballroom C-D (Level 2) Performing selections from the album New Bass Extremes featuring Wooten, Bailey and an all-star cast. This performance includes world-renowned drummer Gregg Bissonette. SPONSOR: Berklee College of Music.

JAM SESSION: PRO NETWORK HANG 11:30 p.m.-1:30 a.m. Vitascope (Level 3)

JAM SESSION: STUDENT JENerations JAM (Beginner) Midnight-1:30 a.m. Strand 10A (Level 2)

JAM SESSION: STUDENT JENerations JAM (Intermediate) Midnight-1:30 a.m. Strand 11 (Level 2)

JAM SESSION: STUDENT JENerations JAM (Advanced) Midnight-1:30 a.m. Strand 13 (Level 2)

CONFERENCE PROGRAM JAZZ EDUCATION NETWORK 2020 77 JEN SCHEDULE friday, Jan. 10

MEETING PERFORMANCE CLINIC JJF RESEARCH JAM SESSION JERRIS MADISON

Chucho Valdés

Tia Fuller Stefon Harris Mark Whitfield

MEETING RESEARCH PRESENTATION CLINIC: READING SESSION Exhibitor’s Advisory Council Jelly Roll Morton, Inventor Instrumental Reading Session CHAIR: Andrew Surmani of Jazz, as a Focal Point for PRESIDING: Mike Steinel 8:30-9:30 a.m. Jazz Authenticity Discourse 9-10:00 a.m. Exhibitor’s Lounge Elite Hall A (Level 1) in a Post-Truth World Imperial 5 (Level 4) PRESENTER: Josiah Boornazian The Navy Commodores will read through PERFORMANCE: 9-9:25 a.m. big band charts newly published with- SCHOOL/INSTRUMENTAL Imperial 12 (Level 4) in the past 12 months from exhibiting University of Nebraska- Issues of historical truth, authenticity, publishers. Second endings will be taken Omaha Combo I race, geography and performativity will in order to facilitate reading through and previewing more music for the attendee. DIRECTOR: Darren Pettit be discussed in relation to Jelly Roll 9-9:50 a.m. Morton’s life, career and musical lega- Conservatory Stage/Elite Foyer (Level 1) cy. The emphasis of this presentation CLINIC: NEW ORLEANS MUSIC UNO Combo I is a writer’s workshop where will be on Morton’s relationship with An Introduction to Today’s students craft original material with a live folklorist Alan Lomax. This research New Orleans Music ensemble. Each member writes music was funded by a Björn Bärnheim CLINICIAN: Brian Seeger for the ensemble. This performance will Research Fellowship from the Hogan 9-9:50 a.m. feature selections of that original music. Jazz Archive at Tulane University. Imperial 9 (Level 4)

78 JAZZ EDUCATION NETWORK 2020 CONFERENCE PROGRAM CONFERENCE PROGRAM JAZZ EDUCATION NETWORK 2020 79 friday, JAN. 10

MEETING Open Ofﬁce Hour with JEN Treasurer Dustin Rohrer PRESIDING: Dustin Rohrer 9-9:55 a.m. Strand 3 (Level 2)

RESEARCH PRESENTATION An Exploration of Jazz Improvisation Skill Development in Secondary School Jazz Programs PRESENTER: Kevin Watson 9:30-9:55 a.m. Imperial 12 (Level 4) The New Orleans Jazz Orchestra This study investigates the process of instruction in jazz improvisation as practiced Get insider info on who to hear, what JJF PERFORMANCE/CLINIC by expert teachers within successful high clubs to check out, stuff you should Crescent Super Band school jazz programs. The sample frame eat and places you can sit in from a DIRECTOR: Caleb Chapman includes directors of jazz ensembles cho- well known New Orleans musician and 9-10 a.m. sen as ﬁnalists in Jazz at Lincoln Center’s educator. Find out what the Silver Book Strand 11 (Level 2) is, how to pronounce the word Lagniappe Essentially Ellington competition. Com- and where Buddy Bolden is buried. mon instructional strategies are discussed. JJF PERFORMANCE/CLINIC JJF PERFORMANCE/CLINIC Long Beach City DEDICATED EXHIBIT HOUR Milton Academy III College Big Band Meet the Artists and VIPs DIRECTOR: Sinicrope DIRECTOR: Patrick Sheng 10-11 a.m. 9-10 a.m. 9-10 a.m. Elite Hall (Level 1) Strand 10A (Level 2) Strand 13 (Level 2) Exhibits Open 10 a.m.-5 p.m.

80 JAZZ EDUCATION NETWORK 2020 CONFERENCE PROGRAM friday, JAN. 10

JEN REGISTRATION OPEN CLINIC: TECHNOLOGY PERFORMANCE: 10 a.m.-2 p.m. Top Finale Tips for PROFESSIONAL/INSTRUMENTAL Elite Foyer (Level 1) Jazz Educators Greg Waits Quartet CLINICIAN: Ryan Sargeant 11-11:50 a.m. CLINIC: Q&A 11-11:50 a.m. LeJENds Stage/Storyville Hall (Level 3) Q&A with JEN Artist Imperial 11(Level 4) Influenced by the mid-’60s Steve Lacy/ Ambassadors Tia Fuller This clinic focuses on ways to improve Roswell Rudd Quartet, this ensemble will & Mark Whitfield your productivity with daily tasks and perform a set of originals. On one or two 11-11:50 a.m. targets specific methods for note entry, selections Waits will be playing the ex- Strand 3 (Level 2) jazz arranging techniques, editing and tended technique of multi-phonics inspired creating SmartMusic files and work- by Albert Mangelsdorff. Ensemble mem- CLINIC: INTERMEDIATE sheets—all while avoiding bad habits. bers include Larry Spencer, Ed Wise, Jeff IMPROVISATION We will show you how to find the re- Antoniuk, Jim White and David Mooney. sources to help you learn on your own. The Improvisation Workshop CLINIC: VOCAL Project: Jazz as Improvised RESEARCH PRESENTATION Chamber Music Vocal Reading Session Paris Rutherford CLINICIAN: Jean Michel Pilc Moving the Music: Jazz CLINICIAN: 11-11:50 a.m. Dance and Duke Ellington 11 a.m.-Noon Foster 2 (Level 2) PRESENTER: Allana Radecki New Voices Stage/Empire Ballroom A (Level 2) Based in Montreal, Canada, the Impro- 11-11:25 a.m. A hand-selected ensemble of outstanding visation Workshop Project (IWP) brings Imperial 12 (Level 4) educators will read through vocal charts together musicians of all backgrounds Jazz and dance manifest the African published within the past 12 months and experience levels to explore the arts complex, shaped by the tidal from all publishers. Second endings will tradition of jazz as improvised chamber forces of the New World. Duke Ellington be taken in order to facilitate reading music based on collective improvisa- exalted the African aesthetic tradition, through and previewing more music for tion. The IWP is funded by the Fonds aligning his music and imagination the attendee. Paris Rutherford, profes- De Recherché Du Québec – Société with all forms of jazz dance, especially sor emeritus at the University of North Et Culture (FRQSC). Assisted by Rémi tap, for more than 50 years. Come Texas, has assembled the charts as Bolduc, Kevin Dean, Hannah Darroch, step inside Ellington’s music submitted by JEN exhibiting publish- Philippe Côté and Annie Dominique. with new appreciation. ers and will preside over the session.

CONFERENCE PROGRAM JAZZ EDUCATION NETWORK 2020 81 friday, JAN. 10

DIRECTORS: Maeve Royce & Adele Dinerstein 11 a.m.-Noon Strand 13 (Level 2)

PERFORMANCE: PROFESSIONAL/COMMUNITY The Iron Post Jazz Orchestra 11-11:50 a.m. DIRECTOR: Robert Brooks Visions Stage/Empire Ballroom C-D (Level 2) The Iron Post Jazz Orchestra is a community band in Urbana, Illinois. The group’s mission is to give musicians experience in Greg Waits Paris Rutherford performing and composing original works. The band has maintained residency at The Iron Post, a club in Urbana, since 2016. JJF PERFORMANCE/CLINIC CLINIC: CLASSROOM TEACHING Bakersfield College Love that brass with RESEARCH PRESENTATION Jazz Combo A Tom ‘Bones’ Malone Charlie Parker’s Influence on DIRECTOR: Kris Tiner CLINICIAN: Tom “Bones” Malone Hip-Hop 11 a.m.-Noon 11-11:50 a.m. PRESENTERS: Gabriel Condon & Strand 10A (Level 2) Strand 12A (Level 2) Michael Titlebaum Tune into a lecture and demonstration of 11:30-11:55 a.m. tuba, bass trombone, trombone, trumpet JJF PERFORMANCE/CLINIC Imperial 12 (Level 4) and piccolo trumpet. Bones Malone plays Illinois Central College This study provides an analysis of Char- Vocal Ensemble all of these instruments professionally. lie Parker’s rhythmic vocabulary and of DIRECTOR: Julie Clemens several influential hip-hop artists’ rhythmic 11 a.m.-Noon JJF PERFORMANCE/CLINIC vocabulary. A comparison shows that Strand 11 (Level 2) Park Jazz Collective hip-hop artists are influenced by Parker’s

82 JAZZ EDUCATION NETWORK 2020 CONFERENCE PROGRAM friday, JAN. 10

rhythmic conception and share several (tone, time and expression). Drawing on 40 CLINICIAN: Holli Ross key elements of his bebop rhythmic style. years of teaching experience, Mike Steinel Noon-12:50 p.m. will offer strategies that can elevate your Imperial 9 (Level 2) PERFORMANCE: improvisation to new levels of artistry. Welcome to a lecture and visual presenta- SCHOOL/INSTRUMENTAL tion about various vocal cord pathologies New England Conservatory’s RESEARCH PRESENTATION and their causes, good vocal health prac- Tribute To Dave Brubeck Improvisation in Traditional tices and how they impact the professional singing voice. A question-and-answer DIRECTOR: Mark Zaleski Brazilian Popular Music period will follow the presentation. Noon-12:50 p.m. PRESENTERS: Paulo Siquiera & Glauco Lina Conservatory Stage/Elite Foyer (Level 1) Noon-12:25 p.m. Multi-instrumentalist Mark Zaleski was Imperial 12 (Level 4) PERFORMANCE: PROFESSIONAL/INSTRUMENTAL mentored by Dave Brubeck as a student This study addresses performance practice in at his Institute. Following Dave’s advice Brazilian music—choro and samba—through John Mills Times Ten to ﬁnd your own voice, Zaleski dedicated an analytical study of improvisation that ex- Noon-12:50 p.m. his NEC student ensemble to studying amines melodies and bass lines, presenting Inspirations Stage/Celestin Ballroom (Level 3) and re-imagining his classic composi- research on improvisational styles. Partici- John Mills Times Ten is a powerhouse tions. The ensemble will premiere Zale- 10-piece ensemble on the renowned pants will develop a deeper understanding ski’s Brubeck arrangements that will be Austin, Texas, scene. Rhythmic drive, of the musical language of Brazilian music. featured on his upcoming 2020 album. melodic surprise and harmonic imagination are the band’s signature with the leader’s CLINIC: INTERMEDIATE CLINIC innovative compositions putting a contem- IMPROVISATION Young Composer Showcase porary, groove-based spin on the big band The How of Jazz: Tone, COORDINATOR/PRESIDING: David Fodor tradition, interweaving dynamic ensemble Time and Expression ENSEMBLE: Navy Commodores passages with virtuosic improvisation. Noon-1 p.m. CLINICIAN: Mike Steinel Noon-12:50 p.m. Imperial 5 (Level 2) CLINIC: PRESENTING AT JEN Foster 1 (Level 2) How to Submit an Application Often jazz instruction places too much CLINIC: VOCAL to Present or Perform emphasis on what to play (chords, scales, Care For the Professional Voice: at the Conference licks, etc.) and overlooks how to play What Every Singer Should Know PRESENTER: Sharon Burch, Managing Director

CONFERENCE PROGRAM JAZZ EDUCATION NETWORK 2020 83 friday, JAN. 10

New Light Quartet

Soggy Po Boys Mark Zaleski

Noon-12:50 p.m. JJF PERFORMANCE/CLINIC RESEARCH PRESENTATION Strand 3 (Level 2) Saint Xavier University Extra Rhythmic Gears: Are you curious about the process of Jazz Ensemble An Analysis of How Chris Potter & how to apply to present or perform DIRECTOR: Shawn Salmon Jerry Bergonzi Use Metric at the next JEN Conference? Join 12:30-1:30 p.m. Modulations When Improvising us for an overview of the conference Strand 13 (Level 2) PRESENTER: Tommy Poole submission and review process. 1-1:25 p.m. CLINIC: TRUMPET Imperial 12 (Level 4) RESEARCH PRESENTATION Trumpet 101 With Ashlin Drawing from transcriptions of well- Still Image or Full-Motion Video? Parker & Trumpet Mafia known jazz solos, this research defines and provides pedagogical approaches How Audio With Differing Visual MODERATOR: Dr. Matt Leder Stimuli of Live Jazz Performances 1-1:50 p.m. for some of the more commonly used Effect Student’s Focus of Attention Foster 2 (Level 2) metric modulations in jazz improvising. PRESENTER: John Coggiola There is a strong sense of commu- 12:30-12:55 p.m. nity between musicians that is es- PERFORMANCE: Imperial 12 (Level 4) pecially unique to the culture of New PROFESSIONAL/INSTRUMENTAL Discussion of college music students’ Orleans and jazz. From the baddest Dave Potter’s Retro Groove (N=80) self-reports indicating what to the saddest, ALL trumpet players 1-1:50 p.m. elements they attended to while view- are welcome to hang out and play LeJENds Stage/Storyville Hall (Level 3) ing selected live jazz performance audio some music with Ashlin Parker and Retro Groove features sincere jazz that excerpts accompanied by either a still Trumpet Mafia! Bring your instru- takes on popular hits from the 1980s by image or full-motion video. Results will be ments and check your ego at door! artists such as Chaka Khan, Peter Gabriel, discussed with implications for instructional The Doobie Brothers, Michael Jackson and practices in jazz improvisation as well as CLINIC: VOCAL TEACHING more. The group includes Dave Potter on suggestions made for future research. Vocal Jazz Fundamentals drums, Miguel Alvarado on saxophone, Through Accessible Literature Will Goble on bass and Austin Johnson JJF PERFORMANCE/CLINIC on piano. Sponsored by Mapex drums, CLINICIAN: Roger Emerson University Prep Combo 1 1-1:50 p.m. Sabian cymbals and Vic Firth drumsticks. DIRECTOR: Jason Parker Imperial 11 (Level 4) 12:30-1:30 p.m. Roger Emerson will lead an informative CLINIC: INTERMEDIATE Strand 10A (Level 2) reading session that includes two- IMPROVISATION part, SAB and Easy SATB literature Adopting the Charlie Parker JJF PERFORMANCE/CLINIC selected to help teachers introduce Vocabulary to Guitar Long Beach City College swing and Latin styles, harmonic CLINICIAN: Roni Ben-Hur Lyrical Workers analysis and basic improvisation in a 1-1:50 p.m. DIRECTOR: Andrea Calderwood fun, energized setting. This session Strand 12A (Level 2) 12:30-1:30 p.m. will be particularly of interest to begin- Charlie Parker’s brilliant improvisation, Strand 11 (Level 2) ning vocal jazz ensemble directors. arguably the most influential in the jazz

84 JAZZ EDUCATION NETWORK 2020 CONFERENCE PROGRAM friday, JAN. 10

world, can be technically challenging in the Boardwalk Empire CLINIC: COMPOSITION/ and counterintuitive to the way a guitar Compilation Soundtracks ARRANGING is played. Using some of Bird’s most PRESENTER: Gretchen Carlson Writing for Strings—Essential iconic phrases, Roni Ben-Hur will show 1:30-1:55 p.m. Strategies for the Jazz Arranger how to adopt and understand the bebop Imperial 12 (Level 4) CLINICIAN: Rich DeRosa language as it applies to the guitar. This presentation is an examination of 2-2:50 p.m. the production of HBO’s Boardwalk Foster 1 (Level 2) MEETING Empire soundtracks, which serve as Today’s budgets limit the size of a string Informal University Director a fascinating blend of early jazz and orchestra. To compete in more ram- Networking Group contemporary pop that complicates bunctious jazz environments, arrangers PRESIDING: Dana Landry era and genre boundaries and features must produce a most-effective sound for 1-1:55 p.m. artists from Vince Giordano to Regina a smaller orchestra. Strategies include Strand 3 (Level 2) Spektor. Gretchen Carlson investigates bowing, divisi and double-stops. Rich the relationships between authentic- DeRosa will discuss a sample of arrange- PERFORMANCE: ity, creativity, popularity and labor in ments from the Joey Alexander with SCHOOL/INSTRUMENTAL period jazz performance on ﬁlm. Strings concert at Jazz at Lincoln Center. Fontainebleau High School Jazz Ensemble One PERFORMANCE: PROFESSIONAL/ RESEARCH PRESENTATION DIRECTOR: Ralph Hicks VOCAL & INSTRUMENTAL Brubeck: Adored by the 1-1:50 p.m. Soggy Po Boys: Honoring Public, Rejected by Many Visions Stage/Empire Ballroom C-D (Level 2) A Tradition Musicians & Historians. Why? Fontainebleau High School Jazz En- 2-2:50 p.m. PRESENTER: Lewis Porter semble One with guest artist Doug Conservatory Stage/Elite Foyer (Level 1) 2-2:25 p.m. Stone and others, will be perform- The Soggy Po Boys perform traditional Imperial 12 (Level 4) ing standard big band repertoire and New Orleans repertoire as well as original Dave Brubeck is one of the most famous contemporary big band charts. compositions written in the idiom. They jazz artists of all time, but he is ignored are inﬂuenced as much by the music of by many musicians and historians. Do RESEARCH PRESENTATION Armstrong, Bechet and Waller as they they really know his music? Excerpts from From Gramophone to are by Professor Longhair, Allen Tous- surprising early recordings will illustrate that Grammy: Jazz as Popular Music saint and the music of the Caribbean. his method of improvisation

CONFERENCE PROGRAM JAZZ EDUCATION NETWORK 2020 85 friday, JAN. 10

Caliente Sean Jones

Carmen Bradford Dave Potter Alexis Cole Jean-Michel Pilc owed little to precedent, helping to and arrangements, including pieces cele- 2-2:55 p.m. account for this mixed reception. brating Charlie Parker. The featured guest Strand 3 (Level 2) artist is JEN president-elect Sean Jones. CLINIC: CLASSROOM TEACHING RESEARCH PRESENTATION Introducing Harmony Cloud 2.0. PERFORMANCE: SCHOOL/VOCAL Authenticity in Jazz Outside CLINICIANS: Stefon Harris & Clif Swiggett University of North Texas the United Sates: Tasmania as a 2-2:50 p.m. Jazz Singers Case Study Imperial 5 (Level 4) DIRECTOR: Jennifer Barnes PRESENTER: Simon Petty Join Stefon Harris, director of Manhattan 2-2:50 p.m. 2:30-2:55 p.m. School of Music’s Jazz Arts Program, and New Voices Stage/Empire Ballroom A (Level 2) Imperial 12 (Level 4) entrepreneur and jazz trombonist Clif Swig- UNT Jazz Singers will perform a variety of The research presentation is on Austra- gett to experience Harmonic Immersion. This musical arrangements written by ensem- lian historiographical jazz studies. It will workshop is for all musicians (teachers and ble members as well as songs written explore the authenticity in jazz outside the students) interested in expanding their intu- by Dave Brubeck and Charlie Parker. United Sates and present the Australian itive ability to recognize chord progressions island-state of Tasmania as a case study by ear. Bring your instrument and dive in! JJF PERFORMANCE/CLINIC for doing so. The research positions a framework for constructing a cultural jazz CLINIC: CLASSROOM TEACHING University Prep Combo 2 diaspora outside the United States. Jason Parker The Brazilian 16th-Note DIRECTOR: 2-3 p.m. DEDICATED EXHIBIT HOUR Phrasing Through Cabula Strand 10A (Level 2) Rhythm, Samba and Bossa Nova Meet the Artists and VIPs CLINICIAN: Juan Megna JJF PERFORMANCE/CLINIC 3-4 p.m. 2-2:50 p.m. Elite Hall (Level 1) Imperial 9 (Level 4) Oklahoma Christian University This clinic will cover, through the analysis Jazz Ensemble CLINIC: VOCAL DIRECTOR: Heath Jones of rhythm elements, Brazilian bossa nova Rigging the Parachute: and samba jazz fundamentals, supported 2-3 p.m. Strand 11 (Level 2) A Great Singer’s Guide to by some of its predecessor rhythms: Afro a Good Lead Sheet Brazilian cabula and samba batucada. In this Alexis Cole way, the clinic will provide musical devices to JJF PERFORMANCE/CLINIC CLINICIAN: 4-4:50 p.m. improve Brazilian genres in jazz performance. American Leadership Foster 2 (Level 2) Academy Eagles Jazz Blue This session aims to empower vocalists PERFORMANCE: DIRECTOR: Cami Mathusek through a discussion on how a great PROFESSIONAL/INSTRUMENTAL 2-3 p.m. lead sheet helps singers get the best Ayn Inserto Jazz Orchestra Strand 13 (Level 2) performances from their band and create with Sean Jones good will. Singers learn a strategy for 2-2:50 p.m. MEETING how to pick their ballpark key. This is Inspirations Stage/Celestin Ballroom (Level 3) AAJC/JEN Mentor Meet-Up also a Sibelius tutorial with handout and Performing modern big band compositions HOST: Dr. Trineice Robinson-Martin checklist for common lead sheet errors.

86 JAZZ EDUCATION NETWORK 2020 CONFERENCE PROGRAM CONFERENCE PROGRAM JAZZ EDUCATION NETWORK 2020 87 friday, JAN. 10

University of North Texas Jazz Singers Ayn Inserto

CLINIC: COMPOSITION/ PERFORMANCE: that isolates the different elements of ARRANGING PROFESSIONAL/INSTRUMENTAL transcription and presents them in a Enhancing Combo Performances Rick Margitza & the New fun and interactive environment using Through Arranging for Orleans All-Stars resources from shedthemusic.com. Jazz Combo 4-4:50 p.m. CLINICIAN: Drew Zaremba LeJENds Stage/Storyville Hall (Level 3) JJF PERFORMANCE/CLINIC 4-4:50 p.m. Living in New Orleans between 1983- Capital University Big Band Imperial 11 (Level 4) 1988, Rick Margitza established DIRECTOR: Dr. Lou Fischer Ever feel like your combo performanc- life-long connections with master 4-5 p.m. es are ordinary and predictable? In musicians John Vidacovich, Steve Strand 13 (Level 2) this clinic, UNC composition professor Masakowski, James Singleton and Drew Zaremba covers how you can use Mike Pellera. Over the course of 30 PERFORMANCE: arranging and make your small group years, the group established a band SCHOOL/INSTRUMENTAL break out of jazz stereotypes to keep and repertoire called Secondline. Its your sets fresh and engaging. Recom- Jacksonville State University music is a combination of modern Big Band with Ashlin Parker mended for newer jazz musicians. jazz and New Orleans rhythms. DIRECTOR: Andrew Nevala RESEARCH PRESENTATION 4-4:50 p.m. JJF PERFORMANCE/CLINIC Visions Stage/Empire Ballroom C-D (Level 2) Jazz Education in Rus- University Prep Combo 3 Jacksonville State University Jazz Ensem- sia: A Historical Overview DIRECTOR: Jason Parker ble I, a 2015 Downbeat Student Music Cyril Moshkow PRESENTER: 4-5 p.m. Award Winner for Outstanding Perfor- 4-4:25 p.m. Strand 10A (Level 2) mance, presents a concert chronicling Imperial 12 (Level 4) the history of Latin big band music from This session provides an overview of JJF PERFORMANCE/CLINIC the 1940s to the present. Sponsored by the history of jazz education in Russia. Dedicated to the 45th anniversary of Virginia Youth Jazz Ensemble 3-2 Music Publishing (3-2music.com). the introduction of jazz curriculum into DIRECTOR: Paul Bangser the formal music education system in 4-5 p.m. RESEARCH PRESENTATION Russia, the research is supported by Strand 11 (Level 2) The Bass Line Vocabulary of the Jazz Research Center in Yaroslavl, Israel Crosby Russia and The Real Jazz Ambassa- CLINIC: CLASSROOM TEACHING PRESENTER: Braun Khan dors in Nashua, New Hampshire. Cracking the Code: Unlocking 4:30-4:55 p.m. the Skill of Transcription Imperial 12 (Level 4) JAM CLINICIANS: Bob Habersat & Paul Levy This study identiﬁes the elements that char- Women in Jazz 4-4:50 p.m. acterize Israel Crosby’s playing style during Jam Meet & Greet Strand 12A (Level 2) his time with the Ahmad Jamal Trio. Ele- CHAIR: Roxy Coss Transcription is the most effective ments that are idiomatic to Crosby’s play- 4-5:30 p.m. way to develop a good ear and to ing style are identiﬁed through transcrip- Imperial 5 (Level 4) acquire jazz language. This clinic will tions of his complete recorded bass lines Open to all! Bring your instrument. outline a tiered approach to dictation with Ahmad Jamal and Vernel Fournier.

88 JAZZ EDUCATION NETWORK 2020 CONFERENCE PROGRAM friday, JAN. 10

PERFORMANCE: CLINIC: OUTREACH principles and outcomes of person-cen- SCHOOL/INSTRUMENTAL Jazz is Community! Tips for tered learning that occurred in a jazz Western Michigan Making a Deeper Impact in your combo during one semester of instruction. University Advanced Jazz Jazz Education Community Ensemble + Strings CLINICIANS: Zach Compston CLINIC: REHEARSAL TECHNIQUES DIRECTOR: Andrew Rathburn & Miles Bowers Practice Strategies for 5-5:50 p.m. 5-5:50 p.m. Distractible Students (and Conservatory Stage/Elite Foyer (Level 1) Imperial 11 (Level 4) Distractible Professionals) The WMU Advanced Jazz Ensemble is What does your jazz community look like? CLINICIAN: Patrick Cornelius committed to performing original music Discover how to take clear steps to create 5-5:50 p.m. composed by its members. Our current deeper impact with your jazz education Imperial 9 (Level 4) project adds a string quartet to the group, efforts by leveraging community opportuni- Saxophonist Patrick Cornelius presents con- delivering a new dimension to the ensemble ties and measuring results. From rural and siderations for teaching distractible students and intermixing disparate styles and colors. urban settings to state and national oppor- of all ages. Strategies for structuring lesson tunities, you will walk away with ways to plans, practice routines and instrumental CLINIC: REHEARSAL TECHNIQUES better serve your community through jazz. techniques will be addressed, along with Ten Takeaways to Help speciﬁc concerns for working with ADD/ Your Student Big Band Pianist, RESEARCH PRESENTATION ADHD students in the context of private Even if You’re Not a Pianist Person-Centered instruction and practice time management techniques for distractible professionals. CLINICIAN: Robin Connell Learning in Jazz 5-5:50 p.m. PRESENTER: Kristen Bromley Foster 1 (Level 2) 5-5:25 p.m. PERFORMANCE: This session offers methods and helpful Imperial 12 (Level 4) PROFESSIONAL/VOCAL hints band directors can use for guiding Through person-centered learning, For the Love of Nancy: A Tribute student big band pianists with piano parts students grow and develop cognitively, To Nancy Wilson with Carmen that are fully written out in the grand staff, emotionally and experimentally as whole Bradford, Tyrone Jackson, Bran- or only use chord symbols, or employ persons. They develop greater self-disci- don Robertson & Robert Boone a combination of both. Sight-reading, pline, and they become more fully function- 5-5:50 p.m. comping, voicings, form and prioritizing ing persons and musicians. In this pre- New Voices Stage/Empire Ballroom A (Level 2) practice are among the topics addressed. sentation, Dr. Kristen Bromley explains the Nancy Wilson, jazz vocalist? “I don’t

CONFERENCE PROGRAM JAZZ EDUCATION NETWORK 2020 89 friday, JAN. 10

Ronnie Ben-Hur Jacksonville State University Big Band

put labels on it, I just sing. It’s all in 6-6:50 p.m. the ear of the listener. Let them de- Foster 2 (Level 2) cide.” This is a tribute of thanks to the The Dave Brubeck Quartet’s classic lineup incomparable Ms. Nancy Wilson. showcased the innovation, musicality and flawless technique of drummer Joe Morel- RESEARCH PRESENTATION lo. This clinic celebrates Morello’s artistry Developing the Canon in the by exploring aspects of his highly musical Dark Room: Photography’s drumming on classic Brubeck record- influence on Jazz ings, including his comping, soloing and orchestrational choices on the drum kit. PRESENTERS: Ramsey Castandea & Amanda Quinlan 530-5:55 p.m. CLINIC: CLASSROOM TEACHING Imperial 12 (Level 4) We Got The Beat This is an examination of the under-ap- CLINICIAN: Kris Berg preciated role of photography in shaping 6-6:50 p.m. the jazz canon. Surveying well-known Imperial 5 (Level 4) images and album covers through An in-depth look at making your rhythm the lens of critical theory and new jazz section better, which in turn will make studies, we argue that jazz photogra- your large jazz ensemble more dynamic phy has helped construct popular no- and exciting. Subjects include dynamics, tions of what defines authentic jazz. grooves, timekeeping, comping, colors and more. This session features a live rhythm JJF PERFORMANCE/CLINIC section. Sponsored by Alfred Music. The Inevitables PERFORMANCE: DIRECTOR: Caleb Chapman PROFESSIONAL/INSTRUMENTAL 5:30-6:30 p.m. Strand 10A (Level 2) New Light with Gene Perla, Dave Liebman, Adam Niewood JJF PERFORMANCE/CLINIC & Adam Nussbaum 6-6:50 p.m. Stetson University LeJENds Stage/Storyville Hall (Level 3) Jazz Ensemble A classic jazz quartet of two saxophones, DIRECTOR: Patrick Henessey double bass and drums dedicated to 5:30-6:30 p.m. preserving the music of the Elvin Jones Strand 11 (Level 2) Jazz Machine. Dave Liebman and Gene Perla were two original members JJF PERFORMANCE/CLINIC of Elvin’s Machine. With saxophonist University Prep Varsity Adam Niewood and drummer Adam Jazz Ensemble Nussbaum, this is a no-nonsense, DIRECTOR: Jason Parker straight-ahead, burning group. 5:30-6:30 p.m. Strand 13 (Level 2) CLINIC: EQUITY WORKSHOP Jazz Bias Workshop— CLINIC: DRUM TECHNIQUE Uncovering Implicit Bias Joe Morello: Mastery in Motion CLINICIAN: Naomi Siegel CLINICIAN: Dr. Troy Hall 6-6:50 p.m.

90 JAZZ EDUCATION NETWORK 2020 CONFERENCE PROGRAM friday, JAN. 10

Strand 12 (Level 2) By exploring implicit biases we hold in jazz, participants work to dismantle the power of unconscious bias and, in turn, support creative expression from suppressed voices to make jazz a stronger art form. This workshop is an opportunity in an ongoing journey to disrupt unconscious bias in jazz.

PERFORMANCE: SCHOOL/INSTRUMENTAL University of Miami Frost Concert Jazz Band with Charles Pillow DIRECTOR: John Daversa 6-6:50 p.m. Visions Stage/Empire Ballroom C-D (Level 2) Bitches Brew Revisited with arrangements by Charles Pillow.

JEN REGISTRATION OPEN 7-8 p.m. Elite Foyer (Level 1)

PERFORMANCE: PROFESSIONAL JEN Scholarship Concert (A Ticketed Event, $25) featuring the Grammy award-winning New Orleans Jazz Orchestra directed by Adonis Rose with Tia Fuller, Victor Adkins, Mark Whitﬁled and more! 7:30-8:45 p.m. Inspirations Stage/Celestin Ballroom (Level 3) The New Orleans Jazz Orchestra will honor the legacies of two musical titans—Aretha Franklin and Allen Toussaint. This 19-piece jazz orchestra will reimagine Franklin’s vocal prow- ess and the enduring impact of Toussaint’s musicianship and songwriting. The show delivers plenty of guest artists, including Tia Fuller, Victor Adkins, Mark Whitﬁeld and more! Pro- ceeds from this ticketed event go toward JEN Scholarships!

PERFORMANCE: PROFESSIONAL/INSTRUMENTAL Preservation Hall Legacy Band 9:10-10 p.m. Inspirations Stage/Celestin Ballroom (Level 3) The Preservation Legacy Band is the premiere ensemble of the most tenured artists from the Preservation Hall musical collective. Each performer bears a unique connection to the earliest practitioners of jazz itself, some by bloodline, but all united by the sheer power of tradition.

PERFORMANCE: PROFESSIONAL/INSTRUMENTAL Caliente with Dr. Jose Valentino & Francisco Torres DIRECTOR: Jose Diaz 10:10-11 p.m. Inspirations Stage/Celestin Ballroom (Level 3) Caliente—a hot group from the Diaz Music Institute and led by Jose Antonio Diaz, a Grammy Music Educator Award Top 10 ﬁnalist—will present an exciting Latin jazz performance featuring traditional to contemporary Afro-Cuban and other Latin American music styles. This set features special guests—Dr. Jose Valentino, an Emmy Award winner and two-time Grammy nominee as well as and Grammy winner Francisco Torres.

CONFERENCE PROGRAM JAZZ EDUCATION NETWORK 2020 91

Exhibitor LIST

FOUNDING MEMBER I CHARTER MEMBER I AFFILIATE I CURRENT YEAR SPONSOR I 5-YEAR EXHIBITOR I 10-YEAR EXHIBITOR I

AAJC Charlie Parker Centennial Exhibit ...... I 412 Jazz at Lincoln Center ...... II 417 Remo, Inc...... I 211 Advance Music ...... II 600 Jazz Empowers ...... T15 Richard Sussman Music ...... T13 African American Jazz Caucus ...... II T4 Jazz in July Summer Music Programs...... T10 Rigoutat Paris ...... II 128 Alfred Music ...... II 600 Jazz Lines Publications ...... II 509 RIPM ...... 708 AM Mouthpieces, LLC ...... 309 Jazz Outreach Initiative ...... 616 Robinson’s Remedies ...... 202 American Classic Tours & Music Festivals .... I 715 Jazz Port Townsend Workshop ...... T7 Rovner Products ...... I 198 Antigua Winds ...... I 223 JazzTimes Magazine ...... I 525 Rutgers University ...... T16 Antoine Courtois...... II 128 JazzWorks Canada ...... T6 St. Louis Music ...... I 219 B & S ...... II 128 JAZZed Magazine ...... III 423 S.E. Shires ...... I 208 BAC Musical Instruments ...... 228 JEN ...... 306 Saxquest, Inc...... I 216 Bach ...... II 100 JENeral Store ...... 500 Selmer Paris ...... II 100 Backun Musical Services ...... I 208 JodyJazz, Inc...... I 206 SFJAZZ ...... T5 BAM France Ltd./BAM Cases ...... 210 Judith Humenick Productions ...... T6 Sher Music Company ...... II 700 Benedetto Guitars ...... 227 Jupiter Band Instruments ...... III 120 Silverstein Works ...... 226 Berklee College of Music ...... III 407 Kay D. Ray Productions ...... T17 Sonor ...... III 120 Besson ...... II 128 Keilwerth ...... II 128 Sound Music Publications ...... I 704 Billy Strayhorn Songs, Inc...... I 524 Kendor Music, Inc...... II 505 Stanford Jazz Workshop ...... 706 Blessing ...... I 221 Key Leaves ...... 200 Syos ...... 311 Brigham Young University-School of Music ...... 604 King ...... II 100 Syracuse University Setnor School of Music ..T14 Buffet Crampon ...... II 128 Leblanc ...... II 100 Ted Nash ...... 307 California Jazz Conservatory...... 610 Longy School of Music of Bard College ...... 705 Temple University Boyer College of Capital University Conservatory of Music ...... II 415 Loyola University New Orleans ...... 720 Music & Dance ...... I 710 Carnegie Hall ...... 714 Majestic Percussion ...... III 120 The Reality Book ...... 624 C.G. Conn ...... II 100 Manhattan School of Music ...... T9 Timeless Communications ...... III 423 Chicago Jazz Philharmonic ...... 701 Manoke ...... 220 Topxight Labs ...... 220 City College of New York ...... 711 Mapex ...... III 120 U.S. Air Force Academy Band ...... 622 Columbia College Chicago ...... II 523 Melton Meinl Weston ...... II 128 U.S. Air Force Band Airmen of Note ...... I 420 Conn-Selmer, Inc...... II 100 Michael Abene ...... T13 U.S. Army Blues ...... 722 Cultural Tour Consultants ...... II 517 Monterey Jazz Festival ...... I 522 U.S. Navy Band Commodores Jazz Ensemble .... 514 D’Addario & Company, Inc...... I 201 Music For All ...... IIII 411 University Of Hartford/Hartt School ...... T11 DANSR Inc...... II 207 My Score ...... 229 University of Massachusetts Amherst ...... 719 Dave Brubeck Centennial Exhibit ...... I 404 National Jazz Museum in Harlem ...... 702 University of Miami Frost School of Music .. II 515 Denis Wick ...... II 207 New England Conservatory ...... I 716 University of New Orleans School Disneyland All American College BandAuditions ...T8 New Jersey Performing Arts Center ...... 717 of the Arts ...... 516 Doug Beach Music ...... II 505 New York University Steinhardt Jazz Studies ... T12 University of North Florida ...... 618 DownBeat Magazine ...... IIII 501 NS Design ...... 214 University of North Texas Jazz Studies ...... I 425 Eastman Music Company ...... I 208 OffBeat Magazine ...... T21 University of Northern Colorado (UNCO) .....I 424 Eastman School of Music ...... 614 Open Studio ...... 718 Vandoren ...... II 207 eJazzlines.com ...... II 509 P. Mauriat ...... I 219 Verne Q. Powell Flutes ...... II 128 Evans Drumheads ...... I 201 Peabody Institute of the Johns Hopkins Walrus Music ...... II 509 Hal Leonard Corporation ...... III 207 University ...... 519 Warburton Music Products ...... 315 Hans Hoyer ...... II 128 Peak Music Stands ...... 606 Wm. S. Haynes Co...... I 208 Heights Music International ...... 703 Planet Waves Accessories ...... I 201 Women In Jazz Organization (WIJO) ...... 709 Hercules ...... III 120 Pro Jazz Charts ...... 707 W. Schrieber ...... II 128 Holton ...... II 100 Promark Drumsticks ...... I 201 XO Professional Brass ...... III 120 Indiana University Jacobs School of Music ....I 608 Pure Sound Percussion ...... I 201 Yamaha Corporation of America ...... II 110 J. Scherzer ...... II 128 RamsessArt ...... I T2 Yamaha Pianos ...... II 231 Jamey Aebersold Jazz ...... II 600 ReedGeek, Inc...... I 212 Yanagisawa ...... II 100

92 JAZZ EDUCATION NETWORK 2020 CONFERENCE PROGRAM

Exhibit hall map FB FB FB

H FB

T4 T5 T6 T7 T8 T9 T10 T11 T12 T13 T14 T15 T16 T17 T18 Booth 500 JENERAL STORE

T1 T2 T3 719 717 715 711 709 707 705 703 701 FB

722 720 718 716 714 710 708 706 704 702 700 H

624 622 620 618 616 614 610 608 606 604 600

T19 525 523 521 519 517 515 H T20 509 505 501

T21

T22 524 522 520 516 514 506

425 423 421 417 415 411 407 FB FB FB FB

ELITE HALL B WOMEN MEN QUIET ZONE FB 424 420 412 404 FH DOOR ROLL UP DOOR ROLL UP

EXHIBITOR LOUNGE STORAGE FB

231 229 227 223 221 219 211 209 207 201 315 311 309 307

228 226 222 220 218 216 214 212 210 206 202 200 198 FB FB FB FB FB

128

120 110 208

ELITE A

SOUND ZONE 100 H H H H

ENTRANCE THE ELITE FOYER

JEN Guide Index of Advertisers

Antigua ...... 13 Jazz Institute of Chicago ...... 81 San Francisco Conservatory of Music ... 3 antiguawinds.com jazzinchicago.org sfcm.edu Arizona State University Jazz Education Network ...... 27, 97 Shenandoah Conservatory ...... 53 School of Music ...... 54 jazzednet.org su.edu/jen music.asu.edu JJ Babbitt ...... 77 Sher Music ...... 74 Brubeck Jazz Summit ...... 100 jjbabbitt.com shermusic.com classicaltahoe.org/brubeck-jazz-summit JodyJazz ...... 5 Snow Pond Center for the Arts ...... 64 California Jazz Conservatory ... 58, 59 jodyjazz.com snowpond.org cjc.edu Lindenwood University ...... 6 Stanford Jazz Workshop ...... 35 Capital University ...... 50 lindenwood.edu/music stanfordjazz.org capital.edu/music Longy School of Music of Bard Temple University ...... 99 Central College ...... 12 College ...... 75 temple.edu/boyer central.edu longy.edu/apply U.S. Air Force Band ...... 17 Centrum Jazz Port Townsend ...... 63 Loyola University of music.af.mil/auditions New Orleans ...... 46 centrum.org/jazz U.S. Army Field Band ...... 76 cmfa.loyno.edu/music City College of New York ...... 82 armyfieldband.com Manhattan School of Music ...... 61 jazz.ccnysites.cuny.edu U.S. Navy Band ...... 39 msmnyc.edu Columbia College Chicago ...... 71 navy.mil Marina Music ...... 85 colum.edu UCLA Herb Alpert School Cultural Tour Consultants ...... 57 marinamusic.com of Music ...... 51 culturaltourconsultants.com MCG Jazz ...... 57 schoolofmusic.ucla.edu DC Jazz Festival ...... 4 mcgjazz.org University of Michigan ...... 55 dcjazzfest.org Middle Tennessee State music.umich.edu University ...... 11 Disney Parks Live Entertainment ...87 University of Colorado Boulder ...... 29 mtsu.edu/music disney.com colorado.edu MusicMedic ...... 74 DownBeat ...... 76, 95 University of Miami —Frost downbeat.com musicmedic.com School of Music ...... 45 Eastman Music ...... 25 New Orleans Jazz Museum ...... 70 frost.miami.edu performwithmintzer.com nolajazzmuseum.org University of Miami —Frost Summer Eastman School of Music ...... 15 The New School ...... 2 Jazz Bass Workshop ...... 47 esm.rochester.edu/admissions newschool.edu/jazz frost.miami.edu French Quarter Festivals ...... 80 New Jersey Performing University of Missouri at Kansas City fqfi.org Arts Center ...... 19 Conservatory ...... 21 George Mason Universtiy ...... 7 njpac.org conservatory.umkc.edu music.gmu.edu Oberlin Conservatory of Music ...... 49 University of North Texas ...... 43 Hal Leonard ...... 9 oberlin.edu/con jazz.unt.edu halleonard.com Oklahoma State University ...... 20 University of Northern Colorado .... 23 Indiana University —Jacobs jazz.okstate.edu unco.edu School of Music ...... 79 Orbark Productions ...... 31 University of Utah ...... 66 music.indiana.edu therealdealjazz.com music.utah.edu Interplay Jazz & Arts ...... 48 Outside in Music ...... 72 Vail Jazz Foundation ...... 41 interplayjazzandarts.org outsideinmusic.com/nextlevel vailjazz.org Jamey Aebersold ...... 67 Rampone & Cazzani ...... 90 Vermont Jazz Center ...... 64 summerjazzworkshops.com ramponecazzani-usa.com vtjazz.org Jazz Aspen Snowmass ...... 65 Roger Treece ...... 70 Yamaha ...... 73 jazzaspensnowmass.org rogertreece.com yamahaeducationsuite.com Jazz at Lincoln Center ...... 89 Rovner ...... 83 William Paterson University ...... 91 jazz.org rovnerproducts.com wpunj.edu

94 JAZZ EDUCATION NETWORK 2020 CONFERENCE PROGRAM CONFERENCE PROGRAM JAZZ EDUCATION NETWORK 2020 95 2020 JEN CONFERENCE PRODUCTION CREDITS

We’d like to thank this special team of volunteers for helping make this year’s JEN Conference one to remember!

Associate Conference Coordinator: Michael Shirtz JJF Team On-Site Coordinator: Rob Klevan Conference Intern: Nick Harvey JJF Adjudicator Coordinators: Del Lyren, Registration: On Site Coordinator: Patrick Fischer Jennifer Madsen-Whatcott Registration Team Assistants: Mary Ann Fischer, Rachel Kelly, JJF Team Music For All Key Volunteers: Sam Cantor, Monica Shriver, Eric Dregne, Lizz Dregne, Silvia Araya, Katie Mark Sternberg, Laura Blake Katicich, Erin Debo JJF Team Production Assistants: Brandon Baker, Sam Muccio, Production Central Team Coordinator: Ryan Adamsons Eric Nungester Production Central Team Asst. Coordinators: Patrick Overturf, JJF Team Audio Engineers: Chuck Worthy (Venue #1), Brian Casey Nate Kalnitz (Venue #2), Riley McKee (Venue #3) Production Central Team Sponsored Artist Liaison: Exhibitor On-Site Coordinator: Andrew Surmani Jerry Tolson JENeral Store Coordinator: Tony Sinnott Production Team Assistants: Amy Minnoch, Rachel Spencer, JENeral Store Team Assistants: Nancy Sinnott, Deb Rea Mary Manos, Mary Longsdorf, Jonathan Hartman, Joseph Food & Beverage Coordinators: Casey Kruer-Perez (Hospitality Cappozzio, Seth Zimmerman, Troy Meister, Daniel McPherson, Performance Network), Miranda Frederickson (Asst.) Josh Hamrick, Kendal Smith, Drake Samuels Presider Coordinator: Mark Kross Stage Team Audio Engineers: Bryan Farina (Inspirations), Caleb Alexander (LeJENds), Devon Murray (Conservatory), Jazz Industry/Music Business On Site Coordinator: Jay Ashby Brennan Bagglio (New Voices), Rick Brunetto (Visions) Young Composer Showcase Coordinator: Dave Fodor Stage Team Managers: John Blane & Arica Pfirsch (Inspirations), Elliot Scozzaro (Visions), Gene Perla (LeJENds), Lars Nefzgar (New Sisters in Jazz Coordinator: Ellen Rowe Voices), Zakk Jones (Conservatory) Commissioned Charts Coordinator: Dr. Gregory Yasinitsky Inspirations Stage Hands: Ernie Dividu, Kendall Baver Official Photography Team: René Huemer, Cherie Hansson, Visions Stage Hands: Carlee Kime, Kramer Sell Frances Scanlon Clinic Room Audio Engineers: Dan Messersmith, Tyran Smith Official Videography Team: Mojo Factory Productions Part-Time Volunteer Team Coordinator: Rick Condit Social Media Representative: Jesse Markovitz On Site Part-Time Volunteer Team Assistant: Eric Diaz JEN Graphic Artist: Paul Rogers

DR. LOU FISCHER SHARON BURCH JESSE NOLAN KELLY CARSON JEN Co-Founder, Managing Director Membership Manager Administrative Assistant Conference Coordinator

96 JAZZ EDUCATION NETWORK 2020 CONFERENCE PROGRAM CONFERENCE PROGRAM JAZZ EDUCATION NETWORK 2020 97 JEN committee dedicated to creating equity on the professional level. Founded in 2017, Coss said WIJO was something she thought about doing for a very long time. “There are issues that I feel pretty strongly about in my everyday work life and personal life,” she said. “I was increasingly doing more research on feminism and sexism in the work- place. There were, of course, many instances in my coming up through music where I experienced harassment, assault, discrimination or just instances that were more challenging for me being a woman. Over time these things wear on you. “But I also was becoming more aware of them. I started to look toward books and articles and tried to equip myself with skills of how to handle it better. So, in my research, I really started to realize how much it was not only a part of my musical life, but also that it was actually impacting my entire experience in life.” With that in mind, WIJO was created as a group that could meet regularly to share stories and provide tools for female artists as well as offer a de facto support group so they didn’t feel isolated. Even though there are more women in jazz today than at any time in history, Coss points out that they are still a tiny percentage. “I would say that 98% of my encounters in teaching, or in any type of professional experience I’ve had, it was always with men,” she said. “I was the only woman. And so the idea that there are more now, it’s still, ‘compared to what?’” Coss said there was a time when she ques- On Creating tioned her feelings, thinking it might just be her, until she went on a road trip with members of DIVA, the all-women big band, and spent Equity in Jazz time with other female saxophonists like Alexa Tarantino and Lauren Sevian. ROXY COSS IS BEST KNOWN FOR HER WORK gave me a little glimmer of hope knowing that “We started to share more personal stories on the bandstand as a saxophonist, composer there were other girls out there doing what I about things that had happened to us over the and recording artist. But equally important was doing, and other women out there actually years or our feelings about being isolated, and it is her work to help create equity on the band- professionally doing what I wanted to do,” Coss was like, ‘Wow, we all have the same exact expe- stand for women. said. “That’s super important.” rience, and it’s not getting better.’” As the new chair of the JEN Women In Jazz Coss and the committee are also interested Coss said connecting women is one of the Committee and JEN board member, Coss is in building more of a bridge between women in key goals because there is strength in numbers committed to giving more women opportuni- this music and their male counterparts so they and strength in supporting each other. ties to shine on the student level by embracing can begin to have real conversations about how “Part of the problem I see is that the women and growing opportunities through programs to work better with women as students, band- in jazz who do exist are always separated,” she like the Sisters In Jazz, which currently gives mates and professional colleagues. said. “They’re alone and even pitted against five female jazz students an all-expenses-paid “We haven’t done much of this work yet, but each other in competition. There’s this idea that trip to JEN for mentoring, development and we’ve started to talk about how we can bridge there’s only room for one woman in a group. performing at the conference. that gap,” Coss said. “For example, there have You’re only trying to be that one. “We’ve already seen a huge increase in been conversations simultaneously in places “I can’t be contributing to this problem. So applicant numbers, which is great,” Coss about creating and educational code of ethics how can I help? The best way I can help is doing said. “So, we want to continue that trend and for teaching jazz, because it’s something that is this in my industry, in my field, in my commu- make this something that is internationally really needed.” nity, which is jazz.” recognized.” Coss’ views on the subject have grown out WIJO will be hosting a panel discussion on Sisters In Jazz was a program that had gone of first-hand experience. Her own jazz educa- Wednesday, Jan. 8, at 1 p.m. in Strand 12A dormant, but was resurrected at last year’s JEN tion and her work as a professional musician (Level 2). Attendees can meet Coss and the Conference. led her to become the founder of the Women Women In Jazz Organization at booth 709 in “It was around when I was in college, and it In Jazz Organization, a group separate from the the Elite Exhibition Hall (Level 1).

98 JAZZ EDUCATION NETWORK 2020 CONFERENCE PROGRAM CONFERENCE PROGRAM JAZZ EDUCATION NETWORK 2020 99 100 JAZZ EDUCATION NETWORK 2020 CONFERENCE PROGRAM