JAZZ THRIVES AT PORTLAND STATE UNIVERSITY

INSIDE FIND YOUR FIT—207 SCHOOL LISTINGS! • Choosing the Right School • Building Your High School Portfolio • Careers off the Bandstand

Portland State University student Nicole Glover (Photo: Daniel Sheehan) Student musicians in the York University Jazz Orchestra in Toronto

IF YOU WANT TO PURSUE A CAREER AS A JAZZ MUSICIAN, FEATURES YOU’VE COME TO THE RIGHT PLACE. OUR ANNUAL STUDENT 76 Choosing the Right School MUSIC GUIDE PROVIDES ESSENTIAL INFORMATION ON THE Factors to consider when seeking WORLD OF JAZZ EDUCATION. the perfect fit At the heart of the guide are detailed listings of jazz programs at 207 schools. Our listings have been organized by region, including an International section. Throughout the listings, you’ll 120 Portfolio Prep notice that some schools’ names have a colored banner. Those schools have placed advertisements Tips to help high school students in this guide, providing another source of information about a particular jazz program. build their portfolios We’ve also included four features that are chockfull of commentary by leading experts. If you’re a high school student who wants to study jazz at the collegiate level, the feature “Portfolio Prep” (page 120) will help you build your portfolio so that you’ll be a stronger candidate who is 146 PSU Expands Horizons better prepared to submit applications and go on auditions. A profile of Portland State The title of our feature “Choosing the Right School” (page 76) says it all. This article will help University’s jazz studies program you narrow down key criteria as you focus in on the programs you want to pursue. This feature is required reading for anyone who plans to study jazz in college. 168 Careers off the Bandstand “PSU Expands Horizons” (page 146) is a profile of Portland State University, which offers top-shelf jazz education in a progressive city that supports jazz. Industry leaders who use Most students who pursue a degree in jazz studies envision a career that involves recording their musical skills to succeed albums and playing festivals around the world. But life has a funny way of throwing us curveballs. Our feature “Careers off the Bandstand” (page 168) examines the career paths of several professionals who found enriching jobs in which their musical abilities and knowledge were essential to their success. These are industry leaders who don’t make their living as musicians— but who never would have achieved such tremendous accomplishments without their musical SCHOOL LISTINGS training. As you begin researching jazz studies programs, keep in mind that the goal is to find one that 80 East fits your individual needs. After you’ve read through this guide, we encourage you to meet with a counselor or teacher to discuss your plans. And be sure to visit the websites of any schools that 104 South interest you. We’ve compiled the most recent information we could gather at press time, but some information may have changed, so contact a school representative to get detailed, up-to-date 122 Midwest information on admissions, enrollment, scholarships and campus life. Congratulations on taking your next step into the jazz community. There are plenty of great 148 West mentors out there to help you on your journey, and we hope this guide helps you 172 International connect with them. DB

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CHOOSING ByTHE Matt McCall

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eciding which jazz studies program to pursue is no easy task. There are myriad factors involved, so it’s important to do research on numerous schools and carefully consider the D strengths of each program. Potential applicants should ask themselves a few key questions: What size of school would I prefer? What can I afford? What financial aid or scholarships are available? Where in the country (or world) do I want to live? How can I tell if I’ll be happy in that environment? Experts in the field agree that it is extremely important to get a feel for the institutions that interest you. Your research should include visiting schools, talking to students on campus and identifying faculty members with whom you would like to study.

76 DOWNBEAT OCTOBER 2014 Matt Carraher (front row, far left) with his students from Central Dauphin High School

For graduate students and transferring stu- YouTube channel—check that out. You can com- workforce.” dents, the decisions aren’t as tough because they pare who you are, and what you’re doing, to those But, Daversa added, there might be disadvan- have some experience upon which to base their other students that you hear. It’s good to visit the tages to a traditional, regimented program, too: decisions. But for high school students, selecting a school and sit in on a class to get an assessment of “The drawback is that if you really work on fun- school can be daunting—but it needn’t be. some sort from students.” damentals and getting all of this stuff down, it “There are so many factors, aren’t there?” said Daversa said all institutions have advantages may dampen your imagination. I certainly don’t John Daversa, chair of studio music and jazz at and unique characteristics. Some may be based think you need to do one before the other. Really University of Miami’s Frost School of Music. in an urban environment—where students are it depends where you are in your psyche. There are “You’re going to be there for four years, and your encouraged to be a part of the local scene—while some schools that are kind of right in the middle.” life becomes this university life. So you need to others are more secluded, allowing students plen- Daversa emphasized that schools are rarely trust and value the teachers and the community ty of time to practice individually and enjoy a completely on one end of the spectrum. The that you’re around.” more rural setting. majority of schools can be placed on a gradated “It’s hard to get an idea of a school unless you There are colleges that aim to wildly flex the scale ranging from strict, conservatory-style pro- visit in person,” Daversa said. “Sometimes it’s creative muscles of their students, but there are grams to very free, customizable options. impractical, but it’s really the best. Talk to stu- others with rigidly structured curricula focused Matt Carraher, band director at Central dents—because they know what’s going on. They on jazz fundamentals. According to Daversa, both Dauphin High School in Harrisburg, know the everyday vibe and if there’s inspiration types of schools have benefits and drawbacks. Pennsylvania, said that when determining coming out of those walls, or if it feels like it’s more “In a place where creativity and imagination what kind of school is best for any student, one clinical. [Find out] if they feel they have enough are encouraged, the benefits are obvious,” Daversa shouldn’t underestimate the importance of size time with their mentors. See if they feel vibrant or said. “You’re able to explore anything you dream and location. While the decision of where to enroll feel like they’re just going through motions.” up. You go to your teachers and say, ‘Hey, I want is ultimately up to his students and their families, Matt Marvuglio, a dean of the professional to try and do this,’ and they’ll figure out a way to Carraher offers advice during the decision-mak- performance division at Berklee College of Music make it happen—even if it doesn’t fit into your ing process. in Boston, said students should use the school’s regular curriculum. They might have to create a “There are students who will thrive in a school website as a resource before visiting. With a few class for you or make special arrangements. But of 50,000, and there are students who will just be easy clicks, they could save themselves an expen- by putting all of your energy into that at a forma- totally lost in the dark,” Carraher said. “You have sive trip. tive time, you might miss out on creating real- to weigh the personality of the student and how “You can learn a lot about all these schools by ly solid fundamentals in jazz. That will certain- are they going to function … and how good of an going online,” Marvuglio said. “Berklee has a ly come back to you when you’re out there in the education they are going to get. With a lot of the

OCTOBER 2014 DOWNBEAT 77 New York schools, it’s a totally different experi- Lynn Seaton with students at the ence from the Boston schools, the New England University of North Texas schools. It’s a building downtown: That’s school. Some students are expecting a college experience with a [large] campus and football games and all that stuff, but it doesn’t really work that way. You just have to figure out what’s best for each individ- ual student.” Marvuglio said that students should choose a school based on their personal interests, rather than trying to become something they aren’t just so they can study at a certain school. “You’ve got to be true to yourself about what you want to do and what you like,” Marvuglio explained. “A lot of people, when they audition for Berklee, they think we want to hear a Charlie Parker solo. It’s like, ‘No, put your best foot for- ward.’ This is your education and you have to think of yourself as the consumer. This is your chance as a consumer to say, ‘Let’s see if I can get what I want out of this school,’ rather than, ‘What do I have to do to get in?’ If it’s not what you want and you’re trying to play to get in to the school, it might be a disaster.” One important step that young students need to take in order to end up at the right school is to evaluate their skill level honestly. Are you cut out for the competitive top-tier school, or is a smaller, hidden gem a better fit? For Carraher, the evaluation of skills is fol- lowed by a close look at the faculties of those schools that interest the student. “We’ll give the kids a very real assessment of their skills—we’re not trying to give them any unrealistic expectations,” Carraher said. “We [consider the question] ‘Who is the teacher at the school?’ For us, that’s even more important than the name of the school. We recently had a student whose choice was between Manhattan School of Music and Shenandoah [University],” Carraher said. “The big thing for him was that he got a very large scholarship at Shenandoah, but he didn’t get anything at Manhattan. It’s, ‘Do I weigh the name of the school and the area, where I know I’m going to be playing all the time’ versus this [other option]. For him, it came down to the teachers, and there wasn’t enough difference between the teachers to say, ‘Well, I have to go to Manhattan.’” Daversa said students need to find one partic- ular faculty member that they can trust to take on a mentoring role, which he said is one of the most fulfilling parts of any musician’s career. “It’s huge: It’s someone you can look to, it’s someone that you can always talk to about a par- ticular situation, and know they’ve been through it before,” Daversa said. “You know they want the best for you. You have respect for them and what they’ve accomplished in their career and as peo- ple, as human beings.” Carraher stressed that any professor filling the mentorship position should be an active musi- cian: “You need somebody who has done enough as a performing musician, number one, good luck. opportunities are the foundation of any career to be recognized, but at the same time is out there If you want to make it your career it’s not just and definitely should play a role in a student’s doing it right now. I’d much rather study with about how you play; it’s about how you market, decision about where to study. someone who is playing every night than study it’s about how you network. Those are the sorts of “Every school offers a network of people,” with someone who is a huge name but hasn’t things you’re going to learn from somebody who Seaton said. “North Texas has obviously been played in 20 years. is actually out doing it.” around a long time and has a large network in “The scene changes so fast,” he added. “For Lynn Seaton, associate professor at the most major metropolitan areas. I took the job at students these days, if they want to make a career University of North Texas, said that networking North Texas partly because I was impressed with

78 DOWNBEAT OCTOBER 2014 John Daversa of the University of Miami’s Frost School of Music all of the wonderful musicians over the years that I’ve played with who went to that school. I lived in New York prior to coming to Texas, and I can’t tell you how many people I’ve played with who said, ‘Oh yeah, I went to North Texas.’ It’s amazing.” Michael Pellera, chair of the jazz department at the New Orleans Center for the Creative Arts, believes that no matter where students plan to study, they should keep an open mind and try to play as many kinds of music as they can. He believes that focusing on one kind of jazz is too limiting and possibly detrimental to a student’s career. “I like to see people be well rounded, who know all the styles of jazz,” Pellera said. “Certain kids who just want to play bebop say, ‘Those guys at New England Conservatory are playing all this esoteric, modern, classi- cal-type jazz in 9/4 and 7/4,” Pellera said. “Well, you need to know that you might get gigs like that.” For many students, the cost of the school is the single biggest factor. Marvuglio urges students to fund their education in the most fiscally respon- sible way they can—even if it means staying at home for an extra year or two. He said that students should investigate ways to make their schooling affordable, and ask themselves these questions: “‘Can I do things online and then do two years at school? Do I have to do a whole four-year residency at school? Do I want to get into a school where I get a music education and I have $100,000 worth of debt when I’m done?’ “Look at the kind of financial assistance programs the schools have, as far as internships and work study,” Marvuglio added. “That could make a big impact on how affordable the place is.” It can be a struggle to make ends meet as a jazz student, but any experi- enced educator will tell you that studying jazz offers more than just the opportunity to develop musical skills—it offers important lessons about life. For example, the ability to improvise is an incredibly valuable skill, both on and off the bandstand. “There are people who want to learn about the world through music,” Marvuglio said. “Can you deal with change and can you improvise? Everybody, if they want to learn how to improvise and be good performers, they have to do it through their life. You can’t just go onstage and improvise if you don’t improvise throughout your life. When you’re looking for a school, you have to improvise as you go along. As you gain knowledge by looking at schools, your frame of reference is going to change; it’s going to get broader.” Seaton believes that after students enroll in a program, there are definite ways to tell whether or not they made the right decision. “How do they know they’re at the right place? Well, if they can notice [musical] development. Sometimes that’s hard because it’s day-to-day, and it’s not so immediate. It’s a long progression. It’s not like winning the musical lottery—like today you can play and yesterday you couldn’t. It’s a continual process, and that process is very important. You will notice after a while that your skills are better. But that’s one thing about being a jazz musician for life: It’s a continual process. It never ends. It’s a wonderful thing.” DB

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Vocalist Jane Monheit onstage with conductor Justin DiCioccio (left) and the Manhattan School of Music EAST Swing Band, featuring tenor saxophonist Brandon Wright, at New York’s Birdland in April 2014.

Berklee College of Music Boston, Massachusetts

Student Body: 4,000. Tuition: $18,900/semester. Jazz Degrees: Bachelor Of Music, Professional Diploma. Faculty: Terri Lyne Carrington, Joe Lovano, Danilo Perez, John Patitucci. Alumni: Quincy Jones, Esperanza Spalding, undergraduate jazz students: Scott Branford Marsalis, Gary Burton. Castleton State College Reeves [email protected]. Castleton, Vermont Jazz Bands: Thelonious Monk Ensemble, Audition application for graduate Wayne Shorter Ensemble, students: Chadwick Jenkins, Student Body: Approximately 2,000. Scofield/Carlton/Ford Ensemble. [email protected]. Tuition cost: Undergraduate, in-state: Financial Aid: Pell and other grants available. Auditions: All applicants must participate in a $9,768, out-of-state: $24,432. live audition and interview. Scholarships: Academic scholarships available. Audition sites and dates are listed Jazz Degrees: Bachelor of Arts in Music. For Honors College and at berklee.edu/admissions. Faculty: Rob Roth; Kent Baker, Kaye Scholarships, visit cuny.edu. Music Scholarships awarded at Financial Aid: Available. financialaid@berklee. Glenn Giles, Paul Kafer. BFA auditions. edu, (617) 747-2274. Jazz Bands: Jazz Ensemble and combos. Apply by: October for the spring semester Scholarships: Need- and merit-based Auditions: castleton.edu/music/index.htm. and February for the fall. available. scholarships@berklee. Financial Aid: castleton.edu/ International students should edu, (617) 747-8681. financialaid/index.htm. apply six to nine months prior to Apply by: Early Action: Nov. 1. start of semester. Scholarships: Merit- and need-based available. Regular Action: Jan. 15. Contact: Applications to the university: cuny. Apply by: Rolling applications. Contact: Berklee Office of Admissions, edu/admissions/undergraduate. (617) 747-2221 or 800-BERKLEE. Contact: Glenn E. Giles, Department Chair, (802) 468-1261, glenn.giles@ castleton.edu. The Collective Cali School of Music, School of Music Montclair State University City College of New York New York, New York Montclair, New Jersey (City University of New York) Student Body: Approximately 275 total students, New York, New York Student Body: 450 music majors; 30 jazz majors. 75 full-time, 200-plus part-time. Tuition: Two-Year Diploma Program: Tuition cost: Undergraduate, in-state: Student Body: 12,000 students, $60,500; Six-Semester Diploma $4,191, out-of-state: $8,530. approximately 300 music Program: $47,500; Six-Semester majors,150 jazz majors. Jazz Degrees: Bachelor of Music in Jazz Studies, Certificate Program: $45,000; Two- Bachelor of Music in Music Tuition: Undergraduate, in state: $3,015/ Semester Certificate Program: Education, Jazz Concentration. semester, out-of-state: $18,700; Two-Semester Prep Faculty: Steve Benson, Alan Ferber, Steve $6,420/semester; Graduate: Program: $14,300; Single Semester Johns, Tony Kadleck, Jeff Kunkel, $48,250/semester, out-of-state: Elective Program: $7,150; Advanced Mike Lee, Bill Moring, Holli Ross, $8,940/semester. Performance Program: $9,570; Daniela Schächter, Dave Stryker. Jazz Degrees: Bachelor of Fine Arts in Jazz Advanced Independent Study: $4,620. Jazz Bands: MSU Jazz Ensemble, Redhawk Studies, Master in Jazz Studies. Jazz Band, Vocomotion, four Faculty: Steve Wilson, Dan Carillo, Scott Jazz Degrees: None. or more jazz combos. Reeves, Mike Holober, Suzanne Faculty: Ian Froman, Peter Retzlaff, Joe Auditions: Initial submission through Pittson, Ray Gallon, Adam Cruz, Fitzgerald, Hilliard Greene, Chris “Decision Desk”; live audition Jason Rigby, Aidan O’Donnell. Biesterfelldt, Fernando Hernadez, possible. montclair.edu/music. Alumni: John Benitez, Arturo O’Farrill, Tom Steve Marks, Bob Quaranta, Steve Varner, Deanna Witkowski. Count, Sheryl Bailey, Vince Cherico, Financial Aid: montclair.edu/financial-aid. Mark Flynn, Adriano Santos, Kim Jazz Bands: Big Band, Latin Band, various small Scholarships: All auditioning students are Plainfield, Jason Gianni, Noriko ensembles such as World Music considered for scholarships. Tomikawa, Sean Conly, Irio O’Farrill, Ensemble, Hard Bop Ensemble, Leo Traversa, Nate Radley, Frank Apply by: March 1, or as determined by Free Jazz Ensemble, Brazilian Gravis, Fred Klatz. freshman audition deadlines. Visit Music Ensemble. montclair.edu/music and click Alumni: Billy Martin, Will Calhoun. Auditions: Auditions are held in October for on “Apply to the Cali School” for the spring semester and during Jazz Bands: Student Performance group, details and directions. February and March for the fall Advanced Performance Program Contact: Dr. Jeffrey Kunkel, Jazz Studies semester. CDs are also accepted. group, Latin Jazz Ensemble. Coordinator, (973) 655-7215, Contact [email protected]. Auditions: In-person, video or taped [email protected]. edu. Audition application for auditions accepted.

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Financial Aid: Available. Contact Financial Contact: Justin Hadley, (518) 454-5186, Aid Specialist Yahya Alkhansa, [email protected]. Duquesne University, Mary [email protected]. Pappert School of Music Pittsburgh, Pennsylvania Scholarships: Merit-based scholarships are available for Drums, Guitar, Columbia University Bass, Keyboard and Vocal New York, New York Student Body: 350 students. divisions. Contact Admissions Tuition: Undergraduate: $37,256/year; Director John Castellano, johnc@ Student Body: Approximately 125 students Graduate: $1,267/credit. in the Louis Armstrong Jazz thecollective.edu. Jazz Degrees: Bachelor of Music with jazz Performance Program. Apply by: July 1. emphasis, Master of Music with Tuition: $46,846 per year. jazz emphasis. Contact: John Castellano, (212) 741-0091, [email protected]. Jazz Degrees: Music Major, Jazz Studies Faculty: Michael Tomaro, Sean Jones, Joe special concentration. Negri, Ronald E. Bickel, Maureen Budway, Jeff Bush, Kenneth Faculty: Paul Bollenback, Christine Correa, The College of Saint Rose David Gibson, Brad Jones, Ole Karsh, Mark Koch, Jeffrey Albany, New York Mathisen, Tony Moreno, Don Mangone, Leonard Rodgers, Sickler, Leo Traversa, Victor Lin, R.J. Zimmerman. Student Body: 300 music majors. Bruce Barth, Andy Milne, Amir Alumni: Marty Ashby, Jay Ashby, Maureen ElSaffar, Ugonna Okegwo, Vince Budway, Sammy Nestico. Tuition: $28,036. Cherico, Adriano Dos Santos. Jazz Bands: Big band and 10 combos. Jazz Degrees: Bachelor of Science in Music Industry, minor in Jazz Alumni: Cameron Brown, Peter Cincotti. Auditions: Oct. 17, Nov. 14, Dec. 5, Jan. 9, Performance. Jazz Bands: Combos, Big Band, Afro-Latin Jan. 23, Feb. 6, Feb. 20, March 13, Ensemble, Free-Jazz Ensemble, March 20. Faculty: Cliff Brucker, Paul Evoskevich, Matthew Finck, Andrew Lee, Vocal Jazz Ensemble. Financial Aid: (412) 396-6607, [email protected]. Sean McClowry, Mary Anne Nelson, Auditions: Beginning of the fall semester after Scholarships: Talent-based and academic Marta Waterman. acceptance to Columbia College scholarships available. or General Studies. Jazz Bands: Big band, combos, recording Apply By: Undergraduate: Feb. 6; musicians ensembles, vocal jazz Financial Aid: Need-based available. Graduate: April 1. ensemble. Scholarships: None. Contact: Troy Centofanto, director Auditions: Required. Apply by: Early decision: early November; of music admissions, Financial Aid: Merit- and talent-based available. Regular decision: early January. (412) 396-5064, [email protected]. Apply By: Applicants must audition before Contact: Beth Pratt, Music Performance Feb. 1 to be considered for a Program Coordinator, music talent scholarship. [email protected].

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Eastman School of Music Five Towns College applications should be in by then. Rochester, New York Dix Hills, New York Contact: Amanda Mignone, (631) 656-2109.

Student Body: Approximately 50. Student Body: 752 undergraduate students. George Mason University Tuition: Undergraduate: $46,150; Tuition: $10,500/semester Fairfax, Virginia Graduate: $1,425. Jazz Degrees: Bachelor of Music in Jazz/ Jazz Degrees: Bachelor of Music, Master of Commercial Music Performance Student Body: 33,000 total; 250 undergraduate Music, Doctorate of Music. with concentrations in Audio music students, 90 graduate. Recording Technology, Music Faculty: Harold Danko, Bill Dobbins, Tuition: Undergraduate, in-state: $5,100/ Business, Music History, Jeff Campbell, Clay Jenkins. semester; out-of-state: $15,000/ Composition & Songwriting, Mark Kellogg, Charles Pillow, semester; Graduate: in-state: Musical Theatre and Performance. Dave Rivello, Dariusz Terefenko, $517.25/credit; out-of-state: Rich Thompson, Bob Sneider. Faculty: 98 instructors. $1,233.25/credit. Alumni: Ron Carter, Maria Schneider, Alumni: Tito Puente, Adam Levine. Jazz Degrees: Bachelor of Music in Jazz Studies, Steve Gadd, Tony Levin, John Jazz Bands: Jazz Ensemble, Jazz Orchestra, Master of Music in Jazz Hollenbeck, Walt Weiskopf. Swing Band, Vocal Jazz, Studies, Minor in Jazz Studies. Jazz Bands: Eastman Jazz Ensemble, New Barbershop Harmony (men and Faculty: Jim Carroll, Dr. Darden Purcell, Jazz Ensemble, Jazz Lab Band, women), Cabaret TV Workshop Wade Beach, Dr. Tyler Kuebler, Chamber Jazz, Studio Orchestra, and American Songbook. Kenny Rittenhouse, Matt Niess, eight Jazz Performance Workshops, Auditions: Consist of preparing two pieces of Glenn Dewey, Joe McCarthy, Film Scoring, Contemporary Media. music with contrasting styles. The Harold Summey, Dr. Shawn Purcell, Auditions: Jan. 30; Fridays in February. sheet music for both pieces must Rick Whitehead, Victor Provost, be brought with the applicant. Anthony Maiello. Financial Aid: Available. (585) 274-1070. Audition will also include sight- Alumni: Victor Provost, Rick Parrell. Scholarships: Available. (585) 274-1070. reading or sight-singing, and Jazz Bands: Jazz Ensemble, Jazz Workshop, Apply by: Dec. 1. applicants will be tested on ear- training. ftc.edu. Combos, Afro-Cuban Ensemble, Contact: Sheryle Charles, (585) 274-1440; Traditional Jazz Ensemble, [email protected]. Financial Aid: (631) 656-2164, Steel Pan Ensemble, Jazz Vocal [email protected]. Ensemble. Scholarships: Merit-, talent-, activities- and need- Auditions: Nov. 8, Dec. 6, Jan. 31, Feb. 14, based scholarships available. Feb. 28 (graduate students), Apply by: Rolling admissions. Fall semester March 6 (transfer students). begins on Sept. 2, and all music.gmu.edu.

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Aid: Available. financialaid.gmu.edu. Scholarships: Merit-based available, (703) 993-1380. Apply by: Jan. 15 for Undergraduates; March 1 for Graduate students. Contact: Dr. Darden Purcell, director of jazz studies, [email protected], (703) 993-1380.

The Hartt School, University of Hartford West Hartford, Connecticut

Student Body: 7,200 total, 565 students in The Hartt School, 383 music students. Tuition: $32,758; room, board and fees: $14,204; Total: $46,962. Jazz Degrees: Bachelor of Music in Jazz Studies, Music Production and Technology, Music Management and Composition. Faculty: Javon Jackson, Abraham Burton, Chris Casey, Steve Davis, Rick Germanson, Rich Goldstein, Freddie Hendrix, Andy LaVerne, Rene McLean, Eric McPherson, Shawnn Monteiro, Nat Reeves, Loren Schoenberg, Pete Woodard. Alumni: Wayne Escoffery, Steve Davis, "Sweet" Sue Terry. Jazz Bands: One big band and 10 or more combos. Auditions: hartford.edu/hartt. Financial Aid: Available. [email protected]. Scholarships: Available. Scholarships range to full tuition based on the strength of the audition. Apply by: Jan. 5. Contact: Hartt Admissions, (860) 768-4465, [email protected].

Howard University Washington, D.C.

Student Body: Approximately 9,000. Tuition: $19,000. Jazz Degrees: Bachelor of Music: Jazz and Classical; Bachelor of Music with Electives in Business: Jazz and Classical; Music Therapy and Music Therapy with Jazz Minor; Music Technology with Jazz Minor; Composition; Music Education; Master of Music (Jazz and Classical); Master of Music Education. Faculty: Bert Cross II, Cyrus Chestnut, Valerie Eichelberger, Fred Irby III, Sais Kamalidiin, Gerry Kunkel, Connaitre Miller, Steve Novosel, Chris Royal, Will Smith, Harold Summey, Charlie Young. Alumni: Geri Allen, Benny Golson, Raymond Angry, Andrew White, Roberta Flack, Donnie Hathaway, Harold Wheeler. Jazz Bands: Howard University Jazz Ensemble (HUJE); Afro Blue (large vocal jazz ensemble); HU Jazztet (combo); Blue Note (small vocal jazz group); SaaSy (all female vocal jazz ensemble). Auditions: coas.howard.edu/music. Financial Aid: howard.edu Scholarships: Need- and merit-based available. Apply by: Early Action, Nov. 15, 2014; Feb. 15, 2015. Contact: Connaitre Miller (vocal), conmiller@ howard.edu; Fred Irby (instrumental), [email protected].

Ithaca College School of Music Ithaca, New York

Student Body: 10–20 jazz studies majors. Tuition: Undergraduate, $39,532/semester. Jazz Degrees: Bachelor of Music in Jazz Studies.

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Juilliard Jazz Ensemble

The Johns Hopkins The Juilliard School University, Peabody New York, New York Conservatory Baltimore, Maryland Student Body: 40. Tuition: $39,190. Student Body: 690. Jazz Degrees: Bachelor of Music, Master of Music, Tuition: $41,190. Artist Diploma. Jazz Degrees: Bachelor of Music, Graduate Faculty: Wynton Marsalis, Ron Blake, Joe Performance Diploma. Temperley, Steve Wilson, Eddie Henderson, Steve Turre, Rodney Faculty: Nasar Abadey, Paul Bollenback, Jay Jones, Ron Carter, Kenny Clayton, Alan Ferber, Michael Barron, Xavier Davis, Frank Formanek, Blake Meister, Timothy Kimbrough, Billy Drummond, Ray Murphy, Alexander Norris, Drummond, Ben Wolfe, Kenny Gary Thomas. Washington, James Burton III, HIROYUKI ITO Alumni: Russell Kirk, Jacob Yoffee. Matthew Jodrell, Christian Jaudes, Joseph Magnarelli, Phil Schaap. Jazz Bands: Peabody Jazz Orchestra, Peabody Improvisation & Multimedia Alumni: Christian McBride, Miles Davis, Faculty: Mike Titlebaum, Gregory Evans, Ensemble, Peabody Latin Wynton Marsalis, Chick Corea. Nicholas Walker, Nicholas Weiser, Jazz Ensemble. Jazz Bands: Jazz Orchestra, Jazz Ensembles, Frank Campos, Hal Reynolds. Auditions: peabody.jhu.edu/conservatory/ Artist Diploma Ensemble. Alumni: Jay Ashby, Marty Ashby, David admissions/auditions. Auditions: Prescreening required. Berger, Nick Brignola, Les Brown. Financial Aid: peabody.jhu.edu/finaid, Live auditions in March. Jazz Bands: Three big bands, multiple combos. (410) 234-4900, Financial Aid: Available. Auditions: Four dates on Saturdays, [email protected]. Scholarships: Need-based available. December–February. Scholarships: peabody.jhu.edu/finaid, Apply by: Dec. 1. Aid: Available. (410) 234-4900, [email protected]. Contact: Admissions, (212) 799-5000, Scholarships: Available. Apply by: Dec. 1. ext. 223. Apply by: Dec. 1. Contact Name: Ian Sims, (410) 234-4586, Contact: Townsend Plant, (607) 274-3366, [email protected]. ithaca.edu/music.

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Auditions: Fall and Spring, recorded Jazz Band, MSM Chamber Jazz Kutztown University auditions accepted for students Ensemble, 23 Combos. Kutztown, Pennsylvania outside New York City. Auditions: Feb. 27–March 6. Financial Aid: Available. Contact Financial Aid Student Body: 9,000. Financial Aid: Available. msmnyc.edu. Office, liu.edu/SFS/FinAid. Tuition: Undergraduate, in-state: $3,311; Scholarships: Available. msmnyc.edu. out-of-state: $8,278. Scholarships: Available. liu.edu/SFS/ Tuition/Tuition. Apply by: Dec. 1. Jazz Degrees: Bachelor of Arts in Music, Contact: Christan Cassidy, (917) 493-4436, Bachelor of Science in Apply by: (718) 488-1011 or bkln-admissions [email protected]. Music Education. @liu.edu. Contact: Faculty: Kevin Kjos, Scott Lee, Allison Miller, Dr. Gloria Cooper, gloria.cooper@ Adam Kolker, Cathy Chemi, David liu.edu, (718) 488-1450; Sam New England Conservatory Cullen, Neal Kirkwood, Dan Newsome, samuel.newsome@liu. Boston, Massachusetts Neuenschwander. edu, (718) 488-1000 ext. 1847. Jazz Bands: Three big bands, several combos. Student Body: 750. Financial Aid: www2.kutztown.edu/FinancialAid. Manhattan School of Music Tuition: $40,950. New York, New York Scholarships: Available upon audition. Jazz Degrees: Jazz Performance, Jazz Composition. Apply by: Rolling admissions. Student Body: 391 Undergraduate students, Faculty: Ralph Alessi, Jerry Bergonzi, Ran Contact: Kevin Kjos, [email protected]. 83 Jazz Majors. Blake, Luis Bonilla, Fred Buda, Tuition: $37,250. Frank Carlberg, Gary Chaffee, Long Island University – Jazz Degrees: Bachelor of Music, Master of Anthony Coleman, Jorrit Dijkstra, Music, Doctorate of Musical Arts in Dominique Eade, Billy Hart, Brooklyn Campus Jazz Arts Advancement. Fred Hersch, Dave Holland, Joe Brooklyn, New York Hunt, Jerry Leake, Brian Levy, John Faculty: Justin DiCioccio, Dave Liebman, Lockwood, Cecil McBee, Donny John Riley, Bobby Sanabria, Student Body: 8,633. McCaslin, John McNeil, Jason Donny McCaslin, Rich Perry, Moran, Joe Morris, Rakalam Bob Tuition: $16,509. Wycliffe Gordon. Moses, Hankus Netsky, Bob Jazz Degrees: Bachelor of Fine Arts in Alumni: Stefon Harris, Jason Moran, Jane Nieske, Nedelka Prescod, Ted Jazz Studies. Monheit, Ambrose Akinmusire, Reichman, Dave Samuels, Ken Faculty: Eddie Allen, Dwayne Broadnax, Chris Potter, Miguel Zenón. Schaphorst, Ben Schwendener, Bert Seager, Brad Shepik, Oscar Gloria Cooper, Carlo DeRosa, Greg Jazz Bands: MSM Afro-Cuban Jazz Orchestra, Lewis, Sam Newsome, JC Sanford, MSM Jazz Philharmonic Orchestra, Stagnaro, Miguel Zenón, Tim Sullivan, Kenny Wessel. MSM Jazz Orchestra, MSM Concert Norman M.E. Zocher.

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Alumni: Don Byron, Anton Fig, John Scholarships: Audition-based merit scholarships. Medeski, Chris Speed, Luciana Apply by: Jan. 1. Souza, Cecil Taylor, Rachel Z. Contact: Kevin Smith, (212) 229-5150, Jazz Bands: NEC Jazz Orchestra, NEC Jazz [email protected]. Composers Workshop Orchestra, 30 small ensembles. Auditions: Pre-screening and live audition. New York Jazz Academy necmusic.edu/apply-nec/ New York, New York audition/jazz. Financial Aid: Based on need as determined by Student Body: 400. the FAFSA form. Contact Financial Tuition: $2,000–$10,000 per year. Aid, (617) 585-1110, finaid@ necmusic.edu. Jazz Degrees: None. Faculty: Scholarships: Merit- and need-based available. Javier Arau, Carolyn Leonhart, Wayne Escoffery, Tom Dempsey, Apply by: Dec. 1. Aaron Scott, Michael Webster. Contact: Timothy Lienhard, (617) 585-1105, Jazz Bands: Big bands, small ensembles, vocal [email protected]. programs and more. Auditions: Required for select programs. New Jersey City University Financial Aid: Available. Jersey City, New Jersey Scholarships: Tuition subsidies are available. Apply by: Rolling admissions. Student Body: 8,368. Contact: Marcela Peñalva, (718) 426-0633, Tuition: Undergraduate, in-state: $3,852.45, out-of-state: [email protected]. $9,712.50 per semester. Jazz Degrees: Bachelor of Music in Jazz Studies, New York University Master of Music in Jazz Studies, New York, New York Master of Music in Woodwind Doubling. Student Body: 140 jazz students. Faculty: Walt Weiskopf, Allen Farnham, Tuition: Undergraduate: $44,848; Bob Malach, Tim Horner, Graduate: $1,479/credit. Roseanna Vitro, Andy Eulau, Richie Vitale, Mark Sherman, Jazz Degrees: Bachelor of Music in Music Bill Kirchner, Jason Teborek, Performance: Jazz Studies, Master Joel Weiskopf. of Music in Instrumental Performance: Jazz Studies, Alumni: Richie DeRosa, Freddie Hendrix. Doctorate in Music Performance Jazz Bands: Yes. and Composition. Financial aid: Available. njcu.edu/Financing_Your_ Faculty: Chris Potter, Joe Lovano, Mark Education.aspx. Turner, Lenny Pickett, Ralph Scholarships: njcu.edu/NJCU_Scholarships.aspx. Lalama, Rich Perry, Kenny Werner, Jean Michel Pilc, Don Friedman, Apply by: April 1. Gil Goldstein, Andy Milne, Rich Contact: Paul Robertson, Shemaria, Ralph Alessi, Michael [email protected]. Rodriguez, Elliot Mason, Alan Ferber, Stefon Harris, Billy Drummond, Dafnis Prieto, Tony The New School for Jazz Moreno, Brad Shepik, Peter Bernstein, Wayne Krantz, Martin and Contemporary Music Wind, Mike Richmond. New York, New York Auditions: In-person undergraduate Student Body: 250. auditions, online or video auditions for undergraduate Tuition: $40,000. and graduate programs. Jazz Degrees: Bachelor of Fine Arts in Jazz and Jazz Bands: 40-plus small groups, Jazz Contemporary Music. Orchestra, Repertoire Big Band, Faculty: Reggie Workman, Jane Ira Bloom, Brazilian Ensemble, World Richard Harper, Chris Stover, Percussion Ensemble, Jazz Rory Stuart. Composers Ensemble. Alumni: Brad Mehldau, Peter Bernstein, Alumni: Wayne Shorter, Brian Lynch, Robert Glasper, Jamire Williams, Todd Coolman, Martin Wind. Avishai Cohen, Jose James, Marcus Financial Aid: (212) 998-4444, Strickland, E.J. Strickland. [email protected]. Jazz Bands: 52. Scholarships: Office of Undergraduate Auditions: Live auditions take place in New Admissions, (212) 998-4500; York, Paris and Tel Aviv. Recorded Office of Graduate Admissions, auditions are also accepted. (212) 998-5030. Financial Aid: Available for U.S. citizens through Apply by: Bachelor’s: Jan. 1 (early decision I: the FAFSA. (212) 229-8930. Nov. 1, early decision II: Jan. 1).

92 DOWNBEAT OCTOBER 2014 Master’s: Jan. 6. Ph.D.: Dec. 15. Contact: Dr. David Schroeder, director of NYU Steinhardt Jazz Studies, (212) 998-5446, [email protected]; steinhardt.nyu.edu/nyu-jazz11.

Princeton University Princeton, New Jersey

Student Body: 40 jazz students Tuition: $58,965. Jazz Degrees: Bachelor of Arts in Music, Certificate in Jazz Studies, Certificate in Musical Performance concentration in jazz. Faculty: Dr. Anthony Branker, Ralph Bowen, Jim Ridl, Kenny Davis, Michael Cochrane, Bruce Arnold, Brian Glassman, Vince Ector, Trineice Robinson-Martin. Alumni: Stanley Jordan, Scott DeVeaux, Barry Miles, Terry Silverlight. Jazz Bands: Concert Jazz Ensemble, Jazz Composers Collective, Jazz Vocal Collective, Crossing Borders Improvisational Music Ensemble, Free to Be Ensemble, Freddie Hubbard Ensemble, Funk/Fusion Ensemble, Standard Deviation Ensemble, Sonny Rollins Ensemble, Monk/Mingus Ensemble, Herbie Hancock Ensemble, Joe Henderson Ensemble, Sounds of Brazil Ensemble. Auditions: Supplemental CD in support of application. Financial Aid: Available. (609) 258-3330. Scholarships: Available. No separate audition or application. Contact financial aid office. Apply by: Jan. 1. Contact: Greg Smith, (609) 258- 6078, [email protected]

Purchase College Purchase, New York

Student Body: 80 (60 undergrad). Tuition: Undergraduate, in-state: $3,085 per semester; out-of-state: $7,910 per semester; Graduate, in-state: $5,185; out of state: $10,095. Jazz Degrees: Bachelor of Music, Master of Music. Faculty: Pete Malinverni, Kevin Hays, David Hazeltine, Andy LaVerne, Todd Coolman, Doug Weiss, Richie Morales, John Riley, Kenny Washington, John Abercrombie, Doug Munro, Vic Juris, Jon Faddis, Eric Alexander, Ralph Lalama, Gary Smulyan, Tim Albright, Alexis Cole, SUBSCRIBE Charles Blenzig, David DeJesus. Alumni: Cyrille Aimée, Jon Gordon, Bobby Avey, Spike Wilner. DownBeat.com Jazz Bands: Jazz Orchestra, Latin Jazz Orchestra, 15 small combos. 877-904-JAZZ Auditions: purchase.edu/Departments/

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Admissions/ApplicationInstructions/ George Colligan, Diego Urcola. actingaudition.aspx. Queens College/CUNY Aaron Copland School of Music Jazz Band: Big band and a variety of small Financial Aid: purchase.edu/financialservices. ensembles including repertoire, Queens, New York vocal and original compositions. Scholarships: James Moody Scholars, Joe Williams "Everyday" Auditions: Email professor Mossman at Student Body: Approximately 75 students. Foundation, both merit-based. [email protected]. Tuition cost: Undergraduate, in-state: Apply by: Dec. 1. Financial aid: FAFSA\Work-Study opportunity, $385/credit hour, Admissions Office, 718-997-5200. Contact: Pete Malinverni, peter.malinverni out-of-state: $745/credit. @purchase.edu. Scholarships: Rarely, will be decided by the Jazz Degrees: Master of Music in Jazz Studies. committee after the audition. Faculty: Michael Mossman, Antonio Hart, Apply by: [email protected]. David Berkman, Dennis Mackrel. Contact: Professor Michael Mossman, Alumni: Antonio Hart, Arturo O’Farrill, [email protected]. Darren Barrett, Conrad Herwig, Rowan University Glassboro, New Jersey

Student Body: 25 students. Tuition: Undergraduate, in-state: $6,308, out-of-state: $8,515. Jazz Degrees: Undergraduate in Jazz Performance, Undergraduate in Education with a Jazz Emphasis and Graduate in Jazz Performance. Faculty: Denis DiBlasio, George Rabbai, Douglas Mapp, Tom Giacobetti, Dean Schneider. Jazz Bands: Jazz Band, Lab Band (non-traditional instrumentation), various small groups. Auditions: rowan.edu/colleges/cpa/ music/auditions/. Aid: rowan.edu/provost/financialaid/. Scholarships: Need- and merit-based. Contact [email protected]. Apply by: Contact Rowan University Undergraduate Admissions. Contact: Denis DiBlasio, Diblasio@rowan. edu, (856) 256-4500 ext. 3528.

Rutgers University, Mason Gross School of the Arts New Brunswick, New Jersey

Student Body: 60 Jazz majors, undergraduate and graduate. Tuition: Estimated Costs: Undergraduate Resident Commuter: $13,499; Undergraduate Resident On- Campus: $25,077; Undergraduate Non-Resident Commuter: $27,523; Undergraduate Non-Resident On-Campus: $39,101; Graduate Resident Commuter: $17,546; Graduate Resident On-Campus: $32,546; Graduate Non-Resident Commuter: $28,404; Graduate Non-Resident On-Campus: $42,404. Jazz Degrees: Bachelor of Music in Jazz Studies, Bachelor of Music in Jazz Studies and Music Education, Master of Music in Jazz Studies. Faculty: Ralph Bowen, Conrad Herwig, Victor Lewis, Vic Juris, Kenny Davis, Joe Magnarelli, Eddie Palmieri, Fred Hersch, Bill O’Connell, Robby

94 DOWNBEAT OCTOBER 2014 Ameen, Stefon Harris, Mark Gross. edu or pbarbarite@mason gradstudy.rutgers.edu. gross.rutgers.edu. Alumni: Terence Blanchard, Terell Stafford, Scholarships: Scholarships and Orrin Evans, Ralph Peterson Jr., Apply by: Recommended priority deadline teaching positions. Yoron Israel, Adam Cruz, Steve for all applicants is Dec. 1. Apply by: Rolling admissions. Nelson, Kuumba Frank Lacy, Deadline for first-year students: Contact Jennifer Nyeste, Johnathon Blake, Rudy Royston. Dec. 1. Deadline for transfer and [email protected]. graduate students: Feb. 1. Jazz Bands: Three large ensembles, four Contact: Professor Lewis Porter, themed semi-large ensembles, Contact: Mandy Feiler, Director of [email protected]. and nine chamber ensembles Admissions, Mason Gross School including Jazz Ensemble I, the of the Arts. Marc Stasio, Jazz RU Mingus Ensemble, the RU Department Administration. Peggy Shepherd University Afro Caribbean Ensemble, Barbarite, Music Department Shepherdstown, West Virginia Chamber Jazz I, RU Scarlet Knight Admissions and Scholarship Jazz Trombones, RU Jazz Guitars. Coordinator, admissions@ masongross.rutgers.edu or Student Body: 4,300 (total university), Auditions: Students are evaluated in sight- 120 (music department). reading, improvisation and overall (848) 932-9360. performance/musicianship. Tuition: In-state: $7,893, Auditions typically include tests in out-of-state: $12,685. general chord, scale and theory Rutgers University at Newark Jazz Degrees: Bachelor of Arts in music, with knowledge as well. Auditions Newark, New Jersey concentrations in Music Theater, primarily take place in February for Performance and Composition, the fall enrollment. Student Body: 25 jazz students. Bachelor of Music Education. Financial Aid: Available in the form of Loans, Tuition: Undergraduate in-state: Faculty: Dr. Kurtis Adams, Dr. Mark Grants and Federal Work Study. $600/credit; out-of-state: Andrew Cook, Kevin Pace, Eligibility is determined by the $900/credit. Ronnie Shaw. Office of Financial Aid and the Jazz Degrees: Master’s in Jazz History Jazz Bands: Two big bands, students Estimated Family and Research. three to four combos. Contribution as indicated on their FAFSA. Visit studentaid.rutgers.edu. Faculty: Lewis Porter, Henry Martin Auditions: shepherd.edu/musicweb/audition_ Alumni: requirements.html. Scholarships: Artistic awards from the music Vincent Gardner, Rhoda department and merit-based Scott, Melba Joyce. Financial Aid: Available. shepherd.edu/faoweb/. awards (combination award for Jazz Bands: Enrollment in bands Scholarships: Merit-based music scholarships academic and artistic talent) from at nearby schools. are available. the university. Visit masongross. Auditions: No in-person auditions. Apply by: March 1. rutgers.edu/admissions/tuition- MP3s required. and-financial-aid. Contact Contact: Dr. Kurtis Adams, (304) 876-5126, [email protected]. Financial Aid: Loans and work-study available. [email protected].

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$7,400, out-of-state: $16,850. Science degree in Music with a Skidmore Jazz Institute concentration in Contemporary Jazz Degrees: Jazz Secondary at this time. Saratoga Springs, New York Music Studies. Faculty: Bruce Johnstone, John Bacon, Jazz Bands: Chamber Jazz Ensembles, Student Body: 70–80 students. Linda Phillips, Harry Jacobson. Vocal Jazz Ensembles. Tuition: Tuition, room and board: $2,619. Alumni: Don Menza, Joe Magnarelli, Bob McChesney, Gary Keller, Bill Heller. Auditions: Provided by the department every Jazz Degrees: Undergraduate credit available. fall, spring and summer. Applicants Jazz Bands: Faculty: Paul Bollenback, James Burton III, Two curricular big bands, Latin to the music program must Bill Cunliffe, Michael Dease, Jimmy big bands, Jazz Strings, two complete an audition. Before Greene, Antonio Hart, Dennis student-run big bands, Vocal Jazz auditioning for the program, Mackrel, Adam Moezinia, Mike Ensemble. students must first be accepted Rodriguez, Doug Weiss, Auditions: Jazz Ensemble auditions held by the university through David Wong, Todd Coolman. first week of the semester. Undergraduate Admissions. Visit newpaltz.edu/admissions/. Alumni: Kendrick Scott, Jonathan Batiste, Financial Aid: Available. FAFSA required. Once the application for Christian Scott, Troy "Trombone Scholarships: Available. admissions has been received, Shorty" Andrews, Myron Walden. apply for a music audition at Apply by: March 1. Jazz Bands: Combos. newpaltz.edu/music/ Contact: Dr. Barry Kilpatrick, (716) 673-4635, Auditions: skidmore.edu/summer admissions.html. [email protected]. jazz/apply.php. Finacial Aid: newpaltz.edu/financialaid/. Financial Aid: Available. Contact Wendy Scholarships: newpaltz.edu/financialaid/ Kercull, 518-580-5546 or SUNY New Paltz foundation.html. [email protected]. New Paltz, New York Apply by: Varies. For Admissions, visit Scholarships: Available. Contact Mary Solomons, newpaltz.edu/admissions/. For (518) 580-5671. Student Body: 170 music majors, 30 music minors. Music, visit newpaltz.edu/music/ Apply by: March 15. Tuition: newpaltz.edu/student_ admissions.html. accounts/tuition.cfm. Contact: Contact: Wendy Kercull, 518-580-5546, Mark Dziuba, Director of Jazz [email protected]. Faculty: Mark Dziuba, Vincent Martucci, Performance, (845) 257-2711, John Menegon, Teri Roiger, Jeff [email protected]. Siegel, Rebecca Coupe Franks. Jazz SUNY Fredonia Degrees: Bachelor of Arts degree in Fredonia, New York Music with a concentration The Crane School of Music, in Jazz Performance, Bachelor SUNY Potsdam Student Body: 60 jazz studies students. of Science degree in Music with Potsdam, New York a concentration in Jazz Tuition: Undergraduate, in-state: Performance, and a Bachelor of Student Body: 550 music students.

96 DOWNBEAT OCTOBER 2014 Tuition: In-state: $6,170, Education, Bachelor of Music $15,042, out-of-state: $25,678. out-of-state: $15,320. in Music Industry, Bachelor of Jazz Degrees: Bachelor of Music in Jazz Music in Performance, Bachelor Jazz Degrees: Students in any music degree Instrumental Performance, program can opt to of Music in Sound Recording Jazz Voice Performance, Jazz include a Jazz Minor. Technology) or any non-music Composition/Arranging, Music major on the Syracuse Education with Jazz Component, Faculty: Over 70 music faculty, University campus. Dr. Bret Zvacek, Professor Music Therapy with Jazz of Jazz Studies. Faculty: John Coggiola, Jeff Welcher, Component. Steve Frank, Jeff Stockham, Faculty: Terell Stafford, Norm David, Greg Jazz Bands: Jazz Ensemble, Jazz Band, Mike Dubaniewicz, Joe Columbo, small jazz groups. Kettinger, Dan Monaghan, Joanna Rick Balestra, Rick Montalbano, Pascale, Bruce Barth, Mike Frank, Alumni: Renée Fleming, Stephanie Blythe. Bill DiCosimo, Darryl Pugh, Tom Lawton, Josh Richman, Elio Josh Dekaney. Auditions: Required. On-campus Villafranca, Mike Boone, Madison admission dates: Dec. 13, Jan. 24, Alumni: Joyce DiCamillo, Andy Fusco, Rast, Craig Ebner, Ed Flanagan, Feb. 7, March 14. potsdam.edu/ Billy VanDuzor, Allen Ward. Greg Kettinger. academics/Crane/admissions. Jazz Bands: Various instrumental and vocal jazz Alumni: Luke Brandon, Danny Janklow, Financial Aid: Available. ensembles and combos. Joe McDonough, Joanna Pascale. Scholarships: Merit- and need-based available. Auditions: vpa.syr.edu/prospective-students. Jazz Bands: Fusion Ensemble, Jazz Brass Band, Jazz Guitar Ensemble, Jazz Lab Apply by: potsdam.edu. Financial Aid: Available to all Syracuse University students, (315) 443-1513. Band, Jazz Percussion Ensemble, Contact: Dr. David Heuser, Associate Dean, Jazz Vocal Ensemble, New Music [email protected]. Scholarships: Available to all Syracuse University Ensemble by Temple Jazz students, (315) 443-1513. Composers, Temple Jazz Ensemble, Apply by: Early decision, Nov. 15; Regular Temple University Big Band, Syracuse University, decision, Jan. 1. JazzBand Number Three, various small jazz ensembles. Setnor School of Music Contact: Amy Mertz (Setnor Admissions); Syracuse, New York John Coggiola, Colleen Reynolds Auditions: temple.edu/boyer/admissions/ (Jazz Studies), [email protected]. index.asp. Student Body: 330 Setnor students, Financial Aid: Need- and merit-based available. 75 Jazz students (music and non- Visit temple.edu/boyer/admissions/ music majors). Temple University index.asp. Philadelphia, Pennsylvania Tuition: $40,000. Scholarships: Music and academic scholarships Jazz Degrees: Jazz minor, in conjunction with available. Visit temple.edu/boyer/ Student Body: 750 Boyer College of Music any music major (Bachelor of Art admissions/index.asp. and Dance students. in Music, Bachelor of Music in Apply by: March 1. Composition, Bachelor of Music in Tuition: Undergraduate, in-state:

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Contact: Kristi Morgridge, (215) 204-6810, [email protected].

Towson University Towson, Maryland

Student Body: 24,000. Tuition: Undergraduate, in-state: $3,002, out-of-state: $8,841. Jazz Degrees: Bachelor of Music in Jazz/ Commercial Performance and Jazz/Commercial Composition. Faculty: Dave Ballou, Jim McFalls, Shawn Purcell, Jeff Reed, Frank Russo, Darryl Brenzel, Tim Murphy, Sara Jones, John Dierker, Brian Simms, John Seligman. Jazz Bands: TU Jazz Orchestra, Jazz Combos, Latin Ensemble, Pop Ensemble, Vocal Jazz Choir, Free Improvisation Ensembles, World Music Ensemble. Alumni: Drew Gress, Ellery Eskelin. Auditions: new.towson.edu/music/. Financial Aid: Mary Ann Criss, [email protected]. Scholarships: Contact Financial Aid, (410) 704- 4236; [email protected]. Apply by: towson.edu/main/admissions/ applynow.asp. Contact: Dave Ballou, [email protected].

University of the Arts Philadelphia, Pennsylvania

Student Body: 325 in the School of Music. Tuition: $38,410. Jazz Degrees: Bachelor of Music in Jazz Studies in Composition, Diploma in Composition, Bachelor of Music in Jazz Studies: Instrumental Performance, Diploma in Instrumental Performance, Bachelor of Music in Jazz Studies: Vocal Performance, Diploma in Vocal Performance. Faculty: More than 90 members including Marc Dicciani, Jeff Kern, Micah Jones, Michael Kennedy, Don Glanden, Rob Brosh, Chris Farr, Randy Kapralick, Matt Gallagher, Evan Solot. Jazz Bands: Z Big Band, Rick Kerber Tribute Big Band. Auditions: uarts.edu/admissions/college- performing-arts-audition- requirements#music. Financial Aid: Available. Student Financial Services, (800) 616-ARTS, ext. 6170. Scholarships: Available. Student Financial Services, (800) 616-ARTS, ext. 6170. Apply by: Feb. 1 for priority admission. Contact: Amanda Melczer, Administrative Assistant, (215) 717-6342, [email protected].

98 DOWNBEAT OCTOBER 2014 University of Connecticut Storrs, Connecticut

Student Body: 200 music students, approximately 10 jazz majors. Tuition: Undergraduate, in-state: $9,858, out-of-state: $30,038. Jazz Degrees: Bachelor of Art with Jazz Studies emphasis. Faculty: Earl MacDonald, John Mastroianni, Gregg August, Doug Maher, EJ Strickland, Ingrid Jensen, Tim Albright. Jazz Bands: UCONN Jazz Ensemble (10-piece), Jazz Lab Band (big band), combos. Alumni: Brian Charette, Bill Longo, Gary Versace. Auditions: Dec. 6, Jan. 24, Jan. 31, Feb. 7. Financial Aid: financialaid.uconn.edu. Scholarships: admissions.uconn.edu/content/scholarships. Apply by: Jan. 15. Contact: Earl MacDonald, Director of Jazz Studies, [email protected].

University of Maine at Augusta Augusta, Maine

Student Body: 5,000 total, 55 in music program. Tuition: Approximately $7,500. Jazz Degrees: Bachelor of Music with four concentrations: Performance, Music Education, Sonic Arts and Composition, Audio Recording; Associate of Science in Jazz and Contemporary Music. Faculty: Dr. Richard Nelson, William Moseley, David Wells, Steve Grover, Marcia Gallagher, Pam Jenkins, Anita Jerosch, Andres Espinoza, Gary Clancy, Scott Hughes, Matt Fogg, Greg Loughman, Trond Saeverud, Timothy Johnson, Sean Morin, Noah Cole. Alumni: Marc Ribot, Suzanne Dean, Will Bartlett, Terry Eisen, Chris Neville. Jazz Bands: 14 total including Large Jazz Ensemble, Jazz Combos, Latin Jazz Ensemble, Fusion Ensemble, Vocal Ensembles, Freshman Ensemble, Contemporary Sounds Ensemble, Prog Rock Ensemble, Sonic Explorations. Auditions: uma.edu/jazz. Financial Aid: Available. [email protected]. Scholarships: Need- and merit-based available. Contact Anita Jerosch, Program Coordinator, anitaann.jerosch@ maine.edu. Apply by: Rolling admissions. Contact: Anita Jerosch, anitaann.jerosch@ maine.edu.

University of Maryland School of Music College Park, Maryland

Student Body: 250 undergrad music students. Tuition: Undergraduate, in-state: $9,161, out-of-state: $28,348.

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Jazz Degrees: Bachelor of Music in Jazz, Bachelor of Art in Jazz, Master of Music in Jazz. Faculty: Approximately 100 total, including Chris Vadala, Chuck Redd, Tom Baldwin. Jazz Bands: Jazz Ensemble, Jazz Lab Band, Jazz Band and several jazz combos. Alumni: Steve Fidyk, Jon Ozment, Kevin Pace, Russell Wilson. Auditions: All students must apply to the School of Music and the University of Maryland. Regular auditions are in January. Financial Aid: Need-based aid available through the Financial Aid Office. Scholarships: All students who audition are automatically considered for merit-based scholarship. Apply by: Nov. 1 for undergraduates; Dec. 1 for graduate students. Contact: Jenny Lang, (301) 405-8435, [email protected].

University of Massachusetts, Amherst Amherst, Massachusetts

Student Body: 346 music students, 40 jazz majors. Tuition: Undergraduate, in-state tuition, fees, room and board: $23,697; out-of-state tuition, fees, room and board: $38,413. Jazz Degrees: Bachelor of Music in Jazz Performance, Master of Music in Jazz Composition & Arranging. Faculty: Jeffrey W. Holmes, Felipe Salles, Catherine Jensen-Hole, Thomas Giampietro, Salvatore Macchia, Bob Ferrier. Jazz Bands: Jazz Ensemble I, Studio Orchestra, Chapel Jazz Ensemble, Vocal Jazz Ensemble, Jazz Lab Ensembles and numerous chamber groups. Auditions: Early Action for Spring and Fall: Nov. 22. Regular action for Fall, Jan. 16–17, Feb.14. Financial Aid: Contact John Huling, jhuling@ music.umass.edu, (413) 545-6048. Scholarships: Need- and merit-based. Contact John Huling, jhuling@music. umass.edu, (413) 545-6048. Apply by: Early Action: Nov. 22, Regular Action: Jan. 16–17, Feb. 14. Contact: Director of Jazz Studies: Professor Jeffrey W. Holmes, jwholmes@ music.umass.edu, (413) 545-6046 or (413) 545-2227.

University of Massachusetts at Lowell Lowell, Massachusetts

Student Body: 16,000 total, 400 music majors. Tuition: Undergraduate, in-state: $12,097, out-of-state: $26,146.

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Jazz Degrees: Bachelor of Music in Sound Peter Paulsen, Gregory Riley, Ensemble, Vocal Jazz Ensemble. Recording Technology. John Swana. Auditions: westfield.ma.edu/dept/music/ Faculty: 15 full-time, 45 adjunct. Jazz Bands: Two big bands, Latin Jazz auditioninfo.htm. Ensemble, four combos. Jazz Bands: 12 including Jazz Rock Big Band, Financial Aid: (413) 572-5218, financialaid@ small jazz ensembles, two Jazz Lab Financial Aid: Available. westfield.ma.edu. Ensembles, Studio Orchestra. Scholarships: Some available. Scholarships: Available for incoming music Auditions: majors, or through the Required, visit uml.edu/music. Apply by: Rolling admissions. College Foundation. Contact Brent Financial Aid: uml.edu/financialaid. Contact: Nicole Kemp, [email protected]. Bean, [email protected]. Scholarships: Need- and merit-based. Apply by: March 1. Apply by: Feb. 15. Western Connecticut Contact Name: Dr. Karen LaVoie, Chair, (413) 572- Contact: Amy Dinsmore, (978) 934-3850, State University 5356, [email protected]. [email protected]. Danbury, Connecticut William Paterson University University of Pittsburgh Student Body: Approximately 5,000 Wayne, New Jersey Pittsburgh, Pennsylvania undergraduates, 215 music majors, 30 jazz majors. Student Body: 65 undergrad jazz majors, Student Body: 28,769. Tuition: Undergraduate, in-state: $10,461; 18 graduate students. NE Regional: $12,761; Tuition: Undergraduate, in-state: $16,872, out-of-state: $22,196. Tuition: Undergraduate, in-state (including out-of-state: $26,268; fees): $11,918/year; out-of-state Graduate, in-state: $19,964, Jazz Degrees: Bachelor of Music in Jazz Studies, (including fees): $19,458/year; out-of-state: $33,960. Bachelor of Music in Audio and Graduate in-state (including fees): Music Production, Bachelor $11,806/year; out-of-state Jazz Degrees: Bachelor of Arts, Master of Arts of Science in Music Education with (including fees): $18,304/year. and Ph.D. with concentration jazz concentration, Bachelor of Arts in Jazz Studies. in Music with jazz concentration. Jazz Degrees: Undergraduate Degrees: Bachelor of Music in Jazz Studies with Faculty: Nathan Davis. Faculty: Jamie Begian, Jimmy Greene, Dave concentrations in Performance, Jazz Bands: Pitt Jazz Ensemble. Scott, Andrew Beals, Deborah Sound Engineering Arts, Music Weisz, Chris Morrison, Lee Financial Aid: Available. Management, Music Education Metcalf, Peter Tomlinson, David and Jazz/Classical Performance. Scholarships: Available. Ruffels, Chris DeAngelis, Jeff Siegel. Graduate Degrees: Master of Music Apply by: Rolling admissions. Jazz Bands: Jazz Orchestra, Jazz Ensemble, in Jazz Studies with tracks in Performance and Composition/ Contact: music.pitt.edu. Frankensax, Jazz Guitar Ensemble and 10 jazz combos each semester. Arranging. Auditions: Auditions held December through Faculty: David Demsey, Tim Newman, University of Rhode Island March. Visit wcsu.edu/music. Pete McGuinness, Jim McNeely, Kingston, Rhode Island Cecil Bridgewater, Harold Mabern, Financial Aid: Available, contact Melissa Armen Donelian, Janet Stephens Director of Financial Aid Reeves, James Weidman, Vincent Student Body: 160 Music Majors and Minors. and Student Employment, Herring, Rich Perry, Gene Tuition: Undergraduate, in-state: $10,878, [email protected] or Bertoncini, Steve LaSpina, Marcus out-of-state: $26,444. [email protected], McLaurine, Horacee Arnold, Bill (203) 837-8580. Faculty: Jared Sims, Mark Berney, Eric Goodwin, Kevin Norton, John Hofbauer, Dave Zinno, Steve Scholarships: Talent- and need-based, contact Mosca, Bill Mobley, David Rogers, Langone, Joe Parillo. Jamie Begian, [email protected], Nancy Marano, Chico Mendoza. (203) 837-8637. Alumni: Jazz Degrees: Bachelor of Music in Jazz Carl Allen, Bill Stewart, Tyshawn Performance, Bachelor of Arts in Apply by: Dec. 1 for scholarship consideration; Sorey, Eric Alexander, Tony Malaby. Jazz Studies, Jazz Minor. March 15 for regular decision. Jazz Bands: 24 small jazz groups from trios to septets, Jazz Orchestra, Latin Jazz Auditions: Go to uri.edu/music. Contact: Debbie Pontelandolfo and Jamie Begian: pontelandolfod@wcsu. Ensemble, Jazz Vocal Workshop. Financial Aid: Available. Go to uri.edu/es/ edu, (203) 837-8350; begianj@ students/finance/info.html. Auditions: Online file upload only. wcsu.edu, (203) 837-8637. Requirements vary per instrument Scholarships: Available. Merit-based. and concentration, visit wpunj.edu/ Apply by: Dec. 1 for University coac/departments/music/audition. Scholarship Consideration. Westfield State University Westfield, Massachusetts Financial Aid: Available for undergrads. Visit Contact: Amy Botello, (401) 874-2431, wpunj.edu/admissions or contact (973) 720-2901. Full tuition [email protected]. Student Body: 5,368 students. graduate assistantships available. Tuition: Undergraduate, in-state: $970 plus Scholarships: For undergrads: Major academic West Chester University fees; New England Regional and talent scholarships available; Student Program: $1,455 plus fees; most jazz students receive of Pennsylvania out-of-state/international: West Chester, Pennsylvania scholarship awards. Graduates: full $7,050 plus fees. tuition graduate assistantships Jazz Degrees: Bachelor of Arts in Music with a available; 80 percent of grads Student Body: Approximately 14,000. concentration in Jazz Studies. receive assistantships. Tuition: $3,300 per semester. Faculty: Dr. Edward Orgill, James Argiro, Apply by: Feb. 1, 2015. Jazz Degrees: Bachelor of Music in Jazz Dr. Peter Coutsouridis, Ted Levine, Contact: David Demsey, musicadmissions@ Performance, Jazz Minor. Tim Atherton, Steve Sonntag, wpunj.edu; Music Admissions Jeff Dostal. Faculty: David Cullen, Chris Hanning, phone: (973) 720-3466; wpunj. Marc Jacoby, Terry Klinefelter, Jazz Bands: WSU Big Band, Small Jazz edu/coac/departments/music/

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Peter Erskine performs with students at Texas SOUTH Christian University.

Belmont University Nashville, Tennessee

Student Body: 6,918 total, 685 in the School of Music. Tuition: $27,380; room and board, $10,000; total: $37,380. Jazz Degrees: Commercial Music. Faculty: Anthony Belfiglio, Bruce Bennett, Bruce Dudley, Sandra Dudley, Alex GLEN ELLMAN Graham, Jeff Kirk, Kathryn Paradise, Roy Vogt. Visit ecu.edu/admissions. or call (850) 644-0539. Jazz Bands: Jazz Band 1, Jazz Band 2, Jazz Small Contact: Christopher Ulffers, Scholarships: Available, contact Group 1, Jazz Small Group 2, Associate Director, (252) 328-6851, [email protected] Bass Ensemble, Jazz Strings, [email protected]. or (850) 644-6102. Jazzmin, vocal ensemble. Apply by: Dec. 1. Auditions: Undergraduate, Nov. 8, Jan. 10, Florida International Contact: Jeff Hoh, (850) 644-6102, Jan. 24, Feb. 7, March 21. University [email protected]. Financial Aid: (615) 460-6403. Miami, Florida See music.fsu.edu. Scholarships: Merit- and need-based available. Contact Belmont’s Student Student Body: Approximately 35 jazz majors. Furman University Financial Services office at Greenville, South Carolina Tuition: fiu.edu. 615-460-6403 or the Office of Admissions at 615-460-6785. Jazz Degrees: Bachelor of Music in Jazz Performance, Master of Music Student Body: 2,600 total, 175 music majors. Apply by: Priority deadline for major merit in Jazz Performance. Tuition: $44,288. scholarship consideration is Dec. 1. Application deadline is July 1. Faculty: Gary Campbell, Mike Orta, Jazz Degrees: Bachelor of Music in Music Jamie Ousley, Rodolfo Zuniga. Performance, Music Education or Contact: Maren Bishop, 615-460-6408 or Theory/Composition; Bachelor of [email protected]. Jazz Bands: Big Band, Latin Jazz Ensemble, Jazz Combos, Jazz Vocal Ensemble. Art in Music. Faculty: Matt Olson, Steve Watson, Keith East Carolina University Auditions: music.fiu.edu/programs/ Greenville, North Carolina jazz/index.html. Davis, Justin Watt, Ian Brachitta. Jazz Bands: One big band, four combos. Financial Aid: fiu.edu. Auditions: Audition weekends in January Student Body: 27,000 total, 350 in the School Scholarships: Available. of Music, 40 in the jazz program. and February. Apply by: Aug. 1. Tuition: Undergraduate, in-state: $5,869, Financial Aid: Available. Contact Furman out-of-state: $19,683. Contact: music.fiu.edu or [email protected]. [email protected]. Jazz Degrees: Bachelor of Music in Music Scholarships: Available. Contact Furman performance with emphasis in Jazz Florida State University [email protected]. (Instrumental and Vocal tracks). Tallahassee, Florida Apply by: Early decision is Nov. 1, early action Jazz Bands: ECU Jazz Ensembles A and B. Nov. 15, regular decision Jan. 15. Contact: Matt Olson, (864) 294-3284; Faculty: Jeff Bair, Carroll V. Dashiell Jr., Student Body: 40,838 total, more than [email protected]. Ryan Hansler, Scott Sawyer, 1,000 music students. Dan Davis. Tuition: Undergraduate, in-state: $212.09/ Auditions: School of Music auditions Dec. 6, Georgia Regents University credit, out-of-state: $717.64/credit; Augusta, Georgia Jan. 24, Feb. 14, Feb. 28 and March Graduate, in-state $477.70/credit, 21. Live audition is strongly out-of-state: $1,109.10/credit. recommended. CDs are accepted. Student Body: 8,995 total. Jazz Degrees: Bachelor of Arts in Jazz, Financial aid: ecu.edu/financial. Master of Music in Jazz Studies. Tuition: Undergraduate, in-state: $3,276 (including fees); out-of-state: Scholarships: Available. Music scholarships Faculty: Leon Anderson, William Kennedy, awarded on the basis of Rodney Jordan, William Peterson, $9,723 (including fees). performance ability and potential Paul McKee, Scotty Barnhart, Jazz Degrees: Bachelor of Music in Performance. displayed at the time of audition. Marcus Roberts. Faculty: Wycliffe Gordon, Robert Foster. Apply by: Freshman strongly encouraged to Alumni: Marcus Roberts. apply to the university by March 1. Jazz Bands: GRU Jazz Ensemble and Transfer students must submit Jazz Bands: Three full jazz bands, GRU Jazz Combo. their university admissions multiple combos. Auditions: gru.edu/music for upcoming materials by April 1. Separate Auditions: January and February. audition dates and times. applications with the School of Live auditions preferred. Financial Aid: gru.edu/finaid/. Music and the University Financial Aid: Available, visit financialaid.fsu.edu Admissions Office are required. Scholarships: Available, merit-based. Contact

104 DOWNBEAT OCTOBER 2014 Dr. Angela Morgan, (706) 737-1453 Student Body: Undergraduate: 3,010 total, or [email protected]. Jacksonville University College of Music & Fine Arts: Jacksonville, Florida 641, Jazz Program: 23. Apply by: gru.edu/admissions/. Tuition: Contact: Dr. Robert Foster, (706) 737-1453, Undergraduate in-state/out-of- Student Body: Approximately 3,500. [email protected]. state tuition for academic year: Tuition: $31,370. $35,504, required fees academic year: $1,106, room and board Jazz Degrees: Bachelor of Art in Music with a Georgia State University $12,660. Atlanta, Georgia Jazz Emphasis, Bachelor of Music in Music Performance, Bachelor of Jazz Degrees: Bachelor of Music in Jazz Studies. Music in Music Education. Faculty: Student Body: 31,000 students; 500 music majors. Gordon Towell, Nick Volz, Tony Faculty: John Ricci, Gary Starling, Scott Dagradi, Don Vappie, Wayne Tuition: Undergraduate, in-state: $4,000, Giddens, Billy Thornton, Maureau, John Vidacovich, Matt out-of-state: $13,000. sfs.gsu.edu/ Ricky Kirkland. Lemmler, John Mahoney. tuition-fees/what-it-costs/tuition- and-fees. In-state tuition waivers Jazz Bands: Three levels of Jazz Jazz Bands: Three big bands, four or are available. Chamber Ensembles. five combos. Jazz Degrees: Bachelor of Music in Jazz Studies, Auditions: Two contrasting standard forms Auditions: Dec. 6, Jan. 17, Feb. 28. Masters of Music in Jazz Studies. and tempos, such as “Billie’s cmfa.loyno.edu/auditions. Bounce,” “Oleo,” “Tune-Up” and Faculty: Gordon Vernick, Kevin Bales, Mace Financial Aid: Available. Email: [email protected], “All The Things You Are.” loyno.edu/financialaid/. Hibbard, Wes Funderburk, Robert Performance of melody and Dickson, Justin Varnes, Dave improvisation expected. Scholarships: Available. Email: [email protected], Frackenpohl. loyno.edu/financialaid/. Financial Aid: Available. Financial aid office: Jazz Bands: Two big bands, eight jazz combos. (800) 558-3467. Apply by: Rolling, Priority scholarship Auditions: date: Dec. 1. http://tiny.cc/ Scholarships: Up to full-tuition discounting GSUSOM_UGRequirements. available, merit and talent Contact: [email protected]. Financial Aid: tiny.cc/GSUSOM_UGRe. combined. (904) 256-7000. Scholarships: tiny.cc/GSUSOM_Scholarships. Apply by: Open enrollment. Miami-Dade College, Apply by: admissions.gsu.edu/ Contact: John Ricci, (904) 256-7457, Wolfson Campus how-do-i-apply/deadlines/. [email protected]. Miami, Florida Contact: David Smart, (404) 413-5955, [email protected]; or Dr. Gordon Loyola University–New Student Body: 27,000 students on Wolfson Vernick, (404) 413-5922, Orleans Campus, 100 music students, 23 [email protected]. New Orleans, Louisiana jazz students.

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Tuition: Undergraduate, in-state: $1,534.68 for 12 credits, out-of-state: $6,407.64 for 12 credits. Jazz Degrees: Associate of Arts with an emphasis in Jazz Studies. Faculty: Dr. Michael Di Liddo, Dr. Peter Francis, Rodolfo Zuniga, Rupert Ziawinski, Mike Gerber, Devon Arne, Rick Doll. Jazz Bands: Horace Silver Ensemble, Blue Note Ensemble, Hard Bop Ensemble, Jazz Workshop, Big Band. Auditions: Visit mdc.edu/wolfson. Financial Aid: Available. Call (305) 237-3244. Scholarships: Merit-based fine arts grants available. Apply by: Prospective students should allow two days prior to class beginning for application and registration. Visit mdc.edu/wolfson. Contact: Dr. Michael Di Liddo, (305) 237-3930, mdiliddo@mdc. edu. See mdc.edu/wolfson and mdc.edu/main/ jazzatwolfsonpresents. Middle Tennessee State University Murfreesboro, Tennessee

Student Body: 24,660 total, 350 music majors, 50-65 jazz program. Tuition: Undergraduate, in-state: $8,428, out-of-state: $24,876. Jazz Degrees: Bachelor of Music in Performance, Bachelor of Music in Jazz Studies, Bachelor of Music in Music Industry, Master of Music in Jazz Studies, Music Recording through RIM College of Mass Communications. Faculty: Jamey Simmons, Paul Abrams, Don Aliquo, Pat Coil, Lalo Davila, Cedric Dent, Jim Ferguson, Ashley Kirby, David Loucky, Derrek Phillips. Jazz Bands: Two Jazz ensembles, five to seven combos, Vocal Jazz Ensemble, Salsa Band, Commercial Music Ensemble. Auditions: Jan. 31, Feb. 16 and Feb. 28. Visit mtsumusic.com for info. Financial Aid: Standard University financial aid available. mtsu.edu/financial- aid/undergraduate.php or mtsu. edu/financial-aid/graduate.php. Scholarships: Music scholarship offers based on auditions in the spring, academic awards based on ACT/SAT, high school GPA. Out-of- state scholarships available to highly talented music students. Apply by: Application to the School of Music requires in-person audition by Feb. 28. Application/admission is also required to the university. See deadlines mtsu.edu/how-to-apply/ deadlines.php. Contact: Jamey Simmons, director of jazz studies, james.simmons@mtsu. edu, (615) 898-2724.

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(919) 530-7214, are awarded through the North Carolina Central [email protected]. audition process. University Durham, North Carolina Scholarships: Clara Hafler, (919) 530-7651, Apply by: July 1. [email protected]. Contact: William Brian Hogg, Applications: Nov. 1, 2014 (Spring 2015 (859) 572-5885. Student Body: 6,658 total, 39 Jazz Studies admission); April 1, 2015 Undergraduates, 21 Jazz (Fall 2015 admission). Studies Graduate Students. Oklahoma State University Contact: Ira Wiggins, [email protected]. Stillwater, Oklahoma Tuition: Undergraduate, in-state: $9,219 per semester with room & board, out-of-state: $14,296 per semester Northern Kentucky University Student Body: 25,939. with room and board; Graduate, Highland Heights, Kentucky Tuition: Undergraduate, in-state: $4,425, in-state: $2,167 per semester— out-of-state: $17,010. tuition only, out-of-state $7,992 Student Body: 16,000 students, 140 in music per semester—tuition only. Jazz Degrees: Bachelor of Arts in Music, Bachelor school, 26 in jazz department. of Music in Elective Studies in Jazz Degrees: Bachelor of Music in Jazz Tuition: Undergraduate, in-state: $8,376, Business, Bachelor of Music in Performance, Master of Music out-of-state: $16,464. Performance, Bachelor of Music in in Jazz Performance and Music Education—Instrumental Composition. Jazz Degrees: Bachelor of Music in Performance with a Jazz Studies Emphasis. and Vocal. Faculty: Ira Wiggins, Baron Tymas, Robert Faculty: Dr. Ryan Gardner, Paul Compton, Trowers, Ed Paolantonio, Aaron Faculty: William Brian Hogg, John Zappa, Dr. Benjamin Lorenzo, Dr. Jeffrey Hill, Thomas Taylor, Albert Strong, Dr. Randy Pennington, Phillip Loeffert, Dr. Igor Karaca, Damon Brown, Arnold George, Burkhead, Ted Karas, William Todd Malicoate. Lenora Zenzalai Helm, Artist- Jackson, Dan Dorff, Pablo in-Residence Branford Marsalis, Benavides, Chris Barrick, Max Gise. Jazz Bands: Two Jazz Ensembles, one Lab Band, two combos, one vocal ensemble. Artist-in-Residence Joey Jazz Bands: Large jazz ensemble, chamber jazz Calderazzo. ensemble, four jazz combos, two Alumni: Garth Brooks, Sarah Coburn. Latin jazz combos, one vocal jazz Jazz Bands: Big Bands I & II, Combos I–IV; Auditions: Admission auditions for majors Vocal Jazz Combo, Vocal Jazz ensemble, two r&b combos. take place between January and Ensemble, Guitar Ensemble. Auditions: Visit artscience.nku.edu/ March 2015. Placement auditions Auditions: Oct. 17, Nov. 16, Feb. 20, March departments/music. occur in the Fall. 20, April 17. See Dept. of Music Financial Aid: Academic scholarship info Financial Aid: Available. (405) 744-6604. website for requirements. can be found at nku.edu. Scholarships: Need- and merit-based available. Financial Aid: Ira Wiggins, Baron Tymas, Scholarships: Merit-based music scholarships For need and academic scholarship questions, contact Financial Aid. For merit-based music auditions, contact OSU Bands, (405) 744-6135. Apply by: Priority deadline for scholarships is Feb. 1, 2015. Final consideration for scholarships is July 1, 2015. Contact: Dr. Ryan Gardner, (405) 744-8991, [email protected]. Shenandoah Conservatory Winchester, Virginia

Student Body: 4,003 students. Tuition: $28,298. Jazz Degrees: Bachelor of Music in Jazz Studies, Bachelor of Music in Music Production and Recording Technology, Bachelor of Music in Music Therapy, Jazz track in Music Education. Faculty: Alan Baylock, Craig Fraedrich, Matt Niess, Tyler Kuebler, Robert Larson, Rick Whitehead, Alphonso Young, Donovan Stokes. Jazz Bands: Jazz ensemble, three to five combos. Auditions: su.edu. Financial Aid: Available. Contact (540) 665-4538, [email protected]. Scholarships: Need- and merit-based available. Apply by: Rolling admissions. Contact: Robert Larson, (540) 665-4557, [email protected].

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Texas Christian University Fort Worth, Texas

Student Body: 300 music majors. Tuition: $36,600. Jazz Degrees: None. Faculty: Joe Eckert, Joey Carter, Brian West, Tom Burchill, Kyp Green. Jazz Bands: Two big bands and multiple student combos. Auditions: Jan. 17, Jan. 31, Feb. 21 and Feb. 28. Visit music.tcu.edu. Financial Aid: Available. tcu.edu. Scholarships: Need- and merit-based available. Apply by: Feb. 15. Contact: Joe Eckert, Director of Jazz Studies, (817) 257-5576, [email protected]. Texas Southern University Houston, Texas

Student Body: More than 9,500. Tuition cost: Undergraduate (16 hours), in-state: $3,765.64, out-of-state: $8,197.64; Graduate (8 hours), in-state: $2,625, out-of-state: $4,569. Jazz Degrees: Bachelor of Arts in Music, Jazz Specialty. Faculty: Horrace Young, Bert Crossll, Marvin Sparks, Frank Murray, Frank Rodriguez, Bobby Henschen. Jazz Bands: Jazz Big Band, All-Star Combo, Latin Jazz, Vocal Jazz. Alumni: The Jazz Crusaders, Ronnie Laws, Kirk Whalum. Financial Aid: em.tsu.edu/financialaid/. Scholarships: em.tsu.edu/financialaid/ scholarships/. Apply by: Fall: July 15, Spring: Dec. 15. Contact: Dr. Jason Oby, (713) 313-7263, [email protected]. Texas State University San Marcos, Texas

Student Body: 35,000 total, 750 music majors. Tuition: $4,500 for 14 credit hours per semester. Faculty: Butch Miles, Dr. Russell Haight, Dr. Stephen Hawk, Hank Hehmsoth, Dr. Martin McCain, Russell Scanlon, Dr. Keith Winking, Morris Nelms, Paul Deemer, David Dawson, Dr. Bennett Wood. Jazz Degrees: Bachelor of Music in Performance–Jazz Concentration; Master of Music, Concentration in Jazz Performance. Jazz Bands: Big Bands, Jazz Ensemble, Jazz Orchestra, Jazz Lab Band Combo and small groups including jazz trombone ensembles and jazz guitar ensemble. Auditions: Undergraduate auditions, txstate.edu/jazzstudies/auditions/ undergrad-auditions.html. Graduate auditions, txstate.edu/ jazzstudies/auditions/grad-auditions.html. Financial Aid: finaid.txstate.edu/. Scholarships: Contact Dr. Keith Winking, [email protected]. Apply by: June. Contact: Dr. Keith Winking, [email protected]. Texas Tech University Lubbock, Texas

Student Body: Approximately 33,000. Tuition: Undergraduate, in-state: $7,500,

110 DOWNBEAT OCTOBER 2014 out-of-state: $16,000. departments/jazz-studies/ jazz-audition-info/. Jazz Degrees: Undergraduate Jazz Certificate, Master’s in Jazz Performance. Financial Aid: Available, contact Laurie Smith at (205) 348-7112 or Faculty: More than 50 music faculty. [email protected]. Alumni: Arlington Julius Jones. Scholarships: Merit-based scholarships available. Jazz Bands: Jazz I, Jazz II, combos. Contact Laurie Smith at (205) 348- Auditions: music.ttu.edu. 7112 or [email protected]. Financial Aid: Contact (806) 742-2270. Apply by: Rolling admissions. Scholarships: Available. Contact: Chris Kozak, [email protected], (205) 348-6333. Apply by: Auditions in February. Contact: music.ttu.edu. University of Central Florida Orlando, Florida Tulane University New Orleans, Louisiana Student Body: 60,000 at the university, 400 in the music program, 40 in the Student Body: 6,500 undergraduates. jazz program. Tuition: $46,930. Tuition: Undergraduate, in-state: $3,396/16 credit hours; out-of-state: Jazz Degrees: Bachelor of Fine Art in Jazz Studies, Bachelor of Art in Music, Bachelor $11,982/16 credit hours. of Art in Musical Cultures of the Faculty: Jeff Rupert, Marty Morell, Richard Gulf South. Drexler, Per Danielsson, Bobby Koelble, Michael Wilkinson, Dan Faculty: John Dobry, Jim Markway, Jesse McBride, Matt Sakakeeny, Doug Miller. Visiting guest artists: John Walsh, Delfeayo Marsalis. Almeida, George Weremchuk. Jazz Degrees: Bachelor in Music in jazz studies. Jazz Bands: Big band, five to seven combos. Master of Arts in jazz, Master of Auditions: Optional during application Arts in composition. process to Tulane, Bachelor of Fine Arts auditions held during Jazz Bands: Eight ensembles. sophomore year after participation Auditions: Visit music.cah.ucf.edu/ in the program. Classes, lessons admissionauditions.php. and combo auditions are open to Financial Aid: Available. finaid.ucf.edu/. all Tulane students. Scholarships: Merit- and need-based available. Financial Aid: Available. [email protected]. John Parker, (407) 823-2869. Scholarships: Merit- and need-based available. Apply by: July 15. Recommend making Contact [email protected]. applications starting Oct. 15. Apply by: Nov. 15 (Early Action, Single Choice Contact: Jeff Rupert, (407) 823-5411, Early Action), Jan. 15 [email protected]. (Regular Decision). Contact: Andrew Farrier, University of Central [email protected]. Oklahoma Oklahoma City, Oklahoma University of Alabama Tuscaloosa, Alabama Student Body: 80–90 undergrad jazz students, 20–25 graduate jazz students. Student Body: More than 350 music majors, 20 Bachelor of Music in Jazz Tuition: Undergrad, in-state: $181.23/ majors, one Master of Music hour, out-of-state: $451.73/hour; in Arranging major. Graduate, in-state: $230.90/hour, out-of-state: $542/hour. Tuition: Undergraduate, in-state: $12,030 including fees, out-of-state, Jazz Degrees: Bachelor of Art in Performance, $18,905 including fees. minor in jazz studies, Master of Music in Jazz Studies, Performance Jazz Degrees: Bachelor of Music in Jazz Studies, or Music Production emphasis. Master of Music in Arranging. Faculty: Brian Gorrell, Lee Rucker, Jeff Faculty: Tom Wolfe, Jonathan Noffsinger, Kidwell, Danny Vaughan, Clint Christopher Kozak, Mark Lanter, Rohr, David Hardman, Michael Jon Whitaker, Eric Yates, Andrew Geib, Dennis Borycki, Aaron Dewar, Rob Alley, Matt Wiley, Tomasko, Ryan Sharp. Tim Feeney. Alumni: Sharel Cassity, David Gibson. Jazz Bands: UA Jazz Ensemble, UA Two O’ Clock Jazz Band, UA Chamber Jazz Bands: Jazz Ensembles 1, 2, 3 and 4, Jazz Jazz, UA Jazz Standards Combo, Guitar Ensemble, Chamber Crimson Slides, UA Jazz Combo. Swingers Vocal Jazz Ensemble, Jazz Composers Combo, 5th Street Auditions: Call (205) 348-7112, (205) 348- Strutters Dixieland Combo, 6333; visit jazz.ua.edu, music. Conjunto de Jazz Latin Combo, Jazz ua.edu or music.ua.edu/ Repertory Combos 1, 2 and 3.

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Auditions: Held Saturdays in February Financial Aid: Available. Contact Miles Osland, Apply by: Feb. 15 priority deadline. and March, and by appointment. (859) 257-8173. Contact: Laura Angermeier, (502) 852-1623, Financial Aid: Available. (405) 974-3334. Scholarships: Merit-based available. [email protected]. Scholarships: Available. (405) 359-7989, Apply by: Feb. 1. [email protected]. Contact: Miles Osland, (859) 257-8173. University of Memphis, Apply by: Aug. 1 for Fall, Dec. 1 for Spring. Scheidt School of Music Memphis, Tennessee Contact: Brian Gorrell, Director of Jazz University of Louisville, Studies, ucojazzlab.com, Jamey Aebersold (405) 359-7989, [email protected]. Jazz Studies Program Student Body: 23,000 total, approximately Louisville, Kentucky 700 music students. University of Georgia, Tuition: In-state: $16,854, room & board: Hodgson School of Music $9,265, books/supplies: $1,912, Student Body: Approximately 24,000. Athens, Georgia transportation: $2,305, out-of-state: Tuition: Undergraduate, in-state $10,237, $38,726, room & board: $9,265, out-of-state $24,819/year. books/supplies: $1,912, Student Body: 34,536 total, 500 music students. transportation: $2,305. Jazz Degrees: Master of Music in Jazz Tuition cost: Undergraduate, in-state: $10,836, Performance, Master of Music Jazz Degrees: Bachelor of Music in Jazz Studies out-of-state: $29,046. in Jazz Composition/Arranging, (Performance, Composition), Faculty: David D’Angelo. Bachelor of Music in Jazz Master of Music in Jazz Studies Performance, Bachelor of Music in (Performance, Composition). Jazz Degrees: Jazz Minor for non-music majors Education with a Jazz Track, Faculty: Tim Goodwin, Jack Cooper, Joyce Jazz Bands: Two big bands, combos. Bachelor of Music in Music Therapy Cobb, David Spencer, John Mueller, with a Jazz Track, Bachelor of Art Auditions: music.uga.edu. Sam Shoup, Joe Restivo, Mike with Jazz Emphasis. Assad, Tom Lenardo, Gerald Financial Aid: osfa.uga.edu/index.html. Faculty: John La Barbera, Mike Tracy, Jerry Stephens. Scholarships: admissions.uga.edu/article/ Tolson, Ansyn Banks, Chris Alumni: Mulgrew Miller, James Williams. scholarships-at-uga.html. Fitzgerald, Craig Wagner, Mike Jazz Bands: Two jazz orchestras, 7–10 combos, Apply by: Early Action, Oct. 15, Hyman, Tyrone Wheeler. two vocal jazz groups. Regular Decision, Jan. 15. Alumni: Delfeayo Marsalis, Jim Lewis. Auditions: memphis.edu/music/future/ Contact: David D’Angelo, Jazz Bands: Jazz Ensemble I, Jazz Ensemble auditionreq.php. [email protected]. II, Jazz Repertoire Ensembles (Hard Bop, Contemporary, Brazilian), Financial Aid: memphis.edu/financialaid/. University of Kentucky International Jazz Quartet, five Scholarships: memphis.edu/scholarships/. Lexington, Kentucky to six combos. Contact: Dr. Jack T. Cooper, Auditions: Jan. 24, Feb. 14 and Feb. 21. [email protected]. Student Body: 25,000 total. Financial Aid: louisville.edu/financialaid. Tuition: Undergrad, in-state: $7,500; Scholarships: Need-, merit- and talent-based University of Miami, Frost out-of-state: $18,000. available. louisville.edu/ School of Music Jazz Degrees: No degree, classes only. admissions/aid and louisville.edu/ Coral Gables, Florida music/apply/undergraduate/ Faculty: Miles Osland, Raleigh Dailey. scholarships, louisville.edu/music/ Student Body: Jazz Bands: Two jazz bands, four combos. apply/graduate/scholarships. Approximately 730 music students. Tuition: Undergraduate: $43,040 for nine hours; graduate: $32,220 for nine hours. Jazz Degrees: Bachelor of Music in Studio Music and Jazz, Master of Music in Jazz Performance, Master of Music in Jazz Pedagogy, Master of Music in Studio Jazz Writing, Doctorate of Musical Arts in Jazz Composition, Doctorate of Musical Arts in Jazz Performance. Faculty: Shelton Berg, John Daversa, Kate Reid, Don Coffman, Chuck Bergeron, John Hart, Steve Rucker, Martin Bejerano, Dante Luciani, Brian Lynch, Gary Keller, Gary Lindsay. Alumni: Paul Bollenback, Mark Egan, Danny Gottlieb, Bruce Hornsby, Jonathan Kreisberg. Jazz Bands: Frost Concert Jazz Band, Studio Jazz Band, Small Jazz Ensembles, Jazz Band II, Jazz Saxophone Ensemble, Jazz Guitar Ensemble, Monk/Mingus Ensemble, Bebop Ensemble, Horace Silver Ensemble, Jazz Vocal Ensembles I, II, III.

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Auditions: Prescreening required by Dec. 1, Contact: Dr. Brian Felix, (828) 250-2311, visit music.miami.edu. [email protected];music.unca.edu. Financial Aid: (305) 284-5212, [email protected]. Scholarships: Contact (305) 284-6168, University of North Carolina [email protected]. at Chapel Hill Chapel Hill, North Carolina Apply by: Dec. 1. Contact: Karen Kerr, (305) 284-6168; [email protected]. Student Body: More than 30,000 total. Tuition: Undergraduate, in-state: University of New Orleans $23,416, out-of-state: $45,806. New Orleans, Louisiana Jazz Degrees: Bachelor of Art or Bachelor of Music, Jazz Concentration.

Student Body: 7,689 total, 65 jazz students. Faculty: Jim Ketch, Stephen Anderson, David Garcia, Juan Alamo, Ed Tuition: Undergraduate, in-state: $6,668, Paolantonio, Dave Finucane, out-of-state: $19,158. Jason Foureman, Dan Davis, Jazz Degrees: Bachelor of Arts in Music with Scott Sawyer. Jazz Studies emphasis, Master of Jazz Bands: One jazz band, four combos, one Music in Jazz Studies. Charanga (Latin/Salsa) Ensemble. Faculty: Steve Masakowski, Ed Petersen, Auditions: For scholarship auditions, visit Victor Atkins, Brian Seeger, Leah music.unc.edu in January and Chase, Troy Davis, Jason Marsalis, February; auditions for ensembles Irvin Mayfield, Cindy Scott, Hank in August and January. Mackie, Roland Guerin, Neal Caine, Herman Lebeaux. Financial Aid: Office of Undergraduate Scholarships and Financial Aid; Jazz Bands: UNO Jazz Orchestra, Jazz Guitar Department of Music Scholarship Ensemble, Hot Club Ensemble, Committee (Brent Wissick, Chair). Traditional Jazz Ensemble, Jazz Voices, World Beat Ensemble, Scholarships: Two merit-based jazz scholarships. Jazz Fusion Ensemble. Additional scholarships for instrumentalists and vocalists. Auditions: Video audition, see requirements at music.uno.edu/. Apply by: Early admission: Oct. 15, regular admit: Dec. 15/Jan. 15. Financial Aid: UNO Financial Aid, finaid.uno.edu/. Contact: Jim Ketch and/or Stephen Scholarships: finaid.uno.edu/. Anderson, [email protected]; Apply by: admissions.uno.edu/default.cfm. [email protected]. Contact: (504) 280-6381. University of North University of North Carolina Carolina at Greensboro, at Asheville Miles Davis Jazz Asheville, North Carolina Studies Program Greensboro, North Carolina

Student Body: 3,700 total. Tuition: In-state: $3,120.50, Student Body: Limited to 27 jazz majors. out-of-state: $10,031.50 Tuition cost: Undergraduate, in-state: $6,400; Jazz Degrees: Bachelor of Fine Arts in Jazz & out-of-state: $20,000. Contemporary Music, Bachelor of Jazz Degrees: Bachelor of Music in Science in Music Technology. Jazz Performance. Faculty: William Bares, Brian Felix, Melodie Faculty: Brandon Lee, Chad Eby, John G. Galloway, Wayne J. Kirby, Salmon, Greg Hyslop, Steve Haines, Charles McKnight, Matthew Thomas Taylor. Richmond, Charles Jude Weinberg. Jazz Bands: Two large ensembles, Jazz Bands: Jazz Big Band, Jazz Quintet, six small jazz groups. Antonio Carlos Jobim Ensemble, Auditions: Auditions Dec. 6, Jan. 24, Saxophone Quintet, Duke Ellington Feb. 7 and Feb. 28. Ensemble, ECM Ensemble, Frank Zappa Ensemble, Horace Silver Financial Aid: Available. Contact (336) 344-5789. Ensemble, Beatles Ensemble, Scholarships: Merit-based scholarships available. Studio 18 Vocal Jazz Ensemble, Amanda Hughes, (336) 334-5789. Thelonious Monk Ensemble, Rhythm & Blues Ensemble, Apply by: March 1. Standards Ensemble, Contact: Steve Haines, [email protected], Funk/Fusion Ensemble. (336) 256-0105. Auditions: Summer/spring/fall applications at music.unca.edu/auditions. University of North Carolina Financial Aid: Available. music.unca.edu. at Wilmington Wilmington, North Carolina Scholarships: Available. music.unca.edu. Apply by: March 1.

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Virginia Commonwealth University and University of KwaZulu-Natal students and faculty perform a joint concert as part of their exchange program, October 2013. JEAN-PHILIPPE CYPRÉS

Student Body: 100 music majors. Studies, Master of Music in University of North Texas Jazz Studies with concentrations Tuition: Undergraduate, in-state: $3,172; Denton, Texas out-of-state: $9,240. in Jazz Performance and Jazz Composition. Jazz Degrees: Bachelor of Art in Music, Jazz and Student Body: 250 jazz studies majors. Faculty: Jack Wilkins, Chuck Owen, Tom Commercial Music Option. Tuition: Undergraduate, in-state: $10,000, Brantley, LaRue Nickelson, Ian Faculty: Frank Bongiorno, Jerald Shynett, out-of-state: $20,500; Graduate, Goodman, Dr. Jay Coble, Bob Russell, Michael D’Angelo, in-state: $7,200, out-of-state: Valerie Gillespie. Andy Whittington, $13,700. Amounts are approximate. Alumni: Corey Christiansen, Barry Greene. Jason Foureman. For detailed information, visit Jazz Bands: Two big bands, numerous combos. Jazz Bands: Big bands, combos, essc.unt.edu/saucs/tuition-and- Jazz Guitar Ensemble. fees.html and music.unt.edu/ Auditions: Take place in January and admissions/cost-of-attendance. February, music.arts.usf.edu. Auditions: uncw.edu/music/admissions/ admissions-audition.html. Jazz Degrees: Bachelor of Music in Jazz Studies, Financial Aid: music.arts.usf.edu. Master of Music in Jazz Studies, Financial Aid: Contact financial aid office, (910) Scholarships: music.arts.usf.edu. 962-3177 or visit uncw.edu/finaid. Doctor of Musical Arts in Performance with local Apply by: Jan. 1, final scholarship Scholarships: Cape Fear Jazz Scholarships, concentration in Jazz Studies. audition date in February. Department of Music Scholarships. Contact: music.arts.usf.edu. Faculty: Professors Jennifer Barnes, Tony Apply by: March 24. Baker, Richard DeRosa, Fred Contact: Dr. Frank Bongiorno, (910) Hamilton, Stefan Karlsson, Brad University of Tennessee 962-3395; bongiornof@ Leali, John Murphy, Lynn Seaton, Knoxville, Tennessee uncw.edu; uncw.edu/music. Ed Soph, Mike Steinel; Lecturers José Aponte, Rodney Booth, Rosana Eckert, Jay Saunders. Student Body: 28,000 total; 450 music majors; University of North Florida 50 jazz majors. Jacksonville, Florida Alumni: Norah Jones, Ari Hoenig, Jeff Coffin, Frank Greene, Tony Scherr, Tuition: Undergraduate, in-state: $12,011, Keith Carlock, Jim Rotondi, Conrad out-of-state: $26,061; Graduate, in- Student Body: 16,252 total. Herwig, Tim Miller, David Weiss. state: $10,944, out-of-state: $29,432. Visit utk.edu. Tuition: Undergraduate, in-state: $6,353, Jazz Bands: Nine big bands, 25 small out-of-state: $20,756. For graduate groups, four vocal jazz ensembles, Jazz Degrees: Bachelor of Music in Studio tuition, visit unf.edu/tuition/. two guitar ensembles, jazz Music and Jazz; Master of Music in Jazz Studies. Jazz Degrees: Bachelor of Music in Jazz Studies, repertory ensemble, contemporary Master of Music in Performance: jazz ensemble, Latin jazz ensemble, Faculty: Mark Boling, Donald Brown, Jazz Studies Concentration trombone ensemble. Gregory Tardy, Keith Brown, Rusty Holloway, Vance Thompson. Auditions: On-campus and by recording. Faculty: Lynne Arriale, Todd DelGiudice, Marc Dickman, Danny Gottlieb, jazz.unt.edu and music.unt.edu. Jazz Bands: 12 small jazz ensembles, big band, studio orchestra. Barry Greene, Clarence Hines, Financial Aid: Available. jazz.unt.edu and Dennis Marks, J.B. Scott. music.unt.edu. Auditions: Undergraduate: Feb. 14 and Feb. 21. Register for auditions Alumni: Vincent Gardner, Marcus Printup. Scholarships: Available: jazz.unt.edu and music. online. Live audition required. unt.edu. With a UNT scholarship Jazz Bands: Three jazz ensembles and a variety Jazz audition requirements at of $1,000 or more, out-of-state of combos. music.utk.edu/jazz/ students pay in-state tuition. Auditions: Call the UNF Music Flagship jazzaudition.html. Apply by: For full consideration, first Monday Program office, (904) 620-2960, to Financial Aid: Available. finaid.utk.edu/ in December 2014; applications schedule an audition. Audition apply/costs.shtml. dates can be found at unf.edu/ accepted after that date. music. unt.edu for more information. Scholarships: Jerry Coker Endowed Scholarship coas/music/Auditions.aspx. and other designated jazz Contact: John Murphy, Chair, Division of Financial Aid: Apply by Oct. 31. scholarships. unf.edu/onestop/finaid/. Jazz Studies, [email protected]; jazz. unt.edu, (940) 565-3743. Apply by: Dec. 1. Scholarships: Merit-based music scholarships Contact: Lori Thomas Brown, are available and awarded by [email protected]. audition only. Apply early and University of South Florida audition for consideration. Tampa, Florida University of Apply by: Applications are reviewed on a rolling basis until June 2015. Student Body: 41,344 total, approximately Texas at Arlington 40 Jazz Studies majors. Arlington, Texas Contact: Lois Scott, (904) 620-2960, [email protected]. Tuition: Undergraduate, in-state: $5,800, out-of-state: $14,990. Student body: 38,000 total. Jazz Degrees: Bachelor of Music in Jazz Tuition: Approximately $4,500

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(flat rate) per semester. Tuition: In-state: $12,000, out-of-state: Jazz Degrees: Bachelor of Music in Jazz $29,500. Studies (performance). Jazz Degrees: Bachelor of Music in Jazz Studies, Faculty: Tim Ishii, Dan Cavanagh, Ken B.A. Music Edwards, Mike Drake, Brian Mulholland, Sam Walker. Faculty: Victor Dvoskin, Michael Ess, Skip Gailes, Antonio García, Wells Alumni: Chris Milyo, Christian Parkess, Hanley, Darryl Harper, Bryan Mike Morrison, Darren Hipp, Ken Edwards, Alan Morrissey, Brian Hooten, J.C. Kuhl, Tony Martucci, Piper, Caroline Davis, Hashem Randall Pharr, Doug Richards, Rex Assadullahi, Sam Garner. Richardson. Jazz Bands: Jazz Orchestra, Jazz Ensemble, Jazz Bands: Two jazz orchestras, six small jazz Jazz Combos. ensembles. Auditions: uta.edu/music/jazz. Auditions: January and February audition Financial aid: uta.edu. dates are available. Requirements Scholarships: uta.edu/music/jazz. are at jazz.vcu.edu. Apply by: Accepting applications and Financial Aid: Contact (804) 828-6669. auditions through July. Scholarships: Contact (804) 828-1167. Contact: Tim Ishii, Director of Jazz Studies, (817) 272-1205, [email protected]; Apply by: Dec. 1 for university scholarship; uta.edu/music/jazz. Jan. 15 for other. Contact: Music Admissions, (804) 828- University of Texas at Austin, 1167; [email protected]; jazz. Butler School of Music vcu.edu. Austin, Texas West Virginia University Student Body: 620 music students, 35 jazz majors. Morgantown, West Virginia Tuition: Undergraduate, in-state: $5,005, out-of-state: $17,730; Graduate, Student Body: 30,000 total. in-state: $4,695, out-of-state: $8,703. Tuition: tuition.wvu.edu/.

Faculty: Dennis Dotson, John Fremgen, Jazz Degrees: Bachelor of Music in Jazz Studies, Andre Hayward, Jeff Hellmer, Master of Music in Jazz Pedagogy. John Mills, Wayne Salzmann II, Bruce Saunders. Faculty: Paul Scea, Craig Fraedrich, Paul Jazz Degrees: Bachelor of Music in Jazz Thompson. Performance, Bachelor of Music Jazz Bands: 10–13 ensembles. in Jazz Composition, Master of Music in Jazz Performance, Master Auditions: In-person or electronically. of Music in Jazz Composition, Financial Aid: Available. Doctor of Musical Arts in Jazz Performance, Doctor of Musical Scholarships: Merit-based available. Arts in Jazz Composition, Doctor Apply by: Aug. 15. of Musical Arts in Music & Human Learning. Contact: Paul Scea, [email protected]. Jazz Bands: Jazz Orchestra, Jazz Ensemble, Jazz Combos, Alternative Xavier University of Louisiana Improvisation Music New Orleans, Louisiana Ensemble (AIME). Alumni: Paul McKee, Helen Sung, Mace Hibbard, Hamilton Price, Justin Student Body: 3,121. Vasquez, Gabriel Santiago. Tuition: Undergraduate: $19,100. Auditions: January 2015 Jazz Degrees: None. Financial Aid: Merit- and need-based. Faculty: Dr. Tim R. Turner, Dr. Marcus finaid.utexas.edu. Ballard, Charles James. Scholarships: Merit-based. Graduate Assistantships and Fellowships Jazz Bands: Jazz Ensemble, Traditional Jazz available. music.utexas.edu. Combo, Mainstream Jazz Combo, Apply by: Dec. 1. Fusion Combo. Contact: Sarah Borshard, sborshard@austin. Auditions: Dr. Tim R. Turner, (504) 520-7597. utexas.edu. Financial Aid: (504) 520-7835 or (877) XAVIERU. Virginia Commonwealth Scholarships: Available upon audition. University Apply by: March 15. Richmond, Virginia Contact: Dr. Timothy Turner, (504) 520- 7597 or (504) 520-6738, kacharbo Student Body: 25 students. @xula.edu, [email protected].

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PORTFOLIOBy Matt McCall Tips to help high school students prepare for PREP collegiate jazz studies

tudents need more than just desire to study at the top jazz schools in the country. For high school students who want to pursue a career as a jazz musician, the time to start preparing for the college audition process was S yesterday, and the time to catch up is now. To be an attractive candidate for admittance, prospective students need to show that they are active jazz musicians who are willing to go the extra mile. Colleges will want to know if a candidate has played gigs, put a band together, joined a community orchestra or participated in statewide events. By the time they apply for college, high school students should already be seasoned performers. Experts in the field—from high school band directors to the department chairs of celebrated universities—agree that frequently practicing and playing with peers, building a repertoire, working with a private instructor and dropping your ego are important for any young player. Most importantly though, high school students need to learn how to listen carefully and analytically.

120 DOWNBEAT OCTOBER 2014 Pianist Donald Vega (left) performing with students at the Colburn School in Los Angeles DANIELLE PHAN

“If you don’t have a strong ear training can guide the student on specifically how a style believes in teaching the Colburn ensembles by ear. background, the question becomes, ‘What are you was derived.” “In the room I teach in, we don’t use music doing?’ said Lee Secard, saxophone instructor and Reid said that developing a good relationship stands, we don’t use written music, and we director of jazz studies at the Colburn School in with an instructor or band director is one of the don’t use fakebooks at all,” Secard explained. Los Angeles. “That’s our paintbrush.” most important things a student can do. “The fakebook is a great thing for a professional Justin DiCioccio, associate dean of the jazz arts Reid stressed that just getting out and playing group that needs the instant repertoire where program at Manhattan School of Music in New York is equally as important. Students should consider everybody’s going to be on the same page, literally, City, advises students to do what he calls “practice looking for places to play as soon as their freshman but it was never intended to be a method by which listening” as a normal part of their practice routine. and sophomore years of high school, she said, students acquired their repertoire.” “The first time you listen to something, you even if their parents have to give them a lift there Secard said during a class he will pick a listen for the overall vibe, the feeling of the music,” and back. She added that summer camps and recording, go around the room and let the class DiCioccio said. “You do that a few times and then programs at colleges and universities can provide collaboratively indentify the chords and the bass you try to break it down. Listen to the trumpeter invaluable experiences to young musicians. line. In the process of doing that, he says he helps and the piano player. Are they assuming their John Murphy, chair of jazz studies at the students realize that they can do something they roles? Do you know what they are supposed to be University of North Texas, suggested students might have found too hard to try. doing? If you don’t know, then you need to find should hone their listening skills alongside their To give his students an edge among the hoard out. Be inquisitive. peers in high school. of talented young players out there, Secard “Every student should do that maybe 45 “It’s important for students to find a peer encourages his students to compose. minutes to an hour a day,” DiCioccio added. group to play with while they are still in high “There’s no difference between the impulse to “Sometimes you can reap more benefits from that school,” he said. “They should be listening actively compose and the impulse to improvise,” Secard as a jazz musician than you can practicing in a to learn repertoire and improvisation ideas by said. “The most important thing is to equip oneself room by yourself.” ear, not only from notation. It’s better to master with the right tools and relax into the moment.” Secard said he routinely has students listen to the basics than to skim over a lot of content in a Reid thinks to improve their aural skills and eight to 10 interpretations of the same composition shallow way. By the basics, I mean things like enhance their theory knowledge, every student from various players in order to point out playing with good time, having an attractive should look beyond their primary instrument. differences in style and approach. tone and good intonation, and building a small “Having an understanding of another “One of my favorite things to do [in class] is to repertoire of standards and originals that you instrument gives you another perspective on your play the Sonny Rollins blues tune ‘Sonnymoon know from memory.” own instrument,” she said. “It’s a really wise idea For Two,’ which he recorded with a trio twice on “Practice this music with others—that’s the to have more than one perspective on music and the same day. The performances are completely key,” DiCioccio emphasized. “You don’t practice performance.” different, so I’m not going to tell students who it jazz in a practice room alone. Yes, it’s important Experts also warn youngsters to be wary of is. It’s like a Blindfold Test. The fun part for me to practice your technique, and scales and sound ego. When young musicians with strong chops is when I do that with those particular pieces, individually, but to play this music, you should start to generate waves of praise, they can lose everybody thinks one of them is Stan Getz and the practice with other people.” sight of the collective goal. other one is Sonny Rollins or something like that. Students should go beyond their high school “We’re all human, we all like to be told that I say, ‘Well, no, they’re both Sonny Rollins,’ which jazz band by auditioning for multiple ensembles, we’re great and we all like to hear the applause,” goes directly to the point that you have to be in the including community orchestras, and try sitting Reid said. “From time to time, we run across moment and use that to do the musical creating.” in with local jazz bands. “Students may be afraid students who need to be reminded of the real Vocal Jazz Program Director Kathryn Reid at to play with older musicians because they think reason they’re there. It’s a privilege to have the the University of Miami’s Frost School of Music the musicians are too good,” DiCioccio said. “But opportunity to communicate with another human says jazz students require a special kind of that’s what you want to do: You want to play with being on a musical level. That privilege should not instructor. “Finding a teacher who will guide the best musicians you can find because they’re be abused. The music is really the focus and the [students] in opening up those ears and doing a gonna kick your butt and really make you work.” purpose, and the ego has to be kept in check.” lot of listening: That’s the place start,” Reid said. So, after teens are actively playing gigs, how Secard encourages his students to aim high. “It’s nice to know the classic recordings of all of do they develop a repertoire? Building and “The way you play, what you play, actually is your the major players and the albums that are always maintaining a repertoire means a lot more than work,” Secard said. “You’re making art—every referred to in every jazz history book. A teacher buying a fakebook, says Secard, who firmly time out, you’re making art.” DB

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Columbia College Big Band performs MIDWEST at Chicago’s Jazz Showcase.

Augustana College Rock Island, Illinois

Student Body: 2,500 students. Tuition: $37,256. Jazz Degrees: Jazz minor. Faculty: Joe Ott, Steve Grismore, James Dreier. Jazz Bands: Big band and several combos. Auditions: There is no audition for admission into the music program or degrees. Financial Aid: Available. Scholarships: Available. Apply by: Rolling. Contact: Margaret Ellis, [email protected]. available. bgsu.edu/music. Student Body: 3,000 total. Benedictine University Apply by: April 6 (undergraduate). Tuition: $30,000/year. Lisle, Illinois Contact: David Bixler, Director of Jazz Jazz Degrees: Bachelor of Music in Jazz Activities and Assistant Professor of Studies; Music Technology; Music Jazz Saxophone, (419) 372-2181, Industry; Music Marketing; Master Student Body: 15 students. [email protected]. of Music in Music Education Tuition: Visit ben.edu. emphasis in Jazz Studies Butler University (summers-only program). Jazz Degrees: None. Indianapolis, Indiana Faculty: Dr. Lou Fischer, Rob Parton, Stan Faculty: John Moulder, Patrick Infusino, Smith, Robert Breithaupt, Darwin Noguera. Dr. Michael Cox, Roger Hines. Student Body: 4,270 undergraduates, Jazz Bands: One jazz band. 200 music students. Jazz Bands: Big Band, Jazz Consort, MIDI Band, Auditions: Visit ben.edu. Fusion Band, Rock Ensemble, Tuition: Undergraduate, $34,750. Savoy Nonet, Vanguard Birdland, Financial Aid: Available. Faculty: Matt Pivec, Gary Walters, Sandy Beginning Combo. Scholarships: Available. Williams, Jesse Wittman, Jon Financial Aid: capital.edu/finaid/. Apply by: Visit ben.edu. Crabiel, Jared Rodin, Allen Miller, Steve Allee, Kenny Phelps. Scholarships: capital.edu/scholarships/. Contact: Visit ben.edu. Jazz Degrees: Bachelor of Music in Jazz Studies, Apply by: Rolling admissions. Jazz Studies Emphasis, Contact: Susanna Mayo, Bowling Green Jazz Studies Minor. [email protected]. State University Jazz Band: Jazz ensemble, vocal jazz Bowling Green, Ohio ensemble and several combos. Cardinal Stritch University Auditions: On-campus auditions take place Milwaukee, Wisconsin Student Body: 19,000 total, 500 in the Jan. 23, Jan. 30, Feb. 13, Feb. 20, College of Musical Arts. and Feb. 27. For jazz majors, Student Body: 2,799 students. Tuition: Undergraduate, in-state: a classical audition and jazz Tuition: $23,680. $18,850, out-of-state: audition are required. Visit butler. $26,158; graduate, edu/music for audition Jazz Degrees: Bachelor of Arts. requirements. in-state: $9,160, Faculty: Mark Davis. out-of-state: $14,650. Financial Aid: Available. Contact (317) 940-8200 Jazz Bands: One combo. Jazz Degrees: Bachelor of Music in Jazz Studies, or [email protected]. Auditions: Required for admission, Master of Music in Jazz Scholarships: Merit-based and audition-based Performance. Also offer a scholarships available. Audition tests music reading and jazz minor. award scholarships vary based on improvisation ability. Faculty: bgsu.edu/colleges/music/directory/. performance ability and Financial Aid: Available. departmental needs. Alumni: Tim Hagans, Rich Perry. Scholarships: Available, merit-based. Apply by: Early Action: Nov. 1, Apply by: No application deadline. Jazz Bands: Two Lab Bands, small groups Regular Decision: Feb. 1. formed to accommodate Contact: Dennis King, (414) 410-4349, interested students. Contact: Kristin Flodder (317) 940-9065, [email protected]. [email protected]. Auditions: bgsu.edu/music. Financial Aid: Available. bgsu.edu/music. Scholarships: Academic and music scholarships Capital University Columbus, Ohio

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Performance Ensemble. Jazz Degrees: Associate of Arts Degree with Columbia College Chicago transfer/articulation with Berklee Chicago, Illinois Auditions: Auditions are by appointment only, and will be held Nov. College of Music, Boston Demetrius 3–7, and also on Feb. 7. Steinmetz, Paul Samuels. Student Body: 650 music students: Check colum.edu/music for Faculty: Steve Enos, Ernie Krivda, Dave 200 Contemporary Urban and audition guidelines and Sterner, Sam Blakeslee, Joe Popular (CUP) and Jazz majors. requirements. Contact Hunter, Jackie Warren, Dan Wilson, Tuition: $22,884. [email protected]. Brian Kozak. Jazz Degrees: Bachelor of Music, Bachelor of Aid: Financial Aid is available. Alumni: Sean Jones, Jerome Jennings, Arts, both in Jazz and CUP (also Toll-free consultation line: (866) Dominick Farinacci, Curtis Taylor, degrees in Composition, Film 705-0200, 8 a.m.–5 p.m., Mon.–Fri. Aaron Kleinstub. Student Financial Services Lobby: Scoring, Music Business). Jazz Bands: Jazz Workshop, Pop/Rock, 9 a.m.–5 p.m., Mon.–Fri., Suite 303, Faculty: Richard Dunscomb, Scott Hall, Brazilian, Big Band, Jazz 600 S. Michigan Ave., Chicago, IL Vocal, Gospel. Gary Yerkins, Peter Saxe, Martez 60605. Also, use the online Virtual Rucker, Dan Anderson, Chuck Scholarships. Both need-based Auditions: Contact [email protected]. Webb, Frank Donaldson, Tom and merit-based scholarships Financial Aid: Available. Hipskind, Diane Delin, Raphael are available. Students who apply Crawford, Larry Kohut, Scott Burns, to and are accepted to Columbia Scholarships: Available. Ruben Alvarez. College Chicago are eligible to Apply by: June 30. Alumni: receive scholarships based upon Aaron Koppel, Sarah Marie Young, Contact: Steve Enos, Director, Tri-C Jazz Larry Bowen, Martez Rucker, uploaded samples of their musical Studies Program, stephen.enos@ Sam Trump, Sam Cerniglia, work and live audition. Contact tri-c.edu, (216) 987-4256. Jonathan McReynolds. [email protected] or bberends@ colum.edu for details. Jazz Bands: Columbia College Jazz Ensemble; DePaul University eight Jazz Combos; Vocal Apply by: May 1. Chicago, Illinois Jazz Ensemble; Jazz Guitar Contact: Mary Blinn, [email protected]. Ensemble; Latin Jazz Ensemble; Pop/Jazz Fusion Ensemble; Student Body: 390. Pop Horn Section; Blues Cuyahoga Tuition: $35,470 undergraduate, $18,840 Ensemble; Classical Guitar Community College graduate, $14,130 performance Ensemble; Gospel Choir; Groove Cleveland, Ohio certificate. Band; Jazz/Pop Choir; Percussion Ensemble; Pop Faculty: Dana Hall, Bob Lark, Thomas Matta, Dennis Carroll, Ron Perrillo. Orchestra; Pop/Rock Ensemble; Student Body: 35 full-time Transfer Students. R&B Ensemble; Recording and Jazz Degrees: Bachelor of Music in Jazz Studies, Tuition: tri-c.edu.

STUDENT MUSIC GUIDE

Master of Music in Jazz Apply by: Dec. 1. Mike Pinto, Ken Haebich, Performance or Composition. Susan Moninger, Gayle Bisesi, Contact: Ross Beacraft, (773) 325-7444, Gerhard Guter. Jazz Bands: Three big bands, 13 combos. [email protected]. Alumni: Fred Gretsch, Kris Myers, Alumni: Rudresh Mahanthappa, Orbert Davis, Brian Culbertson, Elmhurst College Chris Siebold, William Malpede. Matt Ulery. Elmhurst, Illinois Jazz Bands: Two big bands, 10 combos, two vocal jazz ensembles, Auditions: In-person auditions each weekend two guitar ensembles. in February, music.depaul.edu Student Body: 2,400 total. for more info. Auditions: Scheduled dates or by Tuition: $33,700. appointment. Financial Aid: Contact Ross Beacraft, Jazz Degrees: Bachelor of Music in Jazz Studies. [email protected]. Financial Aid: Available. Faculty: Doug Beach, Mark Colby, Scholarships: Contact Ross Beacraft, Scholarships: Talent-based available. Tom Garling, Kirk Garrison, [email protected]. Bob Rummage, Frank Portolese, Apply by: May 1. Contact: Gayle Bisesi, (630) 617-3524, [email protected]. Indiana University Jacobs School of Music Bloomington, Indiana

Student Body: 75 jazz students; 1,600 music students: 850 graduate, 750 undergraduate. Tuition: Undergraduate, in-state: $10,208, out-of-state: $32,350; Graduate, in- state: $551/credit hour, out- of-state: $1,651/credit hour, in addition to program fees. Source music.indiana.edu/admissions/ tuition/index.shtml. Jazz Degrees: Bachelor and Master of Music in Jazz Studies, Bachelor of Science in Music/Outside Field. Undergraduate and Graduate minor in Jazz Studies. Faculty: Jeremy Allen, David Baker, Luke Gillespie, Pat Harbison, Steve Houghton, Darmon Meader, Michael Spiro, Dave Stryker, Joey Tartell, Wayne Wallace, Brent Wallarab, Tom Walsh, Ly Wilder, Steve Zegree. Alumni: Jamey Aebersold, Eric Alexander, Chris Botti, Randy Brecker, Peter Erskine, John Clayton, Robert Hurst, Shawn Pelton, Jim Beard, Ralph Bowen, Jeff Hamilton, Scott Wendholt, Alan Pasqua. Jazz Bands: Three big bands; Latin jazz Eensemble; two vocal jazz ensembles, several combos. Auditions: Three annual audition weekends; recordings accepted by the application deadline. Pre-screening audition may be necessary. Requirements vary per instrument. music.indiana.edu/admissions. Aid: Available. Contact Office of Student Financial Assistance, indiana.edu/~sfa. Scholarships: Available. All undergraduate applicants to the Jacobs School of Music are automatically considered for merit-based financial aid based on their audition, portfolio or interview results. Visit music. indiana.edu/admissions/tuition for details. Limited number of merit-based scholarships and

STUDENT MUSIC GUIDE

assistantships available for graduate students. Contact Office of Music Admissions, musicadm@ indiana.edu. Apply by: Nov. 1, undergraduate; Dec. 1, graduate. Contact: Espen Jensen, Music Admissions, (812) 855-7998, musicadm@ indiana.edu; Jazz Studies, (812) 855-7560, [email protected]; music.indiana.edu/jazz. Kansas City Kansas Community College Kansas City, Kansas

Student Body: 75 jazz majors. Tuition: Undergraduate, in-state: $80/ credit, out-of-state: $100/credit. Jazz Degrees: Associate of Arts in Jazz Studies. Faculty: Jim Mair, John Stafford, Rod Fleeman, Bram Wijnands, Jurgen Welge, Mike Ning, Steve Molloy, Brett Jackson. Alumni: Bobby Watson, Lisa Henry, Wayne Hawkins, John Cushon, Chris Hazelton, Nick Rowland. Jazz Bands: Big Band, Little Big Band, three combos, two jazz choirs. Audition: Contact Jim Mair, (913) 288-7149, [email protected]. Financial Aid: Available. Scholarships: Full- and half-scholarships available, both need- and merit- based for majors and non-majors. Apply by: April 15. Contact: Jim Mair, Director of Jazz Studies, (913) 288-7149, [email protected]. Lawrence University Appleton, Wisconsin

Student Body: 1,425 total. Tuition: $40,926. Jazz Degrees: Bachelor of Music in Performance with Emphasis in Jazz, Bachelor of Music in Theory/Composition with Emphasis in Jazz. Faculty: Fred Sturm, José Encarnacion, Bill Carrothers, Mark Urness, Patty Darling, Dane Richeson, John Daniel, Nick Keelan, Marty Erickson, Steve Peplin, Janet Planet, Larry Darling. Alumni: John Harmon, Fred Sturm, Patty Darling, Matt Turner, Kurt Dietrich, John Carlson, Rob Hudson, Bruce Wermuth, Laura Caviani, Matt Buchman, Marty Robinson, Javier Arau, Mary Louise Knutson. Jazz Bands: Lawrence University Jazz Ensemble, Lawrence Jazz Band, Lawrence Jazz Workshop, six Lawrence Jazz Small Groups, IGLU (Improvisation Group of Lawrence University). Financial aid: lawrence.edu/info/offices/

128 DOWNBEAT OCTOBER 2014 financial-aid. Jazz, Hornheads, Jazz Beginning, Alumni: William David Brohn, Tage Larsen, Jazz Two, Jazz Three, New Clare Fischer, David Maslanka, Scholarships: lawrence.edu/admissions /afford/scholarships. Orleans Brass Band. Ben Williams. Auditions: Audition videos and detailed Auditions: See music.msu.edu/admissions Apply by: lawrence.edu/admissions requirements can be found at /apply/conservatory. Financial Aid: Available. admissions@music. mcnallysmith.edu/admissions/ msu.edu. Contact: Paris Brown, Director of auditions. Conservatory Admissions, phone: Scholarships: Available. admissions@music. (920) 832-6993, fax: (920) 832- Financial Aid: Scholarships, grants, student msu.edu. 6782, paris.d.brown employment available. Contact Apply by: Dec. 1. @lawrence.edu. [email protected]. Scholarships: Merit-based and need-based Contact: Director of Admissions Benjamin available. Contact scholarships@ Ebener, (517) 355-2140 or McNally Smith [email protected]. College of Music mcnallysmith.edu. Apply by: Feb.1 Priority Application Deadline. St. Paul, Minnesota Millikin University Contact: Matt Edlund, Director of Decatur, Illinois Admissions, (800) 594-9500, Student Body: 600 total. [email protected]. Tuition: $24,310. Student Body: Approximately 2,300. Jazz Degrees: Master’s in Music Performance, Michigan State University Tuition: $28,644. Bachelor’s in Music Performance, East Lansing, Michigan Associate of Applied Science Faculty: Randall Reyman, Perry Rask. in Music Performance, Music Jazz Degrees: Bachelor of Music in Music Performance Diploma. Student Body: 600 total. Business, Commercial Music, Music Education and Performance. Faculty: Pete Whitman, Scott Agster, Dave Tuition: Undergraduate, in-state: Jensen, Charles Lazarus, Randy $13,800, out-of-state: $35,500. Jazz Bands: Two big bands, five combos. Sabien, Charlie Christenson, Judy Jazz Degrees: Bachelor of Music and Auditions: Nov. 11, Jan. 19, Feb. 16, March 6, Donaghy, Gordy Knudtson, Master of Music March 28, April 10. David Stanoch, Sean Turner, Joe Elliot, Bobby Stanton, Eva Beneke, Faculty: Director Rodney Whitaker, Etienne Financial Aid: millikin.edu/financialaid/Pages/ Jeff Bailey, Adi Yeshaya. Charles, Michael Dease, Randy default.aspx. Gelispie, Diego Rivera, Randy Alumni: Cory Wong, Petar Janjic, Napolean. Scholarships: Merit-based available. Contact Dan Comerchero, Brent Paschke. the admissions office at Jazz Bands: Three jazz orchestras, four jazz Millikin University. Jazz Bands: Contemporary Vocal Ensemble, octets, several jazz combos. Fusion Ensemble, X-Tet, Advanced Apply by: June 1. STUDENT MUSIC GUIDE

Contact: Randall Reyman, (217) 424-6319, Krajewski, Dr. Tom Strait, Dr. David Apply by: mnstate.edu/admissions/. [email protected]. Ferreira, Doug Neill. Contact: Dr. Allen Carter, carter@mnstate. Jazz Band: Big Band, Jazz Combos, Vocal edu, or Dr. Michael J. Krajewski, Minnesota State Jazz, Jazz Guitar Ensemble, [email protected]. University Moorhead Commercial Music Ensemble. Moorhead, Minnesota Auditions: Students may audition on campus (generally in February each year), North Central College or digitally via CD or via Naperville, Illinois Student Body: 160 music majors. YouTube video. Tuition: mnstate.edu/admissions/ Financial Aid: mnstate.edu/financialaid/. tuitionandfees.aspx. Student Body: 2,800 undergraduate Scholarships: mnstate.edu/financialaid/ and 250 graduate. Jazz Degrees: Bachelor of Music in Jazz Studies. scholarships/ or mnstate.edu/ Tuition: $32,433. Faculty: Dr. Allen Carter, Dr. Michael J. music/talentscholarships. Jazz Degrees: Jazz Studies. Faculty: Jack Mouse, Janice Borla, Joel Adams, Jim Cox, Art Davis, John McLean, Mitch Paliga, Bradley Stirtz, Chris White. Jazz Bands: Jazz Combo, Chamber Jazz, Vocal Jazz Ensemble. Auditions: Vocal and instrumental jazz auditions. There are programs in the fall and winter. Financial Aid: Available. Contact the Office of Admissions, (630) 637-5800. Scholarships: Merit- and need-based scholarships available. Contact the Office of Admissions, (630) 637-5800. Apply by: Rolling admission. Contact: Office of Admission, [email protected]. Northern Illinois University DeKalb, Illinois

Student Body: 300 music students. Tuition: Undergraduate, in-state: $11,800, out-of-state: $21,000. Faculty: Reggie Thomas, Geof Bradfield, Art Davis, Tom Garling, Fareed Haque, Willie Pickens, Marlene Rosenberg, Kelly Sill, Rodrigo Villanueva, Robert Chappell, Rich Holly. Jazz Degrees: Bachelor of Music in Jazz Studies Performance, Bachelor of Music in Music Education, Bachelor of Music in Jazz Studies Performance, Master of Music in Jazz Studies. Jazz Bands: NIU Jazz Ensemble, Jazz Lab Band, University Jazz Band/6–10 Jazz Combos. Alumni: Marquis Hill, Greg Ward, Nicole Mitchell, Rob Parton. Auditions: Held in February, niu.edu/music. Financial Aid: Available through NIU Office of Financial Aid. Scholarships: Music scholarships are talent-based. Apply by: Feb. 21. Northwestern University Evanston, Illinois

Student body: 620 undergraduate and graduate. Tuition Cost: $46,836, not including

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STUDENT MUSIC GUIDE

room and board. of current students and with Oberlin College pre-screened prospective students. Jazz Degrees: Bachelor of Music in Jazz Studies, Oberlin, Ohio Master of Music in Jazz Studies. Required audition repertoire is listed online at oberlin.edu. Faculty: Victor Goines (coordinator), Carlos Student Body: 2,400 total, 580 students Upcoming on-campus audition Henriquez, Willie Jones III, Jeremy in the conservatory. dates: Dec. 5, Feb. 15, Feb. 27. Kahn, Christopher Madsen, Brad Special note: Regional auditions Mason, Elliot Mason, John Moulder, Tuition: $61,788 are not heard in jazz percussion. Marlene Rosenberg. Jazz Degrees: Jazz Performance, For more information, email Jazz Bands: Jazz Orchestra in conjunction Jazz Composition. conservatory.admissions@oberlin. edu or call (440) 775-8413. with a series of jazz small Faculty: Jay Ashby, Peter Dominguez, Robin ensembles/combos. Eubanks, Bobby Ferrazza, Jamey Financial Aid: Need-based aid offered. FAFSA Auditions: All jazz applicants must submit a Haddad, Billy Hart, Dennis and PROFILE forms required prescreening video no later than Reynolds, Paul Samuels, Dan Wall. for consideration. Dec. 1. Final round auditions are Jazz Bands: Oberlin Jazz Ensemble, Small Jazz Contact: Email [email protected], held on the Evanston, Illinois, Ensembles, PI (Performance and (800) 693-3173. campus of Northwestern Improvisation) Ensembles. University. Visit music. Alumni: Paul Horn, Stanley Cowell, Jon The Ohio State University northwestern.edu to view the full Columbus, Ohio list of audition requirements. Jang, Ted Baker, Allen Farnham, Lafayette Harris, Ben Jaffe, Theo Financial aid: Undergraduate: Need-based Croker, James McBride, Michael Student Body: 400 undergrads and 200 graduate scholarships from Northwestern Mossman, Neal Smith, Jason students in the School of Music. University, merit-based Jackson, Sullivan Fortner, Kassa Approximately 35 jazz majors. scholarships available from the Overall, Andy Hunter, Peter Evans, Bienen School of Music (based on Rafiq Bhatia, Theo Croker. Tuition: Undergraduate, in-state: audition). Graduate: Merit-based $10,010, out-of-state: $25,726. scholarships and graduate Auditions: Auditions may be recorded or live. Jazz Degrees: Bachelor of Music in Jazz assistantships available from the Live on-campus auditions require Performance or Jazz Composition. Bienen School of Music. candidates to submit a pre- Need-based financial aid screening audition recording, due Faculty: William T. McDaniel, Shawn options available. with application. Recorded Wallace, Kris Johnson, Jim Masters, auditions, pre-screening auditions, Mark Flugge, Andy Woodson, Apply by: Dec. 1. and regional auditions are Tim Cummiskey, Jim Rupp, Contact: Ryan O’Mealey or Marcus Turner, performed with supplied Kristopher Keith. (847) 491-3141, musiclife@ background music. On-campus Jazz Bands: Three big bands, six combos. northwestern.edu. auditions are performed with small jazz ensembles made up Auditions: All prospective students must be

132 DOWNBEAT OCTOBER 2014 accepted to the university and also January and February. contact CCPA for instructions. accepted to the School of Music by Contact (740) 593-4244. Financial Aid: Available. successfully completing an Financial Aid: ohio.edu/finearts/music. in-person audition and passing the Scholarships: All admitted applicants, regardless Music Achievement Test (MAT). Scholarships: Jason Smith, [email protected]. of financial need, are considered for merit scholarships based on Apply by: Feb. 1. Financial Aid: sfa.osu.edu. their audition and musicianship. Scholarships: All prospective students Contact: Matthew James, (740) 593-4244, [email protected]. Apply by: Priority application are automatically considered for deadline: Jan. 15. music scholarships based on audition and Music Achievement Roosevelt University, Chicago Contact: Patrick Zylka, Assistant Dean Test results. To receive for Enrollment and Student College of Performing Arts Services, (312) 341-6735, consideration for scholarships, Chicago, Illinois prospective freshmen must [email protected]. audition on or before Feb.14. Apply by: University Scholarship and Student Body: 500 total. Saint Mary’s University early action deadline: Nov. 1; School Tuition: $34,115. of Minnesota of Music application deadline: Winona, Minnesota Jazz Degrees: Bachelor of Music in Jazz, Bachelor Jan. 30. of Music in Contemporary Music. Contact: (614) 292-6571, [email protected]. Faculty: Victor Garcia, Scott Mason, John Student Body: Approximately 1,200 total Moulder, Jeff Morrow, Jim undergraduates, 40 music majors. Ohio University Trompeter, Paul Wertico. Tuition: Approximately $29,790 tuition Athens, Ohio See roosevelt.edu/CCPA. and fees, $7,800 room and board. Jazz Bands: Latin Jazz Ensemble, nonet, Jazz Degrees: Bachelor of Music in Music Student Body: 250 in School of Music. New Deal Vocal Ensemble Industry; Music Performance; and many combos. Music Education. Tuition: Approximately $10,500. Auditions: Audition repertoire is on our Faculty: A. Eric Heukeshoven, Dr. John Jazz Degrees: Minor in jazz. website, roosevelt.edu/CCPA. All Paulson, Brett Huus, James Faculty: Rodger Braun, John Horne, applicants are encouraged to Knutson, Denny McGuire, Matthew James, Sean Parsons, perform a live audition in Chicago. Dan Driessen. Richard Wetzel. Auditions are scheduled from mid-January through the end of Jazz Bands: Jazz Ensemble, Jazz Combo One, Jazz Bands: Jazz Ensembles I and II, Workshop Jazz Combos. two jazz combos, Jazz February each year. Applicants Percussion Ensemble. who are not able to make it to Auditions: February 2015. smumn.edu/music. Chicago for an audition may Financial Aid: (507) 457-1437. Auditions: Entrance auditions are in submit their audition online;

OCTOBER 2014 DOWNBEAT 133 STUDENT MUSIC GUIDE

Scholarships: smumn.edu/music. Jazz Degrees: Bachelor of Music, Master of Music in jazz performance. Apply by: Rolling admissions. Faculty: Jack Schantz, Joe Augustine, Contact: A. Eric Heukeshoven, M.S. (Director Bob Fraser, Dean Newton, Jazz Studies & Music Industry), Rock Wehrmann, Mark Gonder. (507) 457-7292, eheukesh@ smumn.edu, smumn.edu/music. Jazz Bands: Two jazz bands, multiple jazz combos. Southern Illinois Auditions: Theory proficiency, piano University, Edwardsville proficiency, audition on Edwardsville, Illinois primary instrument. Financial Aid: uakron.edu/finaid.

Student Body: 14,000 students. Scholarships: uakron.edu/finaid. Tuition: $4,625.45/semester (in-state), Apply by: Rolling basis. Auditions for $9,836.45/semester (out-of-state). School of Music Scholarship deadline is Feb. 28. Jazz Degrees: Bachelor of Music in Jazz Performance, Master of Music in Contact: Jack Schantz, director of Jazz Performance (jazz emphasis), Studies, (330) 972-6919, jas62@ Bachelor of Arts in Music uakron.edu, uakron.edu/music (jazz emphasis), Bachelor of Music in Music Business. University of Central Missouri Faculty: Rick Haydon, Jason Swagler, Warrensburg, Missouri Peter Martin, Brett Stamps, Zeb Briskovich, Miles Vandiver. Student Body: More than 12,000. Jazz Bands: Concert Jazz Band, Jazz Lab Band, Guitar Ensemble, Vocal Tuition: Undergraduate, in-state: Jazz Ensemble, Jazz Combos. $213.15/hour, out-of-state: $426.30/hour; Graduate, in- Auditions: Contact Rick Haydon, state: $276.25/hour, out-of- [email protected]. state: $552/hour. Financial Aid: Visit siue/financialaid or Jazz Degrees: Bachelor of Music, call (618) 650-3880. Jazz-Commercial Music. Scholarships: Contact (618) 650-3900. Faculty: David Aaberg, Michael Sekelsky, Apply by: Dec. 1. James Isaac, Robert Lawrence. Contact: Rick Haydon, (618) 650-3900, Jazz Bands: Two big bands, three or [email protected]. more combos, vocal jazz ensemble. Auditions: On-campus audition dates: Nov. 14, St. Olaf College Feb. 14 and Feb. 16. Other dates Northfield, Minnesota available upon request. Aid: Call (800) 729-2678 or Student Body: 3,100 total. [email protected]. Tuition: $41,700. Scholarships: Available. Contact (660) 543-4530 or visit ucmo.edu/music/future/ Jazz Degrees: Bachelor of Arts in Music, scholarships.cfm. For academic Bachelor of Music in Performance. scholarships, call (800) 729-2678 Faculty: Dave Hagedorn, Laura Caviani, or [email protected]. Phil Hey. Apply by: Rolling admissions. Alumni: Dan Cavanagh, Ben Baker. Contact: David Aaberg, (660) 543-4909, Jazz Bands: Three big bands, combos. [email protected]. Auditions: wp.stolaf.edu/musicadm/. Financial Aid: wp.stolaf.edu/financialaid/. University of Scholarships: wp.stolaf.edu/musicadm/. Cincinnati College, Apply by: Dec. 15. Conservatory of Music Cincinnati, Ohio Contact: Mary Hakes. Music Admissions Coordinator, music@stolaf. edu, (507) 786-3297. Student Body: 1,200. Tuition: Undergraduate, in-state: University of Akron $12,206, out-of-state: $27,540. Akron, Ohio Jazz Degrees: Bachelor of Music, Master of Music. Faculty: Craig Bailey, Scott Belck, Student Body: 27,000 total. Phil DeGreg, Marc Fields, Brent Tuition: Undergraduate, in-state: Gallaher, Art Gore, Aaron Jacobs, $9,920, out-of-state: $18,417. Dominic Marino, Kim Pensyl, Alumni: Mark Lopeman, Paul Ferguson, James E. Smith, Rick VanMatre, Mark Vinci, John Orsini, David John Von Ohlen. Banks, Gary Davis, Paul Klontz, Alumni: Rick VanMatre. Mike Forfia. Jazz Bands: Jazz Ensemble, Jazz Lab Band,

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Jazz Combos. Brent Sandy, Steve Grismore, James Dreier. Auditions: See the CCM Application Handbook at ccm.uc.edu/ Jazz Bands: Three big bands, Latin Jazz admissions/application.html. Ensemble, World Beat Ensemble, 6–8 combos. Financial Aid: ccm.uc.edu/admissions/ financial_aid.html. Alumni: David Sanborn, All Jarreau, Chris Merz, John DeSalme, Tony Nalker. Scholarships: Available. Undergraduate academic and merit-based Auditions: Screening by email, on-campus scholarships. Graduate merit-based auditions for scholarships and scholarships and assistantships. teaching assistants. Apply by: Dec. 1. Financial Aid: uiowa.edu/financial-aid. Contact: Andrea M. Fitzgerald, maisonar@ Scholarships: Available. Undergraduate music ucmail.uc.edu, (513) 556-9479 or scholarships determined by (513) 556-9478. audition before March 1. admissions.uiowa.edu/finances/ scholarships-first-year-students. University of Illinois at Four teaching assistantships are Urbana-Champaign available to students accepted Urbana-Champaign, Illinois into the Jazz Track of the Master of Art in Music. Apply by: March 1. Student Body: 43,000 total. 800 music students, 400 undergraduate, 400 graduate, Contact: John Rapson (319) 936-7716, 70 in the jazz program. [email protected]. Tuition: osfa.uiuc.edu. Jazz Degrees: Bachelor of Music, Bachelor University of Kansas of Music Education with a Lawrence, Kansas specialization in Jazz Studies, Master of Music in Jazz Performance, Artist Diploma, Student Body: 600 music majors, Doctorate of Musical Arts in 15–20 jazz majors. Jazz Performance. Tuition: Undergraduate, in-state; $9,225, out-of-state: $23,991. Faculty: Ron Bridgewater, Tito Carrillo, Larry Gray, Joan Hickey, Jazz Degrees: Bachelor of Arts in Jazz Studies, Chip McNeil (division chair), Master of Music in Composition, Jim Pugh, Joel Spencer, Jazz Emphasis. Chip Stephens, Glenn Wilson. Faculty: Dan Gailey, Matt Otto, Danny Alumni: Cecil Bridgewater, Jim McNeely. Embrey, Jeff Harshbarger, Brandon Draper, Steve Leisring, Michael Jazz Bands: Four Jazz Bands, 10 Jazz Combos, Jazz Guitar Ensemble, Jazz Davidson, Vince Gnojek. Saxophone Ensemble, Jazz Alumni: Gary Foster, Ron McCurdy, Trombone Ensemble, Latin Bill Bergman, Kerry Marsh, Jazz Ensemble, Student-Faculty Paul Haar, Jeff Harshbarger. Jazz Ensemble, and two Vocal Jazz Bands: Three big bands, six combos, Jazz Ensembles. vocal jazz ensemble. Auditions: Undergraduate, go.illinois.edu/ Auditions: music.ku.edu/applyaudition. musicundergrad; Graduate, go. illinois.edu/musicgrad. Financial Aid: Available. affordability.ku.edu. Financial Aid: Available. osfa.uiuc.edu. Scholarships: Merit-based scholarships available, Leslie Jabara, [email protected], Scholarships: Need-based and merit- (785) 864-9751. based available. music.illinois.edu/ prospective-students/financial-aid. Apply by: Priority deadline is Nov. 1, Scholarship application Apply by: Jan. 2 for Undergraduate, deadline is Feb. 1. Dec. 1 for Graduate. Contact: Dan Gailey, [email protected], Contact: Music Admissions Office, (785) 864-4389. (217) 244-7899, [email protected]. University of Michigan University of Iowa Ann Arbor, Michigan Iowa City, Iowa Student Body: More than 40,000 total, 1,100 music, theatre and dance Student Body: 30,000 students. students in the school of music, Tuition: Undergraduate, in-state: 65 jazz students. $8,061, out-of-state: $26,931. Tuition: Undergrad, in-state: $26,000, Jazz Degrees: Jazz Emphasis for Bachelor out-of state: $53,000; of Music, Jazz Track for Graduate, in-state: $38,000, Master of Arts in Music. out-of-state: $58,000. Faculty: John Rapson, Damani Phillips, Jazz Degrees: Bachelor of Fine Arts in Jazz Studies, Bachelor of Fine Arts

STUDENT MUSIC GUIDE

in Jazz and Contemporary Improvisation, Bachelor of Fine Arts in Jazz Studies with Teacher Certification, Bachelor of Fine Arts in Jazz and Contemplative Practice, Masters of Music in Improvisation. Faculty: Benny Green, Robert Hurst, Andrew Bishop, Michael Gould, Dennis Wilson, Ed Sarath, Ellen Rowe, Bill Lucas. Alumni: Gerald Cleaver, Sachal Vasandani, David Cook, Randy Napoleon, Bob James, Jeremy Kittel, Jason Roebke, Jason Stein, Matt Buchman, Tomek Miernowski. Jazz Bands: Three Jazz Ensembles, Seven Combos, Latin Jazz Ensemble, Creative Arts Orchestra, Digital Music Ensemble, Gamelan Orchestra. Auditions: music.umich.edu/ prospective_students/ admissions/ug/auditions. Financial Aid: Available. Contact Laura Hoffman, Dean of Admissions, [email protected]. Scholarships: Both need- and merit-based scholarships available. Contact Laura Hoffman, Dean of Admissions, [email protected]. Apply by: Dec. 1. Contact: Thomas Crespo, [email protected].

University of Missouri at Columbia Columbia, Missouri

Student Body: 34,748 total, approximately 100 jazz students. Tuition: Undergraduate, 14 hours in-state: $10,286, 14 hours out-of-state: $24,312; Graduate, 8 hours in-state: $6,548, 8 hours out-of-state: $15,554. Jazz Degrees: Master of Music in Jazz Performance and Pedagogy, Gradate Certificate in Jazz Studies, Certificate in Jazz Studies, Minor in Jazz Studies. Faculty: Arthur White, Tom Andes, Allen Beeson, Kevin Gianino, Sean Hennessy, Kevin Hennessy, Michael Budds. Alumni: Allen Beeson, Mike Metheny, Tim Aubuchon, Jim Widner. Jazz Bands: Concert Jazz Band, Studio Jazz Band, Creative improvisation Ensemble, 10 Combos. Auditions: music.missouri.edu for further information. Financial Aid: financialaid.missouri.edu. Scholarships: financialaid.missouri.edu. Apply by: Dec. 1. Contact: John Slish, (573) 882-4471, [email protected].

138 DOWNBEAT OCTOBER 2014 University of Missouri, Student Body: 15,000. Kansas City Tuition: unomaha.edu. Kansas City, Missouri Jazz Degrees: Bachelor of Arts with Jazz Concentration. Faculty: Peter Madsen, Dana Murray, Student Body: 500 Conservatory majors. Andy Hall, Darren Pettit, Tuition: Undergraduate, in-state: Jason Johnson, Jeff Scheffler, $10,000, out-of-state: $23,000. Mark Misfeldt. Amounts are approximate. Alumni: Karrin Allyson. Jazz Degrees: Bachelor of Music in Jazz Studies, Jazz Bands: Two big bands and Master of Arts in Music with a four jazz combos. concentration in jazz. Auditions: unomaha.edu/music/audition.php Faculty: Eight, including Bobby Watson, Dan Thomas. Financial Aid: Available. Contact Peter Madsen, petermadsen Jazz Bands: Two big bands, multiple combos. @unomaha.edu. Auditions: See conservatory.umkc.edu. Scholarships: Available. Contact Peter Madsen, Financial Aid: Federal and State aid is available [email protected]. based on need. Apply by: Music scholarship applications due Scholarships: Conservatory Merit Awards, March 1. competitive awards Contact: Peter Madsen, based on talent. [email protected]. Apply by: Dec. 1. Contact: Dr. James Elswick, University of Northern Iowa [email protected]. Cedar Falls, Iowa

University of Nebraska – Student Body: Approximately 12,000, Lincoln, Glenn Korff approximately 300 music students. School of Music Tuition: Undergraduate, in-state: Lincoln, Nebraska $6,648, out-of-state: $16,546; Graduate, in-state: $7,912, out-of-state: $17,906. Student body: 350 students. Jazz Degrees: Master of Music in Jazz Pedagogy, Tuition: Undergraduate, in-state: $216/ Bachelor of Art in Jazz Studies hour, out-of-state: $660/hour; specialization, Bachelor of Graduate, in-state: $285/hour, Music in Music Education with a out-of-state: $791/hour. Jazz Studies specialization, music minor in Jazz Studies. Jazz Degrees: Master of Music, Doctorate of Musical Arts in Jazz Studies Faculty: Christopher Merz (Director of with performance or Jazz Studies), Dr. Robert Washut, composition emphases. Dr. Anthony Williams, Robert Dunn, Tommy Giampietro. Faculty: Paul Haar. Peter Bouffard, Anthony Bushard. Hans Sturm, Alumni: Paul McKee, Dave Lisik, Dave Hall, Tom Larson, Damon Lee, Tommy Giampietro, Eric Richards, Darryl White. JC Sanford, James Miller. Alumni: Laurie Frink, Matt Wallace, Jazz Bands: Three big bands, five to seven Victor Lewis, Peter Bouffard, combos. Bob Krueger. Auditions: uni.edu/music/prospective_ Jazz Bands: Jazz Combos, Graduate Jazz students/index.html. Combos, UNL Jazz Orchestra, Financial Aid: uni.edu/finaid/. UNL Big Band. Scholarships: Need- and merit-based Auditions: Undergraduate: Jan. 23, Jan. 24, scholarships are available. Feb. 20 and Feb. 21; Graduate: Contact Alan Schmitz,

78th ANNUAL Feb. 13 and Feb. 14. [email protected]. 1934-2013 Financial Aid: Scholarships, Admissions: Apply by: Call Admissions, (319) 273-2281. Janet Sievert, (402) 472-6830, Contact Name: [email protected]. Christopher Merz, /// /// /// /// (319) 273-3077, [email protected]. Apply by: Undergraduate, in-state: Jan. 15; out-of-state: May 1; Graduate: Jan. 15. University of Toledo Toledo, Ohio Contact: Paul Haar, Director of Jazz Studies, (402) 472-5672, DECEMBER 2013 U.K. £3.50

DOWNBEAT.COM20 DOWNBEAT DECEMBER 2013 [email protected]. Student Body: 35 Jazz majors/minors. Tuition: Undergraduate, in-state: University of Nebraska $10,300, out-of-state: $15,300. at Omaha Jazz Degrees: Bachelor of Music in Jazz Studies, Omaha, Nebraska Bachelor of Music in Jazz Studies

OCTOBER 2014 DOWNBEAT 139 with emphasis in Music Business and Recording Arts, Bachelor of Education with an emphasis in Jazz. Faculty: Jon Hendricks, Gunnar Mossblad, Tad Weed, Jay Rinsen-Weik, Norman Damschroder, Olman Piedra. Jazz Bands: Jazz Ensemble, Jazz GuitaKistra, Latin Jazz Ensemble, Combos. Auditions: On official audition days or scheduled anytime. Financial Aid: Available. In-state tuition for qualified students. Scholarships: Available. Merit-based by audition. Apply by: Open enrollment. Contact: Gunnar Mossblad, [email protected].

University of Wisconsin at Eau Claire Eau Claire, Wisconsin

Student Body: 10,902 total. Tuition: Undergraduate, in-state: $8750, out-of-state: $16,322. Jazz Degrees: Jazz Emphasis. Faculty: Robert Baca, Jeff Crowell, Michael Shults, Phil Ostrander, Richard Johnson, Jeremy Boettcher, Jerry Young. Jazz Bands: Five big bands, multiple combos. Alumni: Jamey Simmons, Kyle Newmaster, Greg Keel, Alan Johnson,Jeremy Miloszewicz, Dan Urness, Larry Lelli, Andy Classen, Paul Stodolka, John Raymond, Steve Kriesel, Andrew Neesley, Ben Dobay, Jesse Stacken, Kevin Kjos. Auditions: uwec.edu/Mus-The/jazzstudies/ aboutjazz.htm. Financial Aid: Available. uwec.edu/finaid/. Scholarships: Music and University Scholarships. Apply by: March 1. Contact: Nicole Akright, (715) 836-4954, [email protected].

University of Wisconsin at Green Bay Green Bay, Wisconsin

Student Body: 6,667 total, 20–30 jazz students and approximately 100 music majors. Tuition: Undergraduate, in-state: $7,758 (including fees), out-of-state: $15,330 (including fees). Jazz Degrees: Bachelor of Arts with Jazz Emphasis. Faculty: John Salerno, Adam Gaines, Christine Salerno, Stefan Hall, Craig Hanke. Alumni: Carl Allen, Todd Buffa, Ricardo Vogt, Woody Mankowski.

140 DOWNBEAT OCTOBER 2014 Jazz Bands: Two jazz ensembles. Auditions: Auditions take place during first week of classes and consist of blind auditions with sight-reading, jazz scales, prepared excerpts. Financial Aid: Available, contact (920) 465-2075, [email protected]. Scholarships: Available, determined when applicant auditions for admission into music program. Apply by: May 15. Contact: Kevin Collins, [email protected].

University of Wisconsin at Madison Madison, Wisconsin

Student Body: 42,000 total. Tuition: Undergraduate, Wisconsin resident: $10,609, Minnesota resident: $13,862, out-of-state: $26,863. Faculty: 48 full-time music faculty including Johannes Wallmann, Richard Davis, Les Thimmig. New jazz faculty TBA. Jazz Degrees: Bachelor of Music in Jazz Studies; Bachelor of Arts in Jazz Studies; Jazz Minor in D.M.A. and Ph.D. Music degrees. Jazz Bands: UW Jazz Orchestra, Blue Note Ensemble, Contemporary Jazz, Black Music Ensemble, Jazz Composers Septet, Latin Jazz Ensemble. Alumni: Chris Washburne, Dave Cooper, Tim Whalen, Hans Sturm, Jackie Allen, Peter Dominguez. Auditions: Nov. 22, Jan. 31, Feb. 28. Info at music.wisc.edu. Financial Aid: finaid.wisc.edu. Scholarships: Merit-based scholarships available, info at music.wisc.edu/ undergrad/scholarships. Apply by: Oct. 31, Dec. 31, Jan. 31. Visit music. wisc.edu for more information. Contact: Johannes Wallmann, Director of Jazz Studies, (917) 992-9101, [email protected].

University of Wisconsin at Milwaukee Milwaukee, Wisconsin

Student Body: 300 undergraduate music students. Tuition: Undergraduate, Wisconsin resident: $9,438, Minnesota resident: $13,068, out-of-state: $19,166. Jazz Degrees: Bachelor of Fine Arts Degree in Music Performance– Instrumental Jazz Studies. Faculty: Curt Hanrahan, Steve Nelson- Raney, Don Linke, Lou Cucunato, Gillian Rodger, Dave Bayles, Carl

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Storniolo, Tom McGirr. Student Body: Approximately 300. Students perform in class at Butler University Jazz Bands: Jazz ensemble, seven Tuition: reg.wayne.edu/students/ jazz lab combos. tuition-info.php. Auditions: Five auditions annually. Jazz Degrees: Bachelor of Music in Jazz Studies, Master of Music in Financial Aid: uwm.edu. Jazz Performance. Scholarships: Scholarship information given at time of audition. Faculty: Christopher Collins, Russell Miller, Steven Carryer, Paul Keller, Apply by: uwm.edu. Ronald Kischuk. Contact: Curt Hanrahan, hanraha6@uwm. Jazz Bands: Jazz Big Band I, II and III, edu (winds), Steve Nelson-Raney, Jazztet, Combos, Jazz Guitar [email protected] (rhythm). Ensemble I, II and III. Auditions: Nov. 8, Feb. 7, March 7. University of Wisconsin Financial Aid: Available. finaid.wayne.edu. at Oshkosh Scholarships: Merit-based available. Oshkosh, Wisconsin wayne.edu/scholarships/. Apply by: Feb. 29 for talent-based Student Body: 14,000 total, 200 music award consideration. students, about 70 involved Contact: Danny DeRose, in jazz activities. [email protected]. Tuition: Undergraduate, in-state: $7,360, out-of-state: $14,934. Amounts are approximate. Webster University St. Louis, Missouri Jazz Degrees: None. Faculty: Marty Robinson, Andy Sachen, Rob McWilliams, Alison Shaw, Student Body: 3,002 total. Eric Barnum, Drew Whiting. Tuition: $24,500. Jazz Bands: Two large jazz ensembles, Jazz Degrees: Bachelor of Music: Jazz Studies in three to five jazz small Performance, Bachelor of Auditions: Students should prepare three groups, vocal jazz choir. Music: Jazz Studies with an tunes of a contrasting nature Emphasis in Music Technology, Financial Aid: (920) 424-3377. including a blues, a ballad and a Master of Music in Jazz jazz standard. Scholarships: Merit-based music scholarships, Performance, Master of Arts (920) 424-4224. with a Jazz Studies Emphasis. Financial Aid: Available. Office of Admissions, (314) 246-7800, (800) 753-6765, Apply by: Feb. 1. Faculty: Paul DeMarinis, Steve Schenkel, [email protected]. Contact: Marty Robinson, (920) 424-4224. Kim Portnoy and 13 adjunct teachers in the jazz area. Scholarships: Merit- and need-based scholarships available; endowed jazz Alumni: Chris Cheek, Steve Kirby, scholarships: TKT, Suzy Shepard, Wayne State University Chris Walters, Joe McBride. Detroit, Michigan and Donald O. Davis; contact Jazz Bands: 10 combos, Webster Jazz Dr. Jeffrey Carter, jeffreycarter Collective, Webster Jazz Singers. [email protected]. Apply by: April 1. Contact: Paul DeMarinis, (314) 968-7039, [email protected].

Western Illinois University Macomb, Illinois

Student Body: 9,873 undergraduates, 1,843 graduates. Tuition: Undergraduate: $280.17/hour; graduate: $308.96/hour. Jazz Degrees: Bachelor of Music in Jazz Studies, Master of Music in Jazz Studies in Performance and Composition, jazz minor. Faculty: John B. Cooper, Kevin Nichols, Matt Thomas, Alyssa Yeager, Nina Blaszka, Mike Fansler. Alumni: Reggie Thomas, Bruce Gates, Ben Willis, Tyler Ross, Stephen Hawk, Corey Bell, Brian Zeglis, Jennifer Wallis. Jazz Bands: WIU Jazz Studio Orchestra, WIU Jazz Band, jazz combo program. Auditions: Dec. 7, Jan. 11, Feb. 8 and Feb. 17. wiu.edu/cofac/music/

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Students at Kansas City Kansas Community College

admission_info.php. Apply by: Undergraduate, Feb. 22; Graduate, March 15. Financial Aid: Contact Yvonne Oliver, [email protected]. Contact: Undergraduate, Julie Nemire, [email protected]; Scholarships: Merit and need-based scholarships. Contact the Scholarship Office at Graduate, Bradley Wong, (309) 298-1823. [email protected], (269) 387-4672. Apply by: March 15, otherwise auditions are heard by appointment. Youngstown State University Contact: Yvonne Oliver, (309) 298-1087, [email protected]. Dana School of Music Youngstown, Ohio Western Michigan University Student Body: 13,000 total. Kalamazoo, Michigan Tuition: Undergraduate, in-state: $8,087, out-of-state: $14,087. Jazz Degrees: Bachelor of Music in Performance Student Body: 80 Jazz; 450 School of Music. with a jazz emphasis, Bachelor of Tuition: Undergraduate, in-state: $9,000, Music with a recording emphasis, out-of-state: $22,000. Bachelor of Music in Education, Faculty: Tom Knific, Andrew Rathbun, Master of Music in Jazz Studies. Jeremy Siskind, Greg Jasperse, Faculty: Alton Merrell, David Morgan, Edward Simon, Keith Hall, Scott Kent Engelhardt, Glenn Schaft, Cowan, Peter Eldridge. Dave Kana, Sam Blakeslee. Jazz Degrees: Bachelor of Music in Jazz Studies, Alumni: Sean Jones, James Weidman, Masters of Music in Performance Harold Danko, Ralph Lalama, and Jazz Studies, Artist Diploma. Glenn Wilson, Melissa Slocum, Jazz Bands: Two big bands, octet, jazz vocal Jeff Bush, Jason Rigby. ensembles (Gold Company; Gold Jazz Bands: Three jazz ensembles, four Company II, GC Sextet), Latin to five jazz combos. ensemble, numerous combos. Auditions: Email for information. Alumni: Xavier Davis, Quincy Davis, Kate Reid, Jennifer Barnes, Financial Aid: Contact Sue Davis, [email protected]. Greg Jasperse, Andre Mika, Scholarships: Tony Leonardi Jazz Scholarship, Lyman Medeiros. Senator Harry Meshel Scholarship in Jazz, Robert E. Bulkley Memorial Auditions: wmich.edu/jazz/ audition-information/. Scholarship, other music scholarships available, email Financial Aid: Julie Nemire, [email protected] for info. [email protected]. Apply by: Open admission. Scholarships: Available. Need- and merit-based available. Julie Nemire, Contact: Kent Engelhardt, [email protected]. [email protected].

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PSU EXPANDSBy James Hale HORIZONS

ith its forward-looking public transit, platoon of hip food trucks and laid-back vibe, Portland, Oregon, has become a symbol of West Coast cool. It should be no surprise, then, W to learn that jazz education is a big part of the city’s cultural mosaic, unconstrained by campus boundaries. “As an urban university, Portland State University has an amazing connection to the city,” said Darrell Grant, director of PSU’s Leroy Vinnegar Jazz Institute and associate professor of jazz studies and piano. “It’s part of the history and heritage of this place, and the jazz program is truly reflective of Portland’s individuality.” Grant has been at PSU for 17 years, so one would assume that he feels completely at home there. But pianist-keyboardist George Colligan, who coordinates the jazz program, is a relative newcomer. “There is a lot of energy in this city and, thanks to the TV showPortlandia and an endless stream of newspaper articles about how cool the place is, there’s a steady influx of young people,” Colligan said. Colligan noted that the reasonable cost of living and the easy coexistence of urban and rural lifestyles in Portland are potent lures for people seeking an alternative to large cities like New York City and Chicago.

146 DOWNBEAT OCTOBER 2014 Another recent transplant is Don Lucoff, the Portland State University students veteran publicist who left his primary base in in the jazz program Philadelphia to take over PDX Jazz and the Portland Jazz Festival from co-founder Bill Royston in 2011, following several years of working with the event. He echoed the belief that the city’s jazz scene, and PSU’s role in it, is on the rise. “The festival’s growth reflects the vibrant scene that exists here,” he said. “A lot of very good players are coming out of PSU, and they’re fitting into the scene and playing at a high level. The jazz program’s reputation is definitely growing.”

Under the long-term directorship of bassist PSU Charley Gray, who joined the faculty in 1988,

PSU’s jazz program grew steadily, landing in George Colligan Darrell Grant the spotlight when bassist-vocalist Esperanza Spalding—who attended the program when she was 16—became a big star. The program offers undergraduate and graduate music degrees in jazz studies and an undergraduate minor in jazz studies. In 2012, PSU became just the third West Coast college to introduce a jazz performance degree with an emphasis on voice. Colligan said that one of the things that sets the program apart is the breadth of its scope: “It’s a jazz-focused program, but we’re open to other styles too, so, especially in the vocal area. We’ll get a lot of students who come from a rock or hip-hop background and want to expand their horizons. Our philosophy is that jazz opens you up MARK SHELDON PSU to other genres.” really risen to a level where it’s comparable to same stage as some of your musical heroes is “We get a lot of transfers from other schools, some of the European festivals,” said Colligan. better than any trophy.” mature students and veterans,” added Grant. “So, “Our jazz program really benefits from the great He said the goal is to attract between 30 and these people are mixing with kids right out of infrastructure and community support the 40 entrants in each category, which will be high school, and they’re sharing wisdom. On the festival has built.” winnowed down to 12 finalists through bandstand, I think that reflects the real world.” In 2015, the festival’s 12th year, PSU and PDX two rounds of blind listening sessions by a “That range of ages also accounts for our Jazz will collaborate on a new venture called the panel of judges. students being a little more serious about the Jazz Forward Competition, an annual program “I’d be delighted if we hit our goal this first business of playing than you find at some colleges,” that organizer Jeff Baker, a PSU jazz vocal year,” Baker said, “but the program is designed said Colligan. “There are fewer distractions here.” instructor, hopes will rival regional student to be quite adaptable and scalable. I know there While the distractions may be limited, competitions like Monterey’s Next Generation are some incredible high school jazz programs opportunities for playing off campus abound. Jazz Festival and the Reno Jazz Festival. in the Northwest, and given that the festival is Colligan and his fellow faculty members lead Baker, whose students have won DownBeat in February, I think the timing will be attractive ensembles that include students, and PSU- Student Music Awards and competed in the for them.” based groups are now being called on to Next Generation program, said, “I think we can Lucoff said an added bonus for his perform at functions around the calendar and have a real impact for high school students in the organization is helping to develop a younger throughout the city. Northwest, and generate both publicity and new audience for jazz. Student competitors will be “My belief is that you have to give students a scholarship money for PSU’s jazz program.” offered discounted admission to festival shows. chance to play, to be heard out in the broader “It’s something we’ve been thinking about for “We’re not trying to create a national event,” community,” said Colligan. “Once you graduate awhile,” said Grant, “but Jeff really made it he said. “I think we can draw from a region that and become a professional musician, you realize happen. It’s a natural extension of the Student stretches from the Bay Area up to Bellingham, that having a degree is not as important as having Stage program.” Washington, and throughout Nevada and Utah. had the chance to play and make connections “With Student Stage, we’ve really kind of It’s a large area, and by keeping entry costs that a good music school can provide. Portland maxed out on bands from here and Seattle,” said low we’re hoping that it will be attractive to a provides a great setting for that, because while Lucoff. “The idea of moving into a competition lot of schools.” the scene is competitive, it’s not insurmountably that has the potential to attract entrants from a “I’d love for it to become national at some competitive like New York City.” wider area was a great fit for us, and it will further point in the future,” said Baker, “but for now One of the highest-profile venues for exposing solidify our relationship with PSU and reinforce we’re focused on building it from the bottom up. I students to a broad audience has been the Portland our approach to cultural tourism.” think it’s something that can really create a richer Jazz Festival, which Royston shrewdly scheduled Students will compete for $1,000 prizes in five educational component for PDX Jazz, and help for February—aligned with Black History Month areas—vocal soloist, vocal ensemble, jazz combo, put our program on the map, as well. and traditionally a slow time for tourism in the instrumental soloist and big band—and winners “I’ve always thought there are five ingredients Pacific Northwest. For the past four years, the will be showcased at the jazz festival. for a great jazz community,” he continued. festival has included PDX Jazz Student Stage, an “The visibility that’s provided by our “Those are: a critical mass of players; venues; opportunity to showcase PSU students and others collaboration with the festival is really critical,” supportive media; a solid festival; and a first-rate from the region. Baker said. “Having participated in these educational foundation. Portland is right on the “Since Don has been at the festival, it has competitions, I can tell you that playing on the precipice of greatness.” DB

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Greg Yasinitsky conducts students at WEST Washington State University.

American River College Sacramento, California

Student Body: 40,000 total. Tuition: $46/hour. Jazz Degrees: Associate Degree in Jazz Studies. Faculty: Dr. Dyne Eifertsen, Dr. Joe Gilman, Dr. Art LaPierre. Jazz Bands: Studio Jazz Ensemble, Latin Jazz Ensemble, Jazz Combos, Vocal Jazz Ensembles. Auditions: Take place in May and December. Financial Aid: Contact (916) 484-8437. Scholarships: Contact (916) 484-8437. Apply by: August. Contact: Dr. Dyne Eifertsen, (916) 484-8676, [email protected]. Arizona State University Tempe, Arizona WSU PHOTO SERVICES

Student Body: 62,599 total, 750 students $3,155–spring semester (non-LDS). Jazz Bands: Sound Alliance, Jazz Combos, in the School of Music, Jazz Lab Band, Vocal Union. Jazz Degrees: Bachelor of Music in Jazz Studies, 40 jazz studies majors. Bachelor of Music in Media Auditions: byui.edu/music/ Tuition: Undergraduate, in-state: Music, Bachelor of Music in Sound ensemble-auditions/ $10,002, out-of-state: $23,654. Recording Technology, Master of instrumental/jazz. Arts and Master of Music, areas of Jazz Degrees: Bachelor of Music in Jazz Financial Aid: Available. byui.edu/financial-aid. Performance, Master of Music specialty offered within each. Scholarships: Available. byui.edu/financial-aid/ in Jazz Performance. Faculty: Raymond Smith, Mark Ammons, scholarships. Faculty: Michael Kocour, Jeffery Libman, Kirsten Bromley, Jay Lawrence, Dom Moio, Dennis Monce, Allen Matthews, Ronald Brough, Apply by: byui.edu/admissions/ Bryon Ruth, Mark Sunkett. Steven Call, Jay Lawrence, Stephan what-type-of-applicant-am-i/ Lindeman, Michael Tobian. new-freshman/step-2-learn-how Alumni: Lewis Nash, Tony Malaby, Joey to-apply/application-deadlines. Sellers, Robert Washut, Allan Jazz Bands: Synthesis (big band), Jazz Chase, Ted Hogarth, Phil Strange. Ensemble, Jazz Lab Band, Jazz Contact: byui.edu/music/emphases/jazz. Legacy Dixieland Band, Salsa Jazz Bands: Concert Jazz Band, Jazz Repertory Band, Latin Jazz Band, Percussion Combo, five traditional jazz The Brubeck Institute Jazz Band and seven combos. combos, Jazz Voices, Vocal Point, Vocal Jazz Ensemble. at The University Auditions: Nov. 16, Jan. 18, Feb. 8, Feb. 22. of the Pacific Auditions: All entering students must pass a Stockton, California Financial Aid: Available. students.asu.edu/ performance audition on their financialaid. major instrument. Live auditions Scholarships: Available. Call (480) 965-5348. are held on the last Saturday of Student Body: 5. January. music.byu.edu. Apply by: Jan. 15. Tuition cost: None. Financial Aid: scholarships.byu.edu. Contact: Michael Kocour, (480) 965-5348; Jazz Degrees: Certificate. [email protected], Scholarships: scholarships.byu.edu. Faculty: Stefon Harris, Joe Gilman, music.asu.edu/jazz. Apply by: Jan. 15. Nick Fryer, Simon Rowe, Patrick Langham, Brian Kendrick. Contact: music.byu.edu. Brigham Young University Alumni: Fabian Almazon, Joe Sanders, Provo, Utah Brigham Young Justin Brown, Ben Flocks, Chad University – Idaho Lefkowitz-Brown, Chris Smith. Student Body: 34,409 total, 650 in school Rexbury, Idaho Jazz Bands: Brubeck Institute Jazz Quintet. of music, 45 in jazz and contemporary music. Auditions: Live auditions. Tuition: Undergraduate: $2,500–fall Student Body: 15,625. Financial Aid: None. semester, $1,250–spring semester Tuition cost: byui.edu/admissions/costs. Scholarships: Five fully funded (LDS), $5,000–fall semester, scholarships awarded. Jazz Degrees: Bachelor of Music in Jazz Studies. $2,500–spring semester (non- Apply by: Feb. 16. LDS); Graduate: $3,155–fall Faculty: Jay Lawrence, Bryce Mecham, semester, $1,578–spring semester Ryan Nielsen, Keith Phillips, Contact: Melissa Riley, (209) 946-3196, (LDS), $6,310–fall semester, Joshua Skinner, Mark Watkins. [email protected].

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California Institute Contact: David Roitstein, [email protected]. California State of the Arts (CalArts) University, East Bay California Jazz Hayward, California Valencia, California Conservatory Berkeley, California Student Body: 45 jazz majors. Student body: 11,450 total, 150 music majors. Tuition: Undergraduate, in-state: $6,927, Tuition: $41,700. Student Body: 60 students. out-of-state: $16,119. Jazz Degrees: Bachelor of Fine Arts, Tuition: $525/hour, full-time; Master of Fine Arts. $550/hour, part-time. Jazz degrees: Bachelor of Arts and Master of Arts in Music. Faculty: Joe LaBarbera, Larry Koonse, Jazz Degrees: Bachelor of Music in Jazz Studies. Alphonso Johnson, Darek Oles, Faculty: Dorsey Mitchell Butler III, Alan Hall, Vinny Golia, Paul Novros, John Faculty: Laurie Antonioli, Anthony Brown, Pat Klobas, Brian Pardo, Saul Fumo, Alex Iles, David Roitstein. Matt Clark, Jeff Denson, Kai Sierra-Alonso, Dann Zinn. Eckhardt, Mimi Fox, John Gove, Alumni: Ralph Alessi, Adam Benjamin, Alan Hall, Peter Horvath, Erik Alumni: Ayn Inserto, Mary Fettig, Richard Scott Colley, Ravi Coltrane, Peter Jekabson, Jeff Marrs, Frank Martin, Condit, Jeff Beal, Dann Zinn. Epstein, Michael Cain, John John Santos, Marcos Silva, Akira Jazz Bands: Jazz Orchestra, Latin Jazz Daversa, Pedro Eustache, Danny Tana, Mike Zilber. Visiting faculty: Ensemble, Jazz Standards Combo, Grissett, Barbara Gruska, Lorca Theo Bleckmann, Taylor Eigsti, Jazz Improvisation Ensemble. Hart, Willie Jones. Benny Green. Auditions: Held three times per year. Jazz Bands: Advanced small ensembles, Jazz Bands: Instrumental ensembles (jazz, Afro- emphasis on original composition csueastbay.edu/jazz. Caribbean, South American, Indian and improvisation. See CD Archive Financial Aid: and more), vocal performance. csueastbay.edu/ website for 25 years of CDs prospective/cost-and-financial-aid/ recorded at Capitol Records. Auditions: By appointment year-round. financial-aid/. Auditions: Recorded auditions only, calarts. Financial Aid: Payment plan available Scholarships: Merit-based scholarships are edu/admissions/portfolio-audition/ to qualified students. available. Contact Dr. Buddy James, music/jazz. Scholarships: Unsolicited merit- and need-based [email protected]. Financial Aid: Available. awards available on occasion. Apply by: Jan. 15. Scholarships: Apply by: June 30. Available. calarts.edu/financial-aid. Contact: Dr. Dorsey M. Butler, Director of Apply by: Priority deadline: Dec. 1. Contact: Susan Muscarella, [email protected]. Jazz Studies, (510) 885-3135.

STUDENT MUSIC GUIDE

Financial Aid: Available. csulb.edu/depts/ California State California State University, enrollment/financial_aid/. University – Fullerton Long Beach – Bob Cole Fullerton, California Scholarships: Partial and full scholarships Conservatory of Music available to jazz majors, need- and Long Beach, California merit-based. Contact Jeff Jarvis, Student Body: 34,168. Director of Jazz Studies. Tuition cost: Undergraduate, in-state: Student Body: 35,500 total, 550 music majors. Apply by: Undergraduate: Nov. 30; $2,736/semester, Tuition: Undergraduate: $6,452; graduate: March 15. out-of-state: $372/hour. Graduate: $7,718. Contact: Jeff Jarvis, Director of Jazz Jazz Degrees: Bachelor of Music with a Jazz Degrees: Bachelor of Music in Studies, (562) 985-4781, concentration in Jazz and Performance–Jazz Studies. [email protected] Commercial Studies. Faculty: Jeff Jarvis, Christine Guter, Dr. Faculty: Dr. Charles Tumlinson, Bill Cunliffe, Ray Briggs, Jimmy Emerzian, California State John Proulx, Kye Palmer, Damon Sal Lozano, Jay Mason, Eric University at Northridge Zick, Joey Sellers, TK Gardner, Marienthal, Ron Stout, Dan Northridge, California Eric Dries, Jeff Ellwood, Ron Fornero, Bob McChesney, Mike Escheté, Luther Hughes, Paul Higgins, Ron Eschete, Andy Kreibich, Charles Sharp. Langham, Bruce Lett, Randy Student Body: 70 Jazz Bands: Fullerton Jazz Orchestra, Fullerton Drake, Nick Mancini. Tuition: csun.edu/stufin/tuition. Big Band, Latin Ensemble, Art Rock Jazz Bands: Concert Jazz Orchestra, Studio Jazz Degrees: Undergraduate performance. Ensemble, Jazz Small Groups and Jazz Band, Jazz Lab Band, Pacific Faculty: Gary Pratt, Matt Harris, Bob the Jazz Singers. Standard Time (vocal), Jazz & McChesney, Rob Lockart, Wayne Tonic (vocal), multiple combos. Auditions: Scholarship and regular auditions Bergeron, Katisse Buckingham, are scheduled in the spring. Visit Alumni: John Patitucci, Mark Turner, Larry Koonse, John Pisano, fullerton.edu/arts/music/music_ Tom Kubis, Richard and Karen Darek Oles, Josh Nelson, Dick prospstudents.html#admissions. Carpenter, Chad Wackerman, Weller, Gregg Bissonette, Financial Aid: fullerton.edu/financialaid/. Andy Martin, Luther Hughes, Gene Coy. Vince Johnson, Stan Martin, Alumni: Gordon Goodwin, George Stone, Scholarships: fullerton.edu/financialaid/scholar/ Bill Liston, Jay Mason, Sal Lozano, Grant Geissman scholarships.default.htm. Basil Poledouris, Jay Anderson, Apply by: November. Jeff Kashiwa. Jazz Bands: Four big bands, 12 combos. Contact: Chuck Tumlinson, Auditions: csulb.edu/depts/music/jazz/ Auditions: csunjazz.com. (657) 278-5523; fullerton.edu. auditions.html. Financial Aid: Available.

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Scholarships: Available. Cornish College of the Arts Apply by: Nov. 30. Seattle, Washington Contact: Matt Harris or Gary Pratt, [email protected], Student Body: 120 enrolled in music program. [email protected]. Tuition: $35,400. California State Jazz Degrees: Bachelor of Music in Jazz University at Los Angeles Instrumental, Jazz Vocal Los Angeles, California or Jazz Composition. Faculty: Jovino Santos Neto, Chuck Deardorf, James Knapp, Tom Student Body: 30 undergraduate jazz majors. Varner, Randy Halberstadt, Tuition: web.calstatela.edu/univ/ Johnaye Kendrick, Wayne Horvitz, finaid/COA.php. Eyvind Kang, Jay Thomas. Faculty: Jeffrey Benedict, Paul DeCastro, Alumni: Myra Melford, Dawn Clement, James Ford. Briggan Krauss, Brad Shepik, Jazz Degrees: Bachelor of Arts, Bachelor of Music: Reggie Watts. Jazz Studies, Master of Music Jazz Bands: Jazz Composers Ensemble, with general concentrations in Contemporary Big Band, Latin commercial music, composition Jazz, Tango, Blues, Vocal Jazz and and conducting. other jazz ensembles. Jazz Bands: Jazz Ensemble, Afro Latin Auditions: Online pre-screening Ensemble, Jazz Combos, Vocal submission, cornish.edu/ Jazz Ensemble. admission/review/music. Auditions: calstatela.edu/academic/ Financial Aid: Available. [email protected]. musictheatredance/audition.php, (323)-343-4060. DVDs/CDs Scholarships: Available. [email protected]. acceptable. Apply by: Jan. 1 prescreening submission Financial Aid: calstatela.edu/univ/finaid/. deadline. Merit scholarship auditions: Feb. 28–March 1. Scholarships: Need or merit-based. web. calstatela.edu/univ/ Contact: (800) 726-2787, finaid/Application. [email protected]. Deadline: calstatela.edu/student/ prospect.htm. Eastern Washington Contact: Dr. James Ford, jford@calstatela. University edu, (323) 343-4081; or Dr. Jeffrey Cheney, Washington Benedict, [email protected], (323) 343-4099. Student Body: 12,791 total. Tuition: Undergraduate, California State University in-state: $7,961, WUE: $11,334, at Sacramento out-of-state: $19,931; Graduate: Sacramento, California $9,696 (waivers and stipends are available).

Student Body: 250 music majors, 35 jazz majors. Jazz Degrees: Bachelor of Arts, Bachelor of Art Education, Bachelor of Music Tuition: $3,301 undergraduate; and Certificate in Jazz and $3,934 graduate. Commercial Music, Master of Arts Jazz Degrees: Bachelor of Music Jazz in Jazz Pedagogy. Studies, Master of Music Jazz Faculty: Mellad Abeid, Phillip Doyle, Studies Emphasis. Jenny Kellogg, Scott Steed. Faculty: Dr. Steve Roach, Dr. Joe Gilman, Alumni: Frank DeMiero, Jon Hamar. Dr. Dan Jonas, Mike McMullen, Phil Tulga, Rick Lotter, Gerry Jazz Bands: Three Jazz bands Pineda, Gaw Vang, Steve Homan. and three combos. Alumni: Steve Turre, Bobby McFerrin. Auditions: Call to schedule an audition or attend open house auditions, Jazz Bands: Two big bands, Latin jazz which usually take place in ensemble, two vocal jazz January. Visit ewu.edu/ ensembles, several jazz combos. cale/programs/music/prospective- Auditions: csus.edu/music/jazz. student-information.xml. Financial Aid: Available. Contact Mark Allen, Financial Aid: ewu.edu/admissions/ [email protected]. financial-aid.xml. Scholarships: Available. Contact Steve Roach; Scholarships: Honors and merit-based [email protected]. scholarships available based on auditions. Apply by: November. Apply by: Mid-February. Contact: Steve Roach, Director of Jazz Studies, [email protected]. Contact: Colleen Hegney, (509) 359-2241, [email protected]; ewu.edu/cale/programs/music.xml.

154 DOWNBEAT OCTOBER 2014 Fullerton College Fullerton, California

Student Body: 22,562 total. Tuition: Undergraduate, in-state: $1,084, out-of-state: $6,409. Jazz Degrees: None. Jazz Bands: Jazz band, jazz combo, jazz guitar ensemble, alternative jazz lab ensemble. Financial Aid: financialaid.fullcoll.edu. Scholarships: fullcollfoundation.org. Apply by: fullcoll.edu. Contact: (714) 992-7000. Portland State University Portland, Oregon

Student Body: 50–60 Jazz students. Tuition: Undergrad, in-state: $6,483, undergrad, out-of-state: $18,723; Graduate, in-state: $10,470, out-of-state: $15,654. Jazz Degrees: Bachelor of Music, Bachelor of Art, Bachelor of Science, Master of Music, Master of Art, Jazz Studies Minor, The SHED Summer Jazz Camp (in July). Faculty: George Colligan, Darrell Grant, Charley Gray, Jeff Baker. Jazz Bands: Big Band, Multiple Combos, Guitar Heroes, Latin Jazz Ensemble. Auditions: pdx.edu/the-arts/sites/www. pdx.edu.the-arts/files/Jazz%20 Audition%20Requirements.pdf. Financial Aid: Available. pdx.edu/finaid/home. Scholarships: Need- and merit-based available. Tuition discount for out-of-state students. Contact for details. Apply by: Dec. 1. Contact: George Colligan, (646) 620-8286, [email protected]. Saddleback College Mission Viejo, California

Student Body: 24,793 total. Tuition: Two-year state school, approximately $40/credit. Jazz Degrees: Music Associate Degree Program, Applied Jazz Program. Faculty: Joey Sellers, Ron Stout, Jerry Pinter, Jamie Rosenn, Luther Hughes, Paul Johnson. Our students have transferred to Eastman, the New School, NYU, USC and other state schools. Alumni: Paul Carman, Ron Stout, Steve Crum, Matt Heath, Lauren Baba, Craig Cammell. Jazz Bands: Big Band, Jazz Lab Ensemble, combos. Auditions: First week of each semester. Contact jsellers@ saddleback.edu. STUDENT MUSIC GUIDE

Bob Mintzer (right) directing an ensemble at the University of Southern California

Financial aid: Available for California residents. Scholarships: Contact Shirley Gutierrez, the panel if the students receives [email protected], a scholarship. Scholarships: saddleback.edu/fao/ (619) 594-6032. scholarship-information. Apply by: Nov 30. Visit musicdance. Apply by: Nov. 30. sfsu.edu for the department Apply by: Oct. 1–Nov. 30. application deadline. Contact: Bill Yeager, [email protected], Contact: Joey Sellers, (949) 582-4629, [email protected]. (619) 594-4680. Contact: School of Music and Dance, (415) 338-1431, [email protected], musicdance.sfsu.edu. San Diego State University San Francisco State San Diego, California University San Francisco, California San Jose State University San Jose, California Student Body: 32,000 total. Student Body: 29,514 total, 300 music students. Tuition: Undergraduate, in-state: $6,866, Student Body: 30,000 total, approximately out-of-state: $17,738. Tuition: $24,206. Cost includes housing 450 music majors. and fees. Jazz Degrees: Bachelor of Music in Jazz Studies, Tuition: Undergraduate, in-state: $5,472, Master of Music in Jazz Studies, Jazz Degrees: Bachelor of Arts, Bachelor of Music. out-of-state: $17,130. Artist Diploma, Jazz Minor. Faculty: 50 faculty members. Jazz Degrees: Bachelor of Music in Jazz Studies, Faculty: Bill Yeager, Jazz Ensembles, Rick Jazz Bands: Big Band, Jazz Combo, Master of Arts in Jazz Studies. Helzer, Theory, Combos, Richard Vocal Jazz, Improvisation. Thompson, Jazz History, Bob Faculty: Dr. Aaron Lington, Jeff Lewis, Magnusson, Bob Boss, John Auditions: Must be admitted to the University Scott Whitfield, Dahveed Rekevics, Mike Holguin, Derek first. Students may audition before Behroozi, Rick Vandivier, John Cannon, Scott Kyle. the student receives a notice by the Shifflett, Jason Lewis. University if you have been Alumni: Matt Finders, Hristo Vitchev, Alumni: Joshua White, Danny Green, accepted. After the student Ed Neumeister, Jeff Cressman. Derek Cannon, Scott Kyle, Bill submits their University MacPherson, Anthony Smith, Application, they must fill out a Jazz Bands: Two jazz bands, Latin Paul Nowell, Dan Reagan. department application for their jazz band, combos. Jazz Bands: Two big bands, five combos. audition. Auditions do not Auditions: Contact Aaron Lington regarding determine if student has been jazz studies auditions, aaron. Auditions: Held every February, details accepted to the University. at jazz.sdsu.edu. [email protected]. Financial Aid: (415) 338-7000, [email protected]. Financial Aid: Financial aid available through Financial Aid: Contact Shirley Gutierrez, [email protected], Scholarships: Available. The first two out of three the SJSU Financial Aid office, (619) 594-6032. audition dates are determined by [email protected].

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Scholarships: General SJSU scholarships contact, Faculty: Fred Berry, Jim Nadel, Murray Low. [email protected]; for SJSU Music Jazz Bands: Stanford Jazz Orchestra, Scholarships, contact Scott Pierson, Stanford Afro Latin Jazz Ensemble, [email protected]. jazz combo program. Apply by: Nov. 30. Auditions: No auditions required for Contact: Dr. Aaron Lington, (408) 924-4636, admission, but applicants can [email protected]. submit an optional recorded audition through the arts Santa Rosa Junior College supplement as part of the Santa Rosa, California common application. Ensemble and lesson auditions happen during the first week of Autumn Student Body: 30,000 total. quarter. music.stanford.edu, admission.stanford.edu. Tuition: $46 per hour. Financial Aid: No tuition-based financial aid is Jazz Degrees: Associate of Arts in Jazz Studies. available through the Department Jazz Bands: Two big bands, three combos. of Music. All financial aid questions Faculty: Mark Anderman, Jody should go to the University Benecke, Rudolf Budginas, Financial Aid Office, stanford. Bennett Friedman. edu/dept/finaid. Alumni: David Balakrishnan, Jeff Carney, Scholarships: The Department of Music offers Eric Crystal, Rob Sudduth. partial and full lesson scholarships through the Friends of Music donor Auditions: Beginning of semester. organization for students enrolled Financial Aid: (707) 527-4471; in private lessons. No tuition-based Fax: (707) 527-4499. aid is available. Scholarships: $28,600, available in music Apply by: Oct. 15 (early action with arts scholarships by audition. Contact supplement), Nov. 1 (early action Jody Benecke, Scholarship Chair, with no arts supplement), Dec. 1 [email protected]. (regular decision with arts supplement), Jan. 1 (regular Apply by: Aug. 17. decision with no arts supplement). Contact: Bennett Friedman, Director Contact: Elise Fujimoto, Undergrad of Jazz Studies, bfriedman@ Student Services Officer, santarosa.edu, (707) 527-4255. (650) 725-1932, [email protected]. Sonoma State University Rohnert Park, California University of California – Los Angeles, Herb Alpert School Student Body: 2,000 total. of Music/Thelonious Monk Tuition: Undergraduate, in-state: $7,100, Institute of Jazz out-of-state: $18,394. Los Angeles, California Jazz Degrees: Bachelor of Music in Jazz Studies, minor in Jazz Studies. Student Body: 85 undergraduate Faculty: Doug Leibinger, Dave Scott, Kasey Ethnomusicology majors, Knudsen, Randy Vincent, Ken 40 undergraduate students Cook, Cliff Hugo, George Marsh, in Jazz Studies. Kendrick Freeman. Tuition cost: $13,200. Alumni: Liberty Ellman, Adam Theis, Elliot Faculty: Kenny Burrell, Clayton Cameron, Humberto Kavee, Tyler Blanton. Justo Almario, George Bohanon, Jazz Bands: Jazz Orchestra, Latin Band, Charley Harrison, Tamir Contemporary Jazz Ensemble, Hendelman, Cheryl Keyes, Wolf Jazz Standards Ensemble, etc. Marshall, Eddie Meadows, Roberto Miranda, Barbara Morrison, James Auditions: sonoma.edu/music/. Newton, Charles Owens, Ruth Aid: sonoma.edu/finaid/. Price, Bobby Rodriguez, NEW!FALL/WINTER FESTIVAL GUIDE Scholarships: sonoma.edu/music/. Michele Weir. Apply by: November. Jazz Degrees: Bachelor of Arts in

DRUM SCHOOL Ethnomusicology–Jazz Studies É Contact: Doug Leibinger, Douglas. Concentration, Performance and [email protected]. Composition, Master of Music in Jazz via Thelonious Monk Stanford University Institute of Jazz. Stanford, California Jazz Bands: Jazz Orchestra, Latin Jazz Big

NOVEMBER 2013 U.K. £3.50 Band, Contemporary Jazz

CHIEF MESSENGER DOWNBEAT.COM Orchestra, Jazz Fusion Ensemble, Student Body: 6,980 undergraduates, 500 music students, 50 music majors. Combo I (vocal, directed by Michele Weir); Combo II Tuition: Undergraduate: $41,250. (instrumental, directed by Kenny Jazz Degrees: Bachelor of Arts in Music Burrell), Combo III (instrumental, degree–jazz focus. directed by Kenny Burrell); Combo

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IV (instrumental, directed by Tuition: In-state: $6,768, Charles Owens), Combo V out-of-state: $20,891. (instrumental, directed by Clayton Jazz Degrees: Bachelor of Science in Cameron), Combo VI (jazz fusion, Performance. directed by George Bohanon), Combo VII (instrumental, directed Faculty: Paul Musso, Peter Stoltzman, by Charley Harrison). Judith Coe, Gregory Walker, Pete Ellingson, Greg Garrison, Alumni: Gretchen Parlato, Nick Drew Morell, Todd Reid, Leslie DePinna, Hitomi Oba, Soich, Carmen Sandim, Eric Keschia Potter. Staffeldt, Erin Hackel, Owen Kortz, ethnomusic.ucla.edu/ Doug Krause. alumni-where-are-they- now-undergraduate. Alumni: Isaac Slade, Jeanie Schroder, Andy Guerrero, Brian Joseph, Auditions: Auditions are required. Students Derek Vanderhorst. must submit a general application to UCLA, along with a department Jazz Bands: Jazz Combo Ensemble, supplement. More information at Claim Jumpers Ensemble. arts.ucla.edu/ethno. Auditions: All students applying to the Financial Aid: Available. fao.ucla.edu/. Performance Emphasis, Singer/ Songwriter Emphasis, Music Scholarships: Available. Department reviews for Business Emphasis, Audition Track, merit-based scholarships during or the Recording Arts Emphasis, auditions. For all other scholarships: Audition Track, must upload a pre- fao.ucla.edu/. screening audition video through Apply by: Nov. 30. the website. Students must upload their video no later than March Contact: Laura Young, (310) 825.8981, [email protected]. For 2015 for Fall 2015 consideration. the Monk Institute, visit Financial Aid: (303) 556-2400. monkinstitute.org. Scholarships: One-time audition based scholarships for entering freshman University of as based upon availability. Colorado at Boulder Apply by: Application period opens up Boulder, Colorado from October 2014–April 2015. Contact: Megan Sforzini, (303) 352-3833, Student Body: 600 music students, [email protected]. 35 jazz students. Tuition cost: Undergraduate, in-state: $25,581, University of Denver, out-of-state: $47,943, international: Lamont School of Music $53,231. Includes housing and fees. Denver, Colorado Faculty: Dr. John Gunther, Brad Goode, Paul McKee, Dr. John Davis, Paul Student body: 11,656 total. Romaine, Bijoux Barbosa, Jeff Jenkins, Dave Corbus. Tuition: $40,000. Jazz Degrees: Bachelor of Music in Jazz Jazz Degrees: Bachelor of Music in Jazz Studies Performance, Master of Music and Commercial Music, Master in Jazz Pedagogy & Performance; of Music in Performance with DMA Jazz Studies. an emphasis in jazz, Master of Music in Composition with an Jazz Bands: Three big bands, eight combos, emphasis in jazz. Electronic Music Ensemble. Faculty: Lynn Baker, Steve Wiest, Art Alumni: Tia Fuller, Damani Phillips, Bouton, Al Hood, Eric Gunnison, Josh Quinlan. Alan Joseph, Ken Walker, Mike Auditions: Auditions on campus first three Marlier, Donna Wickham, Tom Ball. Saturdays of February. Recordings Alumni: Rudy Royston, Shamie Royston, also accepted. Pre-screening for Ron Miles, Nate Wooley, Ramon undergraduate guitarists and all Ricker, Marc Sabatella, James graduate applicants. Farrell Vernon. Financial Aid: colorado.edu/finaid/. Jazz Bands: Lamont Jazz Orchestra, Lamont Scholarships: Scholarship and teaching Jazz Ensemble (Al Hood), FLEX assistantships available. Ensemble (Steve Wiest), Hard Bop Combo, Latin Combo, Modal Apply by: Dec. 1. Combo, Standards Combo, Fusion Contact: Dr. John Gunther, Combo, Bebop Combo, Vocal thompsonjazzstudies Rep. Combo I, Vocal Rep. Combo @colorado.edu. II, Vocal Jazz Combo, Contempoary Combo, Album Combo, University of Commercial Music Combo. Colorado at Denver Auditions: Pre-screening audition required, Denver, Colorado for details, consult du.edu/ ahss/schools/lamont/admissions/ auditionreqs/jazz.html. Student Body: 450 students.

160 DOWNBEAT OCTOBER 2014 A University of Montana student performs at the 2014 Buddy DeFranco fest.

Jazz Degrees: Bachelor of Art in Instrumental Jazz Studies. Faculty: Johan Eriksson, Rob Tapper, Jim Smart, Bob LedBetter. Alumni: Dee Daniels, Gary Herbig, Eden Atwood, Clipper Anderson. Jazz Bands: Jazz Ensemble I, Jazz Band II, Lab Jazz Band III & Jazz Workshop IV (big bands), seven small groups. Auditions: Auditions in November, January and February plus by appointment. Financial Aid: Contact Dr. James Smart, james. [email protected], or Rob Tapper, robert.tapper@ umontana.edu. Scholarships: Need- and merit-based available. Contact Dr. James Smart, james. [email protected]. Apply by: March 1. Contact: Rob Tapper, robert.tapper@ umontana.edu, (406) 243-6880. University of Nevada, Las Vegas Las Vegas, Nevada

Student Body: 60 jazz studies students. Tuition cost: Undergraduate, in-state: $3,600/ semester. BRET TATE Jazz Degrees: Bachelor of Music in Jazz

Financial Aid: Available, consult du.edu/ahss/schools/lamont/admissions/ schlp-finaid/general-finaid.html. Scholarships: Available, consult du.edu/ahss/schools/lamont/admissions/ schlp-finaid/general-finaid.html. Apply by: January 2015. Contact: Lynn Baker, [email protected]. University of Idaho, Lionel Hampton School of Music Moscow, Idaho

Student Body: 250 music majors. Tuition: In-state: $6,500, out-of-state: $19,600. Jazz Degrees: Jazz Emphasis attached to Performance, Composition, Music Education degrees. Faculty: Vern Sielert, Vanessa Sielert, Alan Gemberling, Dan Bukvich, Spencer Martin, Dave Bjur, Jon Anderson. Alumni: Pat Shook, Jenny Kellogg, Chad McCullough, Joe Covill, Dan Bukvich, Alan Gemberling, Gary Gemberling, Ed Littlefield, Vanessa Sielert. Jazz Bands: Four big bands, several combos, two jazz choirs. Auditions: Live audition preferred, taped auditions accepted. Financial Aid: uidaho.edu/financialaid. Scholarships: Merit-based scholarships available. Apply by: Scholarship priority deadline Feb. 15. Contact: Vern Sielert, [email protected], (208) 885-4955. University of Montana Missoula, Montana

Student Body: 15,000 total, 85 jazz students. Tuition: Undergraduate, in-state: $6,276, out-of-state: $22,470.

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Instrumental, Jazz Vocal Western Undergraduate Exchange final application deadline. Performance or Jazz Composition; (students from AK, AZ, CA, CO, HI, ID, Contact: Peter Epstein, [email protected], Master of Music in Jazz MT, NM, ND, OR, SD, UT, WY and the (775) 784-1501. Instrumental, Jazz Vocal Commonwealth of the Northern Performance or Jazz Composition. Mariana Islands pay 150 percent of resident tuition). University of Alumni: Dennis MacKrel, Mike Eckroth, Walfredo Reyes Jr. Jazz Degrees: Undergraduate jazz performance, Northern Colorado Graduate jazz performance. Greeley, Colorado Faculty: Dave Loeb, Tom Warrington, Nathan Tanouye, Uli Geissendoerfer, Faculty: Peter Epstein, Adam Benjamin, Alex Clements, Wayne De Silva, Gil Larry Engstrom, Hans Halt, Student Body: 500 music majors, 55 jazz majors. Kaupp, John Abraham, Jobelle Yonely. Andrew Heglund, Ed Corey. Tuition: Undergraduate, in-state: $7,500, Jazz Bands: Three Jazz Ensembles, Latin Jazz Jazz Bands: Two large ensembles, out-of-state: $17,000; Master’s in- Ensemble, Contemporary Jazz 6–8 small ensembles. state: $9,500, out-of-state: $19,000; Ensemble, Vocal Jazz Ensemble, Doctoral, in-state: $10,500, Alumni: Brian Landrus, Sam Minaie, Warren out-of-state: $21,000. 10 combos. Walker, Chris Clark. Auditions: Contact Dave Loeb, Jazz Degrees: Bachelor of Music, Jazz Emphasis; Jazz Bands: Jazz Lab Band I, jazz student combos. [email protected]. Bachelor of Music, Business Auditions: The audition process is flexible. (Jazz Track); Master of Music, Financial Aid: unlv.edu. We want to hear student musicians Jazz Studies (Composition or Scholarships: Available. play material that they feel best Performance); Doctorate of Arts, represents their current level of Apply by: Feb. 1. Jazz Studies performance. This can be a mix of Faculty: Dana Landry, Steve Kovalcheck, Contact: Dave Loeb, (702) 895-3739, standards, original compositions Erik Applegate, Jim White, John [email protected]. and/or audio or video of Adler, Andy Dahlke, Gray Barrier, performances in big bands. Live Nat Wickham, Kerry Marsh, Amy auditions are held in Reno and Las University of Nevada, Reno Murphy, David Caffey. Reno, Nevada Vegas (check unrjazz.org for dates). Remote auditions are accepted Alumni: Bob Washut, Bill Frisell, Steve electronically via CD, Dropbox, Owen, Dan Gailey. Student Body: 25 undergraduate, 10 graduate. YouTube, Skype, etc. Jazz Bands: Five Big Bands, Jazz Lab Band I, Tuition: Undergraduate, in-state: $191.50/ Financial aid: unr.edu/financial-aid. Jazz Lab Band II, Jazz Lab Band hour; Graduate, in-state: $264/hour, III, Jazz Lab Band IV, Jazz Lab Band Scholarships: Need- and merit-based available. out-of-state fee: $6,995. University of V; Vanguard Combo, Birdland Nevada, Reno also participates in the Apply by: Feb. 1 for scholarship priority; July 1 Combo, Smoke Combo, Green Mill Combo, Blue Note Combo, Blue Room Combo, Knitting Factory Combo, Yoshi’s Combo, Guitar Ensemble, Trombone Ensemble. Auditions: arts.unco.edu/OR unco.edu/ arts/music/forms/default.html. Financial Aid: (970) 351-2502, unco.edu/ofa. Scholarships: Merit- or talent-based available. UNC Foundation or UNC Universal Scholarship Application. Talent- based contact the Music Office, (970) 351-2679. unco.edu/ofa/ scholarships/. Apply by: No deadline, preferred by March 1. Contact: Kelsey Shiba, jazzstudies@unco. edu; (970) 351-2577. uncjazz.com. University of Oregon Eugene, Oregon

Student Body: 24,548 total, approximately 75 music students. Tuition: Undergraduate, in-state: $9,918 (15 hours), out-of-state: $30,888 (15 hours); Graduate (Master’s/ Doctoral), in-state: $512/hour, out-of-state: $853/hour. Jazz Degrees: Bachelor of Music in Jazz Studies, Master of Music in Jazz Studies– Composition, Master of Music in Jazz Studies–Performance, Doctorate of Musical Arts Supporting Area in Jazz Studies. Jazz Bands: Oregon Jazz Ensemble, Jazz Lab Bands II and III, Jazz Combos I–XIII, Jazz and Studio Guitar Ensemble, Latin Jazz Ensemble. Faculty: Steve Owen, Tyler Abbott, Mike Denny, Gary Hobbs, Toby Koenigsberg, Don Latarski, Brian McWhorter, Idit Shner, Carl Woideck. Auditions: Undergraduates: Visit music. uoregon.edu for specific audition requirements, dates and procedures. Live auditions are preferred, but recorded auditions are acceptable for all instruments except drums. Graduates: Preliminary screening audition (recorded) and standard live audition required. Visit music.uoregon.edu for specific audition requirements, dates and procedures. Apply by: Undergraduate, Jan. 15; Graduate, Dec. 10. Financial Aid: Available. financialaid. uoregon.edu. Scholarships: A number of full-tuition waiver Graduate Teaching Fellowships (GTFs) are awarded each year in Jazz Studies (as well as other music disciplines) to top graduate applicants. In addition to academic scholarships available through the university, School of Music and Dance scholarships are awarded each year to both undergraduate and graduate

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students based upon their musical Tuition: $40,822. and a prepared piece. abilities in both the classical and Jazz Degrees: Bachelor of Arts in Jazz Studies. Financial Aid: Available. Over 87 percent of all jazz areas. You must be a students receive financial aid. Faculty: Patrick Langham, Gerry Pineda, music major to be eligible for one Contact Jennifer Goodwin, (209) of these scholarships. Brian Kendrick, Joe Gilman, Jamie Dubberly, Nick Fryer. 946-2418 or [email protected]. Contact: School of Music and Dance Scholarships: Merit- and need-based available. Admissions Office, (541) 346-5268, Alumni: Dave Brubeck. Apply by: Feb. 13. [email protected]. Jazz Bands: Big band and combos. Contact: Patrick Langham, (209) 946-3222, Auditions: Auditions include performance University of the Pacific with current jazz students in [email protected]. Stockton, California the program. Material performed includes improvisation on University of Southern standards, sight-reading, scales Student Body: 15. California, Thornton School of Music Los Angeles, California

Student Body: 1,000 total, 72 jazz undergraduate students, 36 jazz graduate students. Tuition: Undergraduate, approximately $46,000; Master’s and Doctoral, approximately $25,000; Graduate, approximately $12,500. Faculty: Alphonso Johnson, Edwin Livingston, Darek “Oles” Oleszkiewicz, John Fumo, Jason Goldman, Vince Mendoza, Bob Mintzer, Jacques Voyemant, Thom Mason, Ndugu Chancler, Peter Erskine, Roy McCurdy, Aaron Serfaty, David Arnay, Russell Ferrante, Alan Pasqua, Otmaro Ruiz, Jason Goldman, Bob Mintzer, Bob Sheppard, Andy Martin, Jacques Voyemant, Bill Watrous, Ambrose Akinmusire, Gilbert Castellanos, John Fumo, Ron McCurdy, John Thomas, Sara Gazarek, Kathleen Grace, Adam del Monte, Bruce Forman, Pat Kelley, Timothy Kobza, Frank Potenza, Richard Smith, Nick Stoubis, Steve Trovato, Carl Verheye. Jazz Degrees: Bachelor of Arts, Bachelor of Music, Master of Music, Graduate Certificate, Doctor of Musical Arts. Jazz Bands: Thornton Jazz Orchestra, Concert Jazz Orchestra, (ALAJE) Afro-Latin American Jazz Ensemble-Music, Aaron Serfaty, Honors Combo, CreSCendo (vocal jazz choir). Alumni: Erik Hughes, Jacob Kraft, John Daversa, Vikram Devasthali, Greg Johnson, Colin Cook, Moonchild Max Bryk, Andris Mattson, Amber Navran, Jake Reed, Sam Brawner, Ambrose Akinmusire, Gerald Clayton, Eldar Djangirov, Taylor Eigsti, Tigran Hamasyan, Erik Hughes, Drake Smith, Dan Weidlein, David Benoit, Robert Schaer, Dan Schnelle, Matt Slocum, Jamie Tate. Auditions: Jan. 24. Financial Aid: Need-based available. (213) 740-1111. Scholarships: All applicants that apply by Dec. 1 deadline will automatically be considered for both academic- and merit-based scholarships. Apply by: Dec. 1. Contact: USC Thornton Office of Admission, Admission Office, (213) 740-8986, [email protected], (213) 740-3119. University of Utah Salt Lake City, Utah

Student Body: 31,000 students, 425 music majors, 40 jazz majors. Tuition: Undergraduate, in-state: $24,996, out-of-state: $42,328. Cost includes fees and housing. Jazz Degrees: Bachelor of Music in Jazz Performance, Bachelor of Music in Jazz Composition, Master of Music in Jazz Studies. Faculty: Donn Schaefer, Donson Angulo, Tully Cathey, Randal Clark, Brian Booth, David Halliday, Keven Johansen, Stephen Keen, Reed LeCheminant, Geoffrey Miller, Melanie Shore, Patrick Terry, Dan Waldis, Kelly Wallis. Alumni: Jeff Campbell, Dave Chisholm, Matt Flinner, Christoph Luty. Jazz Bands: Two big bands, six to eight combos, two jazz guitar ensembles. Auditions: Held in January and February. DVD submissions also acceptable. Financial Aid: Available. financialaid.utah.edu. Scholarships: Available. music.utah.edu/admissions/scholarships.php. Apply by: Dec 1., primary consideration, applications accepted through April 1. Contact: Russell Schmidt, Director of Jazz Studies, (801) 581-7366, [email protected], music.utah.edu. University of Washington Seattle, Washington

Student Body: Approximately 49,000 total students (combined undergraduate and graduate), 260 music students (128 undergraduates, 132 graduate students). Tuition: Undergraduate, in-state: $12,396, out-of-state: $33,516, Graduate, in-state: $16,296; out-of-state: $28,344. Jazz Degrees: Bachelor of Music in Jazz Studies; Master of Music in Jazz Studies and Improvised Music. Faculty: Cuong Vu, Luke Bergman, Tom Collier, Bill Frisell, Ted Poor, Marc Seales, Huck Hodge, Richard Karpen, Fred Radke, Greg Sinibaldi. Alumni: Aaron Parks, Thomas Marriott, Mike Cabe, Mark Taylor, Victor Lin, Neil Welch, Luke Bergman. Jazz Bands: Small ensembles, Modern Band, Big Band, Improvised Music Project. Auditions: Live auditions for new students occur in January and February for autumn term admission. Admission is competitive. music.washington.edu/audition-dates. Financial Aid: washington.edu/students/osfa/. Scholarships: Merit-based scholarships and assistantships available. Apply by: Undergraduate: Dec. 1.; Transfer and Postback: Feb. 15; Graduate: Dec. 15.; International Graduate: Nov. 1. Contact: Julia Tobiska, (206) 685-9872, [email protected] Utah State University Logan, Utah

Student Body: 25,000 total. Tuition: Undergraduate, in-state, $3,191.67; out-of-state: $9,245.09; Graduate, in-state: $3,682.47; out-of-state: $11,726.45. Cost includes fees. Jazz Degrees: Bachelor of Art with Specialization in Jazz, Bachelor of Art with Specialization in Commercial Music, Bachelor of Music in Music Performance.

OCTOBER 2014 DOWNBEAT 165 Machado Mijiga of Washington State University

Portland State University student Corey Kintzi

WSU PHOTO SERVICES Belmont University Jazz Band BELMONT UNIVERSITY

Faculty: Jon Gudmundson, Greg Wheeler, edu. If you need assistance, contact in Performance, Jazz Emphasis. Max Matzen, Todd Fallis, Kevin [email protected]. Master of Arts in Music, Jazz Studies. Jazz Minor. Olson, Kate Skinner, Corey Financial Aid: Available. usu.edu/finaid/. Christiansen, Josh Skinner, Faculty: Dr. Greg Yasinitsky, Dave Scholarships: Available. For music scholarship Jason Nicholson, Larry Smith. Hagelganz, Dave Turnbull, Dr. information, contact the faculty Alumni: Corey Christiansen, Lynn Skinner, Dean Luethi, Brad Ard, Brian Ward, member for your instrument. Larry Smith, John Skinner, Dave Snider, Dave Jarvis. Sean Halley, Jesse Schafer. Apply by: Dec. 1 for priority Alumni: Horace-Alexander Young, Gary Jazz Bands: USU Jazz Orchestra and USU scholarship consideration. Wittner, Brent Jensen, Brent Edstrom, Rob Tapper. Jazz Ensemble, several combos, Contact: Jon Gudmundson, Electric Guitar Ensemble. (435) 797-3003, jon. Jazz Bands: Big Band I, Big Band II, Auditions: On-campus auditions are Nov. [email protected]. VoJazz Ensemble, combos. 8, Jan. 31, Feb. 14. Video auditions Auditions: Jan. 25. libarts.wsu.edu/ are acceptable for cases in which Washington State University music/audition/. travel is an issue. Schedule Pullman, Washington Financial Aid: Documents due May 15. an audition online at music.usu. finaid.wsu.edu/. edu/futureStudents/ scheduleAudition.cfm. Contact Student Body: 19,446 total. Scholarships: Merit- and need-based available. (509) 335-3898, [email protected]. the appropriate applied jazz faculty Tuition: Undergraduate, in-state: $5,698, for your instrument for further out-of-state: $12,239; Graduate, Apply by: Jan. 31. in-state: $5,873, out-of-state: details, or see music.usu.edu/ Contact: Brian Ward, Coordinator of futureStudents/. All faculty emails $12,589. Jazz Studies, (509) 335-7934, are firstname.lastname@usu. Jazz Degrees: Bachelor of Music [email protected].

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STUDENT MUSIC GUIDE CAREERSBy James Hale OFF THE BANDSTAND

omething to fall back on.” Those five words are spoken at one time or another in many households occupied by a high school senior who has enough talent to consider earning a music degree. “S Faced with a child determined to earn a degree in music, it is in every parent’s DNA to suggest a more “practical” alternative and utter those five words. “It’s a really common thing to suggest that studying anything but music would give your kid a safety net, even if they have their heart set on being a musician,” said Jody Espina, president of JodyJazz, the Savannah, Georgia-based saxophone mouth- piece manufacturer. Espina was one of those single-minded kids with nothing but performing on his mind before he headed to the University of South Florida and then on to the Berklee College of Music in the early 1980s. “It was all about playing for me. I knew I didn’t want to be a band director, but I was open to anything else.”

168 DOWNBEAT OCTOBER 2014 Michael Skinner of DANSR Jody Espina of JodyJazz Nick Phillips of Concord Music Group JAMES KORN CAPRIECE BATCHELOR

After graduation, with nothing immediate on be a great trumpeter, you had to act like a great playing took over. We had a lot of opportunities the horizon in the States, Espina bought a trumpeter,” Love said. “I worked hard to get to for performance, and my music fraternity European rail pass and wound up in Barcelona, where I was, but I realized that I didn’t have the recorded using the facilities of the campus radio Spain, where he launched a teaching career natural gifts; it was always going to be hard work station. Music consumed me, and all the things I that would carry him through the following for me, and I was getting frustrated.” pursued at college added up to me getting hired by two decades. Along the way, he met renowned For Michael Skinner, president of DANSR Carl Jefferson [of Concord].” mouthpiece maker Santy Runyon, adopted him Inc.—the distributor of products by Vandoren Although he started off doing clerical work, as a mentor and launched JodyJazz in 2000. Five (woodwind accessories), Denis Wick (brass within a year Jefferson offered him the opportunity years of 18-hour workdays later, his company was mouthpieces) and other manufacturers—the to work as assistant producer on Carmen McRae’s successful enough that he could leave academia instrument was different, but the story was the Fine And Mellow: Live At Birdland West. From behind. He resigned his position as director of same. A saxophonist, Skinner taught music in there, he moved into producing a series of live solo the jazz department at the Hoff-Barthelson Music the public school system after getting a music piano recordings from the Maybeck Studio for the School in Scarsdale, New York, and devoted education degree from Berklee on the GI Bill, Performing Arts in Berkeley, California. himself full time to his burgeoning company. and then earned a master’s degree in composition “Everything I had learned in college, both in The trajectory of Espina’s career and its from the University of Miami and moved to New class and out, opened the door for me,” Phillips serendipitous nature illustrate that anything can York City’s studio scene. said. happen. Indeed, his story is not unusual in the “I was playing on jingles, for TV, films, Pierson relates a similar experience. While upper echelons of the music industry. composing, and subbing on Broadway,” Skinner enrolled at the University of Miami, in addition Three other successful music school graduates recalled. “It was fun and hard work, but I had two to playing with classmates almost every night, he took left turns when their playing careers left them kids, and I realized it was not a sustainable career. worked as a buyer for the Peaches chain of record dissatisfied. I wasn’t a heavyweight player like Michael Brecker, stores, logged music for BMI and hosted a radio “When I graduated from the University of so I looked at the other opportunities open to me.” show. Miami, I was doing various things in the music Those opportunities included returning to “The environment in college, being around so business, but I moved to New York City, planning teaching, this time at clinics demonstrating many creative people, really helped me develop on a playing career,” said Matt Pierson, the former Vandoren products, then distributed by J. the skills and attitude I needed,” Pierson said. Blue Note Records and Warner Bros. executive D’Addario and Company Inc. “When I walked into Blue Note Records, I was who is now an independent producer and “[Company president] Jim D’Addario got me equipped.” consultant. “A couple of years later, I was 25 and in back to my teaching roots as the marketing Espina agrees that the extra-curricular the second trumpet chair of a Broadway show. The director for Vandoren,” Skinner said. “I’d been activities in music school can be as important as first trumpeter was about 45, and it struck me that playing Vandoren since I was 14, so I could apply what goes on in the classroom. “I was at Berklee at if I did this for another 20 years all I’d get to do is my love of teaching to something I really knew.” a great time,” he said. “I studied with really serious move one chair over. I realized that playing was no Being in the right place and having the right teachers like Joe Viola, George Garzone and Herb longer satisfying me artistically.” skills—or the ability to pick them up quickly—are Pomeroy, and my classmates were people like Dave Love—who founded Heads Up essential elements to shifting the focus of a music Dave Douglas and Rachel Z. The hang was just as International in 1990 and two decades later career. To those, Nick Phillips, vice president of important as what you studied. The hang was all became president of Montuno Productions catalog development/A&R for Concord Music about music; we’d talk about nothing else.” America, which manages artists such as Group, would add passion. It is a word he uses Love discovered that music school could Esperanza Spalding and Roberto Fonseca—has a frequently as he talks about his own transition introduce him to people who would help him similar story. A protégé of trumpeter Donald Byrd from a collegiate music business program at the make a seamless transition to the work world. since his undergraduate days at North Texas State University of the Pacific’s Conservatory of Music “Dave Liebman and Donald Byrd were great University in the early ’80s, Love worked closely to working at Concord Records in 1987. mentors for me,” Love said. “I started spending with Byrd for several years. But in the late ’80s he “I knew I wanted a career in music, because it a lot of time outside of school with Donald, came to a career-changing decision. was my passion, but I didn’t know what it would too. I was a copyist for him, and from there our “Donald instilled in me a tremendous work be,” Phillips said. “During my first semester, I relationship blossomed to where he was using my ethic, and he taught me that if you wanted to was thinking of something in education, but then band, and I started arranging bookings for him.”

OCTOBER 2014 DOWNBEAT 169 Working at Byrd’s side, both on the bandstand Dave Love of Montuno and off, gave Love an advanced course in the Productions America intricacies of artist management and spurred him to start his own recording studio, a move that would lead eventually to the creation of Heads Up. “Life can be a lot like jazz, and if you can react in the moment great things can happen,” Love said. “The theory that you learn in school is important, but those practical things that it can expose you to can allow you to take advantage of some immense opportunities.” Skinner recalls the pivotal role that Berklee saxophone instructor Andy McGhee had on him: “He taught me accountability. If you didn’t come prepared for a class, he’d tell you to come back when you had done the work. That’s an essential lesson to learn.” Pierson—who has kept one foot in jazz education, with adjunct positions at New York University and the New School—believes that the choice of which music school to attend is just one of a number of decisions young people need to make if they want to have a long-term career in music.

“You need to be smart about picking where JOE DARWAL you go and what you do there, with an eye to how you’re going to make a living,” said Pierson, education training, and I lean on that background background. It’s a big step from understanding whose production credits include work with Brad all the time in how I handle human resources at how the recording process works to being able to Mehldau, Joshua Redman and Eric Harland. our company and navigate through social media,” really understand the artist’s vision.” “Let’s face it: The odds are very small that you’re he said. “There’s no substitution for musical going to make enough money by just playing, so Skinner said he was also fortunate to have knowledge,” Love said. “If you speak the same you need to learn all the ancillary elements of the worked for the Yamaha Corporation of America language, you can tell an artist that the key they’re business. Then, over the course of your career arc, after a decade with D’Addario. The organization’s playing a piece in is wrong or that an intro is too you can put all the skills you’ve acquired to work.” advanced management training gave him a new long. It gives you license to do that.” Working closely with top musicians has perspective on business. “I credit them a lot; that “You can learn business by doing it,” Espina taught Pierson that the new realities of the music was like getting a Ph.D.,” he said. “When Jim said, “but whatever you study at music school can business in the 21st century mean that no one is D’Addario hired me back again in 2001, and I took come into play later on.” That said, he embraces immune from needing to know more than just over the distribution of Vandoren, I felt like I had the idea that a growing number of music programs how to play or sing. moved to a different level of understanding.” are adding courses in entrepreneurship and career “Even if you become extremely successful as In addition to the importance of business management, along with recording techniques an artist, it’s still a very DIY world today,” Pierson training, Skinner emphasized that nothing and marketing. said. “If you can’t handle your own business, can replace the importance of understanding “I think it’s great that so many schools are you’re going to have to hire people to do that for musicians and their unique needs: “It’s essential to offering those types of options now,” Phillips said. you, and then you better be good at managing know what resonates with the people on the street, “I think we’ll see more of that, even among the real those people.” what they want from their equipment.” performance-oriented programs. I certainly have He added that the most successful musicians Espina agrees. “My background as a musician no regrets about combining business and music he knows follow trends in the business, taking allows me to be an advocate for our customers,” at the University of the Pacific, and I’d encourage note of movements within record labels and he said. “Back in the ’90s—not that long ago—I any young person who wants a job in this industry reading about legislative changes that might couldn’t believe how lax the quality control was on to study business.” affect them. mouthpieces. Having firsthand knowledge of that, “Music schools are spot-on for doing this,” “Whether you’re a performer or a freelance combined with the skills that Santy passed on to Skinner said. “With the condensing of this art producer, it’s survival of the fittest right now,” me, allowed us to be successful. We expanded form, people need a different blend of skills. As Pierson said. “At every turn, you have to quickly, and now, we’re expanding again.” a musician, you need to be able to brand and sell justify your existence and have the skill set Espina also credits his adherence to Julia yourself. You need to multitask.” to keep working.” Cameron’s book The Artist’s Way for keeping “When I landed at Blue Note, I assumed Phillips credits his education with providing him connected to creativity and the way everyone there would be a musician,” Pierson him with what it takes to strike the balance of art musicians approach challenges. He added still-life said. “I had one business course at school, and and commerce that defines today’s music industry. photography and creative writing to his musical that was on the basics of music publishing. I didn’t “The business is a lot tougher than it used to expression, and said that maintaining his sense leave there knowing much about business, but be,” he said. “There is more focus on profit; there of creativity in business allows him to think what I did at the extracurricular level gave me a has to be. But, while it is very much about profit, and act differently. lot of experience.” you have to maintain the integrity of the art Acknowledging that many successful With labels consolidating, the number of and its creators. I’ve relied on my creativity, my producers have never played professionally or music stores shrinking and the explosive growth passion for music and my experience to try to studied music at the post-secondary level, Pierson of home recording, Pierson said it is important maintain a good balance at that intersection of art said, “There aren’t many people who do what that young people find that experience in and commerce.” I do the way that I do it. I can give constructive other places. “It’s absolutely essential in today’s Skinner believes that a musical education can criticism based on my knowledge, and it’s hard environment,” he said. “Today, I think a music provide critical skills for business administration, for me to imagine talking to Marcus Miller or degree without a business component is just a too. “Berklee provided me with really strong Eric Harland about their music without that ridiculous investment.” DB

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STUDENT MUSIC GUIDE

INTERNATIONAL Students perform at the York University Jazz Festival

Box Hill Institute Melbourne, Australia

Student Body: 35,000 total; 500 music majors. Tuition: $14,000 AUD. Jazz Degrees: Bachelor of Applied Music. Faculty: Tim Weir, Simon Edwards, James Sherlock, Tony Floyd, Mario Lattuada, Craig Schneider, Ben Wiesner, Carlo Barbaro, Frank DiSario, George Papanicolaou, Monique Boggia, Melinda Ceresoli, Warren Burt. Jazz Bands: Big band; combos; Latin, contemporary, vocal, funk, soul ensembles. CREDIT

Auditions: bhtafe.edu.au. Auditions: In May. On-campus preferred, Jazz Degrees: Bachelor of Music DVDs accepted conditionally. Financial Aid: Available to qualified applicants. Faculty: 18 full-time and 80 part-time. Financial Aid: Available. Contact Scholarships: bhtafe.edu.au/students/ Alumni: Jeff Healey, David Virelles. scholarships/. (604) 984-4966. Jazz Bands: 54 ensembles. Apply by: Rolling admissions. Scholarships: capilanou.ca/services/financial/ financial/applications-online. Auditions: humber.ca/scapa/programs/ Contact: Dr. Tim Weir, [email protected]. music-degree/auditions. Apply by: April 30. Financial Aid: (416) 675-5000. Camosun College Contact: Jazz Studies Coordinators Victoria, British Columbia, Canada Jared Burrows, (604) 986-1911 Scholarships: Available. Tuition scholarships ext. 2310, or Dennis Esson, granted at Music Fest Canada; (604) 986-1911 ext. 3630. renewable scholarships for high Student Body: $18,689 total. school students entering the Bachelor of Music Program. Tuition: camosun.ca/learn/programs/jazz- Conservatorium studies/what-it-costs.html. Contact (416) 675-6622 ext. 3205, van Amsterdam [email protected]. Jazz Degrees: Diploma in Jazz Studies. Amsterdam, The Netherlands Apply by: February. Faculty: Eric LeBlanc, Bruce Hurn, Monik Contact: Dr. Andrew Scott, Academic Nordine, Louise Rose, Joey Smith, Student Body: Approximately 1,100 (including Pablo Luis Cardenas. jazz, classical, opera and pop). Advisor for School of Music, [email protected], humber. Jazz Bands: camosun.ca/learn/programs/ Tuition: Statutory fee: €1,906 if ca/program/bachelor-music. jazz-studies/. you are from a country within the European Economic Area, Auditions: camosun.ca/learn/programs/ Jazz Music Institute jazz-studies/. Switzerland or Surinam. The rate also applies to UAF refugee Brisbane, Australia Financial Aid: Available. camosun.ca/services/ students. You must also live in the financialaid/. Netherlands, Belgium, Luxembourg Student Body: 60–80 music students. Scholarships: Available. camosun.ca/services/ or parts of Germany. Other financialaid/bursaries.html. students pay higher rates. Tuition: $12,400. Apply by: camosun.ca/learn/future-student/. Jazz Degrees: Bachelor’s, Master’s. Faculty: Dan Quigley, Paula Girvan, Ben Hauptmann, Brendan Clarke, Contact: camosun.ca. Faculty: ahk.nl/en/conservatorium/ teachers/. David Sanders, Sharny Russell, Jamie Clark, Steve Russell, Helen Capilano University Jazz Bands: Various settings. Russell, Sean Foran, Josh Hatcher, North Vancouver, British Auditions: ahk.nl/en/conservatorium/ Hayley Cox, Brad Esbensen, Columbia, Canada application/application-and- Melissa Western, Mark Smith. admission/entrance-examination/. Jazz Degrees: Diploma of Music, Bachelor of Student Body: Approximately 200 students. Financial Aid: [email protected]. Music in Jazz Performance. Tuition: Approximately $6,000. Apply by: March 15. Jazz Bands: JMI Jazz Orchestra, JMI New Orleans Jazz Band, JMI Quartet. Jazz Degrees: Performance, General Studies, Contact: [email protected]. Education, Composition. Auditions: See jazz.qld.edu.au. Faculty: Brad Turner, Rejean Marois, Jared Humber College Financial Aid: Available for Australian citizens. Toronto, Ontario, Canada Burrows, Bill Coon, Steve Kaldestad, Apply by: January 2015. Dennis Esson, Dave Robbins, Mike Contact: Nick Quigley, [email protected]. Allen, Graham Boyle. Student Body: 380 music students. Alumni: Bria Skonberg, Cory Weeds. Tuition: Domestic: $8,258.80; International: Leeds College of Music Jazz Bands: Three big bands, three jazz choirs. $13,820 (Canadian dollars). Leeds, England, United Kingdom

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STUDENT MUSIC GUIDE

Student Body: Approximately 1,000 full-time Last scheduled audition is in June. Student Body: 480 students. and 1,500 part-time students. Contact: Carolyn Graber, (780) 497-4436, Tuition: $6,400 per year. Tuition cost: Foundation certificate: £7,500; [email protected] or Jazz Degrees: Instrumental Performance in Jazz Undergraduate degree: £9,000. [email protected]. and Popular Music, Music Faculty: Al Cherry, Andrew Hickey, Anna Composition with emphasis in Uhuru, Bhupinder Singh Chaggar, McGill University Schulich Performance, Music for Film Brian Morell, Dale Perkins, Dave School of Music and Audio-Visual Media, Musical Walsh, Garry Jackson. Montreal, Quebec, Canada Theatre Performance. Jazz Degrees: lcm.ac.uk/courses/ Jazz Bands: Projazz Big Band, Colectivo Undergraduate/Jazz. Los Musicantes, Ensamble Student Body: 550 Undergraduate students, Superior Projazz. Jazz Bands: Two jazz ensembles. 300 Graduate students. Faculty: Patricio Ramírez, Karen Rodenas, Auditions: lcm.ac.uk/courses/how-to-apply/ Tuition: Canadians: $10,000, undergraduate. Andrés Pérez, Cristián Gallardo, International: $21,000. Claudio Rubio, Federico Financial Aid: None. Jazz Degrees: Bachelor of Music in Jazz Dannemann, Andrés Baeza, Carl Scholarships: None. Performance, Bachelor of Music Hammond, Amelie Wenborne, in Faculty Program Jazz, Licentiate Cristóbal Orozco, Miguel Pérez, Apply By: lcm.ac.uk/courses/ Moncho Romero. how-to-apply. in Music in Jazz Performance, Artist Diploma in Jazz Performance, Auditions: On-campus auditions. Contact: lcm.ac.uk. Master of Music in Jazz International students may Performance, Doctorate in Music in send CDs, DVDs or cassettes. Jazz Performance. MacEwan University Financial Aid: None. Edmonton, Alberta, Canada Faculty: Remi Bolduc, Joe Sullivan, Andre Scholarships: Social scholarships, talent White and over 25 private teachers. scholarships, scholarship of Student Body: Approximately 160 total. Jazz Bands: Jazz Orchestra I and II, Chamber academic excellence. Jazz Ensemble, Rhythm Section Tuition: Approximately $7,300 basic Apply by: International students: Jan. 16. tuition including books. Prices Ensemble, 25 combos. Contact: George Abufhele, [email protected], vary depending on major. Alumni: Darcy James Argue. +56 2 2596 8420. Jazz Degrees: University transferable Music Auditions: Screening material required. Diploma. Includes majors in Auditions held in early March for Puerto Rico performance, composition, undergrads. See mcgill.ca/music/ recording arts and general and future-students/undergraduate/ Conservatory of Music San Juan, Puerto Rico Bachelor of Music in Jazz and audition-requirements. Contemporary Popular Music. Financial Aid: Govt. aid and McGill student aid Faculty: Chris Andrew, Aaron Bailey, available. mcgill.ca/studentaid/ Student Body: 420 undergraduate students, Raymond Baril, Dr. Craig Brenan, scholarships-aid. 110 jazz students. Bruce Cable, Graham Caddel, Jeff Scholarships: Music scholarships based on Tuition: Undergraduate, citizens: $3,780 Campbell, Roxanne Classen, Erin (18 credits/semester); inter- Craig, Sandro Dominelli, Jerrold auditions and academic scholarships available. In-course national students: $4,500 Dubyk, Daniel Gervais, Dr. Allan (18 credits); Graduate Diploma: Gilliland, Andrew Glover, Julie scholarships available to current students. $3,240 (9 credits), International Golosky, Joel Gray, Marcel Hamel, Diploma Students: $3,600 (9 credits). Devin Hart, Sheril Hart, Jim Head, Apply by: Jan. 15 Jeff Johnson, Wilf Kozub, Mo Lefever, Jazz Degrees: Bachelor of Music in Jazz and Contact: Melanie Collins, recruitment. Dr. Michael MacDonald, John Caribbean Music Performance, [email protected]. Mahon, Matthew Parsons, Jamie Graduate Diploma in Jazz and Philp, Dr. Bill Richards, Chandelle Caribbean Music Performance. Rimmer, Kent Sangster, Dan Skakun, Prince Claus Conservatoire Faculty: Andrew Lázaro, Luis Marín, Dorothy Speers, John Taylor, Robert Groningen, The Netherlands Fernando Mattina, Fidel Morales, Thompson, Brian Thurgood, Dr. Tom Elías Santos-Celpa. Van Seters, Robert Walsh, Rhonda Jazz Bands: Concert Jazz Band; jazz combos; Withnell. Student Body: 120 students. Latin jazz combos; Panamerican, Jazz Bands: One big band, two showcase Tuition: €5,700 per year; for non-EU fusion, percussion ensembles. bands, one jazz combos, one citizens, €7,500 per year. Auditions: Feb. 13. Auditions by DVD jazz choir, one guitar band, Jazz Degrees: Bachelor’s and Master’s. accepted. cmpr.edu/admisiones. one percussion ensemble, 12 Faculty: Joris Teepe, Don Braden, Gene contemporary combos, one Financial Aid: Available. contemporary lab band. Jackson, Alex Sipiagin, JD Walter, David Berkman, Robin Eubanks, Scholarships: Available. Auditions: Held in March/April and June if the Freddie Bryant, Dutch faculty, Apply by: Dec. 8. program is not full. Applicants who Miguel Martinez, Kurt Weiss, Contact: Admissions Office, (787) 751-0160 meet the admission requirement Steve Altenberg, Mark Haanstra. are granted an audition. Qualified ext. 280/275; [email protected]. applicants are accepted on a first- Auditions: Held in May and June. come, first-served basis. Scholarships: Available. Royal Academy of Music Financial Aid: Available. Contact (780) 497-4340 Apply by: May 1. London, England, United Kingdom or 888-497-4622 (ext. 4340). Contact: Jan-Gerd Krüger, International Laurie Woldanski, woldanskiL@ Relations Coordinator, Student Body: 730 total, 35 jazz students. macewan.ca [email protected]. Tuition: Bachelor of Music (2012, 2013 Scholarships: Need- and merit-based. or 2014 entrants) UK/EU citizens: Contact (780) 497-5033. Projazz Instituto Profesional £9,000, International: £20,100; Apply by: Open until program is full. Santiago, Chile MA UK/EU citizens: £10,480,

174 DOWNBEAT OCTOBER 2014 International: £20,850; MMus Tuition: Undergraduate, Nova Scotia (2-year) UK/EU citizens: £10,550; students: $5,702; non-Nova Scotia International: £21,000; MMus (1-year students: $6,724. intensive) UK/EU citizens: £12,670; Faculty: Eight full-time, plus adjuncts. International: £23,275. Jazz Degrees: Five offered. Jazz Degrees: Bachelor of Music in Jazz Studies, Master of Art, Master of Music. Jazz Bands: Five to nine. Alumni: Faculty: Nick Smart, Dave Holland, John Ted Warren, Steve Haines, Hollenbeck, Pete Churchill, Tom Ken Aldcroft, Ryan Davidson. Cawley, Barak Schmool, Keith Nichols, Auditions: Required, submit electronically Alyn Shipton, Norma Winstone, or by DVD. Gwilym Simcock, Mike Walker, Phil Financial Aid: Available. Robson, Michael Janisch, Jeff Williams, Ian Thomas, others. Scholarships: Available. xavier.edu/ undergraduate-admission/ Alumni: John Escreet, Orlando le Fleming. scholarships/academic.cfm. Jazz Bands: Big band, small ensembles. Apply by: May 1. Financial Aid: Hardship awards available. Contact: Kevin Brunkhorst, [email protected]. Scholarships: Merit-based available. Apply by: Oct. 1. Te Koki New Zealand Contacts: Philip Knight, [email protected]. School of Music Wellington and Auckland, New Zealand Selkirk College Nelson, British Columbia, Canada Student Body: 550 EFT (equivalent full time students). Tuition: International students: $27,515; Student Body: 90 students. New Zealand students: $6,200. Tuition: $2,500/semester. Jazz Degrees: Bachelor of Music; Bachelor of Jazz Degrees: Performance, Production, Music with Honors; Post-Graduate Song Writing, Composition, Diploma in Music, Master of Music, Directed Studies. Master of Musical Arts, Doctor Faculty: selkirk.ca/program/music/faculty. of Musical Arts, Artist Diploma, Doctor of Philosophy. Jazz Bands: Jazz, funk, blues, r&b, world, recording. Faculty: Mark Donlon, Norman Meehan, Dr. Dave Lisik, Lance Philip, others. Auditions: https://selkirk.ca/program/music. Jazz Bands: Three big bands (including a Financial Aid: https://selkirk.ca/program/music. jazz guitar band), combos at Scholarships: https://selkirk.ca/program/music. all levels, jazz choir. Apply by: https://selkirk.ca/program/music. Auditions: nzsm.ac.nz/study-here/audition. Contact: Sue Hill, [email protected]. Financial aid: Grants and awards available. See nzsm.ac.nz/ student-zone/ Senzoku Gakuen scholarships-and-prizes. College of Music Scholarships: [email protected]. Kawasaki City, Kanagawa, Japan Apply by: Southern Hemisphere calendar, application for audition by October Student Body: Approximately 1,600 total, 2014 for study from March 2015. 140 jazz students. Contact: Jazz Program Administrator Tuition: ¥995,000. Berys Cuncannon, Jazz Degrees: Bachelor of Arts. +644463 4762, [email protected]. Faculty: Yoshihiko Katori, Tomonao Hara, Eric Miyashiro, Bob Zung, Kaori Universidad San Kobayashi, Dana Hanchard, others. Francisco de Quito Quito, Ecuador Jazz Bands: Four big bands, 40 ensemble classes. Auditions: Entrance exams begin Aug. 8 Student Body: 420 full-time students (310 and continue to March 9. performance majors, 110 music production majors). Financial Aid: senzoku.ac.jp/music/en/. Tuition: Approximately $8,900 per year. Scholarships: Available after entering. Jazz Degrees: Bachelor of Art in Contemporary Application: Admissions, [email protected]. Music Performance, Bachelor Contact: Admissions, [email protected]. of Art in Music Production and Engineering. Students can also attend two years at UFSQ and St. Francis Xavier University finish at Berklee College of Music. Antigonish, Nova Scotia Faculty: Daniela Guzmán, Diego Celi, Esteban Molina, Francisco Lara, Student Body: 4,000 total; 50–80 music majors. Gabriel Ferreyra, Gabriel Montúfar, STUDENT MUSIC GUIDE

Guillermo Cepeda, Hazel Burns, non-EU citizens: €1,489.44. Apply by: See music.utoronto.ca/site5.aspx. Horacio Valdivieso, Ignacio Azor, Jazz Degrees: Bachelor of Arts in Jazz Contact: Jennifer Panasiuk, or Jazz Area Jorge Balladares, Jorge Luis Mora, Performance, Master of Arts in Head Professor Terry Promane, Michael Kihn, Paulina Alemán, Jazz Performance, Master of Arts (416) 978-3741, undergrad.music@ Ryan Hagler, Teresa Brauer, in Jazz Composition/Arranging, utoronto.ca. Viktorija Pilatovic. Artists in residence: Master of Arts in Jazz Ensemble Jonathan Kreisberg, Mike Moreno. Conducting. Vancouver Island University Jazz Bands: More than 20 ensembles, including Faculty: Michael Abene, Renato Chicco, Nanaimo, British Columbia, Canada Jazz Big Band, Bebop combo, Latin Howard Curtis, Dena DeRose, Jazz combo, Modal Jazz combo, Guido Jeszenszky, Karlheinz Miklin, Contemporary Brazilian combo, Ed Neumeister, Ed Partyka, others. Student Body: 80. Traditional Brazilian combo, Jazz- Jazz Bands: 17 combos, two big bands. Tuition: $137/credit hour, $600 Fusion combo, Blues combo. extra for private lessons. Auditions: On-campus and through video Auditions: Live auditions and theory test required. See jazz.kug.ac.at. Faculty: Pat Coleman, Lee Ellefson, or audio recording. See audition Ben Henriques, Hans Verhoeven, topics at usfq.edu.ec/programas_ Apply by: March 1. Greg Bush, Marty Pakosz, academicos/colegios/imc/aspirantes. Contact: Benjamin Hrdina, [email protected]. Rosemary Lindsay, Steve Smith. Contact: Diego Celi, Vice Dean, [email protected] Jazz Degrees: Jazz Diploma, Bachelor of The University of Sydney Music in jazz studies. Scholarships: Merit-based available every year. Sydney, Australia Jazz Bands: One big band, more than Apply by: May 15. 20 jazz combos, one vocal Contact: Esteban Molina, Dean, emolina@ jazz ensemble. Student Body: 51,394 total. usfq.edu.ec; Diego Celi, Vice Dean, Alumni: Christine Jensen, Ingrid Jensen. [email protected]. Tuition: Undergraduate, local: $3,313–$4,200, international: Auditions: Live audition or video of University of Manitoba, $3,663–$4,800. performing skills. Jazz Degrees: Diploma of Music, Bachelor of Financial Aid: www2.viu.ca/financialaid/. Desautels Faculty of Music Music in Music Education, Bachelor Winnipeg, Manitoba, Canada Scholarships: Various scholarships of Music in Performance, Graduate based on GPA, performance. Diploma in Music Performance, Apply by: Aug. 15. Student Body: Between 40–45, including Master of Music Studies– graduate students. Performance, Doctor of Musical Contact: Bryan Stovell, Department Chair, Arts, Doctor of Philosophy. [email protected]. Tuition: Undergraduate: approximately $4,800 for Canadians and Faculty: sydney.edu.au/arts/. permanent residents, Jazz Bands: Three big bands and York University approximately $14,000 for 11 small ensembles. Toronto, Ontario, Canada international students. Full-time program fee for graduate Auditions: music.sydney.edu.au/study/ students: approximately $4,400 audition-requirements/. Student Body: 200 jazz students. for Canadians and permanent Financial Aid: sydney.edu.au/future-students/ Tuition: Approximately $6,900 CDN residents, approximately $8,800 international/postgraduate/ for Canadian students, $20,500 for international students. research/financial-support.shtml. CDN for international students. Continuing fee of approximately Scholarships: sydney.edu.au/scholarships/. Jazz Degrees: Bachelor of Arts, Bachelor of Fine $703 per year after first year. Arts, Master of Arts with Apply by: sydney.edu.au/future-students/ Jazz Degrees: Bachelor of Jazz Studies, Master international/undergraduate/ Concentration in Jazz Studies, of Music in Jazz Performance. apply/. Ph.D. with Concentration in Jazz Studies. Faculty: Steve Kirby, Anna-Lisa Kirby, Contact: sydney.edu.au. Derrick Gardner, Quincy Davis, Will Faculty: Barry Elmes, Al Henderson, Ron Bonness, Jon Gordon, Larry Roy. Westray, Sundar Viswanathan, University of Toronto Kevin Turcotte, Lorne Lofsky, Kelly Jazz Bands: Jazz Orchestra, small ensembles. Toronto, Ontario, Canada Jefferson, Mark Eisenman, Richard Auditions: Audition and theory test required, Whiteman, Artie Roth, Tara in person or by DVD. Davidson, Anthony Michelli, Student Body: 600 undergraduates, Barry Romberg, Frank Falco, Financial Aid: Bursaries available by application, 280 graduate. awarded based on need. Matt Brubeck, Jim Vivian. Faculty: Terry Promane, Gordon Jazz Bands: 18 small jazz ensembles, Scholarships: Available. See umanitoba.ca/ Foote, Chase Sanborn, Jazz Orchestra, Jazz Choir. student/moneymatters_hub.html. Mike Murley, Jim Lewis. Auditions: Apply by: Jan. 15. On-campus evaluations take Jazz Degrees: Bachelor of Music in place February through April. Contact: Shelley O’Leary, Admissions Performance, Master of Music Online auditions are available Coordinator, (204) 474-6728, and Doctor of Musical Arts. for distance applicants. [email protected], Jazz Bands: Four jazz orchestras, small jazz umanitoba.ca/music. Financial Aid: Available. futurestudents. combos, vocal jazz ensemble. yorku.ca/funding. Alumni: Mark Pellizzer, David Braid, Scholarships: Available. futurestudents. University of Music and Alex Goodman, Daniel Jamieson. yorku.ca/funding. Performing Arts, Graz Auditions: Visit music.utoronto.ca/ Graz, Austria Apply by: Undergraduate: Feb. 4 home.htm, uoftjazz.ca/. for guaranteed consideration; Financial Aid: Entrance scholarships. Graduate: Feb. 1. Student Body: Approximately 1,600 total, Scholarships: Merit- and need-based Contact: Bill Thomas, (416) 736-5186, approximately 120 jazz students. available; contact undergrad. [email protected]; Bushra Wali, Tuition: No tuition for EU citizens; [email protected]. (416) 650-8176, [email protected].

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MASTER CLASS Woodshed BY GARY SMULYAN

Gary Smulyan

Inside-Outside Harmony: Applying Tritone Substitutions to Standard Chord Progressions I’VE BEEN FASCINATED BY HARMONY, AND THE SEEMINGLY The basic theory behind the tritone substitution simply states that a V7 infinite number of ways to connect and manipulate chord changes through and a flat-II7 chord function the same, both wanting to resolve to a tonic, as the use of substitutions, as far back as I can remember. As a young saxo- they both share a third and a seventh as common tones. They are different phonist just starting to improvise, I would voraciously listen to and study the great masters of jazz improvisation—Charlie Parker, Dizzy Gillespie, Example 1 Thelonious Monk, Sonny Rollins, John Coltrane, Miles Davis, and the list goes on and on. I could hear what they were playing, but couldn’t figure out what they were executing harmonically or how to incorporate their approach into my own playing in a deep, logical and meaningful way. My teacher at that time, saxophonist and clarinetist Joe Dixon, gave me a copy of a book on substitute harmony that would open up all those doors I was trying to open. The book was titled Inside Outside, a self -published work written in 1967 by the pianist, flutist and psychiatrist Reese Markewich. The book goes into great detail explaining how to use substitute harmony and the Example 2 theory behind it. This ear-opening book dramatically altered how I play and approach improvisation in a most profound way, and I use this information every time I play. Inside Outside presents a detailed, organized, well-thought-out and logi- cally explained system of substitute harmony largely based on the use of tri- tone substitutions, which is the topic of this master class. You could look at this as an inside-outside look at my approach to harmony and my thought process when improvising over chord changes.

178 DOWNBEAT OCTOBER 2014 OCTOBER 2014 DOWNBEAT 178 Example 3 Example 4

Example 5

enough in sound to create a sense of tension and surprise, and their use can add a lot to one’s improvised solos. See Example 1. The G7 (V) and D7 (flat-II7) chords both share a B and an F—the third and seventh of both chords—and want to resolve to the tonic, which in this case is C major. One can include the newly implied ii7 chord in the tritone substitution as well (in this case Am7), even though it shares common tones with the D7, setting up an interesting cycle to improvise over. See Example 2. The first thing I have all my students practice to fully incorporate this progression into their own vocabulary is to play it in all 12 keys—both descending and ascending chromatically and through the cycle of fifths. See Examples 3a, 3b and 3c. This will help internalize the sound of the progres- sion and assist in greater understanding of how these changes function. One also hears the voice-leading and resolutions through practice. In addition to the above progression—which resolves to a tonic—one can also practice and use the cycle in a way that doesn’t resolve. I also have my students practice this progression in the same way regarding motion. Example 6

Application Let’s apply these ideas to a few well-known tunes. Example 4 shows the chords to one of the first songs learned by beginning improvisers. My recommend- ed substitutions are written on the staff lines, below the standard changes. Charlie Parker altered the course of jazz with his recording “Ko-Ko,” which is based on the changes to a popular song composed by Ray Noble. See Example 5. Next we’ll look at two sets of changes that are good examples of non-re- solving tri-tone substitutions. The Rodgers and Hart song represented in Example 6 is typically played at a very fast tempo. Example 7 is the bridge of what is without a doubt the most recorded popular song favored by jazz musicians after the blues. Who can ask for anything more? In conclusion, the possibilities are endless, and I hope many of you are Example 7 inspired to delve into this harmonic universe and discover for yourself new ways to approach your own playing. You will find your world opening up and your solos taking a different shape, form and color as you enter this world of harmonic creativity: the tritone substitution. DB

Gary Smulyan (garysmulyan.com) is a New York-based baritone saxophonist. His latest CD, Bella Napoli (Capri), features actor-vocalist Dominic Chianese. Smulyan teaches at Mason Gross School of the Arts (Rutgers University), SUNY Purchase and Manhattan School of Music.

OCTOBER 2014 DOWNBEAT 179 PRO SESSION Woodshed BY MARK COLBY

Choosing the Best Mark Colby Saxophone Equipment AS A PROFESSIONAL SAXOPHONIST AND EDUCATOR, THE QUES- tion most frequently asked of me is about how to choose the right equipment. A story I heard recently sums up how we saxophonists perceive ourselves and our instruments. Phil Woods was recently a guest artist and lecturer at DePaul University in Chicago, and he told us an enlightening story about an encounter he had with Charlie Parker. Woods was working some strip club in New York, and during a break he went across the street because he had heard that Bird was sitting in. Woods had been lamenting the fact that he wasn’t happy with his horn, mouthpiece, reeds, neckstrap and ligature. He walked into the club and heard Bird playing an old, funky baritone sax. He went up to him and asked, “Mr. Parker, would you like to borrow my alto?” Bird said that would be great. Woods ran across the street, picked up his alto and brought it to Bird. Bird picked up the horn and played the hell out of it. It sounded unbelievable! From that time on, Woods said he was never again bothered by negative thoughts about his horn and setup. Charlie Parker could pick up anybody’s horn and sound just like himself. I heard a similar story from pianist Jim McNeely about Stan Getz leaving his horn on the plane and having to bor- row someone else’s horn and mouthpiece, and sounding completely the same as he always did. We all are capable of getting “our” sound on any instru- ment we pick up. Now that I’ve passed on these stories to you, we can explore some things to help us make good, sound decisions about our equipment. Sure, we can conjure up our identity on a variety of horns and mouthpieces, but how do we decide what makes us comfortable playing any piece of equipment, whether it’s the horn or mouthpiece? Let’s start with the instrument. Today, we have so many choices because of vintage saxophones, for which there seems to be no end, and all the new saxophones that are available from big and small companies around the world. I’ve heard that there are 40–60 saxophone fac- tories in Taiwan alone. How do we choose, having so many to choose from? Let’s talk about vintage saxophones first. I’ve grown up listening to sto- ries from saxophonists of all ages regaling the pluses and minuses of the various brands from Conn, Buescher, Martin, King and Selmer. The truth about most of the vintage horns is that they had great sounds but have some- what primitive intonation and ergonomics. How did Coleman Hawkins, Ben Webster, Lester Young and other early greats manage to make those early horns sound so good? Well, the answer is that they “learned” their instru- ment so well that they were able to compensate for the notes that sounded out of tune or were muffled. Look around at professional musicians on stage. There is one obvious Today, with the new saxophones, pitch is infinitely better, even on a lot of fact, and that is that you’ll see 90 percent of all the pros are playing vintage the Chinese-made horns coming through. There are mid-priced saxophones Selmers—Balanced Action and Mark VI are the most common—or newer that are great for younger students. Myself and others played through many model Selmers like the Series II, Series III or the Reference 54. You’ll see an prototypes and offered advice and suggestions. The horns that places like occasional Yamaha or Keilwerth. It’s just a fact. If you’re going to sit in with Wal-Mart and Sam’s Club sell are definitely the bottom of the spectrum. a big band, chances are your section mates are playing Selmers. They blend They are not made to last, hence the small price. Use for a short while and better than most of the other brands. throw away. An overhaul on a horn like that would cost two to three times Many years ago, when I lived in Miami, I was working a weeklong gig more than what the horn was worth. Someone just starting out in a band pro- with Tony Bennett, and one night I brought an H. Couf horn on the gig that gram should go to a reputable dealer and talk to someone who knows about was given to me to try. It was a good horn, but I definitely felt like I couldn’t their product. Pick an instrument that comes from a reputable company and blend as well with my section mates. That night convinced me that Selmer that has a warranty. There are many to choose from. I endorse Selmer and am was the way to stay. This is not to demean or denigrate the other brands, partial to their saxophones. Selmer USA, Yamaha, Yanagisawa, Keilwerth, because they are all good saxophones. But like I said, check out the pros and P. Mauriat, Cannonball and Eastman are just some of the larger saxophone the guys you are listening to on recordings. There is a common thread. manufacturers that have beginner, intermediate and professional saxes. Next, let’s talk about mouthpieces, or what I refer to as “the Holy Grail” As the student gets more advanced and maybe starts thinking that he or for saxophonists. Let’s start with beginners. All new saxophones come with she might want to pursue music as a career, you should definitely think about what we call a “stock” mouthpiece. This is usually an inexpensive plastic moving to a professional model horn. Here I have definite opinions about or rubber mouthpiece that is functional. With high-end horns, you usual- which way to go. My opinions are based on more than 50 years of playing and ly wind up with a small-opening classical mouthpiece. My suggestion has over 30 years of teaching. always been that after about six months—when the muscles in your embou-

180 DOWNBEAT OCTOBER 2014 chure have started to form—you should get a pro- #3 is comparable to a V16 #3 ½ because the tip and François Louis and the Optimum and M/O mod- fessional-quality mouthpiece. Now, this mouth- heart are different. If I tried a #3 V16, it would feel els from Vandoren. Without a doubt, the M/O was piece might not be the last one you ever buy, but too soft to me. Don’t be afraid to experiment. the most comfortable for me. It’s just like when I a good quality mouthpiece will allow you to get One last thing before I sign off here is about thought I’d never play anything but a Mark VI, better sound and better intonation. It will help to ligatures. Do they really make much of a differ- and I ended up playing a Reference 54. compensate for playing a beginner model horn. ence? The answer is yes, they make a definite dif- There are a million choices. After all this The mouthpiece can then travel with you as you ference. Some ligatures are brass, some are cloth, advice, the last thing to tell you is, Don’t get hung progress to a professional horn. some have two screws, some have one or none, up on the equipment. Remember Phil Woods’ I’ve done countless clinics with middle school some have different plates you can try. I person- story about hearing Bird. Just play your heart out and high school students who are either play- ally think that brass ligatures work best. There’s and let the music speak for itself. It just helps to ing the stock mouthpiece or a Selmer C* or a a little more projection as opposed to cloth or play setups that are comfortable so that you can get Vandoren A25. The latter two are excellent pro other manmade materials (which don’t vibrate straight to the matter at hand—making music. DB classical mouthpieces, but the openings are too as well—I think if you have a bright-sounding small for big band and jazz playing. The directors mouthpiece, then one of those might help dark- Mark Colby is a recording artist, educator and clinician wonder why their sax section doesn’t project. They en it a bit). I played a standard Selmer ligature for for Selmer Paris Saxophones and Vandoren reeds and are great for classical saxophone literature but lack ligatures. He lives in Chicago and is on faculty at DePaul most of my life until about six years ago. I checked University and Elmhurst College. He can be reached at the projection that you need in a big band with out the Olegature, the Ultimate ligature from [email protected]. trombones and trumpets blaring at your back. I always suggest that players start with something in the middle. Maybe a size 5 or 6 tip opening. Not too open, and not too closed. A lot of alto players wind up playing Meyer and Vandoren mouthpiec- es. They have the “right” sound, and the majori- ty of pros play them. On tenor, there seems to be more choices: The obvious ones are Otto Link, Vandoren, Meyer, Berg Larsen, JodyJazz, etc. The same brand choices are also good for baritone. All of these mouthpieces are potentially good. It becomes a matter of personal choice. First, how does the mouthpiece respond? Does it let you push the air through without backing up on you? Next, does it have the kind of sound you are looking for (not too bright, and not too dark)? Can you find reeds consistently? These are all important ques- tions. When looking for a piece, take someone with you to act as an extra set of ears—hopeful- ly someone who is a player or teacher who can help guide you. To me, one of the most import- ant things for a student to deal with is to find some role models as far as sound is concerned. It is imperative that you listen to the giants who have played this music. Here’s my short list of saxophonists to check out. It is incomplete, for sure, but it’s a good start- ing place. First, on alto, listen to Cannonball Adderley, Phil Woods, Bird, Johnny Hodges, Sonny Stitt, Kenny Garrett and Dick Oatts. On tenor, start with Stan Getz, Coltrane, Sonny Rollins, Gene Ammons, Mike Brecker, Joe Lovano, Chris Potter, Joshua Redman and contin- ue from there. There are a lot of great tenor styl- ists. On baritone: Gerry Mulligan, Pepper Adams, Serge Chaloff, Nick Brignola, Gary Smulyan and Scott Robinson, to name a few. If you have a sound in your head, it makes it easier to pursue it. Listen, listen, listen. Now on to reeds. Reed choice is another unique pursuit. It takes some experimentation to find what works for you. Different styles of cut (e.g., filed, unfiled, etc.) and different tip strengths and heart strengths determine what works best on your mouthpiece. For example, I use Vandoren traditional reeds on tenor because they respond and give me the right amount of resistance. I’m very comfortable with a thicker heart. The other cuts and brands don’t respond the same way on my mouthpiece. Next time you’re at the music store, ask them if they have a comparison chart from Vandoren. For example, a traditional Vandoren

OCTOBER 2014 DOWNBEAT 181 PRO SESSION Woodshed BY MATT SHEVITZ

5 Rules of Practicing IF THERE IS ONE THING THAT MUSICIANS developing and maintaining my skills, I created frequently say they don’t have enough time for, this warm-up routine so that I am “gig ready.” This it’s practicing. The issue is one in which “the way, if my practice is interrupted, I know that I can grass is always greener”: People who are in school still go out to a gig or session and play comfortably. may feel that they are not given enough time to The routine takes 15 minutes or less, so the impact practice, while those not in school anymore might wish they had more time for it— Mat Shevitz like they did when they were students. Practicing is vital to a musician’s development, yet it is something that is not always given the attention that it needs. Giving yourself time to practice is important, but how you spend that time can be more valuable. A short practice session can be more effective than a longer one, depending on your approach. When it comes to practicing, there are five basic rules to follow. These will help you stay comfortable on your instrument and ensure that you move forward in your development. As with anything, make sure you approach practicing from a positive standpoint. If you think too negatively about how you sound, you may be less likely to practice at all, which will not help in any way.

Warm up every day It is important to have a regu- lar warm-up routine that works for you. As a saxophon- ist, I find that playing at least four different scales on my schedule is minimal. Of course, more time in all 12 keys in four different ways works best. is preferred, but by getting this routine in on a The scales that I play are the ones that I would like daily basis I have noticed a difference in how to incorporate into my improvisation more. The comfortable I feel on my instrument. first scale will be played in all keys by moving the root up by half steps starting with my lowest note Take time to process the information (i.e., the first scale is in the key of B, the second in Before jumping into a new scale or technique, B, and so on). Each scale is played ascending and think about it: How does it work? How will it feel descending for two to three octaves, as I want to to play it, and when will you use it? By doing this, make sure I’m comfortable in my altissimo range you’ll ensure that you learn something useful, as well. The keys for the second and third scales instead of just the basic concept. Thinking about move by whole steps and descending major thirds, concepts can take place almost anytime, not just respectively. The last scale moves around the cir- during your practice session (though it’s during cle of fourths. Figure 1 illustrates this routine, these sessions that people are more likely to try using three ascending one-octave major scales something new). for all examples. As a musician, author, editor, educator, Be willing to make mistakes administrator, father and husband, capitalizing A practice session is a chance for you to improve. on the time that I have for practicing is vital. Don’t think of it as a time to perform for yourself A child, email or phone call could shorten my (or anyone within earshot). If you are just playing session unexpectedly, possibly ending my practice things that you can already do, you are not going time for the day. In order to ensure that I am still to advance as a player. It’s important to remem-

182 DOWNBEAT OCTOBER 2014 Figure 1

Practice routine for scales in all 12 keys with roots moving by: Half Steps

Whole Steps (when finished, begin sequence on B)

Descending major thirds (when finished, begin sequence on A, then G, then F#)

Circle of fourths

ber this: An effective practice session is one in which to do the same thing; we are no exception. Would you’ve improved on at least one thing, no matter you want to make mistakes on a song that is how small. This sounds odd, I know, but so many insignificant to you? people just plow through their routine, acknowl- Another area to consider is a technique that is edging that there are things to be fixed but not common for your instrument, that you know actually fixing them (or not playing anything several people can do but have a hard time challenging at all). The time spent focusing on one executing yourself (either consistently or at all). thing in a session can make moving forward easi- The most recent example in my own development er in the ones that follow. is my altissimo. Up until a couple of years ago, When you do make a mistake, ask yourself, I had always heard ideas in that range of the why did that happen and how do I minimize its saxophone but had a hard time executing them. It recurrence in the future? If you have time, go occurred to me that I wasn’t going to improve on over it again in order to solidify it. If you do not it if I didn’t practice it more frequently. Since then have time for that, you still need to think about it. I have given it almost daily attention (as part of my Making sure you have the right mental approach will help you correct physical mistakes in your warm-up routine) and my altissimo abilities have next session, leading to the proper development of strengthened. your muscle memory for that concept. Practice creatively and be self-aware Practice things you need to work on Be open to practicing concepts in different ways. This can, of course, be tied into the last section, but Think about what you can do to make practic- it’s such an important concept that it merits fur- ing more engaging for you. Tied in with this is ther discussion. Have you ever gone to a jam ses- just being aware of how you are feeling that day. sion or a gig and played a tune that you thought Give yourself certain allowances for your men- you knew but made a mistake on? Sometimes peo- tal and physical state, and realize that some states ple have gaps in their memory and miss a chord will limit your effectiveness. Don’t, however, use in a progression, or a bar or two of a melody. The them as excuses for not practicing if the time that next time you practice, think about these things you have is the only time you will get. The only and address them (in addition to anything your exception would be the most extreme personal instructor assigns). You may be able to play a the- oretical concept well, but musicians won’t be as circumstances. open to it if you keep forgetting parts of “All The Approaching your practice sessions with Things You Are.” these five rules in mind will help make you a better Think critically about this, too. Even if the gig player, thereby improving your gig experience or jam session went well, what could have gone and helping your career advance. You will be better? Was there a tune in a specific style that able to progress easier and become a more solid you feel you’re not as comfortable with? Perhaps player. More importantly, you will develop habits there was one that you had to learn but were not that will be able to sustain your musical growth excited about, and yet still didn’t nail? Often times throughout your life. DB we feel that certain songs, whether lead sheets or ensemble parts, are not worth our attention. Matt Shevitz is a saxophonist and educator based in Chicago, It’s an elitist approach, one that can get you into where he is an associate professor of music at Harold trouble later. All of the masters of the music had Washington College. Visit him online at mattshevitz.com.

OCTOBER 2014 DOWNBEAT 183 SOLO Woodshed BY MATT DAVIS

Terell Stafford

Buddy Guy

Terell Stafford’s Trumpet Solo on ‘Pegasus’ his solo on “Pegasus” comes from trum- the solo, but particularly here at the beginning, Tpeter Terell Stafford’s 2007 releaseTaking when the story is just taking shape. His phrases Chances: Live At The Dakota (MaxJazz). in this section, a mix of eighth- and quarter-note The piece, written by pianist Bruce Barth, provides ideas, are given weight and clarity by his use of the perfect framework for Stafford to demonstrate rests and allow for some great interaction between the soulful and virtuosic playing for which he has the members of the rhythm section. become known. His blues-infused phrases, rhyth- Gradually, Stafford’s solo deepens as his story mic ideas and lyrical articulation are presented unfolds. He begins to incorporate all variety of with conviction, focus and, most importantly, a rhythmic devices to articulate his musical ideas: deep sense of swing. triplets, 16th-note runs, behind-the-beat eighth Let’s first look at Stafford’s rhythmic approach notes, off-beat phrasing, long tones and slurs. and his use of space. In the first eight bars, we see With increasing intensity and drive, the solo con- Stafford’s penchant for storytelling. He takes his tinues to build in a coherent and logical man- time, letting his story unfold in a natural and ner. Things really get heated when, at bar 38, he engaging way. The solo starts with a series of relat- begins playing a triplet-based line for three bars ed descending phrases, all separated by a few beats that accents every other note within the triplet, in of rest. His use of space is noticeable throughout this case the note G. An interesting cross-rhythm

184 DOWNBEAT OCTOBER 2014 emerges in these bars that emphasizes a 6/4 polyrhythm. After a short breath, this figure is followed by a blazing 16th-note run that marks the top of the dynamic arc Stafford has been crafting since the begin- ning of his solo. Looking at Stafford’s melodic approach in this solo reveals a deep understanding of the underlying harmonic structures that “Pegasus” is built upon. His note choices are predominately diatonic to the given chords and, with a few exceptions, contain no chromatic passing tones. On bar 40 there is a clear chromatic movement on beat 4 with pedal points of F and G moving to F# and E, but this is only in anticipation of the next bar by one beat. It’s a great moment in the solo, as Stafford has established an expected sonority and then breaks that expectation by shifting these pitches down a half step. In bar 12, on the B13 chord, Stafford uses an E natural within his phrasing, suggesting a lydian dominant scale. This sound is present again in bars 43–44 during the rush of 16th notes that rounds out this transcription. This phrase displays the only other area in Stafford’s solo where chromatic pass- ing tones are employed. The A naturals in bars 43–44 are passing tones within the broader B lydian dominant line that is being played. The concluding passage, which directly follows this, consists of the dominant diminished scale starting from the low E. It is interesting to note that both times in the form where this passage occurs, bars 14 and 44, Stafford uses the same pitches in the same order approach- ing the last bar: D, E, F and A. Overall, Stafford’s solo on “Pegasus” is one that employs a great diversity of rhythmic variation and melodic clarity. This is “playing the changes” at its best. DB

Matt Davis is a jazz guitarist, composer and educator in New York City. He performs regularly with his own large group, Aerial Photograph, as well various trios and small ensembles in the tri-state area. Davis currently serves as Senior Lecturer of Jazz Guitar at The University of the Arts in Philadelphia. Visit him online at mattdavisguitar.com.

OCTOBER 2014 DOWNBEAT 185 Toolshed

Shure GLX-D Wireless Guitar System No-Strings-Attached Performance f you have ever performed on stage or spoken at a pubic event, chances In 2014, a year after introducing the GLX-D technology, Shure debuted Iare you have used a Shure product. The company released its first micro- the GLX-D Wireless Guitar System, bringing the digital advantage to gui- phone in 1932 and over the years has reached nearly iconic status with tarists. The system is actually a bundle of various components including the products like its Model 55 and SM57. Stepping into the wireless market in GLX-D1 bodypack transmitter, the GLX-D6 wireless guitar receiver and a 1990, Shure soon became a dominant player in that field as well with a full cable to connect the instrument to the transmitter. The receiver is the new- line of wireless microphone systems. Recently the company has released the est member of the GLX-D line and the first to feature a stomp pedal design, GLX-D Wireless Guitar Pedal, its first product to offer state-of-the-art dig- allowing it to conveniently integrate into any pedal-board rig. ital wireless technology in a guitar pedal format with an integrated tuner. Right out of the box, this is an impressive unit in terms of its form fac- Shure actually developed its first wireless microphone system in 1953. tor and build quality. Both the transmitter and receiver are housed in Known as the “Vagabond,” it was capable of transmitting a distance rugged metal casings, and the cable is quite sturdy as well. The trans- of 15 feet from the receiver. However, it would mitter utilizes a lithium-ion rechargeable battery capable of up to 16 take another 40 years for Shure to enter hours of continuous use. A sturdy metal clip allows the unit to be the wireless microphone market with the attached at your waist or guitar strap. The receiver is the heart of introduction of its L Series products in the system and resembles a standard guitar stomp box. It is pow- 1990. Although wireless technology has ered through an included AC adaptor but can also utilize any stan- evolved over the years, these systems dard 9-volt pedal-board power supply for seamless integration into all relied on VHF or UHF frequency your existing rig. bands for operation. As anyone who Once connected, the GLX-D6 is incredibly simple to config- has seen This Is Spinal Tap already ure. After powering up, the transmitter and receiver will auto- knows, there are some inherent prob- matically link up, and an RF indicator on the display panel illu- lems in sharing these overly crowd- minates to indicate connection. The unit is now functional and ed radio airwaves. Interference and ready to go. The receiver offers manual control over several dropouts are common occurrences, functions such as audio gain, channel selection and the abili- as is degradation that can result from ty to divide available frequencies into groups, allowing for up the signal compression algorithms to eight receivers to operate simultaneously. The LED display that must be applied to the transmit- also indicates the current battery level of the transmitter and ted signal. shows the current channel. The introduction of digital wire- Stomping on the GLX-D6 mutes the signal and less technology represents a giant invokes the tuner mode, one of my favorite features. The leap forward in the field, and Shure tuner can be set to needle or strobe display, and the refer- introduced its first digitally based ence pitch can be adjusted. A detune option lets you com- GLX-D systems at the NAMM Show in pensate for instruments that are globally tuned sharp or 2013. Digital systems convert audio into flat, and the unit can be set to show only sharp or flat a digital stream of ones and zeros at the symbols. receiver, eliminating the possibility of radio The best thing about the GLX-D System is that once interference and the need for signal com- it’s connected, it becomes virtually transparent. The pression. The result is increased reliability and sound quality is pristine and indistinguishable from the greater clarity. Digital wireless systems actually operate in the same frequen- tone of your guitar plugged directly into an amp. The cy as Wi-Fi, which is at the 2.4GHz frequency band. GLX-D systems uti- range is impressive, capable of a radius of up to 200 feet lize Shure’s LINKFREQ intelligent frequency management to analyze the (I experienced no interference or dropped signals). RF spectrum and determine the best available frequencies. Bidirectional At a street price of $449, which includes a profes- communication lets the transmitter automatically follow receiver frequen- sional-quality tuner, this is definitely a worthwhile cy changes, and continuous monitoring with automatic frequency switching investment. —Keith Baumann eliminates any signal interruptions. Ordering info: shure.com RW Pro One-Piece Soprano Saxophone Easy Tone Production, Consistent Timbre oberto Romeo, founder of Roberto’s Winds, has been repairing saxo- soprano setup: a Selmer Super Session “J” mouthpiece Rphones and woodwind instruments in New York City since 1982. with a Rigotti #3 medium reed. With 30-plus years of experience and many notable saxophone titans Playing the RW Pro for the first time, I was as his clients, he has translated this knowledge into creating a well-crafted struck by the remarkable ease of tone production and competitive line of professional-level saxophones. and the even sound throughout the registers. Not The new RW Pro One-Piece Soprano from Roberto’s Winds is available one note stuck out as being different in tim- in a variety of lacquers and finishes. I play-tested a model with black nick- bre or color. In contrast to my own horn—a el finish and polished silver keys, a visually stunning instrument that’s Selmer S80 Series I’ve had for 25 years—the designed for a slightly darker sound, yet one that projects. I used my regular RW Pro’s altissimo popped out effortless-

186 DOWNBEAT OCTOBER 2014 ly with a round, full shape. Even at the softest volume, the overtone series was easy to play. On the other Samson C01U PRO and Meteorite end of the spectrum, the instrument did not close up or shut down when I USB Microphones played it at full volume. Intonation, the arch nemesis of Pristine Plug-and-Play Performance any soprano saxophonist, was com- amson Technologies has been in the audio busi- YouTube, the Meteorite is actually capable of rendering parably easy to control and center. It Sness since 1980, when the fledging company a surprisingly decent recording when used with your was not too much effort to keep the introduced its first wireless microphone. Over favorite DAW. low end from being sharp and the the past 34 years, Samson has established itself as an Under the hood, the Meteorite houses a 14mm dia- high end from being either sharp or industry leader in its product offerings for the con- phragm and cardioid pickup pattern with a frequen- flat (depending on the air support vs. sumer and professional audio markets. The latest cy response of 20Hz–20kHz. It is a true plug-and-play the less-desired squeezing or biting). additions to Samson’s USB microphone lineup—the device and requires no external drivers to operate. The RW Pro One-Piece Meteorite and the C01U PRO—are definitive proof Using it with a Mac requires only connecting and set- Soprano’s construction is definitely that it remains committed to providing innovation, ting the input volume through the system preferenc- built to last. It is as solid as any I’ve quality and great value. es. On the iPad, you will need a USB adapter such as ever played, including the Keilwerth Although aimed at different markets, the Meteorite Apple’s Camera Connection Kit. There is absolutely no horns, known for their dense and and C01U PRO share several features in common. doubt that the Meteorite is far superior to the quality often heavy feel. The springs are Both mics contain an onboard 16-bit, 44.1/48kHz ana- of the built-in audio on my laptop, but I was shocked log-to-digital converter, allowing for direct connection at how good the quality actually is with this mic. As I strong and the keys are solidly craft- and recording to a computer or iPad without the need recorded several acoustic instruments and vocals using ed, allowing very little play, if any. for any external audio hardware. Conversion quality is Logic Pro software, the Meteorite performed consis- Regardless of how well a saxo- a critical link in the audio chain, and Samson delivers tently, producing clear and detailed tracks. It may not phone responds, it’s common for vastly superior results when compared to using the built- be the first choice for professional applications, but for players to make (or have their repair- in converters on your computer or tablet. Both prod- a microphone of this size and with a suggested retail person make) a few customizations. ucts are also USB bus-powered, requiring no external price of $59.99, consider me quite impressed. The following would be my person- power source to operate. The C01U PRO, Samson’s latest USB studio con- al suggestions for the RW Pro One- The Meteorite is the little brother of Samson’s denser microphone, is based on the popular C01U (the Piece Soprano in black nickel. Meteor microphone. Like its older sibling, the world’s first USB studio condenser microphone, intro- Though it is promoted as a Meteorite’s look is extremely cool, featuring a retro feel duced in 2005). The C01U PRO is targeted at users who “slightly darker” horn, I miss some and unique ball design. The mic is compact and sits in need a recording solution that provides profession- of the dense harmonics and the a small magnetic pedestal that allows it al studio-quality results. Like the Meteorite, the C01U tonal color I typically associate to be repositioned by simply rotat- PRO features a 16-bit/48kHz sampling rate. It has a with a soprano. I know that ing it to the desired angle. The wide frequency response of 20Hz–18kHz and a 19mm Roberto would give the option Meteorite is aimed at users look- diaphragm that is shock-mounted to reduce ambient of installing metal resonators, ing to enhance the built-in audio noise. The mic utilizes the same sturdy die-cast form which would go a long way in recording quality produced by factor as the C01U and comes with a swivel tripod most computer systems. Its desktop stand, but it can be mounted onto any stan- solving the issue for me. Or, small size makes it very por- dard microphone stand. The C01U PRO also contains perhaps I would simply prefer a table and capable of fitting a built-in headphone amplifier, which allows for mon- brighter-sounding model in the into even the most congested itoring the input signal directly from the microphone RW Pro One-Piece Soprano line. workspaces. Although rec- and eliminates any possible latency issues when rout- For long-fingered players like ommend for applications ing monitor signals through your DAW. myself, both the high F# and the such as Skype, FaceTime or Like the Meteorite, the C01U PRO is extremely fork F# keys are positioned too far easy to use, with plug-and-play simplicity. Recording in away from the lower stack—I had Logic Pro, I found the mic to perform impressively. The to curl my finger uncomfortably C01U PRO uses a supercardioid polar pattern, which in order to reach them. If I were to provides a more directional response, better suited purchase this horn, my only option to studio applications. Overall, the microphone would be to modify them. For play- delivers a smooth, accurate and detailed record- ers with smaller hands, or those ing; it is especially great for acoustic instru- who don’t rely on these keys as ments and vocals. For a complete record- heavily as I do, this probably would ing solution with a suggested retail price of not be an issue. $129.99, this is a solid product. Overall, the RW Pro Series One- Both the Meteorite and C01U PRO are Piece Soprano Saxophone is an absolutely worth the money. As expected, the C01U PRO exceeds the quality of the excellent find. Roberto certainly Meteorite—but I was surprised to see just has the expertise, and has received how well the Meteorite stood up to the C01U enough feedback from world- PRO when tested side-by-side. Never underes- class saxophonists, to deliver a spe- timate the little guy. —Keith Baumann cial product. The saxophone lists Ordering info: samsontech.com for $2,850 and comes in a smart, lightweight yet protective fab- ric case that features two large zippered pockets on the outside. —Russ Nolan Ordering info: robertoswinds.com

OCTOBER 2014 DOWNBEAT 187 Toolshed GEAR BOX Range of Reeds Zonda reeds are now available for soprano, alto, tenor and baritone saxophone as well as bass clarinet. They are also available in two different cuts (Supreme and Classico) for B clarinet. All Zonda reeds are made from premium Argentinean cane, and they come in a wide range of strengths to accommodate saxophone and clarinet players of all types. More info: stlouismusic.com

More Flexible Flats La Bella Strings has introduced Low Tension Flexible Flats, a series of flat wound bass strings. Using the same manufacturing techniques as the company’s Deep Talkin’ Bass strings, La Bella has adjusted the construction of Low Tension Flexible Flats to create a lighter and more flexible alternative to the classic, heavier flats. The hand-wound and hand-pol- ished strings are equipped with round cores and narrower ribbon wire to achieve a smooth feeling. They are now available in four-string (LTF-4A) and five-string (LTF-5A) models. More info: labella.com

Stronger Electric Strings D’Addario’s new NYXL electric guitar strings feature the company’s New York-manufactured high-car- bon steel alloy for increased strength. The wound strings have an enhanced frequency response in the 1–3.5kHz range, which adds presence to help cut through the mix. With 6 percent more magnetic per- meability for higher output, D’Addario’s NYXL electric guitar strings offer punch, crunch and bite. They also provide improved tuning stability compared to tradi- tional nickel wound strings. More info: daddario.com

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Jazz On Campus School Notes

Sean Jones

UNLV’s Jazz Ensemble I, conducted by Dave Loeb (far right) JIMMY KATZ

Top Brass: Berklee College of Music has named trumpeter-composer Sean Jones its new Brass Department chair. Jones will suc- ceed trombonist Tom Plsek, who served as chair for 25 years. Jones’ teaching resume UNIVERSITY OF NEVADA, LAS VEGAS includes stints at Duquesne University and Oberlin Conservatory of Music. The Ohio- born trumpeter also serves as artistic direc- tor of both the Pittsburgh and Cleveland UNLV Upholds Standards Jazz Orchestras. More info: berklee.edu Jazz in Georgia: Clayton State University’s Department of Visual and Performing Arts/ of Art, Professionalism Division of Music will present performanc- THE UNIVERSITY OF NEVADA, LAS VEGAS undergraduate degrees. Jazz degrees offered are es during the school year to introduce enjoys the benefit of a thriving entertainment Bachelor of Music in jazz studies with a concen- students to a variety of musical genres. On capital in its backyard. And Dave Loeb, director tration in jazz composition, jazz instrumental or Nov. 17 at Spivey Hall, the Clayton State of jazz studies and professor of music, embrac- jazz vocal performance; Master of Music with a University Jazz Combo, directed by Stacey Houghton, will perform swing, Dixieland, es that resource. Loeb believes a student’s edu- concentration in jazz instrumental or jazz vocal bebop, Latin, fusion and modern jazz. cation should flourish both within and without performance; and a Master of Music with a con- Each school year, participation in the Jazz the walls of a university. It’s a philosophy of seri- centration in jazz theory/composition. Combo is open to qualified music students ous arts education reinforced with “real world” Nathan Tanouye—a UNLV alumnus who is who play saxophone, trumpet, trombone, working knowledge. now an assistant professor of jazz studies and piano, guitar, bass or drums. Located in “The primary strength of this jazz program is studio trombonist there—values the program’s Morrow, Georgia, Spivey Hall is home to the the talented faculty who are highly involved in intimacy. “It’s not a huge music program like 4,413-pipe Albert Schweitzer Memorial Or- many facets of the industry—jazz being prima- North Texas or University of Miami,” he noted. gan, custom-built in Italy by Fratelli Ruffatti. ry—but also classical and commercial,” Loeb “Students get more opportunities to step up here; More info: clayton.edu explained. “Here in Las Vegas, there’s been a resur- they’ll receive more individual attention. I guess gence of employment opportunities for musicians. you could say it feels like a tighter family. And Fall at NEC: Among the events scheduled As quickly as possible, I try to get students into the with all the ensembles and smaller pool of players, this fall at New England Conservatory are professional pipeline—when they’re truly ready, students have more opportunities to play in these master classes by several jazz artists: John Hollenbeck & The Claudia Quintet (Sept. of course. A lot of our top students are now play- excellent ensembles.” 23), Vijay Iyer and Jason Moran (Sept. ing on The Strip in shows likeJersey Boys and also The pride and joy of the jazz program is its 30) and Fred Hersch (Oct. 6 and Nov. 4). Cirque [du Soleil] shows such as Zumanity.” widely acclaimed jazz ensembles. The school’s Also scheduled is an Oct. 2 performance Loeb’s resume reflects his work ethic. In addi- high-level bands include three large jazz ensem- by artist-in-residence Dave Holland, an tion to performing with major jazz artists, he’s bles, the Latin Jazz Ensemble, Contemporary Jazz Oct. 16 concert by the NEC Jazz Orchestra served for 10 years as pianist with The Hollywood Ensemble, Joe Williams Every Day Foundation playing the music of George Russell and Bowl Orchestra, accompanying everyone Jazz Sextet, Jazz Vocal Ensemble and 10 small a special Nov. 4 concert titled “The Music from Quincy Jones to Garth Brooks to Plácido combos. The department also sponsors year- of John Zorn: A 35-year Retrospective,” Domingo. He also shuttles to Los Angeles for film ly CD releases showcasing various ensembles as performed by NEC’s faculty, students and ensembles. Zorn will be interviewed and TV sessions, including his long-term stint and student compositions and arrangements. onstage prior to the concert. with Family Guy. In an example of school-in- The ensembles’ numerous awards have boosted More info: necmusic.edu dustry interaction, Loeb got permission to bring UNLV’s profile. Loeb said, “We’ve now won seven groups of students to recording sessions that let DownBeat [Student Music Awards] ‘Outstanding them observe Hollywood pros at close range. Performance’ awards in the past five years, as KU Fest: More than 50 college, high school and middle school jazz ensembles and “Recording is a big emphasis in our program,” well as several outstanding soloist awards in both combos from the central United States will Loeb said. “The students have to take classes on the Reno Jazz Festival and The Monterey Next perform for a panel of distinguished jazz recording techniques and learn all basic music Generation Jazz Festival.” educators and musicians in a non-com- technologies, and then be able to engineer record- Although UNLV’s faculty encourages com- petitive environment at the University of ings, master them—the entire process, including mercial preparedness, Loeb is emphatic about Kansas’ 38th annual Jazz Festival on March copyrights and mechanicals.” their ultimate goal. “We still uphold jazz and 6–7, 2015, in Lawrence. Saxophonist Jerry Established in 1957, UNLV enrolls approxi- classical as the bar. And we make sure stu- Bergonzi and trombonist Marshall Gilkes mately 28,000 students in undergraduate, mas- dents maintain that legacy and integrity. We will be special guests at the fest, which will ters and doctoral programs. The school’s music want to make sure—whatever the music may feature performances by KU Jazz Ensemble I, KU Combo I and the KU Jazz Festival All- department has 400 students, 60 of whom are be—that students can discern top quality from Star Big Band. More info: music.ku.edu jazz studies majors pursuing graduate and/or something that’s not.” —Jeff Potter

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192 DOWNBEAT OCTOBER 2014 DB Buyers Guide

3Sixteen Records ...... 47 Jazz Education Network ...... 177 Sam Ash ...... 183 3sixteenstore.com jazzednet.org samash.com ACT Music ...... 61, 63 Jazz Foundation of America ...... 50 Samba Meets Jazz ...... 99 actmusic.com jazzfoundation.org sambameetsjazz.com Adrienne Arsht Center for the Performing Arts ...... 67 JJ Babbitt Co...... 42 Samson ...... 196 arshtcenter.org jjbabbitt.com samsontech.com Antigua Winds ...... 117 JodyJazz Mouthpieces ...... 101 Santa Rosa Junior College ...... 152 antiguapro-one.com jodyjazz.com santarosa.edu/music Bach ...... 29 John Stetch Music ...... 46 SFJAZZ Center ...... 161 bachbrass.com johnstetch.com sfjazz.org Bari Mouthpieces ...... 10 Juilliard School of Music ...... 83 Silverstein Works ...... 7 bariwoodwind.com juilliard.edu/jazz silversteinworks.com Blue Note Records ...... 31 Justin Time Records ...... 22 Sony Music/OKeh ...... 55 bluenote.com justin-time.com sonymusic.com Bowling Green State University ...... 136 Kennedy Center ...... 163 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75 Texas State Univesity ...... 107 challengerecords.com msmnyc.edu/jazz music.txstate.edu Chicago Symphony Center ...... 12 Mason Gross School ...... 87 cso.org masongross.rutgers.edu Tri-C Jazz Studies ...... 128 Claude Lakey ...... 29 Michigan State University ...... 143 tri-c.edu claudelakey.com music.msu.edu UMASS ...... 96 College of St.Rose ...... 93 Middle Tennessee State University ...... 106 umass.edu strose.edu mtsu.edu/music Universidad San Francisco de Quito ...... 173 Columbia College Chicago ...... 4 Midwest Clinic ...... 137 usfq.edu.ec colum.edu/music midwestclinic.org University of Central Oklahoma ...... 106 Conservatory of Music of Puerto Rico ...... 175 Minnesota State University Moorhead ...... 142 ucojazzlab.com cmpr.edu mnstate.edu/music University of Colorado Boulder ...... 150 Cornish College of the Arts ...... 149 Montclair State University ...... 92 colorado.edu/music cornish.edu montclair.edu University of Denver – Lamont School of Music .....164 D’Addario ...... 11 Monterey Jazz Festival ...... 153 du.edu/lamont daddario.com montereyjazzfestival.org University of Kansas ...... 136 D’Angelico ...... 2 Motéma Records ...... 18, 67 music.ku.edu dangelicoguitars.com motema.com University of Louisville ...... 108 DePaul University ...... 130 Music Dispatch ...... 113 jazz.louisville.edu music.depaul.edu musicdispatch.com University of Miami – Frost School of Music ...... 109 DW Drums ...... 15 National Young Arts Foundation ...... 41 miami.edu/frost dwdrums.com youngarts.org University of Michigan ...... 132 Eastman School of Music ...... 82 Needle Doctor ...... 5 music.umich.edu esm.rochester.edu needledoctor.com University of Missouri at Kansas City ...... 128 Eastman Strings ...... 9 New Jersey City University ...... 95 conservatory.umkc.edu eastmanmusiccompany.com njcu.edu/mdt University of Nebraska at Lincoln ...... 138 ECM Records ...... 37, 51 New Jersey Performing Arts Center ...... 8 unl.edu.music ecmrecords.com njpac.org University of Nevada at Las Vegas ...... 160 Elmhurst College ...... 125 New School ...... 94 music.unlv.edu elmhurst.edu/music newschool.edu/jazz3 University of North Carolina Greensboro ...... 114 Finale ...... 115 North Central College ...... 126 jazz.uncg.edu finalemusic.com northcentralcollege.edu University of North Florida ...... 105 Fishman ...... 119 Northern Illinois University ...... 141 unf.edu/coas/music fishman.com niu.edu/music University of North Florida ...... 111 Five Towns College...... 93 Northwestern University – Bienen School of Music ..... 133 unf.edu.coas.music ftc.edu music.northwestern.edu University of Northern Colorado ...... 165 George L’s ...... 100 NS Designs ...... 144 uncojazz.com georgelsstore.com thinkns.com University of Northern Iowa ...... 138 George Mason University School of Music ...... 89 Oberlin Conservatory of Music ...... 129 uni.edu/jazzstudies music.gmu.edu oberlin.edu/con University of Rhode Island ...... 92 Georgia Regents University ...... 109 P. Mauriat Saxophones ...... 151, 195 uri.edu/music gru.edu pmauriatmusic.com University of Wisconsin at Madison ...... 139 Godin Guitars ...... 12 Peabody Institute ...... 90 music.wisc.edu godinguitars.com peabody.jhu.edu/admissions USC– Thornton School of Music ...... 155 Greg Fishman Jazz Studios ...... 157 Peter Pickett Brass ...... 26 usc.edu/music gregfishmanjazzstudios.com pickettbrass.com Hammond Organ ...... 118 Vandoren ...... 3 Portland State University ...... 155 wearevandoren.com hammondorganco.com pdx.edu/music Vic Firth ...... 52 Harrelson Trumpets ...... 52 Princeton University ...... 84 vicfirth.com harrelsontrumpets.com princeton.edu Virginia Commonwealth University ...... 97 Hartt School ...... 100 Purchase College ...... 88 harttweb.hartford.edu purchase.edu vcu.edu Humber College ...... 72 Queens College ...... 81 Webster University ...... 124 humbermusic.ca queenscollege.com webster.edu/music HW Products ...... 184 Reed Geek ...... 98 Western Michigan University ...... 131 hwproducts.com reedgeek.com wmujazz.com Indiana University – Jacobs School of Music ...... 140 Rico Reeds ...... 181 Wilkie Strings ...... 98 music.indiana.edu ricoreeds.com wilkiestrings.com Interlochen Center for the Arts ...... 134 Roberto Winds ...... 19, 23, 71, 185, 188 William Paterson University ...... 86 interlochen.org robertoswinds.com wpunj.edu ITI Records/Warrant Music ...... 58 Rovner Products ...... 79 Yamaha ...... 43 warrantmusic.org rovnerproducts.com usa.yamaha.com Jazz at Lincoln Center ...... 167 Sabian ...... 27 Zildjian ...... 189 jalc.org sabian.com/en zildjian.com Jazz Cruises ...... 17 Sadowsky Guitars ...... 99 Zoom ...... 145 thejazzcruise.com sadowsky.com zoom-na.com

OCTOBER 2014 DOWNBEAT 193 Blindfold Test BY WILLARD JENKINS Sean Jones rumpeter Sean Jones’ dance card seems to be in constant transition. On July 22 he released Im.pro.vise: Never Before Seen (Mack Avenue), T Journalist Willard Jenkins (left) conducts the Blindfold Test with trumpeter Sean Jones at the Tri-C JazzFest in Cleveland on June 26. his seventh disc as a leader. He recently took a new position as chair JEFF FORMAN/TRI-C JAZZFEST of the Brass Department at Berklee College of Music in Boston. The 35-year- old native of Warren, Ohio, has taught at Duquesne University and Oberlin sounds like Wayne Escoffery a little bit to me. And then it sounds a little Conservatory, and he serves as the artistic director of the Pittsburgh Jazz bit like Billy Harper. It’s someone who loves free rhythms; the phrasing Orchestra and the Cleveland Jazz Orchestra. He is the former lead trumpet- is very free but it’s regimented. You feel that looseness in the sound but er for the Jazz at Lincoln Center Orchestra, a gig in which his fat, adroit, gos- it’s very stable; definitely coming out of the spirit of Trane. Maybe it’s [a pel-informed musicality provided a dramatic boost to the famed big band. track by] Nat Adderley; that’s definitely Nat. That tenor is messing me up This live Blindfold Test was conducted the 35th annual Tri-C JazzFest in a little bit. [after] That’s Joe Henderson? That doesn’t sound like Joe Hen- Cleveland—a festival that Jones first played as a high school student. Right derson! I’ve gotta go get that. The thing that gave Nat away was his use before the Blindfold Test, Jones had just completed a hard-hitting double- header, leading his quartet through a set, and after intermission, leading the of the upper register; he has a very wonderful upper register on cornet Cleveland Jazz Orchestra’s trumpet section through a crisply swinging pro- that a lot of people don’t deal with. He has a great way of using extended gram of the music of Christian McBride, who led the ensemble and produced trumpet techniques but being very soulful with it. This is reminiscent of Jones’ latest release. the [1965] record Domination with Cannonball. Randy Weston Matt Wilson’s Arts and Crafts “Ifrane” (Blue Moses, CTI, 1972) Weston, electric piano; Freddie Hubbard, trumpet; Gro- “Little Boy With The Sad Eyes” (An Attitude For Gratitude, Palmetto, 2012) Wilson, ver Washington Jr., tenor saxophone; Hubert Laws, flute; Ron Carter, bass; Billy drums; Terell Stafford, trumpet; Gary Versace, organ; Martin Wind, bass. Cobham, drums; Azzedin Weston, Airto Moreira, percussion. The choice of organ is interesting! Using organ and bass together, you I’m not sure of the exact piece, but that’s gotta be Freddie Hubbard. Freddie don’t hear that a lot unless it’s a larger ensemble. It sounds like a couple Hubbard is one of my heroes; his sound is distinct. His bravura is something of different people on trumpet; very soulful, not afraid to play the blues. that’s lacking in a lot of players today. The trumpet lends itself to having a cer- Oh, that’s Matt! That’s interesting; you hardly ever hear organ and bass tain kind of energy, a certain kind of presence, and I have a fear that it’s being together. Normally organists like to control the roots, but with this par- lost. Freddie Hubbard is the prime example of that kind of bravura. The last ticular organization I didn’t hear a conflict there; so there was definitely half of the 1900s he carried that: in the ’60s with Art Blakey, in the ’70s when an understanding going on and that’s probably from Terell. He probably he was with CTI. It almost sounds like the Mingus band, but I don’t think it dictated what he wanted and Matt probably dictated as well. I know it’s is. [after] I need to go check out that record! not Terell’s record, but I could hear Terell dictating [laughs]. Steve Khan Leron Thomas “Bird Food” (Subtext, Tone Center, 2014) Khan, guitar; Randy Brecker, flugelhorn; Reu- “Fool’s Paradise” (Whatever, 2013) Thomas, trumpet; Taylor Eigsti, piano; Matthew Ste- bén Rodriguez, bass; Dennis Chambers, drums; Marc Quiñones, Bobby Allende, percus- vens, guitar; Eric Harland, drums; Harish Raghavan, bass. sion. The beat itself—the understanding of what the beat is—is interesting. You’re stumping me. I’ve gotta hear the [flugelhorn] solo. That’s definite- There’s somebody playing on the back end of it, and the trumpet player ly somebody who checked out Freddie Hubbard. I’m hearing somebody is playing on the back end of what that is. That’s hard to do! The trumpet who definitely knows the language, knows the history of the music, is player sounds very mature, not filling up spaces with a bunch of notes. versed in certain Latin rhythms. I’ll take a stab at it and say that’s Mi- The chording almost sounds labored at this point; they’re swingin’, chael Rodriguez. Whoever this is has a very beautiful, round sound. though. [after] Leron’s not an older guy, but he plays with a lot of ma- [after] That’s Randy?! Randy Brecker is one of my favorite trumpet turity. The beat is interesting because there’s almost this kind of lazy players. I don’t often get a chance to hear him on flugelhorn; we ac- urgency, like a big person trying to move somewhere fast. tually just did the Jazz Cruise together, and he’s definitely coming out of Freddie, and he admits that—so I’m glad that I at least got the Ron Carter influence correct laughs[ ]. “Opus 1.5—Theme For C.B.” (Ron Carter’s Great Big Band, Sunnyside 2011) Carter, bass; Jerry Dodgion, alto and soprano saxophone; Steve Wilson, alto saxophone; Wayne Es- Don Cherry coffery, Scott Robinson, tenor saxophone; Jay Brandford, baritone saxophone; Charles “The Blessing” (Art Deco, A&M 1988) Cherry, trumpet; James Clay, tenor saxophone; Pillow, English horn; Jason Jackson, Steve Davis, James Burton lll, Douglas Purviance, Charlie Haden, bass; Billy Higgins, drums. trombones; Tony Kadleck, Greg Gisbert, Jon Owens, Alex Norris, trumpets; Mulgrew That sounds like Charlie Haden on bass. The tune is “The Blessing,” Or- Miller, piano; Lewis Nash, drums. nette’s tune. What’s interesting is Don Cherry is one of those cats who’s That’s Ron Carter. Ron Carter is one of those people that I like to follow very overlooked because he’s not the most trumpet-playing kind of because he has a very definitive approach to music. Those individuals trumpeter, if that makes any sense. He’s kind of a stylist, in that what- never waver in what they’re about and what they project. Ron is one of ever comes to his mind he just plays, no matter how crazy or how wild those people. Now, he’s Ron Carter, but in the ’60s when he was playing it is, and sometimes it comes off as if he doesn’t know what he’s doing. with Miles, he was kind of—maybe I shouldn’t say this—but he was kind But if you listen to the humanity in his phrasing, you can understand of like the voice of reason. He was always where you went back to; he was what he’s doing. just there, solid. And he has maintained that kind of integrity through- out his career. It’s nice to see him do different projects now. DB Nat Adderley “Painted Desert” (Live At Memory Lane, Atlantic 1967) Adderley, cornet; Joe Hender- The “Blindfold Test” is a listening test that challenges the featured artist to discuss and identify son, tenor saxophone; Joe Zawinul, piano; Roy McCurdy, drums; Victor Gaskin, bass. the music and musicians who performed on selected recordings. The artist is then asked to rate It’s definitely the tenor player’s record because of the way it’s mixed. That each tune using a 5-star system. No information is given to the artist prior to the test.

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