percussion news

The newsletter of the PERCUSSIVE ARTS SOCIETY OCTOBER 2011

IN THIS ISSUE: Society Update 3 PASIC After Dark People and Places 4 Evening concerts will keep Indy grooving In Memoriam: David Searcy 5 In less than 60 days, the Indiana Convention Center and Westin Ho- tel–Indianapolis will be bustling with the sounds of percussionists and Summer Camps and drummers from around the world—all celebrating the 50th Anniversary Festivals 16 of the Percussive Arts Society and enjoying the special offerings of PA- PASIC Posters 22 SIC 2011. As always, this year’s PASIC will present spectacular concerts 2011 Drum Corps every evening that are sure to intrigue the ears of every attendee. International World Championships 24 WEDNESDAY EVENING (Nov. 9) In Memoriam: The star-studded concert presented by the New Music/Research Commit- Marty Hurley 27 tee will feature the best performers of a generation of percussionists focused on Industry News 28 the creation and performance of new music. This retrospective of important works of recent years will include compositions by Iannis Xenakis, Brian Ferneyhough, David Lang, Classifieds 35 Michael Gordon, and Julia Wolfe, and a tribute to Chinese composers Qu Xiao-song, Tan Dun, and Guo Wen-Jing. Performers will include Steven Schick, Percussion Group Cincinnati, Douglas Perkins, So Percussion and Mantra Percussion.

THURSDAY EVENING (Nov. 10)

PONTIAC IL PASIC 2011 will present the world premiere of “Concerto No. 2 for Percussion Section, Timpani and Orchestra” by Joseph

PERMIT NO. 19 th NON PROFIT ORG.

U.S. POSTAGE PAID U.S. POSTAGE Schwantner, in the making since 2006 and specifically written for the Percussive Arts Society’s 50 Anniversary. Schwantner, considered one of the greatest living American composers, has created a concerto that includes a large, varied collection of percussion instruments including waterphone, stainless steel mixing bowls, Tibetan singing bowls, brake drums, rainsticks, and amplified marimba. The Schwantner piece will be premiered in the beautiful Hilbert Circle Theater by the Indianapolis Sym- phony Orchestra, conducted by Hans Graf. General admission tickets are free to PASIC attendees; however, there are limited seats available and only one ticket is allowed per registration. Make sure you have registered for PASIC 2011 and then e-mail [email protected] to reserve your seat for this world-premiere event. Don’t miss Joseph Schwantner’s discussion about the pre- miere at 4:00 p.m. on Thursday.

FRIDAY EVENING (Nov. 11) On Friday night, PASIC 2011 presents a show for the ages as the U.S. Army Blues Band, featuring Steve Fidyk, takes the stage for a night of jazz. Celebrating its 39th year and widely considered the best working big band in the country, the U.S. Army Blues Band will welcome to the stage guest drummers Keith Carlock, Peter Erskine, Simon Phillips, John Riley, Ed Soph, and Emil Richards (vibes) to share the spotlight with Fidyk. Expect a high-energy show with top-rated playing from the finest musicians in the nation.

SATURDAY EVENING (Nov. 12) Saturday brings PASIC 2011 to a close with a huge birthday party for PAS. The celebration begins with the incomparable Grammy-award winning Poncho Sanchez and his Latin Jazz Band. Poncho last performed in Indianapolis for the 2009 Indy Jazz Fest and received rave reviews. His show is known to spark an “instant party,” which is exactly what will be happening Saturday night as we celebrate 50 years of the Percussive Arts Society. A cash bar will be available during the concert, and the back room will be opened immediately following Poncho’s performance for an after-concert hang with more live music. Come out for the late-night hang with some of the best percussionists and drummers in the world. OCTOBER 2011 2 percussion newS www.pas.org SOCIETY UPDATE scholarship/ By MICHAEL KENYON assistantship news & Summer Workshops 2012–13 Board of Directors Election a nomination visit the PAS website at www. The Percussive Arts Society will hold its pas.org/experience/halloffame.aspx. election for the 2012–13 Board of Directors The December & February issues Rhythm! Celebrates PAS 50th term throughout the month of October. We Anniversary of Percussion News will include a are honored to present to the membership this outstanding slate of candidates who Be sure to schedule some time to visit listing of Scholarship/ are willing to serve in this vital leadership Rhythm! as you plan your convention sched- Assistantship News. role. Your role as a member is to cast your ule. In celebration of the PAS 50th Anniver- vote for those individuals you feel will best sary, the central plaza will feature an exhibit The February and April issues of provide the vision and leadership to success- on the history of PAS and Gallery I will fully lead our organization into the future. feature a new exhibit, Instrument Origins: Percussion News will include a All current PAS members with active e-mail Wood Skin Metal, that is highly interactive listing of Summer Workshops. accounts will be able to vote through our and displays some beautiful instruments not online election. An e-mail invitation will ar- previously on display. rive soon with all the information needed to For 2011, the PASIC Listening Lab will Deadlines complete your vote online. Information on be held in the Rhythm! Reading Room all December: October 15 all of the candidates and a ballot are avail- day Thursday through Saturday, and the Re- able in the back of this issue for those who search Poster Presentations will also be on February issue: December 15 would like to cast a paper ballot. The election display just outside the Reading Room. April issue: February 15 will conclude on October 31, and any mailed A special display in the Reading Room or faxed ballots must be received in the of- this year will be two Gladstone Snare drums, Send information to PAS fice at that time. serial numbers 0 and 1, as well as other unique pieces you will not want to miss. 110 W. Washington Street, Suite A 2012 PAS Hall of Fame Nominations Rhythm! Discovery Center hours dur- Indianapolis, IN 46204 Nominations for the PAS Hall of Fame ing PASIC will be 9:00 a.m.. – 7:00 p.m. 2012 Inductees will be accepted through Wednesday–Saturday, and 9:00 a.m. – 5:00 E-mail: [email protected] w September 30. To review the entire list of p.m. on Sunday. Hall of Fame members and how to submit

Percussion News Staff: Rick Mattingly, Editor • Hillary Henry, Art Director

The Percussive Arts Society® (PAS®) is a music service organization promoting percussion education, research, performance and appreciation throughout the world. Percussion News is published six times a year: February, April, June, August, October and December by the Percussive Arts Society. Correspondence regarding change of address, membership, other business matters of the Society, and editorial and advertising material should be sent to: Percussive Arts Society, 110 W. Washington Street, Suite A, Indianapolis, IN 46204; telephone: (317) 974-4488; fax (317) 974-4499; e-mail: [email protected]. • POSTMASTER: Send address changes to: Percussion News, 110 W. Washington Street, Suite A, Indianapolis, IN 46204. • COPYRIGHT © 2011 by the Percussive Arts Society. Reproduction of any part of this publication without permission from PAS is prohibited by law. • Printed in the USA by Johnson Press of America, Pontiac, Illinois. www.pas.org percussiON nEWS 3 OCTOBER 2011 mus, the UFPE hand-chime ensemble under the direction of Dr. Flavio Medeiros. Students people and places also had the opportunity to participate in a va- riety of community-based workshops including pandeiro lessons with Claudio Santana, ma- AUSTRALIA April 11–21 in the Academic Hall, which was racatu workshops with Corpos Percussivos di- ptimum Percussion (Carolyn Watson, also the host location of the Universal Marimba rected by Jorge Martin, and samba classes with Eisteddfod Coordinator) presented the Competition in July. This Academy was open Monobloco under the direction of Celso Alvim. O12th Annual Australian Percussion Eisteddfod for intermediate, advanced, and professional The exchange was the concluding project of on August 27–28 in Sydney. Adjudicators and marimba players and provided a great oppor- the five-year Music Alive! FIPSE-CAPES clinicians included James Campbell (University tunity to take private lessons with marimba grant for student exchanges and collaborative of Kentucky), Gray France (Australian Na- virtuoso Ludwig Albert and assistant Lin Chin projects between West Virginia University, tional University, PAS Australia Chapter Presi- Cheng. The Academy hosted students from East Carolina University, Universidade Federal dent), Sergei Golovko (Melbourne Percussion Poland, Uruguay, Hong Kong, Bulgaria, South do Pernambuco, and Universidade Federal do Ensemble School and Marimba Academy), and Korea, Taiwan, Mexico, Japan, Thailand, Spain, Rio de Janeiro. Supplemental funding for this Allan Watson (Australian Opera and Ballet Tenerife, Serbia, and Belgium, who shared the exchange was generously provided by the West Orchestra). Each year, Optimum Percussion closing concerts with the lecturers. Adams, In- Virginia University College of Creative Arts holds the Australian Percussion Eisteddfod in novative Percussion, Concorde, and Pustjens and East Carolina University. Sydney, Brisbane, or Melbourne, where primary Percussion Products co-sponsored this event. CANADA and high school students can compete in solo The next edition will take place in July 2012; for or ensemble events. Schools and percussionists information visit www.ludwigalbert.com. n celebration of the 40th anniversary season of from all over Australia have attended this event Nexus, two back-to-back performances were BRAZIL since its inception. Igiven by the Toronto-based quartet on July 31 embers of the West Virginia University as part of the Ottawa International Chamber alactic drummer Stanton Moore recently African Music and Dance Ensemble Music Festival Chamberfest at St. Brigid’s completed a clinic/performance tour of (MZane Cupec, John Lofink, John Posey) under Centre for the Arts. The first performance was GAustralia, where he delighted drummers with the direction of Dr. Michael B. Vercelli par- a full Nexus solo concert featuring works by his New Orleans-flavored funky style. Stanton’s ticipated in a three-week cultural exchange to Steve Reich, John Cage, and Nexus member appearances were part of the Drumscene Live Recife and Rio de Janeiro May 19–June 9. Col- Bill Cahn, as well as several of the group’s sig- Australia Tour 2011, sponsored by Drum- laborating on the exchange were Dr. Christine nature novelty ragtime xylophone arrangements tek, the country’s largest percussion retailer. Gustafson (flute, East Carolina University), Dr. featuring Bob Becker. Also joining Nexus for From Aug. 14–21 Stanton and his tour mates Michael Sammons (percussion, University of this event was the Canadian percussion group crossed the continent, entertaining drummers South Alabama), Dr. Sergio Alvares (ethno- Torq. in Brisbane, Sydney, Canberra, Newcastle, and musicology, Universidade Federal do Rio de CHINA Adelaide. They finished up at the 2011 edition Janeiro), and Dr. Mauro Maibrada (guitar, Uni- of Australia’s Ultimate Drummers Weekend & versidade Federal do Pernambuco). Workshops r. Michael B. Vercelli (West Virginia Drum Expo in Melbourne, where Stanton con- and master classes were presented at the UFPE University) was in residency at the Central ducted master classes on Aug. 20 and closed the and UFRJ on African percussion (Vercelli/ ConservatoryD of Music, Beijing China from show on Aug. 21. WVU African Music and Dance Ensemble), June 25–29 (Prof. Zhang Boyu, host). The resi- snare drum (Sammons), flute (Gustafson), gui- dency concluded a two-year project centered on BELGIUM tar (Maibrada), the Brazilian Choro (Alvares), Internet-based instruction of the gyil (Ghana- he fifth edition of the Ludwig Albert In- maracatu with UFPE Professor of Percussion ian xylophone). Workshops and lessons focused Tternational Marimba Academy took place Antonio Barreto, and a performance by Txai- on gyil repertoire and hand drumming tech-

Stanton Moore Ludwig Albert, Lin Ching Cheng and students at the Ludwig Albert International Marimba Academy

OCTOBER 2011 4 percussion newS www.pas.org nique and performances by individual CCOM to soloing while demonstrating the classic way students. of playing danzón. Drumset was taught by Juan Carlos Rojas “El Peje” (Chucho Valdez CUBA drummer) and session drummer Oliver Valdes, oSA Cuba held its annual workshop and each exemplifying his own creative approach to festival March 6–13. The week started with Cuban rhythms on the drumset. Assisting with Ka conference and an introduction to Cuban translation and “hands on” instruction were music by ethnomusicologist Dr. Olavo Alen, Aldo Mazza and Memo Acevedo. followed by a personalized introduction tour Highlights of the workshop were a special to Old Havana and other historic sites. Conga class with Cuban percussion group Percuba drum classes were conducted by Tomas Ramos Ensemble teaching rumba and traditional con- “El Panga” Julio Lopez from Klimax, Yaroldi cepts in performance, and seeing Amadito Val- Abreu from Irakere and Chucho Valdes. Tim- dés, Oliver Valdes, Jesus and Yuliet Abreu from bale classes were conducted by Jean Roberto Los Papines and Enrique Pla do an impromptu Figueroa from Klimax with his personal jam/descarga. KoSA participants were also “timba rhythm” approach to that instrument. given the opportunity to see live performances Special guest Roberto Smith, the inventor of with top Cuban artists and dance troupes the new foot maraca shaker manufactured by throughout the week. The winners of the na- LP, demonstrated the ultimate independence tional percussionist contest performed live and in performance as a solo percussionist covering received prizes of drums, congas, timbales, bon- all the percussion parts. Legendary timbalero gos, and cymbals offered graciously by sponsors Amadito Valdes of Buena Vista Social Club LP, Sabian, Evans, and Mapex. fame spoke about his philosophy and approach In Memoriam David Searcy By Michael Quinn

avid Searcy, timpanist of the La Scala Opera Dorchestra for more than three decades, died on August 2, 2011, after a long illness. David was a singular authority among col- leagues all over the world, and for many young timpanists and percussionists an inspiring teacher and fatherly friend. His playing career, both lyric and symphonic, and his innate musical curiosity made the scope of his knowledge of the repertoire probably the broadest, and his interpretation of that repertoire the deepest, of any timpanist ever. His never-flagging interest in music history fueled his conviction of the worth of tradition in an ever more unsettled world, and he looked always to pass on the cultural heritage of his instrument and its practice to those who sought his pres- ence. Born in Richmond, California, on January 21, 1946, David first studied in his home city of Oakland, and in his teens was a student of Roland Kohloff. In 1964 he went to Tanglewood, then remained on the East Coast to study with Vic Firth, and in 1965 gave in to a long-held wish to play in Europe when a timpani opening in the Musikselskabet Harmonien in Bergen, Norway, made the move possible. Two years later he was looking for new challenges, other concepts, and a new artistic orientation. In Vienna he studied with Richard Hochrainer, and then found his true mentor and guide in Robert Hinze in Hamburg, Germany. In 1968 he became solo timpanist of the Bavarian State Opera in Munich, where he re- mained until 1972 when Claudio Abbado invited him to join the orchestra at La Scala. Later, when Abbado founded the European Youth Orchestra and the Gustav Mahler Youth Or- chestra, David was his first choice for a percussion tutor. From 1980 until his death, David guided the percussion class at Milan’s Civic Music School. Here, he formed a whole new generation of timpanists for Italy and Europe, and a few more distant parts of the world as well. He was also visiting Professor at the Royal Acad- emy of Music in London. David brought a wholesome fantasy into the world and no one, not even his peers, ever left his company without taking away some bit of knowledge that made music, or playing, or even life, a bit clearer and more meaningful. For that we’ll be ever grateful to him. www.pas.org percussiON nEWS 5 OCTOBER 2011 ITALY fort. Festival Creative Director and internation- USA n April 2–3, KoSA held its first official ally known French/Algerian drummer Karim Alabama workshop in Turin in collaboration with Ziad shared drumset duties on this second he 5th Annual JSU Grey Drummers Othe GM Drum School in Torino, directed by concert. Between Worlds included Broto Roy Summer Gig was held June 23–25 at Gigi Morello. Aldo Mazza (Repercussion, on tablas. TJacksonville State University. The Grey Drum- KoSA Founder and Artistic Director) and mers are part of the band alumni organization SERBIA drumset artist Sergio Bellotti (Berklee College known as the Grey Echelon. The Marching of Music) were invited to lead and instruct a he Stankovic Percussion Ensemble has Southerners of JSU is entering its 55th year in two-day intensive workshop covering the topic been very active this year, playing over 60 2011. Spearheaded and organized by Daniel “it is about the groove.” Covering a broad range Tconcerts in Serbia and Montenegro. In Febru- Hammond, the Summer Gig has grown every of topics, from drumset to hand and world per- ary Jeff Queen presented a clinic and two con- year since its inception. Clinics were presented cussion, the classes included both performing certs with the SPE Drumline in Belgrade and by Richard McLendon (I.P. Educator Artist and interactive sessions. Novi Sad. In July the group had guests from and JSU graduate), Hammond ( JSU graduate), At the end of the first day, the 50 partici- Southern Missouri University and Illinois State Jim Dinkins (DCI percussion judge 1977–97), pants in Torino were treated to a live video University for a five-day workshop, clinic, and Clint Gillespie ( JSU Assistant Band Direc- connection to New York where KoSA artist two performances with the ensemble. Clini- tor and JSU graduate), special guest speakers alumnus and digital media expert Allan Mol- cians were Matt Brusca, Josh Zimmer, Gregg John C. Smith (Hawthorne Caballeros Alumni nar facilitated a live interactive video discussion Walker, Arthur Johnson, and Kevin Ranney. Drum and Bugle Corps, Hawthorne, NJ) and with KoSA alumni faculty artists Mike Main- The clinic was supported by the U.S. Embassy Bob Peterson (Hawthorne Caballeros and the ieri, Marcus Santos, Michael Wimberley and in Belgrade. Two Serbian graduate students World Drum Corps Hall of Fame), Dr. David Jim Royle. will continue their studies in the U.S. Milos L. Walters ( JSU Band Director Emeritus), and The two-day intensive workshop culminated Branisavljevic received a full scholarship to the Daisy Cordona ( JSU graduate). in a public jam session at a local club in the Berklee College of Music, and Igor Stojanovic The three-day event included music section- famous Piazza Immanuele. Bellotti and Mazza received a full scholarship to Benedict College. als, full ensemble music rehearsals of the drum were joined by local musicians in an evening of music played by JSU drum lines over the years, SOUTH KOREA jamming and hanging with many students and clinics, and social activities. JSU percussionists local musicians. he Taiwan International Percussion from 1956 to the present were in attendance KoSA Italy sponsors were LP, Sabian, Pro- Convention (formerly the Taipei Inter- and came from Texas, Kentucky, Tennessee, Mark, Evans, Zildjian, Vic Firth, Ringo Music, Tnational Percussion Convention) was held in Alabama, and Georgia. Percussion instruments, and Vibe Drums. May, sponsored by the Ju Percussion Group. provided by Hammond, were rebuilt and used The event featured 13 groups from 10 nations to provide instruments that were used during MOROCCO performing 26 concerts in eight cities. Guest each time period of the drum line’s history. es Crawford performed twice on drum- artists included Nebojsa Zivkovic (Germany), set with Between Worlds at the Gnaoua Svet Stoyanov (Bulgaria), TaCTuS (France), Alaska FestivalW in Essaouira this summer. The first PercaDu (Israel), the Amsterdam Percussion rom July 17–23, nine advanced-level show was for an estimated audience of 25,000 Group (Holland), the Seoul Percussion En- percussionists participated in the Alaska on June 23. The June 24 show was a collabora- semble and Hannuri Yeon-Hee Dan (South MidnightF Sun Chamber Percussion Intensive. tive concert with Gnaouan superstar musician Korea), Okada ( Japan), Azaguno (USA), and This program was part of the annual Fairbanks Hamid Kesri, held on top of an old Potuguese Strike Percussion (New Zealand). Summer Arts Festival and was held at the Uni- versity of Alaska Fairbanks. Morris Palter was the program director and Bob Becker was the guest faculty member. Participants performed two dedicated concerts including a complete performance of Steve Reich’s “Drumming” and a series of smaller chamber works including “Away Without Leave,” “Unseen Child,” and “Turning Point” by Becker, as well as works by Toru Takemitsu, John Cage, and Edgard Varèse. This event was sponsored in part by Yamaha, Sabian, and Black Swamp. California im Greiner recently conducted a drum circle at the 39th Annual Santa Cruz Wharf to JWharf Race. The 10K race attracts 15,000 run- ners from all 50 states and over 20 countries, including elite African runners, and has raised over $300,000 for area school athletic programs. Jim’s drum circle helps motivate the runners at the starting line and has become a Wharf to Wharf Race tradition. His drum circle was one of 50 musical groups that lined the race course along the scenic coast from the Santa Cruz Wharf to the Capitola Wharf in the Monterey Jeff Queen with the Stankovic Percussion Ensemble Drumline Bay area.

OCTOBER 2011 6 percussion newS www.pas.org www.pas.org percussiON nEWS 7 OCTOBER 2011 rumChannel.com and Los Angeles Music artists Jonathan Haas, David Herbert, Doug mini festival an unprecedented performance Academy College of Music hosted the Howard, and Tom Stubbs were joined by 19 of Harrison Birstwhistle’s “For o, for o, the SecondD Annual Drummer’s Reality Camp June percussion students from around the world hobby horse is forgot,” which included actors 29–July 2. Guest artists included Alex Acuña, along with guest artists Collin Currie, Keith from the AMFS Opera program. Other works Kenny Aronoff, Terry Bozzio, Jim Keltner, Aleo, and Michael Udow. Currie performed on the program included “Omphalo Centric Cobus Potgieter, Gil Sharone, Thomas the Rouse percussion concerto, “Der Gerettete Lecture” by Nigel Westlake, “Tak-Nara” for Pridgen, and L.A. Music Academy’s Ralph Alberich,” with the Festival Orchestra and percussion quartet by Nebojsa Jovan Zivkovic, Humphrey, Dave Beyer, Aaron Serfaty, Tony presented a master class. Aleo and Udow of- “20 Minutes off the Pavement” by David Fried- Inzalaco, and Joe Porcaro. The four-day event fered their expertise to the percussion class man with Matthew Lau, vibraphone soloist, took place at L.A. Music Academy in Pasadena. along with the weekly master classes given by and “First Concerto for Flute and Percussion” Campers were treated to workshops, lessons, the faculty. Elliot Beck served as the Aspen by Lou Harrison with Nadine Asin, flute solo- master classes, special performances, meet & Conductors Academy fellowship principal tim- ist. Charles Rosmarin was the winner of the greets/autograph sessions, a DW Drums factory panist, Simon Gomez Gallego was the winner Messian Exotic Birds audition, which resulted tour, and an in-studio, live clinic by Bozzio at of the Charles Owen Memorial Fellowship, in a performance with acclaimed pianist David DrumChannel.com studios. and Ryan Nestor served as the percussionist for Friend and members of the AMFS percussion the Aspen Contemporary ensemble under the department. Colorado direction of Sidney Hodgkinson. he Aspen Music Festival and School The percussion ensemble, under the direction Connecticut Percussion Department featuring faculty of Haas, presented as a part of the Shakespeare rammy Award-winning percussionist, T composer, and songwriter Ralph Mac- GDonald was honored with a day all to himself on the final evening of the Jazz-up July music festival in Stamford. MacDonald, a 35-year Stamford resident, was emotionally overcome by the surprise honor, which came in the form of a proclamation by Mayor Michael Pavia: “We have the greatest resources in the world, and we are about to see one of them, live and in person,” Pavia said. “Ralph MacDonald, today is your day on behalf of the citizens of Stamford.” He and fellow Stamford resident Dennis Col- lins performed a set of songs at the start of the concert, paving the way for the evening’s head- liner, Roberta Flack. Kentucky had Floyd, Director of Percussion Studies at Campbellsville University, presented a Cvariety of percussion clinics and master classes to several high schools and middle schools throughout Kentucky during a one-week tour in May. The schools included Old Kentucky Jim Greiner in front of the world-famous Giant Dipper roller coaster at the Santa Cruz Beach Boardwalk. Home Middle School, Shelby County High School, Spencer County Middle School, South Warren Schools, Bullitt Lick Middle School, and Lebanon Middle School. The clinics fo- cused on a number of topics including snare drum, keyboard percussion, timpani, and drum- set. The clinics were sponsored by Innovative Percussion. Maryland he Drumset and Percussion Camp, part of the Goucher Summer Arts Institute, Twas held at Goucher College in Baltimore July 10–23 for percussionists ages 13–18. Teaching and performing faculty members consisted of Wes Crawford (camp director, Goucher Col- lege), Kwame Ansah-Brew (Goucher College), Phil Bronson (drummer for Jonathan Scales Fourchestra), Greg Clark (Raheem Devaughn, Greyson Chance), Orlando Cotto (Darin Atwater, Andy Gonzalez, Michael Spiro), Je- rome Herskovitz (Goucher College), Jeremy Aspen Music Festival and School percussion department at 12,500 feet Hummel (formerly with Breaking Benjamin),

OCTOBER 2011 8 percussion newS www.pas.org www.pas.org percussiON nEWS 9 OCTOBER 2011 Dr. Michelle Humphreys (Towson University, as from Italy, Brazil, Canada, and Japan to study Ja Music, KMC Music, Mountain Rythym, Shepherd University), Keith Larsen (Baltimore and perform at the two-week seminar. Pearl PAS, Classic Drummer magazine, the LIDC, Drum Company), John Locke (Goucher Col- Drums and Adams Musical instruments pro- NARAS, and LARAS. lege, Baltimore Symphony), Marshall Maley vided a full array of keyboard percussion, drums, (VA/DC PAS Chapter President), Joe Mc- and hardware to be used at Chosen Vale. n March 29, KoSA held its KoSA NYC Carthy (AfroBop Alliance), Mike Miller (Old Chosen Vale offered a truly unique experi- one-day workshop including clinics Mill High School), John Parsons (drummer ence to all of the attendees. Not only did na- Oand concerts at Lehman College. Clinicians with Navy Commodores), K. S. Resmi (S. tionally and internationally recognized faculty were Arnie Lang, Aldo Mazza, Johanthan Indian vocalist), N. Scott Robinson (Goucher teach at the event, including Matthew Duvall Haas, Allan Molnar, Scott Kettner, Mike College), Jonathan Scales ( Jonathan Scales and Tom Freer, but prominent composers were Clark, and Victor Rendón joined by his group Fourchestra), Scott Tiemann (Avec), and Cody also in attendance to discuss and work with Co-Tim-Bó (Victor, Chembo Corniel, Guill- Wright (bassist for Jonathan Scales Fourches- students. As part of a collaborative process, ermo “Memo” Acevedo, Cascadu, and Yasuyo tra). Offerings included jazz combos, concert composers Steve Reich, Steven Mackey, Larry Kimura). The event started with Lang (NY percussion ensemble, Brazilian drumming Polansky, David Rosenboom, Christian Wolff, Philharmonic), Haas (NYU) and Mazza (Re- ensemble, drumline, steel pan ensemble, West and Joseph Schwantner all visited Chosen Vale percussion), who engaged in a workshop on African ensemble, world percussion ensemble, to give lectures or coaching sessions on their “The Percussion Section in the Concert Band.” and dance accompaniment, as well as numer- works. Participants included Penelope Jacono direct- ous clinics, workshops, and concerts. Sponsors Students prepared four concerts of chamber ing the Celia Cruz High School Percussion included Baltimore Drum Company, Chuck music over the two-week period. Over the Section performing “American Faces” by David Levin’s Washington Music Center, Cooperman course of the seminar, members of the guest Holsinger. The clinicians then gave valuable Drums, Dream Cymbals, Evans, Goucher Col- faculty gave lectures, lessons, and master classes suggestions for improving performance such as lege Music Dept., Innovative Percussion, Locke for the students. With almost all events at the stick selection, playing position in relation to Percussion, Maley’s McLean Music, Mid- seminar held in a group setting, all attendees the conductor, attack and articulation of specific Atlantic Drum, MusicAndGames4U.com, My- were able to benefit from the constructive criti- note values, and dynamics. DrumLesson.com, Pearl, ProLogix Percussion, cism, encouragement, and support offered by Kettner took the audience on a musical jour- Pro-Mark, Remo, Sabian, Vic Firth, Yamaha, the faculty. ney to Brazil covering the Northeast rhythm and Zildjian. Visit www.DrumsetAndPercus- known as Maracatu and demonstrated and sionCamp.org for further info. New York discussed some of the similarities between Bra- arry S. Levine was one of the featured zilian and New Orleans drumming. Clark, who New Hampshire clinicians at the Woodstock Music Trade is known for his work with Herbie Hancock, eld from July 4–16 at the Enfield Shaker LShow in May. Promoting his acclaimed, award- covered the topic “From Swing to Linear Funk” Museum in Enfield, the inaugural Chosen winning instructional series, “Drumistix—from and performed and demonstrated with special HVale International Percussion Seminar was a Pad to Performance,” he played to a capacity guest Jerry Z on organ. The final clinician of the resounding success. As part of the Center for crowd. Levine’s interactive class demonstrated day was Rendón joined by his group, Co-Tim- Advanced Musical Studies, the percussion sem- and covered such topics as rudimental applica- Bó. The group started with a performance fea- inar was hosted by Pearl/Adams artist Doug tions, stylistic development, and drumming/ turing batá drums and segued into a traditional Perkins and CAMS director Edward Carroll. musical awareness. The event was supported Cuban bembé. A discussion of the different The seminar was attended by 30 talented, young by Yamaha, Sabian, Regal Tip/Calato, Aquar- rumba styles then followed, which included musicians, coming from across the U.S. as well ian, LT Lug Locks, SKB Cases, HHot Hat, yambú, rumba columbia, guaguancó, and the relatively new style of guarapachangueo. The clinic ended with the performance of a percus- sion arrangement of “Manteca,” which featured the group and guests Mazza, Molnar, and Kettner. The event culminated with a performance by the 80-piece Lehman College Concert Band (led by Alan Hollander) performing “Mambo #5” arranged by Armando Rodriguez and Vic- tor Rendón. Lang joined the group on timpani, along with Mazza, Molnar and others. Many thanks to the KoSA NYC sponsors: Sabian, Evans, LP Music, Vic Firth, Remo, Lang Percussion, Pro-Mark, Toca, Istanbul Agop, Tama, and DW.

exus joined forces with the Canadian Brass in an Independence Day weekend performanceN at the historic Maverick Hall in Woodstock, hosted by Nexus member Garry Kvistad. The concert was titled “Stars and Stripes” and featured traditional American songs and marches. Much of the music was Drumset and Percussion Camp Faculty Concert performers (L–R): K.S. Resmi, Orlando Cotto, Jeremy Hummel, arranged by former Nexus member Robin N. Scott Robinson, Wes Crawford (host), Jonathan Scales, and Jonathan Scales Fourchestra members Phil Engelman for the recently released CD, Stars Bronson and Cody Wright. and Stripes: Canadian Brass Salute America.

OCTOBER 2011 10 percussion newS www.pas.org www.pas.org percussiON nEWS 11 OCTOBER 2011 The CD features members of Nexus with the Smallcomb (percussion). On July 31, the duo ten-day run from June 1–10. The event was Canadian Brass, and for weeks it was on the presented a special program entitled “Medita- generously hosted by Furman University in Billboard Classical Chart peaking at Number tion and Imagery,” which featured new and Greenville and allowed participants from Two. Among the highlights in the Woodstock standard works for percussion including George around the U.S. to participate in the perfor- concert were Bill Cahn’s arrangement of Cop- Crumb’s “Quest” for guitar, soprano sax, harp, mance and study of some of the most promi- land’s “Fanfare for the Common Man” followed double bass, and two percussion, performed by nent pieces from the percussion repertoire. by Peter Schickele (aka “P.D.Q. Bach”) person- Performing Arts Institute faculty members. The Utilizing a selection of generously borrowed ally introducing his own “Fanfare for the Com- festival was generously sponsored by Sabian, instruments from Yamaha and Pearl/Adams, mon Cold.” Remo, Innovative Percussion, and Korogi Ma- nief-norf ’s offering included six concerts in ten rimbas. days, all free and open to the general public. ill Cahn, a member of Nexus and Profes- The festival began with an evening concert sor of Percussion at the Eastman School uly 10–16 marked the annual Summer Music by the faculty group the nief-norf Project, ofB Music, facilitated a Creative Music Making Camp (Grant Moore, director) held at Eliza- who performed Christopher Adler’s compel- workshop for 14 participants as part of the Jbethtown College. James Armstrong, Instruc- ling work “Pines Long Slept in Sunshine,” as week-long summer percussion institute directed tor of Percussion at Elizabethtown College and well as works by Mark Applebaum and Steve by Eastman Professor Michael Burritt. The Millersville University, oversaw all percussion Reich. Days later, the participants headed workshop focused on freeform improvisation activities and was assisted by students Katelyn downtown to Falls Park and presented Terry based on Bill’s book, Creative Music Making, Santee (Etown College) and Forrest Black Riley’s “In C” and John Zorn’s “Cobra” to a published by Routledge Books. Each partici- (Millersville University). The week-long camp vibrant and enthusiastic audience of all ages. pant had the opportunity to perform and record catered to over 150 young musicians grades The festival also included a first-rate evening an improvised piece for immediate playback, 7–12 in all disciplines of music. Percussion performance by emerging solo artist Ryan listening, analysis, and discussion. Earlier in activities included daily master classes pre- Nestor, which included a rendition of Roger the week, Bill performed in an improvised duet sented by Armstrong in all areas of percussion, Reynolds’ “Watershed,” and a more informal titled “Ready to Hatch” on Burritt’s solo faculty percussion ensemble rehearsals, as well as sec- Cabaret Concert made-up of solo performances recital in the Eastman School’s new Hatch Re- tion rehearsals with large ensembles. Evening by the participants, which was highlighted by cital Hall. In addition to Burritt’s daily sessions, concerts featured faculty and student chamber Caleb Herron’s closing performance of Vinko additional workshops were presented by Lee ensembles, including the Music Camp Percus- Globokar’s “Corporel.” Additionally, composers Vinson, Jacob Nissly, and John Beck. sion Ensemble, Latin Jazz Percussion Ensem- Caroline Mallonee and Steven Snowden visited ble, and the Faculty Percussion Trio. The camp campus, presented master classes and coachings, Pennsylvania closed with a finale concert that highlighted and then heard their pieces presented in concert uey Percussion Duo (Gene Koshinski students performing within the large ensemble next to works by Alexandre Lunsqui, Stuart and Tim Broscious) completed a six- setting. Armstrong was sponsored in part by Saunders Smith, and the vintage sounds of Ma- Qweek residency at the International Perform- Yamaha, Sabian, and Vic Firth. rio Davidovsky’s “Synchronisms No. 5.” ing Arts Institute Summer Music Festival in After more than a week of discussion, Kingston from June 26 to Aug. 6. The duo filled am Ruttenberg and his student Justin rehearing, and hang-time, the participants the festival with performances, master classes, Faulkner (Branford Marsalis) shared the presented a final concert on June 9 as part of clinics, workshops, private lessons, and side- Sbill with singer Jo Thompson at the Philadel- Furman’s Music by the Lake concert series, at- by-side experiences in large ensembles. One phia Jazz Clef Club. It was a tribute to the late tended by over 500 people. The performers gave highlight was a performance of Koshinski’s Lena Horne whom Sam played with years ago. a performance of John Luther Adams’ “Qily- “Concerto for Marimba and Choir,” presented aun,” which was surrounded by David Crowell’s on July 2 with the Performing Artist Insti- South Carolina “The Day After...,” Christopher Adler’s “Signals tute Choir with Koshinski (marimba soloist), he 1st annual nief-norf Summer Festi- Intelligence,” and masterworks by Steve Reich Tim Broscious, Mike Dobson, and Matt Tval enjoyed enormous success during its and Iannis Xenakis.

OCTOBER 2011 12 percussion newS www.pas.org www.pas.org percussiON nEWS 13 OCTOBER 2011 The festival was directed by Andrew Bliss the University of South Carolina campus on event also included a “Rumba Anatomy” clinic and staffed by faculty members Omar Car- April 16. This year’s event included the second by Michael Spiro and Jesse Willis as well as menates (host), Mike Truesdell (Assistant annual High School Solo Competition and All a concert presented by the Blythewood High Director), and Bill Sallak (Technical Director) Collegiate Percussion Ensemble. Sympatico School Percussion Ensemble under the direc- as well as Christopher Adler (composer-in- Percussion Group headlined the day through tion of Jonathan Burbank. residence) and Megan Arns (intern). The fes- their participation in directing the All Col- tival wishes to thank Black Swamp, Innovative legiate Ensemble, giving individual clinics, and Tennessee Percussion, Vic Firth, Zildjian, and Sabian for closing the day with a performance. The group’s n Aug. 27, guest artist Julie Davila their support. clinics included Kristopher Keeton’s “Be- worked hands-on with six regional march- yond Boundaries,” Susan Powell and Joseph Oing percussion sections at the University of he 2011 South Carolina Day of Percus- Krygier’s “Improving Ensemble Skills,” and a Tennessee at Martin’s 7th Annual Drum Line sion was hosted by Dr. Scott Herring at marimba clinic by Christopher Norton. The Tune Up Day. Davila worked on technique, T musicality, and a variety of percussive subjects within the marching percussion genre. Julie also gave a clinic for all participating students and band directors using the UTM Marching Percussion Section (Hill, Coordinator, and Nola Jones, Director of Bands) as the demonstration group. The event hosted over 300 high school students and band directors. This event was sponsored by Zildjian, Pearl/Adams, Innovative Percussion, and Evans. Texas ighteen Texas libraries hosted percussion programs by Mark Shelton during June andE July. The performances of Mark’s “Strike, Scrape, & Shake Show” were part of the librar- ies’ summer reading series.

Participants of the University of Tennessee at Martin’s 7th Annual Drum Line Tune Up Day

OCTOBER 2011 14 percussion newS www.pas.org he University of North Texas College of Cadeson, Cooperman, Canadian Musician, News items for the “People and Places,” “Industry News” Music presented the 5th Annual UNT ddrum, Dream Cymbals, Evans, Factory Metal, and “On the Road” sections of Percussion News must TMarimba Workshop with faculty members Hudson Music, Istanbul Mehmet, KAT Per- be received at the PAS office within three months Professor She-e Wu from Northwestern cussion, LP, Ludwig/Musser, Mapex, Mike Bal- of the date of the event. University, Dr. Brian Zator from Texas A&M ter, Modern Drummer, PAS, Pro-Mark, Remo, Please send materials to PAS: University–Commerce, Dr. Scott Herring from Sabian, Shure, Sticks ‘n Skins, Taye, Toca, Vibe w 110 W. Washington Street, Suite A, Indianapolis, IN 46204 the University of South Carolina, and UNT Drum, Vic Firth, Yamaha, and Zildjian. Fax: (317) 974-4499 . E-mail: [email protected] Percussion Coordinator and workshop host Professor Mark Ford. Guest clinicians for the week-long workshop were composer/percus- sionist Michael Colgrass and UNT Percussion Professor Christopher Deane. Students came from across the country to participate in master classes, technique sessions, keyboard ensembles, private lessons, and much more. In addition to instruction, there were three student recitals and a faculty recital. Sponsors for the workshop were the UNT College of Music, Dynasty, In- novative Percussion, and Zildjian. Vermont he 16th Annual KoSA International Percussion Workshop, Drum Camp and TFestival wrapped its annual week of intensive, intimate living and learning with international drum and percussion masters and a very special surprise guest. Participants and faculty alike were stunned and reacted quite emotionally when Neil Peart of the legendary Canadian rock group Rush took center stage at the camp’s Jolan Kovacs Mazza, Neil Peart and Aldo Mazza with the KoSA Lifetime Achievement award, given to Neil at the closing session. 16th Annual KoSA International Percussion Workshop It was an honor for KoSA Founder Aldo Mazza to have Neil accept an invitation to come to KoSA and join Aldo for a publicly candid interview on various topics. Neil also took a few questions from KoSA participants. For a postscript, Aldo and KoSA Artist Faculty members Marcus Santos, Michael Wimberly, and Memo Acevedo joined Neil on a drumkit and djembe ensemble improvisation, with Neil moving to djembe for the finale of a once-in-a- lifetime, spontaneous percussion performance. Registered participants came from Mexico, the U.K., and all over the U.S and Canada to study with KoSA’s faculty, which included Acevedo (Tito Puente), Carmine Appice (Vanilla Fudge, Rod Stewart), Sergio Bellotti (Spajazzy, Berklee), Jimmy Cobb (Miles Da- vis), Dominick Cuccia (Company of Fifers & Drummers), Mario DeCiutiis (KAT Drums & Mallets, Radio City), Dom Famularo (drum- ming’s global ambassador), Aiyun Huang (McGill University), Aldo Mazza (Repercus- sion), Allan Molnar (Nelly Furtado), Jim Ro- yle (steel drum master), Jeff Salisbury (Albert King, James Harvey), Marcus Santos (Paquito DíRivera), Glen Velez (Grammy-winning frame drum master), Michael Wimberly (P- Funk, African drum specialist) with dancer Alexis Johnson, Zoro (Lenny Kravitz) and the KoSA rhythm section: Bob Quaranta (piano) and Francesco Beccaro (bass). KoSA Lifetime Achievement Awards were given to Jimmy Cobb and Neil Peart. KoSA 16 was sponsored in part by Beatnik, www.pas.org percussiON nEWS 15 OCTOBER 2011 Summer Camps and Festivals Asbury Park, New Jersey. Leigh Stevens returned to that same venue and concluded the seminar with an incredible program of multiple Bach works, two of his compositions, and a pre-premiere of his newest work- The 2011 LHS Summer Marimba Seminar in-progress. By Jessie Linden When the students were not in class or practicing, many found time This year at the 32nd annual Leigh Howard Stevens Summer to enjoy the marvelous beach weather just outside the inn. Some spent Marimba Seminar, 25 college-aged students benefited from an immense time exploring Ocean Grove and its surrounding communities, and blend of musical and personal gain while nestled in a beautiful, a few even made a trip or two to New York City. By the final student oceanside Victorian inn. The focused environment of the classroom concert on the last night, a supportive group of individuals sat as a as well as the unique housing experience allowed the students to mix class and shared what was to many an emotional end to a life-changing their musical expression and social graces and develop invaluable skills. experience they will treasure forever. With students coming from all over the world, participants were all Rosauro and Moore’s Mallet and Percussion Summer Camp able to positively influence their fellow students from both a musical and social standpoint. The group, spanning the United States, Canada, The 2011 Ney Rosauro and Jeff Moore’s Mallet and Percussion Sum- South Korea, Switzerland, and Belgium, created a warm and supportive mer Camp took place at the University of Central Florida in Orlando environment in which to live, learn, and grow. July 17–23. In addition to Rosauro and Moore, other faculty included Each day, the students had several hours of class time with Leigh, Dr. John Parks, Kirk Gay, Dr. Thad Anderson, Brian Potts, and graduate followed by practice time at the inn where one had the opportunity assistants Nick Guiliano (University of South Carolina) and Luis Alber- to work independently or to join forces with friends in helping each to Bittencourt (Brazil). The camp is part of the highly successful Yamaha other master the challenging concepts being presented. With Leigh, Sounds of Summer Program with additional sponsorship support from the students participated in lecture-based classes with assigned nightly Sabian and Vic Firth. reading pertaining to the discussions of that day. Leigh presented his Twenty-one students from the United States plus five international technical approach to the instrument with daily demonstrations. He also students from Hong Kong, Spain, Portugal, Holland and Equador at- taught lessons on acoustics, practicing, phrasing, dynamics, reading, tone tended the camp. This was the first time the camp was held in the new production, and more. All participants had the opportunity to receive percussion facilities at the University of Central Florida, and it exceeded feedback on their playing from Leigh in class, as well as from Nora all expectations. The camp provided a well-rounded experience, with Stevens in her afternoon stroke checks. students having the opportunity to work in all areas of percussion. Al- The students were surrounded by resources they could go to for though many camps focus solely on marimba or marching percussion, help and expertise, whether it was in or out of class. Leigh’s Method of the Rosauro/Moore camp included vibraphone, marimba, snare drum, Movement and his assigned readings proved to be valuable resources that multi-percussion, timpani, steel drums, and Latin/Brazilian percussion. the students could use to address their daily thoughts and questions. This year the students were introduced to digital notation and play- Living with the other participants also gave students the advantage of back utilizing Sibelius software in the new state-of-the-art UCF Music using each other as sounding boards, creating an active learning process Computer Lab. In addition to the presentations and lessons, camp- at home, as well as in the classroom. Each morning, Leigh opened up a ers participated in percussion ensemble, culminating in a final closing discussion for any thoughts or questions pertaining to the reading and concert that featured many of Ney’s compositions including both of his corresponding quizzes. In this way, the students were learning both in marimba concerti as well as his vibraphone concerto. and out of the classroom every day. The camp had a friendly atmosphere and a perfect harmony between The variety of guest artists also greatly influenced this open-minded students and faculty. It was a rewarding experience for all participants. group. Gordon Stout and Nathaniel Bartlett both gave incredible Next year’s camp is scheduled to take place at UCF from July 15–21, concerts and master classes. The students also had the privilege of 2012. receiving a master class centered on the African gyil from Valerie Dee Naranjo, a demonstration of Super Marimba by Payton MacDonald, and a highly energized participation-based discussion class with Dennis DeLucia. The variety of expertise that was presented offered the students an opportunity to open their minds to different ways to play and think about percussion. Additionally, the concert series featured Nora Stevens, who played a beautiful program in the lovely Holy Spirit Church in

Participants of the 2011 Ney Rosuaro and Jeff Moore’s Mallet and Percus- siom Camp Summer Institute for Contemporary Performance Practice The Summer Institute for Contemporary Performance Practice (SICPP)—affectionately known to its participants as “Sick Puppy”—was held at New England Conservatory in Boston June 18–25. SICPP is an eight-day immersion into new and experimental music for advanced and professional musicians. It began in the 1990s when Artistic Director Stephen Drury, a concert pianist who specializes in new music, decided to create a contemporary music performance seminar for his advanced students. In the 2000s, Drury began to add composers, percussionists, vocalists, and instrumentalists. It has now grown to include an ensemble Participants of the 2011 LHS Summer Marimba Seminar program, an electronic music workshop, and the new works program,

OCTOBER 2011 16 percussion newS www.pas.org where composers can study with the Composer-in-Residence (this year, French composer Tristan Murial). This year, 50 fellows (including seven percussionists) were selected to participate from around the world. The experience was eight full days of master classes, lessons, colloquia, rehearsals, and concerts, which pre- sented the fellows with an opportunity to experience a large selection of new music from all over the world. Each year the Institute invites guest composers and performance faculty that work directly with the fellows throughout the week. Fellows rehearse and prepare works alongside faculty as well as with members of the Calithumpian Consort, a chamber ensemble in residence at SICPP. This year’s percussion faculty was comprised of Stuart Gerber and Scott Deal together with Consort percussionists John Andress, Jeffrey Means, and Nick Tolle. The Calithumpian Consort is a mixed ensemble com- prised of professional musicians in the Boston area, directed by Stephen Drury. Their repertoire encompasses a large musical spectrum from classic works of the last 50 years to works of the avant-garde, as well as experimental jazz and rock music. One of the highlights of the week was an afternoon recital of percus- sion works performed by the fellows. The program included “Ferney- hough Mix” by Mark Applebaum, performed by Christian Smith and Ryan Packard; “Rebonds A and B” by Iannis Xenakis (“A” performed by Cory Bracken, “B” performed by Dave Tarantino); “Omar I,” by Franco Donatoni, performed by Ryan Packard, and “POWER I: CIN(shift)” by Marek Poliks, performed by Christian Smith. Other percussion so- los performed either in master classes or concerts included “Phénix” by F.B. Mache, performed by Yu Hsin Chang, “Dreams,” by John Cage, performed on marimba and vibes by Gary Donald, “Raison D’etre” by Arthur Jarvinen, performed by Jeffrey Kolega, “Zyklus” by Karlheinz Stockhausen, performed by faculty member Stuart Gerber, and the marimba solo “Dark N’ Stormy” by SICPP composition fellow Masaki Hasebe, performed by David Tarantino. Each evening contained a concert presented by the either the Calithumpian Consort or visiting guest artists. The Consort performed numerous works of interest to percussionists, including Giancinto Scel- si’s “Okanagon,” Tristan Murail’s “Le Lac,” and Tamar Diesendruck’s “Still Telling,” which was commissioned for the Consort. One of the evening concerts comprised two works for percussion, piano, and elec- tronics that matched pianist Stephen Drury with percussionists Stuart Gerber and Scott Deal. The first work, “Kontakte” (piano, percussion and electronics) by Karlheinz Stockhausen, is an early and important piece in the repertoire for piano/percussion. The performance was noteworthy in that Gerber is regarded as a Stockhausen expert, having recorded and presented numerous premieres of Stockhausen’s works, and served as faculty for the Stockhausen-Courses since 2005. The second half of the

Summer Institute for Contemporary Performance Practice (L–R): John Andress, Gary Donald, Stephen Drury, Scott Deal, Nick Tolle, Stuart Gerber, Cory Bracken, Dave Tarantino, Jeff Kolega, Sayun Chang, Ryan Packard, Christian Smith www.pas.org percussiON nEWS 17 OCTOBER 2011 concert featured the world premiere of “4000 Holes” by John Luther provisation, using jazz standards to show how to play melodic lines over Adams. The 33-minute work, commissioned by Stephen Drury through changes, find rich chord voicings, and comp for soloists. Participants Meet the Composer, is for piano, vibraphone/glockenspiel, and electronic studied modes, blues scales, chord extensions, and phrasing, and had the “aura.” opportunity to fill the roles of soloist, accompanist, and bass player. The The main event for Sick Puppy occurs on the final Saturday with the music selections were targeted to the level of each group, but everyone presentation of a ten-hour series of concerts known as “The Iditarod,” had the opportunity to work with blues, rhythm changes, Latin styles, named after the 1,000-mile Alaskan Sled Dog race of the same name. and modal works. This year’s Iditarod consisted of eight concerts containing almost 40 The morning sessions created a relaxed, respectful, supportive environ- pieces of chamber music, including the crowd-drawing “Music for 18 ment in which participants became increasingly comfortable exploring Musicians” by Steve Reich. Other works highlighting percussion in- new techniques and musical ideas. They provided significant hands-on cluded “Ryonji” by John Cage, “Trasparenze d’ Accenti” by Davide Ianni, time for all individuals, and encouraged peers to work together and learn “Tombeau in Memoriam Gérard Grisey” by Phillipe Hurel, “Hymn I” from one another. by Alfred Schnittke, “Trá” by Luciano Berio, “For Morty” by Christian The conference included daily master classes with one of six all-star Wolff, “Refrain” and “Kreuspiel,” both by Karlheinz Stockhausen, “Cur- clinicians: Dick Sisto, Dave Samuels, Christos Rafalides, Dave Hage- rents” by Shawn Allison, “Paradigm: by Lukas Foss, “New England dorn, Joe Locke, and Stefon Harris. These sessions covered topics includ- Drift: by Lee Weisert, “Percussion Responses: Ergodos II” by James Ten- ing listening, advanced ear training, technical independence, phrasing, ney, and “Madrigals, Book III” by George Crumb. melodic expression, pedagogy, and a broad range of creative tips for de- Next year’s Institute will occur in mid-June at New England Conser- veloping relevant practice regimens. Each clinician had a unique sound, vatory. For information visit www.sicpp.org. style, and approach, but they each delivered one mind-blowing perfor- mance after another. First Annual World Vibes Congress The week concluded with a final performance and all-heck-break- By Britton Matthews loose jam session. WVC participants, led by Åstrand, performed pieces In the 90-year history of the vibraphone, there has never been a semi- that they developed throughout the week, and Smith gave a stunning nar dedicated solely to the instrument. After all, it’s just like playing performance of “Neptune,” written for the capabilities of Malletech’s marimba with a pedal, right? Leave it to Malletech, Inc. and the Leigh Love Vibe. The evening culminated with an energetic duo performance Stevens Marimba Foundation to see the need and fill the void. by Locke and Harris that brought the entire audience to its feet. The World Vibes Congress, held in Ocean Grove, New Jersey, was the While theory and technique were emphasized heavily throughout the very first of its kind. Participants of all ages, ability levels, and musical week, the greater purpose of the World Vibes Congress had little to do backgrounds assembled from around the world for an inspiring week of with technique, notes, or rhythms. Rather, it was about finding the music improvisation and music-making from June 24–29. inside the player and learning to express that passion through the instru- After waking up to the soothing sound of the ocean each morning, ment and communicate with musical colleagues. The overall result was participants gathered for sessions with Anders Åstrand and Ed Smith. an experience just as important for a beginner as a seasoned pro. The group split into self-appointed segments for experienced improvisers and novices to work with the appropriate level of literature and better Zeltsman Marimba Festival 2011 serve the wide ranges of skill sets. Smaller groups also allowed for greater By Bailey A. Stewart individual attention and numerous playing opportunities. The 10th anniversary of the Zeltsman Marimba Festival (ZMF) took Åstrand led the group in free improvisation, where you could spon- place June 26 to July 9 when 20 renowned artists, 38 participants, and 24 taneously create a musical conversation with a person you’d never met. marimbas converged on the campus of Lawrence University in Apple- “A trip to the dentist,” or “riding a bicycle” inspired uninhibited perfor- ton, Wisconsin. This year’s “Focus on Great Repertoire” unfolded over mances and created an outlet for the participants to open up and express nine faculty concerts, three participant concerts, and multiple master themselves. You might not even speak the same language, but the music classes, lectures, and private and group lessons. easily transcended those barriers. Anders went beyond the music to The ZMF 2011 faculty included Nancy Zeltsman (artistic director), discuss physical concerns with body position, posture, and breathing, as Nanae Mimura, Fumito Nunoya, Christos Rafalides, Jack Van Geem, well. and Dane Richeson (host). For the 10th anniversary, ten past “ZMF- Classes with Ed Smith focused on the more structured side of im- ers” were featured: Brian Calhoon, Casey Cangelosi, Anne-Julie Caron, Hiroya Honda, Setsuko Kutsuno, and Mike Truesdell as associate fac- ulty; and Jeremy Barnett, Laurel Black, Matt Sharrock, and Xi (Rachel) Zhang as showcase artists. Guest performers/lecturers were Fernando Meza (organizing an international event), bassist Steve Rodby (music technology), pianist Sergio Salvatore (improvisation), and violinist Yuka Sato (Bach’s string music on marimba). Multiple artists presented solo and chamber works on each con- cert centered on a common theme. Concert titles included “Marimba Around the World” (showcasing music from different countries), “Amer- ican Marimba Music,” “Japanese Marimba Music,” “Transcriptions,” and “Explorations” (intriguing mixed-media pieces). This unique juxtaposi- tion of selections enabled audience members to connect and compare repertoire in new ways. Mike Truesdell guided informational pre-concert talks with several artists featured on most evenings’ concerts. Particularly moving was the talk preceding the Japanese Marimba Music concert (a benefit for the Japan Earthquake Relief Fund). Hiroya Honda recounted his personal experiences with the Japanese earthquake and tsunami that struck near First Annual World Vibes Congress clinicians (l to r:) Ed Smith, Stefon Harris, his home last March; Mimura, Nunoya, and Kutsuno relayed the power- Anders Åstrand, Joe Locke and Leigh Howard Stevens ful effects felt in other parts of Japan.

OCTOBER 2011 18 percussion newS www.pas.org www.pas.org percussiON nEWS 19 OCTOBER 2011 Performers of Michael Tilson Thomas’s “Island Music” at ZMF 2011 (L–R): Dane Richeson, Rachel Zhang, Jack Van Geem, Nancy Zeltsman, Mike Truesdell, Brian Calhoon

Performances that received standing ovations included “An Evening of Jazz”—showcasing the virtuosity of vibist Christos Rafalides in both duo and quartet settings. With Michael Tilson Thomas’s “Island Music,” the astounding musicality of Van Geem, Zeltsman, Zhang, Truesdell, Richeson and Calhoon made the half-hour work seem only minutes long. Also of note was Laurel Black’s stunning performance of “stars, cars, bars” by Adam B. Silverman (for speaking marimbist; text from Nabokov). The examination of individual sound, personal expression, and musical identity pervaded ZMF 2011. Each participant left with a wealth of new information to add to his or her personal gestalt. Zeltsman placed great emphasis on the importance of musical expression, regardless of the method or grip used. To illustrate the point, she offered a quote: “When we can’t measure what’s important, we make important what we can measure” (Kenji Yoshino). Coupled with Van Geem’s discussion, “What to Teach and Why?,” festival participants gained inspiration to delve deeper into their own musical performing and teaching experiences. Non-marimba events were scattered through ZMF as well. The first day included an energetic African dancing and drumming session led by Richeson and Truesdell, and a mallet-wrapping clinic by Honda. Dur- ing the second week, participants were awestruck at the capabilities of the MalletKAT as explained by Barnett. Van Geem led a session on or- chestral excerpts, and Cangelosi gave a fantastic presentation on his own compositional process. Open and friendly communication between faculty and participants and a caring, family atmosphere were matched with absolutely outstand- ing music making. This 10th anniversary event truly will be cherished by all, and stood as a testament to the great quality and diversity of musi- cians that exist in our percussive world. The Zeltsman Marimba Festival will be taking a one-year hiatus, to be followed with ZMF 2013 co-sponsored by Humboldt State University w in Arcata, California. More information can be found at www.ZMF.us.

OCTOBER 2011 20 percussion newS www.pas.org www.pas.org percussiON nEWS 21 OCTOBER 2011 PASIC Posters By James A. Strain, PAS Historian

ince 1976, the Percussive Arts Society International Convention (PASIC) has been the premier event for percussion- istsS from around the world. For many years, one of the major marketing tools to promote this event, as well as the society in general, was via posters. At first, posters were sent to the general membership in separate mailings to encourage new membership, advertise events (such as clinics and performances), and to pro- mote subscriptions to the journals. In 1977, a poster featured pictures of the first PASIC in Rochester showing the main hall of the Eastman School with exhibits as well as other clinics. By 1979, a general poster for PASIC was established, giving all essential information one might need to be encouraged to attend and register for the event, includ- ing dates, location, hotel accommodations, and types of sessions. Posters from this time through the late 1980s were generally a stan- dard poster size of 17 x 22 inches, but a few varied for artistic purposes. By the 1990s, the posters were folded and inserted in the Percus- sive Notes PASIC Preview issue (October), and reduced to a 16 x 20 inch size for this purpose. PASIC posters often focused on the city where the convention was held and provided the name of the host, the daily schedule, and major artists. In the late 1990s, pictures of the host city were abandoned in favor of one major artist, with detailed listings of all of the other artists broken into broad categories, such as marching, education, drumset, concert, health and wellness, or keyboard. At times, the de- signer of a poster is named and credit to the photographer(s) appear on a poster, but some posters were commissioned by the local PASIC host and no information about the designers was available. Starting in 1998, PASIC posters were created by PAS in-house graphic designer Hillary Henry. PASIC posters ceased to be printed after 2002, but many PAS members fondly re- member previous conventions by the posters, location, and integration of the artwork from the poster with each Percussive Notes PASIC Preview issue or the actual PASIC Program. Those who identify with the posters often have a favorite, such as the “Piquant Gumbo of Events” from PASIC ’92 in New Orleans, or the drawing of Disneyland by Ted Engelbart for PASIC ’91 in Anaheim.

OCTOBER 2011 22 percussion newS www.pas.org Photos of posters courtesy Lauren Vogel Weiss and James A. Strain www.pas.org percussiON nEWS 23 OCTOBER 2011 2011 DRUM CORPS INTERNATIONAL WORLD CHAMPIONSHIPS Cadets capture tenth title Cavaliers win fifth drum award Story and photos by Lauren Vogel Weiss

he 2011 Drum Corps International World Championships were held of Frank Ticheli and Hans Zimmer, saw half the corps dressed in all- TAugust 13 at Lucas Oil Stadium in Indianapolis, Indiana. Thanks to cream uniforms (angels) while the other half was in all-maroon (demons). the covered stadium, neither the corps nor the fans were affected by the The pit wore the traditional maroon jackets and cream pants. “One of sudden thunderstorms that popped up around 9:00 that evening and my favorite parts of the show,” McNutt said, “is when we had the angel caused such terrible damage at the nearby Indiana State Fair, killing six drum line on one side of the field and the demon drum line on the other and injuring dozens. side and they played the same part, 35 [yard line] to 35. That was a lot of The Cadets (Allentown, Pennsylvania) won its tenth World Champi- fun! We did many separate rehearsals because of the staging, but then we onship—their first since 2005—with a score of 98.35. The corps placed would put it together to work on large phrases.” first during the preliminary, semifinal, and final competitions and also Champions for the past two years, the Blue Devils (Concord, Califor- won the Don Angelica Best Overall General Effect and Best Visual Per- nia) received the silver medal with a Burt Bacharach-themed show, “The formance awards. Beat My Heart Skipped.” Placing second all three nights, the Blue Devils “I’ve been involved with drum corps as a player or a teacher since 1988 also won the George Zingali Best Color Guard award. but this is the first time my corps has won,” exclaimed Colin McNutt, The Cavaliers (Rosemont, Illinois) placed third overall to capture the Percussion Director and Arranger for The Cadets. “It feels great! I’m so bronze medal for the program “XtraordinarY,” which included “Foot- glad we got recognition, and I’m real excited for the kids!” prints” by Wayne Shorter and “Nature Boy” by Eden Ahbez. The Cava- The Cadets’ program, “Between Angels and Demons,” featuring music liers also received the Fred Sanford Best Percussion Performance Award for the fifth time, and first time since 2000. “Our show allowed us to really explore the electronic palette like no one else has done,” explained Michael McIntosh, one of two percussion designers for the corps. “When you do a show that’s about nothing and everything, it allows you to really take some chances. It’s all about push- ing the activity in a way that hopefully will inspire other people to push things in a way that hasn’t happened before.” One of the audience’s favorite moments of The Cavaliers’ show was the “upside down” tenors. “I remember how that came about,” laughed Brian Tinkel, in his second year as the Percussion Caption Head. “The members were messing around on a water break and the tech took a video of one of the drummers playing some music upside down. They sent the video to Mr. McIntosh as a joke, and he said, ‘We’re putting it in!’ That was part of what was special about the show—that we drew on skills the members had and were able to incorporate them into the show.” The Cadets’ “Angel” and “Demon” drum lines battled it out as the corps won its tenth World Championship

CORPS SCORE DRUM SCORE* (out of 100 pts.) (out of 20 pts.)

1. The Cadets 98.35 19.2 (3rd) 2. Blue Devils 97.80 19.4 (2nd) 3. Cavaliers 96.85 19.6 (1st) 4. Carolina Crown 95.30 18.6 (6th) 5. Phantom Regiment 95.05 18.5 (7th) 6. Santa Clara Vanguard 92.20 19.0 (4th) 7. Bluecoats 92.05 18.7 (5th) 8. Boston Crusaders 90.65 18.4 (8th) 9. Blue Knights 89.20 18.2 (9th) 10. Madison Scouts 87.55 16.8 (12th) 11. Blue Stars 86.20 17.8 (10th) 12. Spirit of Atlanta 85.35 17.0 (11th)

Drum judges: Allan Kristensen (Prelims), JJ Pipitone (Semifinals), Jeff Prosperie (Finals) * The drum score listed above is from Saturday night and is based on a 20 point total. That number is then divided by two and only a maximum of 10 points are added into the total possible overall score of 100 points. The “High The Cavaliers won the Fred Sanford Best Percussion Performance Award Drum” award is actually an average of the three nights of competition. with “alternating keyboards” in the front and “upside-down tenors” in the back

OCTOBER 2011 24 percussion newS www.pas.org While the tenors were playing upside down, the keyboards were “split- ting” a part—one person playing the right hand and the other person playing the left hand. “They also did a kind of ‘do-si-do’,” Tinkel said, “inspired by Mark Ford’s ‘Stubernic.’ Overall, this was one of the most enjoyable groups of young men I’ve ever worked with. They worked very hard every day, with open ears and open hearts. I’m really proud of them.” The final caption award, the Jim Ott Award for Best Brass Perfor- mance, went to Carolina Crown (Ft. Mill, South Carolina), who placed fourth with its crowd-pleasing program “Rach Star” mixing classical piec- es by Sergei Rachmaninoff with rock classics like “We Will Rock You” by Brian May. And the Spirit of Atlanta (Atlanta, Georgia) returned to the elite “Top 12” after a three-year absence with a tribute to film noir. The Glassmen (Toledo, Ohio), who placed 12th last year, finished The Blue Devils’ Keelan Aaron Spevak from the Amir Oosman, the drumset Tobia was named Best Indi- Blue Devils received the player for the Blue Devils, in the “unlucky” 13th position. Rounding out the “Top 17” from Friday vidual Snare Best Individual Timpani won the Best Individual night’s Semifinals were the Troopers (Casper, Wyoming) who finished award Multi-Percussion title 15th last year, the Academy from Tempe, Arizona (14th last year), the Colts from Dubuque, Iowa (13th last year) and the Crossmen from San Antonio, Texas (also 17th last year). On August 9, 18 Open Class corps competed in their Divisional Fi- nals. (The Prelims scheduled for Monday were cancelled due to severe weather.) For the third year in a row, the Blue Devils B corps captured the title, scoring a 95.00 to win the gold medal. They also won the percus- sion and general effect captions. For the second year in a row, the Oregon Crusaders (Portland, Oregon) won the silver medal (and brass and visual captions) with a score of 94.70. And 2008 Open Class Champions Santa Clara Vanguard Cadets (Santa Clara, California) scored a 94.20 to win a bronze medal. This was also the first year for the Celebrate Indy Arts! Parade through downtown Indianapolis on August 13. Twenty-nine drum corps marched Matthew Penland from the Vanguards’ Stephen Hall Santa Clara Vanguard won played Sammut’s arrange- through the streets, along with floats representing 13 local Indianapolis Best Individual Multi-Tenor ment of “Indifference” arts organizations, including PAS. The Grand Champion unit was the to win Best Individual Pacific Crest Drum & Bugle Corps (Diamond Bar, Calif.). Keyboard

Individuals and Ensemble For the second year in a row, the World Class Individuals & Ensemble Competition was not held during finals week. (The Open Class divi- sion was held at the Indianapolis Convention Center on August 10 and those results may be found on www.dci.org.) Members of World Class corps competed at Sunset Station in downtown San Antonio, Texas on July 24 (the day following the DCI Southwestern Championship at the Alamodome). For the 21st year in a row, the I&E events were supported by S.O.M.E. (Sponsors of Musical Enrichment), based in San Joaquin County, Calif. Three members of the Blue Devils’ drum line captured World Class In- dividual percussion awards: Keelan Tobia won the Best Individual Snare award with a score of 97.0. He played an original solo entitled “Danger- ous Games.” Keelan, a junior at Modesto Junior College, is majoring in graphic design. Aaron Spevak, a member of the Blue Devils’ front ensemble, was named Best Individual Timpani. He scored a 98.5 (the highest percussion score of the day) for his original timpani solo “Six,” which he dedicated to his parents for their support during his six years in drum corps. Amir Oosman, the drumset player in the Blue Devils’ front ensemble, won the the title of Best Individual Multi-Percussion. He played an original drumset solo called “All of these Sawces,” which scored a 97.5. The other two solo categories were won by members of the Santa Clara Vanguard drum line. Best Individual Multi-Tenor went to 21-year-old Matthew Penland, a senior music major in percussion performance at the University of North Texas in Denton. He played an original composition “Deviation,” and scored a 95.0 to win. This was Matt’s sixth year march- ing with a DCI corps. Stephen Hall, a member of the Vanguard’s front ensemble and a four-year veteran of drum corps, won Best Individual Keyboard. He is a 20-year-old junior at Northwestern University in Evanston, Illinois where he is a percussion performance major. He scored a 95.5 for his www.pas.org percussiON nEWS 25 OCTOBER 2011 performance of “Indifference” by Joseph Colombo, arranged by Eric Sammut. The Blue Devils also won the Best Percussion Ensemble award with a duet: Matt Keown played snare and Nick Arce, who won Best Individ- ual Tenor in 2009, played tenors. Their original piece “Rebellion Against Closed Gates” scored a 93.0. Best Bass Drum Ensemble went to the Colts bass line: Nick Brake- man, Wade Gibson, Nik Kennett, Derek Reid, and Russell Wood. All

The duet of Matt Keown (snare) and Nick Arce (tenor) from the Blue Devils was named the Best Percussion Ensemble

Members of the Colts Bass Drum Ensemble were (L–R) Nick Brakeman, Wade Gibson, Nik Kennett, Derek Reid, and Russell Wood

The Santa Clara Vanguard cymbal section (L–R) Jeff Ramos, Dan Russie, Armeen Ghafourpour, and Drew Kleinbach -- won Best Cymbal Ensemble

were rookies except Wade, who was marching his second year in drum corps. They scored a 95.5 for their original composition “Alpha 5.” For the fourth time in six years, the Best Cymbal Ensemble went to the Santa Clara Vanguard. (They also won in 2006, 2007, and 2008.) Armeen Ghafourpour (18 years old), Drew Kleinbach (20), Jeff Ramos (21), and Dan Russie (21) performed “Third Time’s the Charm,” an original work that received a score of 95.5. The 2012 World Championships (August 9–11, 2012) will return to Lucas Oil Stadium in Indianapolis. For more information on joining or w viewing drum and bugle corps, please contact DCI at www.dci.org.

OCTOBER 2011 26 percussion newS www.pas.org In Memoriam Marty Hurley June 6, 1946 – September 12, 2011 By Lauren Vogel Weiss

udimental percussionist Martin E. Hurley was also involved in the design of R(Marty) Hurley died on Sept. 12, 2011 Ludwig’s High Volume (HV) snare drum, at his home in New Orleans, Louisiana. He which the Regiment drum line used beginning had suffered a stroke on Aug. 14 and spent in 1981. Similar to a regular marching snare several weeks at Tulane Medical Center. drum, it had two inches cut from the middle Born on June 6, 1946 in Neptune, New of the shell, leaving the top half and bottom Jersey, Marty Hurley followed in the foot- half joined by the tension casings. “The HV steps of his father, an Army drummer drum came from trying to get a drum that during World War II. At the age of seven, would have a little more projection power—a Hurley joined the O’Brien Major Police little more clarity for a snare drum,” he said in Cadets. Other corps he was involved with a Modern Percussionist interview. were the Neptune Shoreliners, Asbury Park In 1974, Hurley took a job that he would Hurricanes, St. Joseph Modernaires, Jersey have for the rest of his life: band director at Cyclones, the Blessed Sacrament Golden Brother Martin High School in New Orleans. Knights (he aged out in 1967) and Haw- He started as the assistant to longtime direc- thorne Caballeros (1968). tor Arthur Hardy, working with the marching After graduating from Neptune High band, stage band, and second concert band, School, he attended Wilkes College (now before he took over as head director in 1989. Wilkes University) in Wilkes-Barre, Penn- During his time at Brother Martin, Hurley’s sylvania, earning a music education degree. ensembles consistently received superior rat- He also played in community orchestras in ings at local and regional contests and festivals. Wilkes-Barre and nearby Scranton. Follow- His bands performed for the Pope, two U.S. ing graduation, he joined the Air Force Band Presidents, two Louisiana governors, countless and was stationed in Biloxi, Mississippi for Mardi Gras parades and even the first-ever Marty Hurley playing at the Drummer’s Heritage four years. playoff game for his beloved New Orleans Concert at PASIC 2002. Photo by Bryan Stone. Hurley began his teaching career in Saints football team. 1971 when he assisted Dick Filkens with Hurley was inducted into the Louisiana held at PASIC 2002 in Columbus, Hurley the Stardusters Drum Corps from Arabi, Music Educators Association (LMEA) Hall was one of the featured snare drum soloists. Louisiana. In 1972, many of the members of Fame in 2010. During his time at Brother In addition to the drum corps and march- of the Stardusters joined the new Metairie, Martin High School, he had about 80 percus- ing band music that he wrote, Hurley com- Louisiana-based Bleu Raeders drum corps, sion students earn spots in one of the Louisi- posed numerous snare drum solos and drum where Hurley served as the drum instructor ana All State ensembles. cadences that were originally published by for two years. In 1973, he joined the staff of Hurley also served as the percussion Rudimental Percussion Publications—the the Black Knights from Belleville, Illinois, instructor at Nicholls State University in company he founded with John Wooton— while continuing to teach the Bleu Raeders. Thibodaux, Louisiana for several years in the and currently by Row-Loff Productions. He He remained with the Black Knights until 1980s. He judged the finals of the Marching also taught marching percussion camps all 1975. Bands of America National Championship across the country, including one sponsored In 1976, Hurley joined the staff of the twice and also adjudicated the PAS Marching by the Phantom Regiment in Rockford and Phantom Regiment Drum and Bugle Corps Forum (now the Marching Percussion Festi- one at the University of Southern Missis- from Rockford, Illinois. Some of his classic val) four times, in 1982, 1988, 1994, and 1996. sippi in Hattiesburg. solos for the Regiment include “Flight of As a percussion clinician, Hurley gave Dozens of Hurley’s former students, from the Bumblebee” and Grieg’s “March of the seminars at regional and national meetings both Brother Martin High School and the Dwarfs.” of the Music Educators National Conference Phantom Regiment, as well as the other During his affiliation with the corps, the (MENC), the National Catholic Band As- corps he taught over the years, have gone on Phantom Regiment placed second in 1977, sociation (NCBA) Conference, the LMEA to pursue careers in music. These men and 1978, and 1979. He was also an integral part Conference, the Texas Music Educators As- women serve as college percussion instruc- of the creative staff for the first two produc- sociation (TMEA) Convention, and PASIC. tors, high school and middle school band tions of the Khachaturian ballet “Spartacus” Hurley gave two clinics at PASIC with directors, private lesson teachers, and drum in 1981 and 1982. Hurley continued teach- the Phantom Regiment drum line, in 1981 corps instructors. ing the Regiment until 1983 before taking a (Indianapolis) and in 1988 (San Antonio). At Arthur Hardy contributed to this tribute. A few years off. He returned to the Rockford- PASIC ’92 in New Orleans, he served as Co- longer version of this article is posted on the PAS based corps in 1987 and remained on their ordinator for the Marching Forum. At PASIC website at http://www.pas.org/news/InMemo- staff until 1992. In 2004, Hurley was in- 2001 in Nashville, he taught a marching mas- riam.aspx ducted into the World Drum Corps Hall of ter class with John Pratt and Mitch Markov- Fame. ich. And at the Drummer’s Heritage Concert www.pas.org percussiON nEWS 27 OCTOBER 2011 industry news

HaMaR Revised website With over 150 compositions to choose from and an enlarged group of complimentary tutorial samples, the new HaMaR website has some- thing for players and teachers. The site has nearly 200 items to view, including HaMaR Music Direct. View, play, purchase, and print on demand many of the digital compositions. The catalog has music for all levels of proficiency and includes a snare drum series, method series, and music for percussion ensemble, bass drum, timpani, mallets, wind ensemble, and orchestra. Visit the site at www.hamarpercussion.com. KICKPORT New distributors in Europe and Central and South America To support the growing popularity of the KickPort and CajonPort with drummers and percussionists around the world, KickPort Inter- national, LLC has announced the expansion of its distribution in the European music market. Joining KickPort’s international distribution network are Box Of Trix (Germany, Austria); PB Music (Belgium, Netherlands, Luxemburg); Soitin Laine (Finland); Tonastodin (Ice- land); Bode S.r.l. (Italy); GE Musikk (Norway); Music Distribucion (Spain, Portugal); Korg UK, Ltd. (UK); and Music World, Ltd. (Ukraine). KickPort International, LLC has also announced the expansion of its distribution in the Central and South American music markets. Joining KickPort’s international distribution network are Distribudora Gohner (Mexico); Prado Unique Repercusions (Honduras); Dream Argentia (Argentina); Sonotec Electronica LTDA (Brazil); Cobalto (Chile); and Music City (Venezuela). For updates and contact information visit kickport.com/contact. LATIN PERCUSSION LP donates Egg Shakers to Kenyan orphanage Latin Percussion recently donated over 100 of its popular Egg Shakers to the St. Theresa House of Hope Children’s Home in Lake Elemintita, Kenya. The donation was made to support the charitable ef- fort spearheaded by Sunniva Sorby with assistance from her sister Bet- tina Breckenfeld through the American Foundation for Children with AIDS.

American Foundation for Children with AIDS Representative Sunniva Sorby with child from House of Hope.

OCTOBER 2011 28 percussion newS www.pas.org www.pas.org percussiON nEWS 29 OCTOBER 2011 The St. Theresa House of Hope Children’s Home was opened in While attending the festival, students have the opportunity to perform 2007 to care for children orphaned by HIV/AIDS. It is estimated that in the AFA Summer Concert Series, which presents many free concerts Kenya is home to 2.4 million orphans, 60% of whom have been or- throughout Houston. phaned by the disease. The orphanage is part of a nationwide effort to Sponsorship of the AFA Summer Music Conservatory is part of combine the resources of government, international agencies, charitable Pearl’s continuing efforts to improve the quality and accessibility of mu- organizations, and community groups to help care for these children. sic education to students of all ages and backgrounds. For more infor- On their most recent trip to Kenya, Sunniva and Bettina handed out mation on Pearl’s education and artist programs, visit www.pearldrum. the LP Egg Shakers to all the children in the orphanage. “The young com. ladies…were renewed with hope when we paid them a visit and shared the Egg Shakers that LP graciously donated,” said Bettina. “The place PERCUSSION MARKETING COUNCIL erupted into song and movement when we distributed these shakers. Jespersen and Jewell named new executive officers We made a lot of kids very happy!” The Percussion Marketing Council (PMC) has announced the ap- If you would like to make a 100% tax-deductible donation to the pointment of Bob Jespersen and David Jewell as Executive Officers. American Foundation for Children with AIDS, you can do so online at PMC officers serve as equal Co-Executive Directors, each responsible http://bit.ly/kidswithaids. for specific areas of guidance, direction, and benefit to all PMC Mem- bers and the percussion industry. MARIMBA ONE Jespersen is the National Call Center Director/Regional Sales Man- New customer-friendly website ager for KMC Music, Inc., headquartered in Bloomfield, Conn. Bob’s Marimba One, maker of concert marimbas, has launched a brand- 30-year career with KMC Music includes diverse sales and customer new customer-friendly website. The new site is designed to give users service management positions throughout the U.S. an easy-to-navigate environment in which to explore marimbas, mallets, Jewell is the Marketing Manager of Yamaha Drums, headquartered and accessories. in Buena Park, Calif. Dave brings years of percussion industry experi- The website is the direct result of research conducted over the last ence as a full-time player, over 14 years with Milano Music in Arizona, year into what customers want. “We’ve conducted several researches and the past 13 years with Yamaha. He will assume direction over the both informally and in connection with California State University PMC’s marketing strategies. (Humboldt) School of Business Marketing Dept., and have integrated The PMC Board consists of the following individuals volunteering the results into the way our new site works for customers,” says Ron and serving the PMC—Executive Officers: Brad Smith (Industry Rela- Samuels, founder of Marimba One. “Our website visitors want to tions), David Jewell (Marketing-Promotions), Bob Jespersen (Retailer understand about sound. They want to know: How does one level of Program Application & Development), and Karl Dustman (Headquar- keyboard differ from another on a marimba? What is the difference ter Operations/ Financial-Legal-Membership). Advisory Board: Billy between resonators? What do existing customers say about these various Cuthrell (Event Marketing, Website, Promotions), Phil Hood (New combinations?” Membership Development), Dr. Craig Woodson (Roots of Rhythm, The website rebuild was done by Accelerant Design of Arcata, Cali- Program Director), and Brian LaRue (New Membership Develop- fornia. ment). PEARL NAMM Foundation Grant Art department expands The Percussion Marketing Council (PMC) recently announced Pearl Corporation has hired two new Art Department employees, that the organization was one of 35 recipients nationwide to receive a Garrett DeLozier and Bill Tyler. DeLozier, a native of Sevierville, NAMM Foundation 2011–2012 program grant. The PMC’s “PER- Tenn., is a recent graduate of the Art Institute of Tennessee – Nash- CUSSION! The Rhythm of Life Through Making Music” funding will ville, receiving his BFA in Digital Filmmaking and Video Production. help the further development and growth of the organization’s Percus- DeLozier comes from a background of freelance editing of short narra- sion in the Schools and Roots of Rhythm Programs. Percussion in the tives, commercials, documentaries, and animated shorts. Originally from Schools is an educational in-school performance program targeted Mississippi, Tyler has over 20 years of professional graphic arts experi- to introduce and provide professional percussion playing experiences ence, specifically in art direction and graphic design for over 200 album to elementary through high school levels. Roots of Rhythm produces covers. A graduate of Millsaps College, with two years of architecture multiple teacher/trainer workshops throughout the U.S. while working training, Tyler has worked with MCA Records, Billboard magazine, and with a variety of educational venues including MENC, House of Blues numerous independent labels and publishers. Foundation, and others. AFA Summer Music Conservatory support Percussion in the Schools dealer promotion with Keith Carlock This summer, Pearl/Adams supported the American Festival for the The Percussion Marketing Council (PMC), in conjunction with Arts as part of an ongoing effort to advance the quality of percussion internationally recognized drummer Keith Carlock, announced its Per- performance by supporting music education programs and artists that cussion in the Schools (PITS) dealer program for 2011. inspire and inform students. The American Festival for the Arts pre- Building on the success of the 2010 “Win Chad Smith” campaign, sented the AFA Summer Music Conservatory for its 16th year, held PMC followed up this year by inviting NAMM retail music dealers to at Houston ISD’s Pershing High School, June 20–July 22. Founded in nominate a school district for hosting a Keith Carlock all-school per- 1993 by Houston composer and arts advocate J. Todd Frazier, American cussion concert assembly. The all-school general assembly concert pro- Festival for the Arts (AFA) provides high quality, community-based gram is targeted to junior high and high school audiences in the dealer’s music education programs and performance opportunities designed local market and will be held at the school in October. primarily for youth and, through its concert series and outreach, seeks to Through a generous grant from the NAMM Foundation, the PMC broaden the audience for both American works and the classical music has been able to grow this program consistently since its launch in 2007. repertory. This year’s summer curriculum featured programs in orchestra, The PMC’s utilization of Chad Smith, a multi-Grammy Award-win- chamber music, choir, vocal studies, jazz, piano and composition. Stu- ning artist and drumming industry ambassador, brought international dent musicians, ranging from 4th to 12th grade, came from throughout attention to this PMC educational program in 2010. The organization’s Southeast Texas to audition and enroll in the summer conservatory. mission of connecting music retailers, schools, and students in an educa-

OCTOBER 2011 30 percussion newS www.pas.org www.pas.org percussiON nEWS 31 OCTOBER 2011 tional first-time drumming experience benefits every student in atten- ZILDJIAN dance, the entire school’s music department, and the local retail music 2011 Kerope Zildjian Scholarship Winner dealer. This market development initiative will bring national awareness Zildjian has announced that Chad Crummel is the winner of the to all percussion-product categories and the entire music products in- 2011 Kerope Zildjian Scholarship. A senior at the University of Texas- dustry. Austin, Crummel is a student of Tom Burritt and Tony Edwards. Carlock is an internationally acclaimed drummer who has recorded The first round of the competition was judged by Neil Grover and and/or toured with a variety of musical luminaries, such as Sting, Steely Richard Flanagan of the Boston Symphony and Pops. Three final- Dan, James Taylor, Diana Ross, Faith Hill, and many more. In Modern ists were chosen and their unmarked CDs were sent to Cynthia Yeh, Drummer’s 2009 Readers Poll, Carlock was voted number one in three Principal Percussionist of the Chicago Symphony Orchestra. Yeh chose categories: pop drummer, fusion drummer, and all-around drummer. In Crummel as the 2011 Kerope Scholarship recipient. The finalists were addition to studio work and live performance, he has also released an Tristan Boyd from the University of Texas-Austin, also a student of instructional DVD, The Big Picture. Tom Burritt and Tony Edwards, and Tyler Tolles from the University The Percussion Marketing Council (PMC) is the percussion indus- of North Texas, a student of Mark Ford. try’s official trade association comprised of members representing the Established to pay tribute to Kerope Zildjian, who presided over one manufacturing, distribution, and publishing facets of the percussion of the most storied periods in Zildjian history (1895–1909), the schol- world. Founded in 1995, the non-profit all volunteer organization is arship is intended to encourage and reward percussionists in their pur- dedicated to increasing public awareness of drums and drumming suit of performing excellence. As the 2011 Kerope Zildjian Scholarship while creating educational and market development programs and winner, Crummel receives a $5,000 scholarship, a selection of cymbals campaigns that reach all audiences and benefit music retail merchants of his choice, and an all-expenses-paid trip to the Zildjian Factory, in all regions. For further information about the Percussion Marketing where he will meet the Zildjian family, tour the factory, and personally Council and programs visit www.playdrums.com and www.rootsof- choose his cymbals. rhythm.net. For more information on the Kerope Zildjian Scholarship, visit Zildjian.com. RHYTHM BAND INSTRUMENTS New management appointments Grand opening of new Zildjian West Coast office Rhythm Band Instruments LLC has announced three new man- The Avedis Zildjian Company held an open house on June 21 to cel- agement staffing appointments, Alicia Ballew has been named Inside ebrate the grand opening of its new West Coast artist relations office in Sales and Support Manager. She holds a Master of Music degree from the CenterStaging complex in Burbank, Calif. Zildjian first opened a the University of North Texas and a Bachelor of Music Education de- West Coast artist relations office in 1982 in West Hollywood. In 1989, gree from Southeast Missouri State. As a General Elementary Music the office relocated to Studio City. Teacher for 2nd–5th grade students and a Middle and High School More than 200 Zildjian artists and industry friends stopped by to Music Teacher for grades 6–12, she has developed curriculum and check out the new West Coast artist relations office, as well as Zild- implemented cross-disciplinary music programs and lesson plans for jian’s new Gen16 office. The event featured a selection of Sound Lab school band, choir, and general music theory. prototypes for artists to play and provide feedback. Artists included Stirling Hewitt has been named Web Design and Brand Support Vinnie Colaiuta, Gary Novak, Sheila E, Airto Moreira, Russ Miller, Specialist. Hewitt joins Rhythm Band as primary design and brand Gil Sharone, Marvin “Smitty” Smith, Teddy Campbell, Aaron Spears, support manager to oversee the long-term growth and development Nisan Stewart, Gorden Campbell, Kenny Aronoff, Luis Conte, Ronald of the company’s multi-faceted web-based marketing initiative. An Bruner Jr., Danny Seraphine, Mike Malinin, Michael White, Vince accomplished drummer and specialty percussionist, Hewitt will also Wilburn and others. be developing and coordinating new video training and educational The event was hosted by John DeChristopher, Vice President, Art- content for our employees, dealers, international distributors and their ist Relations & Event Marketing Worldwide; Kirsten Matt, Artist affiliates. Relations Manager–West Coast & Latin America (who manages the Chris Pittman has been named Inside Sales and Support Manager. West Coast office); and Sarah Malaney, Artist Relations Manager–East A highly successful music retail sales manager, merchandiser, trainer, Coast. Other Zildjian personnel in attendance included Debbie Zild- and buyer with extensive purchasing experience in large chain-store jian, Vice President of Human Resources; Paul Francis, Director of Re- environments, Pittman brings depth and insight from his roots in the search & Design; Matt Read, R&D/Quality Engineer; Steve Tirpak, early ’90s with South Texas Music Center in Houston, New Store Regional Sales Manager; Mike Brucher, Zildjian Sales Rep for South- Coordinator and Sales Manager with Mars Music, a buyer with Brook ern California; and Derek Zimmerman, Gen16 Business Manager. Mays Music Group and Music and Arts Centers, and a multi-unit According to DeChristopher, “Having a presence in Los Angeles store manager with Mr. E’s Music, a full-line chain of stores in the Fort is important to Zildjian for a variety of reasons, not the least of which Worth area. is being accessible to our artists. Zildjian has enjoyed a long relation- ship with CenterStaging, so it was only natural for us to be here. We’re VATER excited about our new home and its location, which is arguably at the Kim Thompson visit w center of the L.A. music scene.” Vater artist Kim Thompson (Mike Stern/Beyonce) recently visited Vater’s Factory in Massachusetts for the first time. Kim got to see every step of Vater’s production process first hand, including seeing the Vater 7A Wood (her stick of choice) being turned on a lathe. During her stay in Boston, Kim also appeared for a clinic with Di- Censo’s Drum Shop, in Weymouth, Mass. Kim opened the clinic shar- ing details about her musical journey from the time she was a kid up until present projects. The clinic was then directed towards the spiritual and emotional side of performing music and drumming.

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HaMaR percussion publications Visit us at: www.hamarpercussion.com Editor–Harry Marvin, Jr. [1/5-6]

2011 Percussion News Classified Advertising Standard Classified Ads $2 per word (excluding 1- and 2-letter words) $10 minimum. Boxed Classified Ads Start at $25 (includes up to 10 words) additional words are $2 each. Payment is required in advance (check, money order or credit card). Contact E-mail: [email protected] 32 E. Washington St., Suite 1400 Indianapolis, IN 46204-3516

Sustaining Members helping PAS to publish October Percussion News

Avedis Zildjian Company DePaul University School of Music Encore Mallets, Inc. . Grover Pro Percussion Innovative Percussion, Inc. Kyle Dunleavy Steel Drums . Marimba Productions Mason Gross School of the Arts Matt Nolan Custom . Meinl . Meredith Music Mike Balter Mallets . Percussion Marketing Council Protune Corporation . Sabian, Ltd. Salazar Fine Tuning . Tapspace Publications Theodore Presser Company University of Maryland School of Music USC Thornton School of Music Vic Firth Company . Wenger Corporation Yamaha Corporation of America

Thank you for your continued support www.pas.org percussiON nEWS 35 OCTOBER 2011 OCTOBER 2011 36 percussion newS www.pas.org