RICHMOND MATTESON: EUPHONIUM INNOVATOR, TEACHER AND PERFORMER, WITH THREE RECITALS OF

SELECTED WORKS BY FRESCOBALDI, BACH, SAINT-SAENS, HUTCHINSON, WHITE, AND OTHERS.

Marcus Dickman, Jr., B.M.E., M.M.

APPROVED:

NWw V4 Major Professor

007k.00/ Committee mber

Committee ember

Dean of the College of Music

Dean of the Robert B. Toulouse School of Graduate Studies 3~7q

o'S7

RICHMOND MATTESON: EUPHONIUM INNOVATOR, TEACHER AND PERFORMER

DISSERTATION

Presented to the Graduate Council of the

University of North Texas in Partial

Fulfillment of the Requirements

For the Degree of

DOCTOR OF MUSICAL ARTS

By

Marcus Dickman, Jr., B.M.E., M.M.

Denton, Texas

August, 1997 Dickman, Marcus, Jr., Richmond Matteson: Euphonium

Innovator, Teacher and Performer, with Three Recitals of Selected

Works By Frescobaldi, Bach, Saint-Sa~ns, Hutchinson, White and

Others. Doctor of Musical Arts (Performance), August, 1997, 97 pp., 23

examples, 3 tables, 3 appendices, and bibliography.

An examination is conducted of the life, career and musical styles

of Richmond Matteson, an influential jazz euphonium and tuba performer of the twentieth century. The study includes a brief history of the euphonium's role in concert bands. A description of Matteson's background as a musician and clinician including education, influences and career changes will also be discussed. Analysis of

Matteson's improvisational style and a transcription from the recording

Dan's Blues is included. A formal analysis of Claude T. Smith's

Variations for Baritone is provided, as well as a brief biography of the composer. Matteson's stylistic traits which Smith employed for the composition of Variations for Baritone are illustrated. The conclusion calls for further study of jazz styles by euphoniumists with more frequent performances of Variations for Baritone. Appendices include lists of Matteson's compositions and arrangements, a selected discography and a list of clinics and performances from 1982-1992. Tape recordings of all performances submitted as dissertation requirements are on deposit in the University of North Texas Library.

iii ACKNOWLEDGMENTS

I would like to recognize my colleagues, friends, teachers and family who gave their expertise, encouragement and selfless dedication during the completion of my terminal degree. Special thanks are given to: Donald

Little who has given freely of his time and musicianship, and for his kind hospitality; Dr. Royce Lumpkin for his proofreading and helpful advice and guidance; Eugene Corporon for serving on my DMA committee; Peggy

Heinkle-Wolfe who was extremely helpful in the theoretical portions of this study; and Dr. Priscilla VanZandt for proofreading and giving invaluable editorial suggestions. I would also like to thank Dr. William Prince, Barry

Greene, and Kevin Bales for their assistance in the reproduction of the musical examples contained in this paper.

I would like to thank my parents, Marcus, Sr., and Janet Dickman, for their encouragement and support through the long years of my college education. To my wife Patrice, and children, Jacob and Corrine, I dedicate this treatise. Their sacrifice throughout my studies are one of the main reasons I was able to complete my degree.

A musical discussion without examples is unintelligible. I wish to thank Mr. Frank Fendorf at Wingert-Jones Music, Inc. for giving me permission to reproduce selected musical examples.

Last of all, a special note of gratitude to Michelle Matteson for helping me to document the remarkable life and career of her husband.

iv TABLE OF CONTENTS

Page ACKNOW LEDGM ENTS ...... iv RECITAL PROGRAMS...... vii

LIST OF MUSICAL EXAMPLES ...... xi

LIST O F TABLES ...... xiii

Chapter

I. INTRODUCTION ...... 1

II. A BRIEF HISTORY OF THE EUPHONIUM AND ITS ROLE IN THE AMERICAN CONCERT BAND...... 3

III. RICHMOND MATTESON: PERFORMER, EDUCATOR, IN N OVATO R ...... 10

IV. MATTESON'S CONTRIBUTION TO TUBA AND EUPHONIUM PERFORMANCE...... 24

V. THE VARIATIONS FOR BARITONE BY CLAUDE T. SM ITH ...... 40

VI. CONCLUSION AND SUMMARY...... 57

V Appendices Page A. MATTESON'S COMPOSITIONS AND ARRANGEMENTS FOR JAZZ ENSEMBLE AND SOLOIST, FOR BRASS BAND AND SOLOIST, FOR BRASS BAND ALONE, PUBLISHED JAZZ ENSEMBLE COMPOSITIONS, AND TUBAJAZZ COMPOSITIONS AND ARRANGEMENTS...... 61

B. SELECTED DISCOGRAPHY OF RICHMOND MATTESON...... 68

C. MATTESON'S CLINICS AND CONCERTS 1982 - 1990...... 70

BIBLIO G RA PH Y ...... 92

vi University of North Texas

presents

A Graduate Recital

MARC DICKMAN, euphonium assisted by Evelyn Barthold, piano

Monday, June 28, 1993 5:00 p.m. Concert Hall

PROGRAM

Concertino. . . .Julius No. Kiengel1 in B' Major, Opus 7 . arr. Leonard Falcone

Canzona IIfor Basso Solo...... Girolamo Frescobaldi

LeCygne...... Camille Saint-Saens arr. Leonard Falcone

- pause -

Sonatina...... Warner Hutchison

Barcarolle Et Chanson Bachique ...... a ..Jules Semler-Collery

Beautiful Colorado...... ' . 0Joseph DeLuca

Presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts

vii University of North Texas

present

A Graduate Recital MARC DICKMAN, euphonium, bass-trombone accompanied by Evelyn Barthold, piano assisted by Larry Jones, trumpet - Bill Stowman, trumpet Tom Brantley, trombone 9 Marcia Spence, horn * John Rider, tuba Monday, June 12, 1995 5:00 pm Concert Hall Lyric Suite ...... Donald H. White Adagio cantabile Allegro guisto Andante sostenuto - Allegro energico Allegro Maestoso per trombone basso e pianoforte ...... Jan Koetsier Concert Variationsfor Euphonium and Piano ...... Jan Bach Var. I Capriccio Var. II Siciliano Var. III Ripresa Var. IV Scherzo Var. V Recitativo Var. VI Coro Var. VII Fuga Concerta 6 in Bb from the Violin Concert in E Major, BWV1042 ...... Johann Sebastian Bach Allegro arr. Ryohei Nakagawa Adagio Allegro assai

Presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts

viii University of North Texas

presents

A Graduate Recital MARC DICKMAN, euphonium accompanied by Judi Rockey Bradetich, piano

Monday, July 1, 1996 6:30 pm Concert Hall

Fantasia..t.o..0...... Gordon Jacob Pi ce en Forme de Habafiera...... MauriceRavel Morceau De Concours...... J. Ed. Barat

- pause -

Le Fleurgue tu n'avaisjet...... Georges Bizet

Believe Me If All Those Endearing Young Charms...... Simone Mantia arr. David Werden

Presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts

ix University of North Texas

-u -7

presents

A Graduate Lecture Recital MARC DICKMAN, euphonium assisted by Steven Harlos, piano * Mike McGuirk, bass Rich Matschulat, drums

Monday, April 14, 1997 6:30 pm Recital Hall

RICHARD MATTESON: EUPHONIUM INNOVATOR, TEACHER AND PERFORMER WITH THREE RECITALS OF SELECTED WORKS.BY FRESCOBALDI, BACH, SAINT-SAENS, HUTCHINSON, AND WHITE

Dan's Blues ...... Jack Petersen I (as performed by Rich Matteson on the album Easy Street, Four Leaf Records, FLC 5051, 1980)

VariationsforBaritone ...... Claude T. Smith

Presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts

x LIST OF MUSICAL EXAMPLES

Example Page

1. Transcription of Richmond Matteson's solo euphonium improvisation on "Dan's Blues "...... 28

2. Broken third pattern m. 1...... 31

2a. Sequential third pattern mm. 81-83...... 31

2b. Sequential third pattern, upper range mm. 67-68...... 31

3. Use of sequence, chordal outline mm. 4-6...... 32

4. Three-note ascending motive m. 17...... 32

4a. Reuse of three-note motive with rhythmic displacement m m . 36 - 38 ...... 33

4b. Third occurrence of three-note motive mm. 65-66...... 33

5. Usage of raised and lowered ninths m. 2...... 34

5a. Repeated blues motive mm. 22-26...... 34

6. Linear ideas with chromatic approach tones mm. 7-11...... 35

7. Rhythmic displacement mm. 47-51...... 35

8. Bebop scale and extreme upper register mm. 52-56...... 36

9. Use of extreme upper register. Ascending line to Bb5 m m . 77-80...... 36

10. Theme I, andante, Variations for Baritone mm. 9-19...... 45

10a. Theme II, allegro, Variations for Baritone, mm. 81-92...... 45

11. Variations for Baritone. Entrance of soloist mm. 9-11...... 47

12. Continuation of Theme I and "Jazz Waltz" at Rehearsal B mm . 12-22 ...... 48

xi 13. Theme II, allegro mm. 80-85...... 50 14. Continuation of Theme II mm. 86-98...... 51 15. Cadenza mm. 63-64...... 53 16. Matteson's improvised cadenza from Variations for Baritone mm. 63-64...... 54 17. Matteson's improvised solo from Variations for Baritone mm. 194-207...... 56

Xii LIST OF TABLES

Table Page 1. Various names for euphonium/baritone...... 4

2. Chordal progression from Variations for Baritone...... 44

3. Formal Analysis of Variations for Baritone...... 46

xiii CHAPTER I

INTRODUCTION

The purpose of this study is to demonstrate Richmond Matteson's

influence on euphonium playing styles and how he redefined the musical

potential of the euphonium through his career, his phenomenal

performance techniques, and his contributions to jazz education. The study

also analyzes the Variations for Baritone to demonstrate the techniques

designed by composer Claude T. Smith to showcase Matteson's remarkable

talent as a jazz euphonium performer. A historical perspective of the

euphonium is needed to show how unique Matteson's contributions are.

The euphonium's technical and musical possibilities, as displayed by

Richmond Matteson, prove that the euphonium can and should be utilized

in the areas of jazz and jazz improvisation. After all, the euphonium, like

any instrument, is limited only by the imaginations of the people who play it.

The euphonium used in a jazz setting, either as a soloist or in an

ensemble, was virtually unheard of until it was pioneered by Richmond

Matteson. Matteson was one of the most active jazz clinicians and performers in the United States and chose the euphonium as his primary

instrument. He helped increase the instrument's popularity, mainly through his concert and clinic appearances with young musicians. In 1984

1 2

Matteson traveled to more than 16 states and conducted over 40 clinics and

performances while he was a full-time instructor of improvisation at the

University of North Texas. Matteson most frequently played jazz on the

euphonium, a band instrument that had had little contact with the

classical world and even less exposure as a jazz instrument. His

euphonium performance style has had an impact upon current euphonium

performers and has helped change the image of the instrument from one

with a limited range of performance possibilities to one capable of a wide

range of technique and expression, especially in the jazz idiom.

The Variations for Baritone was composed by Claude T. Smith in

1971. It is the only composition written expressly for euphonium and

concert band to utilize jazz improvisation by the soloist. In this work, Smith

produced a vehicle for Matteson's technique, range, and jazz improvisation

skills on the euphonium. The Variations for Baritone provides a unique

avenue of expression for contemporary euphonium soloists and audiences.

Matteson referred to himself as the only full-time jazz euphonium

soloist in the world. This title has yet to be achieved by anyone else. In

order to understand Matteson's innovations on the euphonium, a brief history of the euphonium/baritone and its place in wind bands is necessary. CHAPTER II

A BRIEF HISTORY OF THE EUPHONIUM AND ITS ROLE IN THE AMERICAN CONCERT BAND

One of the first issues encountered when discussing and researching the euphonium is the profusion of names for the instrument. In Musical

Wind Instruments, Adam Carse lists 17 names in the euphonium/baritone category. In The Tuba Family, Clifford Bevan lists over 25 names. (A partial listing can be found in Table 1.) These instruments are members of the valved bugle family and are the same length (eight feet), pitched in Bb and have approximately the same range. The differences among the instruments are in the amount the tubing widens as it proceeds to the bell.

The euphonium is larger and more conical than a true baritone horn, with the latter being more cylindrical. The euphonium's more conical bore allows it to produce a mellow but projected sound.

The euphonium descended from the serpent and ophlicleide as a tenor-voiced instrument with a cup mouthpiece. With the invention of valves and rapid improvements made in the various designs, Wilhelm

Wieprecht and Johann Moritz of Germany built a tenor tuba soon after the invention of their bass tuba in F in 1835.1

3 4

TABLE 1. Various names for euphonium/baritone.

UnitedStatesGreat Britain ItalyGermany France

Euphonium Euphonium Flicorno basso Baryton Saxhorn Basse

Bass Horn Bass Flugel Horn Eufonio Kleine Bass Bugle Basse

Baritone Bombardin_ Tuba tenore Tenorbass Clarion basse 2

In 1843, F. Sommer of Weimar built a wider-bored instrument he named the euphonion. Sommer is considered the father of the euphonium.

Not only did he build one of the first instruments, he was the first known traveling virtuoso. He toured with the Louis Jullien orchestra from 1849 to

1851 and even tried to change the name of the euphonium to the sommerphone.'

Aldolphe Sax of Paris, originally from Belgium, patented a complete family of valved bugle horns in 1843. This action resulted in lawsuits by

Wieprecht, Halary (ophicleide maker) and others to block the patent.

(Wieprecht later abandoned his lawsuit, but others did not.) Sax would spend great amounts of time and money fighting other instrument makers over his patents for various instrument designs. Wieprecht felt that Sax had merely made improvements to his already existing instruments. The instruments were similar to Wieprecht's horns, but Sax's innovation was that they had never been manufactured or conceived as a whole family.'

The naming of "saxhorn" for these instruments is attributed to the

Distin family of Great Britain. When they were touring Europe as a brass ensemble in 1844, they were presented a set of Sax's instruments. The 5

Distin family was so impressed with these instruments they began playing the saxhorns exclusively. Distin would eventually set up an instrument shop in Great Britain to sell the saxhorns and manufacture his own line of instruments. The Distins were the primary creators of the British Brass

Band movement which, in turn, had influence on the American brass bands.'

The euphonium and baritone have a well-known tradition in the concert and brass bands; they are considered the most important solo instruments after the solo cornet and the solo clarinet.' The euphonium/baritone family is used sparingly in symphony orchestras but have managed to be utilized in 17 orchestral works. 7 These include;

Ottorino Respighi's Pines of Rome; Gustav Mahler's Symphony No. 7; Leos

Jandicek's Sinfonietta; Gustav Holst's The Planets; Arnold Bax's Overture to a Picturesque Comedy; Richard Strauss's Ein Heldenleben and Don

Quixote.

By the beginning of the twentieth century, the various instruments from around Europe had merged into what we now know as the baritone and euphonium. Even today, there is still some confusion as to what instruments composers want for their works. Thanks to groups like the

Tubists Universal Brotherhood Association, performers, composers and students are gaining a better understanding of the capabilities of the euphonium.

Since its development in the 1840's the euphonium's primary use has been in the wind band. During the late nineteenth century, municipal 6 brass bands were popular in the United States and remained so until they were supplanted by the mixed reed and brass band first formed by Patrick

Gilmore in 1859.8 Gilmore, an Irish cornetist, came to Massachusetts in the 1850's. His initial experience was as a band leader who served in a

9 Massachusetts regiment during the Civil War. After the war, he formed the Gilmore Band. As one of the first professional bands, they performed quadrilles, polkas, and popular medleys. They also performed transcriptions of standard orchestral overtures, excerpts of works of the masters from Wolfgang A. Mozart to Richard Wagner and many works for virtuoso soloists. Gilmore set a standard for band programming that influenced all followers. Other professional bands formed in the 1890's included those of Victor Herbert and Edwin Franko Goldman. The most widely known band leader following Gilmore's tradition was the greatest popularizer of the band in the United States -- the "March King," John

Philip Sousa.'0

John Philip Sousa (1854-1932) is considered the greatest march composer who ever lived. The time in which Sousa flourished, roughly

1880-1925, was the heyday of the band as a popular musical attraction and the most prosperous era for the professional touring band."

Sousa had a remarkable talent for marketing his band and his own compositions as popular entertainment." Sousa's programming closely resembled that of Gilmore, including his frequent use of soloists. Some

soloists were singers, but most were Sousa's star instrumentalists: for

example, Arthur Pryor on trombone; Herbert L. Clarke and Frank Simon 7 on cornet; and John Perfetto and Simone Mantia on euphonium." As a solo instrument, the euphonium appeared most frequently in wind bands of the late-nineteenth century, and, except for the solo cornet and solo clarinet, the euphonium was the most frequently programmed instrument in that era. The euphonium offered great technical dexterity, a wide dynamic range, a warm, expressive tone and sufficient projection to be heard at a concert whether indoors or outdoors."

The theme and variations was a typical musical form for solos during this period. The theme in such pieces was usually a slow popular or operatic tune followed by several variations. Often these variations called for extremely facile technique by the performers to showcase their virtuosity. Then, as now, euphoniumists would regularly perform compositions originally written for trombone or trumpet. Compositions by euphoniumists Joseph DeLuca and Simone Mantia were virtually the same as those by cornetist Arban or Clarke. During this era more attention was given to flare and dazzle than to writing and performing serious music.

Musical substance was secondary to audience appeal."

By the 1920's the working professional bands were becoming less popular. Also in the 1920's instrumental music programs with bands began to appear in public schools and colleges. These programs attempted to combine education with entertainment and to provide pre-professional training for band directors. Nearly every high school in the nation had some sort of instrumental program. Thousands of young men and women were practicing and performing on wind instruments." Many of these 8 people would later become active in music as either listeners or, less frequently, as performers. Matteson, the son of a band director, was part of the growth of the American band movement in the 1940's. 9

NOTES

CHAPTER II

1. Clifford Bevan, The Tuba Family. (London: Faber and Faber, 1978), 90.

2. Ibid., 29.

3. Ibid., 92-93.

4. Wally Horwood, Aldophe Sax, His Life and Legacy. (Great Britain: Bramley Books, 1979), 75-76.

5. Bevan, 103-104.

6. Ibid., 94.

7. Roger Oyster and Abe Torchinsky, "Utilizing the Euphonium," TUBA Journal X/I, 1981, 4.

8. Richard Franko Goldman, The Wind Band (Boston: Allyn and Bacon, Inc., 1961), 49.

9. Norman Lloyd, The Golden Encyclopedia of Music (New York: Golden Press, 1968), 47.

10. Goldman, 50.

11. Ibid., 74

12. Ibid., 71.

13. Ibid., 74.

14. David Royal Miles, An Annotated Bibliography of Selected Contemporary Euphonium Solo Literature by American Composers (Annandale, VA: TUBA Press, 1992), 1.

15. Ibid., 1.

16 Goldman, 95. CHAPTER III

RICHMOND MATTESON: PERFORMER, EDUCATOR, INNOVATOR

Richmond Matteson was born on January 12, 1929, in Forest Lake,

Minnesota. Matteson's musical education began early, perhaps because

both of his parents were high school music teachers. Matteson studied

piano from the ages of 3 to 18. And, although his father was a high school band director, Matteson said, "My father was probably more interested in my becoming a piano player than a brass player."' When Matteson

reached high school, his father chose the baritone horn for him because that was the instrument he needed in his school band. 2

Matteson's early exposure to music was through the standard orchestral repertoire of Beethoven, Mozart, Strauss, and Brahms. As a result of performing with his father's band, Matteson also was familiar with the traditional concert band repertoire and standard euphonium solos

such as Beautiful Colorado by Joseph DeLuca and The Carnival of Venice by Joseph Baptiste Arban. These works require impressive technique and good breath support, skills that served Matteson well throughout his career.

The Matteson family's home in Ada, Minnesota, was about 60 miles from Fargo, North Dakota, where dance bands often stopped to play at the

10 11 local fairgrounds on their way to the bigger cities. Matteson took advantage of opportunities to listen to their music and said, "I would stand outside of the pavilion and listen to the bands. Once in a while a really famous band like Dorsey would come by and play there." 3 While in high school,

Matteson heard a recording of Tommy Dorsey's Boogie Woogie (an arrangement of an earlier recording by Pinetop Smith) and became interested in the popular jazz groups of the time. Matteson learned the piano solo from Boogie Woogie and performed it frequently with his father's bands.'

In 1946, Matteson's senior year in high school, his family moved to

Rock Island, Illinois. The move allowed Matteson to live at home while attending Augustana College after his high school graduation. He frequently listened to the various jazz bands which performed in Rock

Island's jazz clubs, including the young Louie Bellson's group.'

Matteson played his first professional engagements during his senior year of high school. Matteson remembered:

We formed an unofficial high school jazz band. We'd meet after school and each of us contributed a few bucks and bought stock arrangements. The very first gig I ever played was a non-union gig with this high school jazz band we put together. We played a dance for the kids at the YMCA. We each got paid a little bit for doing that.6

Because Matteson wanted to work in the jazz idiom, he sold his euphonium and bought a valve trombone and a bass trumpet. He knew that the mellow timbre of the euphonium was generally not deemed suitable for use in dance band trombone sections. Swing-era bands never used 12 euphonium and rarely used tuba. The use of a valve trombone, however, was fairly common. The bass trumpet, with a timbre closely resembling that of a trombone, was utilized somewhat less often than the valve trombone." Matteson easily transferred his knowledge of valve fingerings to these two instruments instead of having to learn the trombone slide positions. Other contemporaries of Matteson who perform on valve trombone are Bob Brookmeyer and Rob McConnell. All three of these musicians are noted for their modern jazz playing and their arranging and composition abilities.

Matteson attended Augustana College for two years studying to be a minister. Matteson explained, "Augustana College had an incredible vocal program. Their instrumental program back in 1947-1949 was not that strong. I'm not saying it was bad, but it was not that strong. Because of my interest in jazz, I didn't really fit in there." When he left Augustana, he gave up plans on becoming a minister.'

Matteson enlisted in the Army in 1950. After basic training, he was transferred to Colorado Springs, Colorado, where he played tuba in the concert band and valve trombone in the jazz band.9

While in the Colorado band, he rehearsed daily with men he believed to be superior musicians. Matteson also started writing and arranging for the Army jazz band. At about that same time he discovered the music of

Oscar Peterson and Clifford Brown. Peterson is regarded as one of the most technically proficient jazz piano performers in the Art Tatum tradition, and Brown is acknowledged as one of the finest technical and melodic jazz 13 trumpet players. 10 One of the chief benefits that Matteson derived from his stay in Colorado Springs was that he was inspired to accomplish a complete mastery of his instruments.

After Matteson finished his Army service in 1952, he spent a short time with a band on the road. He explained:

When the (Korean) war started to slow down, they started letting guys out. I got out in May of'52. I was in a total of 21 months. When Dave Owens got out, I went to Detroit with him, and we formed a group. We went on the road and starved! When you're in the Army, you're playing for guys at the Enlisted Men's Club, and you've got a captive audience. They've got no place to go and no money. So you sit there and play, and whether they clap or not, you've got a gig. When you go out on the road, you can't play with that same aloofness. If your attitude is, "We're only gonna play our tunes, and we're only gonna play the heaviest bebop stuff, and the hell with any of you folks out there," you might last two nights in a club. I soon realized I had to go to school and learn more about this business."

Matteson, following his father's advice about a choice of colleges, reminisced: "Although I was a grown man, my father was still a dominant force; he insisted that I go to the University of Iowa because Bill

Gower was there. I studied tuba with Bill." 12 Matteson had to major in tuba because the University did not offer a degree for baritone horn.

While attending college, he worked casual night club jobs at least two nights a week. After he received his bachelor's degree in music education in 1955, he taught high school band and chorus for two years in Durant,

Iowa. In 1957, he decided to try playing for a living and moved to Las

Vegas, Nevada. Matteson said:

The day I arrived in Las Vegas, I went to work playing bass trumpet with a band. The band did Dixieland, straight ahead swing like Airmail Special, and things like that. No bebop. By that time, I was 14

beginning to get a small reputation as a good improvisational player."

The years working and living in Las Vegas were very important for

Matteson because, while there, he gained employment and ultimately achieved national recognition. While working for Kay Kaiser's former trumpeter and comedian Ish Kabibble in 1957, Matteson caught the attention of Bob Scoby, a highly regarded traditional jazz cornet player. In

1958 Matteson became Scoby's bass player. His instrument was an antique

BBb helicon tuba which he had purchased from a music store in Rock

Island, Illinois. He developed a unique style of tuba playing that imitated the sound and feel of a string bass (See Chapter IV).

On September 18, 1959, Matteson joined the Dukes of Dixieland, the most popular and well-paid Dixieland band in the nation. They played six or seven nights a week at nightclubs, appeared on television shows and recorded regularly. Matteson remembered:

We went into New York and played a night club at night, then did the Gary Moore Show during the day. The Dukes were hot. They were doing all the best gigs, such as major jazz shows on TV, Madison Square Garden, the Thunderbird Hotel and the New Frontier Hotel in Vegas. We worked opposite a lot of big stars like Ella Fitzgerald, Sarah Vaughn and Billy Eckstine. I got to meet many influential people in the business."

One of the people he met was Louis Armstrong, with whom he recorded the album Satchmo and the Dukes of Dixieland (1960). This recording session had a great impact on Matteson's career. When

Matteson asked Armstrong how he could play with such emotion (as if an audience was there) during a recording session, Louis replied, "Play for 15 someone you love." Matteson would use Armstrong's advice as one of the cornerstones of his clinics in his later years. Matteson felt that students playing for someone they loved, rather than playing for critics or juries, would put the performers at ease and help them concentrate on the sheer pleasure of music making.

After two years of traveling with the Dukes, Matteson led his own groups in Las Vegas and arranged for other musicians, including Harry

James and Count Basie. Matteson said:

I formed my own group backing a girl singer and we also did our own stuff. We went into the Stardust on Easter weekend 1961. I never went out on the road with what you'd call a main group after that. I became what I call a "Nevada musician" because I worked primarily Las Vegas, Reno, and Lake Tahoe. I also had a group with Pete Barbutti and we worked the Nevada circuit."

In the late 1960's Matteson directed a band in Mexico City and recorded for RCA de Mexico. By 1968, Matteson perceived a shift to rock music in the Las Vegas entertainment industry." This reduced the demand for jazz musicians and Matteson moved to Dallas, Texas, to work for the Getzen Instrument Company as their low brass clinician. Matteson said, "Every once in a while, in communication with some of my friends still in Vegas, they would say, 'yea, you escaped.' But I was just lucky.""

He also helped design a valve trombone and euphonium for Getzen.18 Doc

Severinson was also engaged as a clinician by Getzen, and Matteson benefited from extra work and opportunities because of Severinson's busy schedule. 16

As a part of his job with Getzen, Matteson visited schools primarily in Texas, Arkansas, Kansas and Louisiana. He would carry several

Getzen instruments for the students to examine and would lead clinics with their bands. Matteson said, "About six weeks after I got into doing clinics, I realized I'd found my niche. I loved it more than anything I ever did."19

While living in Dallas, Matteson heard about the jazz program at the

University of North Texas in nearby Denton. He wanted to become involved with jazz education. After meeting Leon Breeden, Director of Jazz Studies and conductor of the One O'Clock Lab Band, Matteson was invited to visit and play several times a year. He worked with the bands, performed and wrote arrangements for the ensembles. Breeden remembered Matteson's work:

Rich came by my office with some arrangements and asked if my band could read them. The students loved the charts, and Rich visited often. I invited Rich to perform at the 1971 Texas Music Educators Conference in San Antonio with the One O'Clock Lab Band. Rich told me that this performance helped advance his career as a nationally recognized soloist and clinician.2

By the early 1970's, Matteson began to gain a national reputation as a jazz performer and teacher. He was one of the main proponents of the jazz education movement in the late 1960's and early 1970's. He also started playing euphonium more often because he recognized that this instrument could become his trademark.

In 1973, Matteson was hired by the University of North Texas as a full-time instructor in the areas of jazz improvisation and jazz ensemble, a 17 position he held for 13 years. While there, he conducted the Three O'Clock

Lab Band, assisted with the One O'Clock Lab Band, and taught several sections of jazz improvisation.

In addition to his performing abilities, Matteson was an accomplished arranger who received his first writing experience in the

Army. Later he wrote extensively for the Hal Wiese Band. Matteson said:

It was a good band with very good musicians and Hal Wiese, God love him, would let me write anything I wanted for that band. Every once in a while we would have a major rehearsal and read my new charts. If he liked my chart, he would buy it, and if he didn't like it, he wouldn't buy it, and I could rewrite it or whatever. I wrote them, and I copied the parts. At that time, I was able to have my own workshop. I could write for a girl singer, for anybody in the band, or for the band as an ensemble. Once in a while he would order something, but most of the time I was free to write anything. It was a tremendous opportunity for me to write, make mistakes, correct them and learn! I suppose he kept a few dozen charts over a couple of years. That was a great opportunity. I can't remember the actual number of charts I wrote, and I don't know how many were thrown out. They weren't all good, that's for sure.2 '

While working at the University of North Texas, Matteson, and his close friends, Jack Petersen and Phil Wilson, formed a publishing company called Outrageous Mother. The company had a dual purpose: to provide high quality music for young bands and to allow composers and arrangers to earn a larger percentage of profit for their work than was offered by other publishers. 2

The staff of Outrageous Mother included some of the best known jazz arrangers and composers: Charles Argersinger, David Caffey, Carrol

DeCamp, Matt Harris, Les Hooper, Paul Kondziela, Jim Linahon, Rob

McConnell, Jack Petersen, Neil Slater, Howie Smith, Rick Stitzel, Mark 18

Taylor, Eugene Thorne, Phil Wilson and Chris Woods. Several of these published their first arrangements through Matteson's company.

Outrageous Mother was dissolved in 1986 when Matteson accepted a position as the Koger Distinguished Chair of American Music Studies at the University of North Florida in Jacksonville. Matteson felt he would need to direct all of his attention to creating a new jazz program at a then relatively unknown university. Many of the arrangements owned by

Outrageous Mother were sold to the University of Northern Colorado Jazz

Press and are currently available through that venue.

Since euphonium and tuba were not a part of the contemporary jazz scene, it was up to Matteson and his associates to invent a way to present these neglected instruments in a jazz setting. The opportunity came in 1975 when Matteson and Harvey Phillips, then professor of tuba at Indiana

University, were roommates during a TUBA conference at Chandron State

College in Nebraska. They had been hired to present clinics and perform with various groups. At a reception for the participants, a tuba/euphonium ensemble from the University of Northern Iowa, directed by Donald Little, provided entertainment. The group played light classics, polkas, barbershop quartets and arrangements of popular tunes. Phillips said,

"The group was very good and that gave us the idea of some sort of jazz group."" Phillips and Matteson came up with the idea of presenting an all- star jazz group featuring tubas and euphoniums as the only wind instruments. " Matteson explained why he chose that particular instrumentation: 19

The instrumentation was three euphoniums, three tubas, piano, bass, guitar and drums. The reason we use six horns is that the complete jazz harmony usually requires six or seven parts. When we need seven parts, we arrange instruments in this order, from bottom to top; tuba, tuba, tuba, euphonium, guitar, euphonium and euphonium. When we need six parts, the tubas would be the bottom three parts and the euphoniums would be the top three parts. Since the range of the guitar is the same as the tuba and euphonium combined, the sound of guitar matches these sounds very well and it sounds beautiful.2 5

At the same time (1975), Phillips was organizing the First

International Brass Conference in Montreux, Switzerland, and he booked the Tubajazz Consort's first engagement there in the summer of 1976. The euphonium players were Matteson, Ashley Alexander and John

Marcellus. The tuba players were Phillips, Dan Perantoni and Winston

Morris. The rhythm section consisted of Jack Petersen, guitar; Steve

Harlos, piano; Jerry Coleman, drums; and Steve Lespina, bass. 26 Tubajazz received a standing ovation during their first selection.

Based on the response in Montreux, Phillips was able to book a tour of

Australia in February, 1978. Tubajazz performed to standing-room-only crowds in Adelaide, the Sydney Opera House, Melbourne and Brisbane. As good as the group was, Matteson still had occasional problems booking

Tubajazz. He said:

I'd get frustrated trying to book Tubajazz 'cause they hear "tuba" and the phone goes dead. They can only hear the "oompah," they can't see the other side of it. But then the other thing happens. If we get to play they're all looking at it like "what in the hell are these guys gonna do? They look like a bunch of fire engines up on the stage." Big heavy-set players, three big tubas and three what they think are little tubas (euphoniums). Then we start playing, and these people just knock themselves out. They all want to apologize to us for what they thought. They say, "This is just incredible!" Then they all want to become your agent, so to speak. They want to push Tubajazz. They'll 20

go to other people and say, "Did you hear Tubajazz? Oh man! What you missed!" It has a funny effect that way. We had a lot of good comments in Washington D.C. when we played there."

In spite of some negative initial responses, the Matteson-Phillips

Tubajazz Consort performed frequently and recorded two critically acclaimed albums, Tubajazz (1978) and Superhorn (1979). The albums have been combined onto a single compact disc entitled Tubajazz, (Mark MJS

57626CD).

In addition to performing with Tubajazz, Matteson continued to make guest appearances with other groups in the United States and abroad. His career took another turn in 1985 after he performed twice with the St. John's River City Band, a professional brass band based in

Jacksonville, Florida. The first performance was in March and the second in October at the Jacksonville Jazz Festival.

After the Festival performance, Jacksonville businessman and arts patron Ira Koger invited Matteson to a reception aboard his yacht. The eventual outcome of this meeting was the creation of an endowment at the

University of North Florida, provided by Koger, that stipulated the hiring of

Matteson to create a jazz studies program. In the summer of 1986,

Matteson accepted an endowed position at University of North Florida entitled the Koger Distinguished Chair of American Music. Since 1986,

University of North Florida's jazz studies program has received national and international recognition. 21

Matteson performed numerous times with the St. John's River City

Band. This association culminated in his featured performance with the band at New York City's Carnegie Hall on September 29, 1987. The

Carnegie Hall concert was another first for Matteson and the jazz

euphonium. 22

NOTES CHAPTER III

1. Marc Dickman, "Rich Matteson: Portrait of an Original," TUBA Journal, XIX/II (1991), 46.

2. In the United States there continues to be little differentiation between the baritone horn and the euphonium. A true baritone has a smaller and more cylindrical bore than a euphonium. Most composers and music directors in the United States are actually referring to the euphonium when they mention baritone.

3. Dickman, 46. 4. Ibid.,146.

5. Ibid., 47.

6. Ibid., 47.

7. Notable examples of players of valve trombone during the Swing Era were Juan Tizol on the valve trombone (in the Duke Ellington Band) and Cy Tuff on bass trumpet (in the Woody Herman Band).

8. Dickman, 47.

9. Toru Miura, "Super Artist Interview - Rich Matteson," Viva Brass, Band Journal, November (1990), 49.

10. Mark Gridley, Jazz Styles and Analysis, Fourth Edition (Englewood Cliffs, New Jersey: Prentice Hall, 1991), 202. 11. Dickman, 48.

12. Donald L. Little, "T.U.B.A. Profile-Rich Matteson," TUBA Journal, V/III (1977), 2-6.

13. Dickman, 49.

14. Ibid., 49.

15. Ibid., 49.

16. Ibid., 51. 23

17. Dickman, 51.

18. Michelle Matteson, Pamphlet, Unpublished, 1992.

19. Dickman, 51.

20. Leon Breeden, interview by author, December 12, 1996.

21. Dickman, 48.

22. Jack Petersen, interview by author, December 23, 1996.

23. Harvey Phillips, interview by author, January 4, 1997.

24. Miura, 53.

25. Ibid., 54. 26. The Tubajazz personnel was relatively stable for most of its existence. Ashley Alexander replaced Marcellus soon after the first performance. John Allred replaced Alexander after his passing in 1989. The rhythm sections varied depending on who was available and where the group was performing.

27. Dickman, 58-59. CHAPTER IV

MATTESON'S CONTRIBUTION TO TUBA AND EUPHONIUM PERFORMANCE

Early in his professional career Matteson worked primarily as a bass player in bands like Bob Scobey's and in the Dukes of Dixieland. He developed a style of walking bass lines on an antique BBb helicon-shaped tuba he bought in 1958, and he believed the development of this style on tuba was important to his career:

That was one of the smartest things I ever did. And that's when I started seriously playing walking bass. I became known for developing that style on the tuba. I had done it with this horn as a comedy bit when I was with Ish [Kabibble]. I guess I'd been playing it as a secondary instrument just for selling appeal. Ish would bring me out and we'd play a couple of tunes, and I'd play walking bass and take a solo. 1

"Walking" is a 4/4 style of playing bass lines developed on the string bass. Traditionally, tuba players in Dixieland jazz bands played on beats one and three of each measure and were mostly limited to the root and fifth of the chord. The pattern sounds similar to a bass part from a march.2

Matteson, however, was influenced by modern bass players such as Ray

Brown and Slam Stewart -- players who played four quarter notes in each measure. Matteson imitated their style of jazz playing and developed a unique sound for a tuba player. After leaving the Dukes of Dixieland, Matteson did not perform on tuba with a band full-time. Occasionally he

24 25 would play a few selections on the helicon, but most of his playing was on the valve trombone and euphonium.

Matteson's trademark upper range on the euphonium was evident at an early age. He gave partial credit for his ability to the lack of an orthodontist:

I owned the double F [F5]'from age 16 on. They now think since those two teeth are crossed, they form a sort of a point for the lip to stretch over, and that helps with the range.... I never had any trouble hitting those high notes. . . . when I was 36, I could still hit the F any time I wanted, but I couldn't go beyond it one bit.... I got really frustrated that I couldn't play an F sharp.... I started practicing and developed a routine that I thought would work and by golly, it did! '

There is a tradition of high note trumpet players in jazz. Among these, Louis Armstrong was known for his prowess in the upper register.

Trombonists such as Tommy Dorsey and Frank Rosolino also influenced

Matteson with their playing in the upper register. There is not an equivalent tradition on the euphonium: Matteson pioneered the euphonium's upper tessitura.

Because Matteson was gifted with excellent pitch and melodic memory, he was able to learn tunes easily and to improvise. Matteson originally began improvising on a tonette, a recorder-like instrument that his father used to introduce children to music. Matteson said:

I used to improvise on that all the time. My improvising wasn't jazz- based. I was just making up my own melodies and runs and what I thought was hip at the moment. I would listen to the radio and try to imitate the music I heard. I was always making up stuff on the horn and on the piano. But I wasn't doing it with the thought of becoming a great jazz player. I just did it for fun. I'd just sit down and try to make up something. I really didn't know any modern piano voicings with the left hand like they started to do in the 40's. 26

Like many other jazz musicians, Matteson learned to improvise by

imitating his favorite players. He said:

When I was a young man learning to improvise, you didn't have any books, or at least I wasn't aware of any. And I had no idea there was a college called the University of North Texas, or North Texas State, where Jack Petersen was going. . . . We used to listen to records and copy the solos, or. . . as much of the solo as you could play. One of the first things I learned was a Frank Rosolino lick.... But that's the way we learned to play jazz. I remember working on bits and pieces of solos. A couple of ideas from Oscar Peterson, some from. Clifford Brown's Joy Spring. Bits and pieces I'd pull off records from. "Yardbird," Charlie Parker. I also had fallen in love with the Basie Band and the Ellington Band. I'd lift from Paul Gonsalves, Ellington's tenor player. I liked Lester Young.... I think more than taking whole solos, I'd just take bits and pieces, take two or three bars from this guy and two or three from that guy then figure out how to make my ideas run into their ideas.6

Matteson acknowledged the fact that college training could add another dimension to one's playing:

I didn't really practice licks and patterns in all keys until I got into jazz education in 1968. Until then, you'd play mostly in the standard familiar keys. You'd play standards and Dixieland tunes in F, Ab, Bb, Eb, but you're not getting into a lot of keys.... You did a lot of ducking in those days, except for the sincerely heavy players. I'm not accusing Clark Terry of ducking or Oscar Peterson or any of those guys.. . . If this chord was really eating your lunch, then you'd work out 5 or 6 ideas that would get you through it, and that was it. I don't think people of my era on the road were nearly as dedicated as the college students practicing jazz today. And the college kids that go on the road, they still practice. It was different.'

A study of Matteson's work shows his remarkable skill at playing logical solos that are held together by use of repetition and imitation. His improvisations show a well-conceived form that is the mark of a master craftsman. A fairly typical example of Matteson's performing style is his improvised solo on "Dan's Blues" from the album Easy Street, recorded in 27

Sweden in 1980. Always swinging and with an affectionate playfulness,

Matteson utilized a modern jazz harmonic vocabulary fused with a bouncing rhythmic thrust derived from traditional jazz and swing.

As already mentioned, Matteson's use of the euphonium's upper range became a trademark and he constantly employed it in his improvised solos. Many of the ideas adopted by Matteson are fairly typical of dozens of first rate-jazz performers. What makes Matteson so unique is his application of modern jazz's harmonic and rhythmic language to the euphonium. Following is a transcribed solo by Matteson followed by an analysis of his use of contemporary jazz techniques as he applied them to the euphonium (Example 1). 28

Example 1. Transcription of Richmond Matteson's solo euphonium improvisation on "Dan's Blues".

Gm in Am7P5) D7P9) Gmin

12 3 4

Cmn F7 Bb EbMaJ7

5 6 7 8

Am7 P5) D7(e5#9) Gmin D7 A F 3A A

9 10 11 12

Gm in Am 7P5) D7P9) Gmia

13 14 15 16

Cmin F7 Bb EbMaj7

17 18 19 20 L-

Am7 5) D7(#5#9) Gmn D7

21 22 23 24

Gmh Am7P5) D7P9) Gmin

~~~Th~ ___a

25 26 '27o2

25 26 27 28 29

Cmii F7 Emaj7

I I =F7

29 30 31 32

Am7 5) D7#5#9) Gmin D7

~ A

33 3 34 35 36

Gm Am7 )5) Gmn

I I r _ _

37 38 39 40

Cmii F7B E Maj7

lifA A A K

41 42 43 44

Am7 $5) D7 5 9) Gmin D7 A A

45 46 47 48

1 Gmin Am7 5) D7 ,9) Gmin

49 50 51 52

Cmi F 7 E M a37

AI A a doI

53 54 55 56 30

Am 7?5) D705#9) Gmix D7

57 58 59 60

1 Gmih Am7 5) D7 9) Gmin 3 3 3

61 Cm047 62 63 B 64 e4a

c m iiF7B6Et6M a37

65 66 67 68

Am7 t5) D705#9) Gmin D7

69 70- 71 72

Gm i Am7i)5) D7t)9) GmE

A Poo 9= = F '-1:

73 74 75 76

Cm i F7B EMaj7

A I F- 3~T~~i 8

77 78 79 80

Am7 I5) D7#5#9) Gmih D7 Gmin

The form of Dan's Blues is a twelve-bar blues in G minor. Matteson's motivic development and reuse of material, use of rhythmic displacement, and coloristic devices such as usage of flatted fifths, altered dominants and embellishments are evident throughout the solo. The opening motif, a 31 descending sequential third pattern in measure 1, is also used as the closing material at the end of the solo (Examples 2 and 2a).

Example 2. Sequential third pattern mm. 1. Gm in

1 2

Example 2a. Sequential third pattern mm. 81-83.

Am 7 (5) D7 (#5#9) Gm nh

81 82 83

Matteson also uses a similar third sequence in the upper range at measures 67-68. On the recording he performs turns or mordents between the intervals, something that musical notation has difficulty representing.

Example 2b. Sequential third pattern, upper range mm. 67-68.

Bb EbMajY

67 68

Another type of sequencing is found in measures 5-6. Matteson extends the respective Cm and F7 chords to the ninth scale degree.

Example 3 shows his sequencing of the motive from measure 5. 32

Example 3. Use of sequential chordal outline mm. 4-6. Gm! Cmi F7

4 5 6 In measure 17 Matteson uses a simple three-note ascending scale

pattern culminating in an arrival on the third of the respective F7 chord in

measure 18 (Example 4).

Example 4. Three-note ascending motive m. 17.

Gmi Cmi F7 e

16 17 18

Matteson uses the three-note ascending pattern again in measures

37-38, (Example 4a) and 65-66 (Example 4b). This pattern is also repeated

and shifted by one-half of a beat.

Example 4a. Reuse of three-note motive with rhythmic displacement mm. 36-38.

D7 Gmi AWm7(b5) D7 9)

Ip71 3o

36 37 38 33

Example 4b. Third occurrence of three-note motive mm. 65-66.

Cmi F7

65 66

Matteson always used blues inflections as coloristic devices in his improvisation. These manifest themselves as altered dominant harmonies

(raised and/or flatted ninths on dominant chords) and usage of the flatted fifth.

In measure 2, the raised and lowered ninths of the D 7 chord are emphasized. Matteson constantly used raised and lowered ninths in his improvisations. These occur from the use of the G minor scale as a basis for the improvisation (Example 5).

Example 5. Usage of raised and lowered ninths m. 2. Ami7(b5) D7( 9)

2 3

In measure 22 (Example 5a) Matteson begins a repeated "blues" idea by emphasizing the flatted fifth (Db) of the parent key of G minor. In measure 24 he shifts the pattern over by one-half beat. Another observation is that Matteson shortens the motive in measures 25-26 by omitting one note

(truncation). 34

Example 5a. Repeated blues motive mm. 22-26.

D7alt Gmi7 7 r r D - L 3 Fv.EL r F.~~ L

22 23 24

Gmi Ami7 (b D7( 9)

25 26

In measures 7-11, the melodic line emphasizes diatonic notes (with the exception of two chromatic approach tones from below in measure 10).

Also in measure 10 is the use of the raised ninth of the D 7. The chromatic

approach tones create tension and melodic interest in the melodic lines.

(Example 6)

Example 6. Linear ideas with chromatic approach tones (circled) mm. 7- 11. A mi7(b5) B A E66a7 I LN1zq

LOF

7 8 9

D7alt Gmi7

10Am A1

10 11 35

At the end of measure 47 (Example 7) Matteson begins a three-note repeated pattern that concludes in measure 51, creating a fascinating hemiola effect.

Example 7. Rhythmic displacement mm. 47-51.

Gmi7 D7 Gmi

47 48 49

Ami7(b5) D74 9) Gmi AMi~il

50 51

In measures 52, 54 and 56 (Example 8) Matteson uses a descending

bebop scale, a type of mixolydian scale with an added half-step between the

sixth and seventh scale degree.' Also note the use of the extreme upper

register.

Example 8. Bebop scale and extreme upper register mm. 52-56.

Gmi Cmi F7 .12vk 0M

52 53 54

BL E~ma7 36

Matteson plays an ascending line up to a B5 in measure 77-80

(Example 9) creating a breathtaking climax.

Example 9. Use of extreme upper register. Ascending line to Bb5 mm. 77-

80. Cm i F7B E MaJ7

77 78 79 so

Matteson not only played jazz at a high level, he possessed an engaging stage presence. Matteson always worked hard to give the audience a memorable, high-quality musical experience. Matteson formulated his style of presentation before jazz was considered an art, much less a discipline worthy of teaching to high school and college students.

At a typical performance, Matteson would act as master of ceremonies and, between selections, would tell jokes to the audience.

Comedy not only had an entertainment value, but it also gave Matteson and the other musicians a much needed rest between selections. Matteson

explained the motivation for his comic interludes:

We always did some comedy and I justified it in my head because I learned so much from several comics that I worked with. If you get the people laughing, they'll sit back and accept anything you do. If you wanted to play Lush Life, they're not gonna dig that particularly, but if you've got them breaking up, you've got them in your hip pocket, and you can do Lush Life. ' 37

His sense of humor spilled over into his teaching style. Because of

Matteson's gifts for playing and teaching jazz in an exciting and often humorous way, he increased each student's interest in jazz.

Once a clinic appearance was set, Matteson would arrive a day or two before the performance. Matteson would rehearse the jazz group with which he would perform to make sure they adhered to his conception of ensemble playing and swing feel. Matteson was not necessarily a stickler for clean ensemble playing, but would always get the group playing with a good swing feel.

The clinics usually culminated in a performance by Matteson with a jazz ensemble, or less frequently, with a concert band. Matteson wrote and/or arranged more than forty jazz band compositions and arrangements in which he could be featured as a soloist. (See Appendix A.)

These ranged in difficulty from simple arrangements for high school bands to extremely difficult ones for advanced college and professional bands.

In addition to performances with jazz ensembles, Matteson also performed Reflective Mood by Sammy Nestico, and Turn Yourself Around by David Wolpe, both for soloist and concert band. Matteson arranged his own features for jazz ensemble but had to search for original compositions to feature himself on euphonium with concert band. Two works were written especially for Matteson and concert band, Elkhorn Variations by

Jerry Owen and Variations for Baritone by the well-known band composer,

Claude T. Smith. The Getzen Corporation commissioned the Claude T.

Smith piece for Matteson in 1971. 38

NOTES

CHAPTER IV

1. Dickman, 49.

2. Frank Tirro, Jazz, A History, Second Edition. (New York: W. W. Norton & Company, 1993), 128. 3. This study uses a labeling system for pitches as developed by the Acoustical Society. 1 15 ma 8va basso-0-0 baso.E

" (

C4 C5 C6 Co C2 C3

4. Dickman, 46.

5. Ibid.

6. Ibid.

7. Ibid.

8. Below is an example of a mixolydian scale followed by the mixolydian Bebop scale. The G Bebop scale metrically aligns the chord tones of the dominant chord.

G Mixolydian Scale.

7 Ip

9-)- *1 G Bebop scale.

Ida

9. Dickman, 50. CHAPTER V

THE VARIATIONS FOR BARITONE BY CLAUDE T. SMITH

The Variations for Baritone was an important work for Matteson because it was tailored to his unique playing abilities. It is the only existing work for euphonium soloist to use a combination of the upper tessitura, swing articulations and improvisation. The skills required for this piece are not in the domain of most other euphonium players and consequently, the work is rarely performed.

Claude T. Smith wrote solo works with a particular soloist in mind, and he adapted his writing style to exploit the performer's unique abilities.

He recognized Matteson as a unequaled performer in the euphonium world when he composed the Variations for Baritone. Smith enjoyed writing for soloists, but only did so when requested. He told an interviewer:

I love to do the solo pieces. They're not the kind of thing you can make a living on, especially when you do one for a virtuoso player. There's just so many people who can play it, and you know that after the initial performance that it's not going to have a great amount of sales, but I love to do it. It's a real challenge to do those kinds of pieces because the people you write them for can do anything with their instruments.1

Claude T. Smith received numerous commissions from renowned soloists, school and military bands, music companies and the Smithsonian Institution. Concert works recorded by various bands include

39 40

Acclamation, Concert Dance and Intermezzo, Concert Variations,

Credence, DeclarationOverture, Eternal Father Strong to Save, Emperata

Overture and Prelude for Band.' His composition Flight, was adopted as the official march of the National Air and Space Museum of the

Smithsonian Institution. Commissions for solo works came from such artists as Doc Severinson, Brian Bowman, Gary Foster, Dale Underwood and Rich Matteson. 3

Claude T. Smith is recognized as an exceptional composer, educator, conductor, and clinician. He has composed more than 110 works for band, choir, orchestra, and instrumental solos and ensembles. He was born in

Monroe City, Missouri, and attended Central Methodist College from 1950-

1952. He joined the 371st Army Band during the Korean War and completed his B.M.E. degree from 1955 to 1958 at the University of Kansas, where he played first horn in the band.'

Upon completion of his degree, Smith directed school instrumental music programs in Cozad, Nebraska, Kansas City, Missouri and

Chillicothe, Missouri. In 1976 he moved to Springfield to take a job as conductor of the Southwest Missouri State University Orchestra and to teach music theory and composition. Before his death in Kansas City in

1987, he served as educational consultant for Wingert-Jones Music

Company and as a staff composer for Jenson Publications. 5

Smith composed hundreds of works for band, chorus, orchestra and chamber groups. His works for band are some of the most frequently performed by any composer. Smith would often use multiple and irregular 41 meters. This forced both band students and teachers to learn how to negotiate a pervasive twentieth-century rhythmic trait.6 Frequent use of

7/8 measures was a Claude T. Smith compositional trait, and they appear regularly in the Variations for Baritone. Smith believed each instrument should have interesting parts to play, and he strived to include melodic material in each part.

Smith was considered an excellent orchestrator and was one of the first band composers to use percussion to its full potential, especially in his writing for timpani. His melodies are usually memorable and his music is not considered dissonant.

Smith knew Matteson personally and was aware of his abilities and playing style. These characteristics included a complete technical command of the euphonium, the ability to play in the extreme high range and a mastery of jazz improvisation. Getzen earlier had commissioned

Smith to write two pieces for Doc Severinson, the Fantasy for Trumpet and

Rondo. Based on this experience, Getzen felt that Smith would write well for the euphonium and for Matteson. Severinson was known for his skill at performing the standard trumpet repertoire and would frequently perform with concert bands. This activity may have given Matteson the idea for a work specially written for himself.

Matteson performed Smith's Variations for Baritone on April 2, 1976, for the Chillicothe High School Celebrity Concert with Smith conducting.

Matteson also performed the Variations on the following dates with school groups: 42

March 21, 1975 Oak Lawn Community High School, Illinois

November 14, 1975 Newton High School, Kansas

March 30, 1976 Everman Senior High School, Texas

February 26, 1978 East High School, Kansas

April 22, 1978 College of Lake County, California

April 20, 1979 McAllen, Texas High School Symphonic Band

October 19, 1980 University of Nebraska Symphonic Wind Ensemble, Omaha February 23, 1982 Leander, Texas High School Band

February 16, 1983 University of Southern California Concert Band

The title, Variations for Baritone, is somewhat misleading because it brings to mind the older style of theme and variations as practiced in the

early part of the century. Smith's variations are based upon a single harmonic structure and several subtle melodic variations result (Table 2).

Table 2. Chordal progression from Variations for Baritone. mm. 9 mm. 10 mm. 11 mm. 12

7 7 Bb maj 7 AhmB 7 Bbmaj Ab +11 Bb_ Bb

mm. 13 mm. 14 mm. 15 mm. 16

9 0 7 7 G min G min E Eb m Ab . G nm F F // // // I

Two contrasting melodies are used over the chord progression. The first, Theme I, is a flowing cantabile melody (immediately followed by its 43 modal variation), and the latter, Theme II, is a boisterous allegro

(Examples 10 and 10a).

Example 10. Theme I, andante, Variations for Baritone mm. 9-19.

[a tempo] 3

ENO II

9 10 11 12

1.

13 14 15 16

/0-0

17 18 S[rit. .1

Example 10a. Theme II, allegro, Variations for Baritone, mm. 81-92.

83 82 83 84

85 86 87 88

3

89 90 91 3 92

The Variations is in the key of Bb major and consists of seven sections with a short introduction. The form is governed by subtle variations of the 44 two contrasting themes with a "Jazz Waltz" inserted between them (Table

3).

Table 3. Formal Analysis of Variations for Baritone.

Introduction A B A A' mm. 1-8 mm. 9 - 18 mm. 19 - 41 mm. 42 - 51 mm. 52 - 62

B' major Repeated "Jazz Waltz" Band only Bb minor with soloist with soloist

Theme II Theme I Cycle of Theme I Theme I Fragments fifths

Cadenza C B C-Finale mm. 63 - 64 mm. 65 - 132 mm. 133 - 154 mm. 155-214

B major ' - B' minor "Jazz Waltz" Bb Major Bb minor' allegro

Theme II Cycle of fifths Theme II

The Variations for Baritone, as already mentioned, has many unique features that illustrate and illuminate Matteson's playing style. The entrance of the soloist at letter A (measure 9) exploits the lyrical aspect of his playing, while the leaps of major and minor sevenths (and a climax on

a D4) reflect Matteson's technical ability (Examples 10-11). 45

Example 11. Variations for Baritone. Entrance of soloist mm. 9-11..7

1971 Wingert-Jones Music

The "Jazz Waltz" section at letter B calls for a swing feel. (In the swing style, eighth notes are played unevenly, similar to dotted eighth- sixteenth note figures.) Smith uses jazz-influenced syncopated rhythms in all parts (Example 11). 46

Example 12. Continuation of Theme I and "Jazz Waltz" at Rehearsal B mm. 12-22.

/Pl IL L'

C..

~ -0

-~ TO

V ______f______(J I___n__Orr_

I1) 1971, Wingert-Jones Music

The "Jazz Waltz" occurs twice in the composition at measures 19-40 and 133-154. These are the most dissonant, but at the same time, harmonically static sections of the work. The dissonance comes from the 47 angular melodic line that emphasizes the flatted fifths of the respective chords. Matteson also enjoyed using altered harmonies in his improvisations as can be seen in the transcription of Dan's Blues where he employs similar angular lines and uses flatted fifths. This section begins with four measures of an A dominant harmony (V7 of D minor) with an added flatted ninth. As preparation for a modulation back to Bb major,

Smith employs a cycle of dominant chords, D 7 and G7, and reuses the cadential material from measure 17. Cycles of dominant harmonies are traits frequently encountered in jazz compositions and used by jazz performers.

Following a short improvised coda, Theme I is restated by the band followed by a statement of the first variation by the soloist in the minor mode. The allegro (Section C) begins with 4/4 measures alternating with

7/8, a Smith trademark. A samba feel is created by use of claves and bongos with a lively bass line. The soloist enters with material first stated in the introduction, Theme II. The tempo and range require facility and

endurance from the soloist, qualities that Matteson certainly possessed

(Examples 12 and 13). 48

Example 13. Theme II, allegro mm. 80-85.

Vi V& - a0---500 im pi -I (CTh

______

Pt 1 _L

1971 inger-JoneIMusi Exmpe 3 oninesth mloicmaeralwiha cia naE5i measure 88. Te fgrsi esrs8-4ar ntekyo bmnr toalt jraeyueinbn wokthtcetsdfiutfneigptrs

for the M euphon 1%L IIum Oteewetan eorigjo hs okAMteo exectes heswit pasageaplmb ndMfair 49

Example 14. Continuation of Theme II mm. 86-98.

4LTo 0201-0 4 #8 W -r-V- -F T F. I

pow- Ld 7!!NW

L v I A M 1- w I YO ;Mft 'k

%MO

I 10 7, ob -1 A --fv-- WA, 'wo J A 10 4 FIX vis

R L'a As 1 8: m :I- 1.. -I-Imopmr-mme rmaowp-",

P7

Mft

IL I E% r do

Ab 000 T

I k T - L I . AL-]PIP ill L _rnV I i T__ f Irv A

TIL W_ In- 7

fool MUM- Ldp _AL 77 1 If 4f TO) Am h o M up --up xg le I ::) In a ir pm A- :1.

44, p- i F:47 I I 1 1 1 4=4=1 1 i i I J13 w -V 0 40 i I - R w w Li ppr S S P

1971 Wingert-Jones Music 50

The solo cadenza and its placement is another point of interest. In

classical works, the cadenza is usually placed toward the end of a

composition or, in the sonata form, at the end of the movement. The

cadenza brings the movement to a close.' In the Variations, Smith places it in the first third of the piece immediately before the first allegro. There is a distinct stylistic change between the andante and allegro that is demarcated by the cadenza.

While it is common for the classically-trained soloist to improvise a cadenza, the classical composer did not indicate the cadenza with a chord

symbol as Smith does. The cadenza placed in measures 63 and 64 (Example

17) is a B major7resolving to a Bb minor7, the prevailing key at the time.

The B major7 replaces an F7, an example of a tritone substitution. This is commonly used in contemporary jazz and modern compositions. Smith voiced the B major7 chord with the seventh, a Bb, in the bass (Example 14).

This juxtaposition creates a very dissonant and harmonically unstable chord resolving to the relatively stable minor seventh chord. Another way to interpret this harmony is as an Ab minor7 chord over a Bb pedal, a figure consistent with classical cadenzas and a harmonic configuration Smith frequently uses in the work. 51

Example 15. Cadenza mm. 63-64.

Matteson interprets the cadenza as a jazz improvisation, not as a place to manipulate melodic material from earlier in the composition.

Here, Matteson does not quote any motivic material from the composition.

This contrasts with traditional performance practice as used by classically trained performers. Matteson comes to rest on the tonic of both chords which helps the listener to hear the resolution from the B major7 down one half step to the Bb minor7 . The B acts as a leading tone from above. He also extends the first chord to the ninth and the second chord to the eleventh scale degree. The cadenza below was transcribed from a recording made in

1975 with the Everman, Texas High School band (Example 15). 52

Example 16. Matteson's improvised cadenza from Variations for Baritone mm. 63-64.

Rit. Freely 3~~~~l Bma7 (7N a- 11I I - rm".

63 ~I

accel. Rit. P Fr L3-j 633

Many of the compositional and stylistic traits used by Smith can be found in works by contemporary composers. What separates this work from that of other solo euphonium compositions is the fact that the euphonium soloist is asked to improvise over a given chord progression.

The improvisational section makes this work truly a "Third Stream" composition. Gunther Schuller coined this term in the 1950's and states:

"'Third Stream' is a concept of composing, improvising, and performing 53 which seeks to fuse, creatively, jazz (and other vernacular music) with contemporary classical concepts and techniques."9

The Variations for Baritone requires the soloist to, improvise over a chord progression from measures 194-207, thus enabling the soloist to compose his own "variation" over a pre-existing harmonic and rhythmic framework (Example 16). Improvisation is the essence of jazz and is what makes this piece a unique part of the solo euphonium literature. The following passage was transcribed from a recording made in 1975 with the Everman, Texas High School band. 54

Example 17. Matteson's improvised solo from Variations for Baritone, mm. 194-207.

Jp=5IN Blma7

.0 7 7 r Ic- -p- 0 AS -0- a . ilp- p- I'-, t I! A k-&- Am

194 195

A ma7A

196 197

B ma7

198 199

A 7(# 11) Gmi7

200 201 202

203 204

F+7 AF+7 .mw

2051 206 207 The Variations for Baritone is scored for a standard modern wind band with a full complement of percussion. The Variations is available on rental from Wingert-Jones Music, Inc. in Kansas City, Missouri. Parts are provided for piccolo, flute, three clarinets, alto clarinet, bass clarinet, two 55 oboes, two bassoons, Eb contrabass clarinet, two alto saxes, two tenor saxes, baritone sax, three cornets, four horns, three trombones, baritone, tuba, timpani, bass drum, snare drum, crash cymbal, ride cymbal, bongos, timbales, vibes, chimes, vibraslap, and tambourine.10 56

NOTES

CHAPTER V

1. Mary Louise Jones, "Claude Thomas Smith: American Composer, Conductor, and Music Educator." Dissertation, 1992, 32.

2. Norman E. Smith. March Music Notes. (Lake Charles, Louisiana: Program Notes Press 1986), 380.

3. Ibid.

4. Ibid.

5. Ibid.

6. Jones, 52.

7. Claude T. Smith, Variationsfor Baritone. Wingert-Jones Music, 1971.

8. Willi Apel, The Harvard Dictionary of Music. (Cambridge: Harvard University Press, 1972), 120. 9. Gunther Schuller, The Swing Era: The Development of Jazz, 1930-1945. (New York: Oxford University Press, 1989),12. 10. Claude T. Smith. CHAPTER VI

CONCLUSION AND SUMMARY

Matteson's career, and the remarkable influence he had in promoting the euphonium in the jazz idiom, had a lasting impact on the conception and performing styles of the euphonium. He has inspired performers and composers to re-evaluate the euphonium's role in diverse musical situations. Matteson's contributions are especially noteworthy in light of the euphonium not being employed as a regular member of the symphony orchestra or jazz ensemble. He was a product of the school band movement that utilized the baritone horn/euphonium as an important member of wind and brass bands. He pioneered the use of the euphonium as a jazz solo voice on par with the saxophone, trumpet and trombone.

Analysis of Matteson's improvisational style reveals usage of a contemporary jazz harmonic and rhythmic vocabulary. These manifest themselves in his usage of melodic and harmonic sequencing, non- harmonic tones, the bebop scale, and blues related ideas. The euphonium's upper tessitura was constantly utilized by Matteson. Few other euphonium performers can match his prowess and stamina in the high register.

Matteson's early career was centered on playing valve trombone, bass trumpet and tuba in various jazz ensembles based in Las Vegas with

57 58 international reputations. He is also noted for developing a walking tuba style derived from modern jazz bass players.

Matteson co-created Tubajazz, the only professional jazz ensemble made up of tubas and euphoniums as its only wind instruments. Their world-wide performances and recordings have inspired countless euphonium and tuba players to study jazz and to form similar ensembles.

Not all of Matteson's efforts were centered around performing. He is also noted for his jazz arranging abilities. His publishing company,

Outrageous Mother, was one of the first writer-owned firms to publish easy arrangements for student jazz ensembles, and they also paid a higher percentage of the profits to the writers.

Matteson's constant exposure as a clinician with student musicians led to the commission of the Variations for Baritone by Claude T. Smith. As seen in the previous examples, Smith composed a unique piece for an extraordinary euphonium player that can be considered a third stream composition. Smith adopted many of Matteson's jazz-influenced stylistic traits in the Variations for Baritone. First and most obvious to the listener is his utilization of the euphonium's upper tessitura. The upper range and extreme tessitura are employed throughout the composition. The work calls for the soloist to play a Bb5 at the conclusion, something that only

Matteson was able to do with any consistency.

The second feature that makes the Variations a singular composition for euphonium and band is use of a swing feel in the "Jazz

Waltz" section. The soloist and accompaniment are required to play with a 59 swing feel and to use jazz articulations. While usage of swing is not entirely foreign to concert band works, it is one of the only known euphonium solo compositions to do so. For the accompanying players, jazz phrasing and articulations are best executed by performers with commercial or dance band experience. The Variations for Baritone is an excellent composition for introducing non-jazz instrumentalists to some jazz and commercial articulations.

Another jazz influence on Smith's compositional technique is the composer's choice of harmonic progressions. The composition borrows from jazz harmonies and chordal progressions. These include use of ninth, eleventh and thirteenth chords, suspended chords, and dominant harmonies with raised and lowered ninths. Smith employs a tritone substitution at several cadences (a B chord substituting for an F 7 chord functioning as a dominant of Bb).

Players with little or no background in jazz style may have difficulty performing the Variations for Baritone ; however, to perform this work a few minor changes can be made that will not negatively affect the essence of the composition. For example, some of the upper-register melodies can be taken down an octave, and the improvised cadenza and finale can be written out as well, without harming the intent of the composer. In fact,

Smith included melodic material for the soloist in the finale in case the soloist was not skilled at improvising. The author believes that the

Variations for Baritone can and should be performed more frequently by euphoniumists in the future. APPENDIX A

MATTESON'S COMPOSITIONS AND ARRANGEMENTS FOR JAZZ

ENSEMBLE AND SOLOIST, FOR BRASS BAND AND SOLOIST, FOR

BRASS BAND ALONE, PUBLISHED JAZZ ENSEMBLE COMPOSITIONS, AND TUBAJAZZ COMPOSITIONS AND ARRANGEMENTS

60 APPENDIX A

COMPOSITIONS AND ARRANGEMENTS FOR JAZZ ENSEMBLE AND SOLOIST

The following are original compositions unless otherwise noted.

Title Composer Baubles Bangles and Beads Borodin Beautiful Friendship Styne/Kahn Bebop Minor Broadway Woods/Mcrae/Bird Blues It Carioca Youman I've Got A Crush On You Gershwin Davenport Blues Beiderbecke Don't Get Around Much Anymore Ellington Doxy Rollins Easy Street Jones/Carleton Ellington Medley Ellington Georgia On My Mind Carmichael Goin' Easy Hassles How Long Has This Been Going On Gershwin I Got No Bread I'm Beginning To See The Light Ellington In A Mellow Tone Ellington Ira's Tune

61 62

Just Breezing Along With The Breeze Whiting Just The Two Of Us Just the Way You Are Joel Like Someone In Love Van-Heusen Little '01 Softy

Love For Sale Porter Lover Man Davis/Ramires/Sherma Mikki's Blues My Old Flame Johnston/Coslow I'm Getting Sentimental Over You Bassman The Shadow Of Your Smile Mandel The Shout

Spoofy Strike It Rich Surely We Swedish Blues Tahoe Tangerine Schertzinger Tickle Toe Young What A Wonderful World Savitt 63

ARRANGEMENTS AND COMPOSITIONS FOR BRASS BAND AND SOLOIST

Bebop Minor Boat Dockin' Blues Broadway Woods/Mcrae/Bird Carioca You-Man Don't Get Around Much Anymore Ellington Doxy Rollins Easy Street Jones/Carlton Georgia On My Mind Carmichael How Long Has This Been Going On? Gershwin In A Mellow Tone Ellington Like Someone In Love Van-Heusen Mikki's Blues My Old Flame Johnston/Coslow Original Dixieland One Step LaRocca/Shields Royal Garden Blues Williams There Is No Greater Love IshamIn Jones

BRASS BAND ALONE

I Can't Get Started Vernon Duke Undecided Shavers/Robin

When The Saints Go Marchin' In Traditional 64

PUBLISHED JAZZ ENSEMBLE COMPOSITIONS

Title Publisher

Ballad For Holly CPPfBelwin Mills

Biscuits and Gravy CPP/Belwin Mills

Blues for Dr. Cranberry Southern Music

Blues For Punkin UNC Jazz Press

Blues For Rein CPPfBelwin Mills

Don't Rush The Count UNC Jazz Press Doo Dit Dot CPPfBelwin Mills

Going Easy UNC Jazz Press

Happy Days UNC Jazz Press

Hassles UNC Jazz Press

Hey Archie, Your Back Southern Music

I Got No Bread UNC Jazz Press

Just Hangin' Around UNC Jazz Press

Just The Two Of Us UNC Jazz Press

Kinda Cute CPP/Belwin Mills

Little Girl Blue Barnhouse

Little '01 Softy UNC Jazz Press

Mikki's Blues UNC Jazz Press

Mikki's Bossa Nova CPPfBelwin Mills

Moten Swing CPP/Belwin Mills

No, No, No Southern Music

Spoofy UNC Jazz Press 65

Surely We UNC Jazz Press This One's For Snoops UNC Jazz Press Tricky Chris UNC Jazz Press A Tube Of Blues UNC Jazz Press Turkey Toes UNC Jazz Press

TUBAJAZZ COMPOSITIONS AND ARRANGEMENTS Three euphoniums, three tubas, piano, bass, guitar, drums

Original compositions unless noted.

Title Composer A Tube of Blues Bye Bye Blues Lown/Gray/Bennett/Ham Cherokee Noble

Christmas Song Torm6 C.T. Blues Georgia On My Mind Carmichael Gregory Is Here Silver Hoagy Medley Carmichael In A Mellow Tone Ellington Jingle Bells Little '01 Softy

Lucky Southern Jarett 66

Oleo Rollins Rush Street Rush Hour Satin Doll Ellington Senor Blues Silver Shuckin' and Jivin' Skylark Carmichael/Mercer Over the Rainbow Arlen/Harburg

Spoofy Stompin'At the Savoy Webb/Goodman/Sampson Summertime Gershwin Tahoe Things Ain't What They Used To Be Ellington Tribute To Louis Waltzing Matilda Australian Folk Tune Without A Song Youman/Rose/Eliscu APPENDIX B

SELECTED DISCOGRAPHY OF RICHMOND MATTESON

67 APPENDIX B

SELECTED DISCOGRAPHY OF RICHMOND MATTESON Compact Disc

Pardon Our Dust, We're Makin' Changes , Four Leaf Clover, FLC CD 131, 1995.

Mainstream, Fullerton College Jazz Band, JLFC 9012, 1991.

TubaJazz, Mark Records, MJS 57626CD, 1990.

Satchmo and the Dukes of Dixieland, Leisure 0 4900-91052-2, 1960.

Long Playing Album

Easy Street , Four Leaf Records, FLC 5051, 1980.

The Matteson-Phillips Tubajazz Consort, Tubajazz Record Co., 1978. Groovey, Four Leaf Records, FLC 5060, 1982.

"Superhorn", Mark Records, MJS 57591, 1982.

The Sound of the Wasp, ASI Records, ASI-203, 1975.

The Riverboat Five on a Swinging Date, Mercury, MG 20509, SR 60186, 1960.

Something's Always Happening on the River, Bob Scobey's Frisco Band, RCA Victor, LPM-1889, 1960.

Rompin' and Stompin', Bob Scoby's Frisco Band, RCA Victor, LPS 2806, 1961.

68 APPENDIX C

MATTESON'S CLINICS AND CONCERTS

69 APPENDIX C

MATTESON'S CLINICS AND CONCERTS

From the years 1968 to 1981, Matteson performed over 500 clinics and concerts throughout the United States, Canada and Europe. In 1982 he began keeping a record of each performance and they are listed below.

1982

January 22-23 Midwestern Conference Ann Arbor, Michigan

28-29 Regional Texas Jazz Band Houston, Texas

February 4-6 Illinois All State Band Conference Springfield, Illinois

9-10 Spokane Falls Community College Spokane, Washington 11-13 Casper Community College Casper, Wyoming 19 Cameron University with Count Basie Lawton, Oklahoma

23 Leander High School Leander, Texas

March 6 Central Methodist University Fayette, Missouri 10-13 University of Hawaii

April 1 Lamberton High School Jazz Festival Lamberton, Minnesota

2 St. Cloud State College St. Cloud, Minnesota

3 University of Wisconsin at River Falls River Falls, Wisconsin

70 71

April 4-9 Conference of World Affairs Boulder, Colorado

16-17 Fullerton College Fullerton, California

23-25 Wichita Jazz Festival Wichita, Kansas

30 Quad-City Jazz Ensemble

1983

January 13-15 NAJE Convention Kansas City, Missouri

22 Midwestern Music Conference Ann Arbor, Michigan

28 Meridian Junior College Meridian, Mississippi

February 3 Alamo Heights High School San Antonio, Texas

4-5 Ohio Music Educators Convention Columbus, Ohio

11-12 University of Iowa Iowa City, Iowa

16 University of Southern California Los Angeles, California

17 Fullerton College Fullerton, California

19 California State University Long Beach, California

March 5 A&M High School College Station, Texas

12 University of Texas at El Paso

March 18 Morgantown, West Virginia 72

19-20 College of Lake County Grayslake, Illinois

April 16 Cumberland College Lebanon, Tennessee

22-24 Wichita Jazz Festival Wichita, Kansas

May 1 University of Northern Colorado Greeley, Colorado

6 Northern Kentucky University

17 Wright State University Dayton, Ohio

28 Helena, Montana

30-31 College of Wooster Wooster, Ohio

June 21-25 International TUBA Conference University of Maryland College Park, Maryland

24 Performed with U.S. Army Blues Band on the steps of the U.S. Capitol Building

June 29 - July 13 England -- Pizza Express; German School; Trinity School of Music; Ronnie Scott's Club

July 7 Recording for radio station with Radio Symphony Hamburg, Germany

August 3-6 Disneyland Anaheim, California

9-20 Epcot and the Village Lounge Disney World' Orlando, Florida October 12 University of Texas at Arlington

October 25 Octubafest at North Texas State University Denton, Texas 73

November 8 Jefferson College Hillsboro, Michigan

16 University of Utah Salt Lake City, Utah

17-18 Western New Mexico Silver City, New Mexico

19 Chuy's El Paso, Texas

20 University of Texas at El Paso

December 5 Tarrant County Junior College Texas

1984

January 20-21 Mary College, Bismark, North Dakota

27 Oklahoma Music Educators Oklahoma City

February 1 Texas Music Educators Conference Ft. Worth, Texas

10 Southwestern University Weatherford, Oklahoma

17-18 Rock Valley College Rockford, Illinois

20 Washington State Music Educators Convention

23-24 Kansas Music Educators Convention Wichita, Kansas

February 29 Youngstown State University Youngstown, Ohio

March 3 Kansas University Lawrence, Kansas

17 Hastings College 74

Hastings, Nebraska

18 California State College Fresno, California

22 Skyline High School Fresno, California

23-24 Kansas City Jazz Festival

26-28 Monterey Peninsula College Monterey, California

29 Skyline College San Bruno, California

30 Cuesta College San Luis Obispo, California

April 6-7 Newberry College Newberry, South Carolina

9 Hutchinson Community College Hutchinson, Kansas

11-12 Del Mar College Corpus Christi, Texas

7 Rose Hill Jr. High School Redmund, Washington

25 Southwest Texas State University San Marcos, Texas

29 University of Northern Colorado Greeley, Colorado

May 8 Powderly High School Powderly, Texas

11 Dodge City High School Dodge City, Kansas

12 Arts Festival of Atlanta Atlanta, Georgia

18-19 Ohio University 75

Athens, Ohio

June 3-9 International Brass Conference Indiana University Bloomington, Indiana

10 Jazz Ambassadors Washington, D.C.

29 Helena Jazz Festival Helena, Montana

July 18-21 Disneyland All-Star College Band Anaheim, California

24-28 Wayne State College Music Camp Wayne, Nebraska

August 9-18 Disney World All-Star College Band The Village Lounge, Orlando, Florida

19-21 Republican National Convention Dallas, Texas

24-26 Monterey Teachers Workshop Monterey, California

September 13 California State University Long Beach, California

14-15 Dante's Jazz Club Hollywood, California

16 Monterey Jazz Festival Monterey, California

September 21 University of Iowa Iowa City

October 23 Oklahoma State University Stillwater, Oklahoma

November 9 Houston High School of the Visual & Performing Arts Houston, Texas

December 1 Regional All State Jazz Band 76

Alvin, Texas

11 Odessa College Odessa, Texas

1985

January 10-13 National Association of Jazz Educators Convention Dallas, Texas

February 24 Appalachian College Boone, North Carolina

27 North Texas Faculty Concert

March 1-2 Brigham Young University Provo, Utah

8-9 Charles City High School Charles City, Iowa

10 Des Moines Big Band Des Moines, Iowa

11 Coppell High School Coppell, Texas 19-20 Bob Farley Music Store Albuquerque, New Mexico 23-24 St. Johns River City Band Jacksonville, Florida

April 12 Johnson County Jazz Band Cedar Rapids, Iowa

15-17 Edison Community College Ft. Myers, Florida

19-20 Mesa College Grand Junction, Colorado

22 Ft. Hayes State University Hayes, Kansas 77

26 Belmont College Nashville, Tennessee

May 4 McNeese Jazz Festival Lake Charles, Louisiana

19 Quebec City Jazz Festival Quebec, Canada

29-31 Recorded with the Frankfurt Radio Band Frankfurt, Germany

June 3-4 Ski Big Band Ski, Norway

7-8 Oslo Jazz Club Oslo, Norway

10-13 Oslo Jazz Club Benefit Oslo, Norway

14-15 Recorded with the Oslo Radio Band Oslo, Norway

17-19 Recorded with the Arvika Big Band Arvika, Sweden

20-21 Recorded album Stockholm, Sweden

July 11-13 Manhattan College Workshop Manhattan, Kansas

July 13 Manhattan City Park Summer Concert Series Manhattan, Kansas

17-20 Kansas Bandmasters Convention Hutchinson, Kansas

21-28 Rich Matteson Jazz Camp Telluride, Colorado

August 1-4 Disney World All American College Workshop and The Village Lounge Orlando, Florida

6-9 Disneyland All American College Workshop 78

Anaheim, California

September 13 U.S. Army Jazz Ambassadors North Texas State University Denton, Texas

September 15 Fred Crane Memorial Concert Dallas, Texas

October 4-6 St. Johns River City Band Jacksonville Jazz Festival Jacksonville, Florida

31 North Texas State University Denton, Texas

November 8 The Library Denton, Texas

11 Lake Dallas Scholarship Fund Lake Dallas, Texas

15 Meridian Junior College Meridian, Mississippi

21-22 Dowling High School Des Moines, Iowa

December 17-22 Chicago Midwest Convention Chicago, Illinois

1986

January 8-12 New Mexico State Convention Albuquerque, New Mexico

30-31 Colorado Music Educators Convention Colorado Springs, Colorado

February 1 Northern Arizona University Flagstaff, Arizona

14-15 Western Illinois University Macomb, Illinois

March 4 Leander High School 79

Leander, Texas

7-8 Trevecca Nazarene College Nashville, Tennessee

10-14 Plattsburgh State University Plattsburgh, New York

18 Augustana College Sioux Falls, South Dakota

21 Las Cruces Public School Las Cruces, New Mexico

April 1 Ft. Collins High School Ft. Collins, Colorado

2 Air Force Academy Colorado Springs, Colorado

4-5 U. S. Armed Forces School of Music Norfolk, Virginia

14 Grapevine High School Grapevine, Texas

17 The Drum Shop Las Vegas, Nevada

21 Olathe Public Schools Olathe, Kansas

April 22-28 Wichita Jazz Festival Wichita, Kansas

May 9-10 University of Montana Missoula, Montana

16 Forney High School Forney, Texas

29 Chesterton High School Chesterton, Indiana

June 8-13 TUBA National Convention Austin, Texas 80

14 St. Johns River City Band Tampa, Florida

15 St. Johns River City Band Jacksonville, Florida

July 7-10 Arts in the Park Workshop Manhattan, Kansas

18 All State Band Salem, Oregon

20-26 Rich Matteson Summer Camp Telluride, Colorado

August 1-4 Disney World All American College Band Orlando, Florida

1-2 Village Lounge Disney World Orlando, Florida

6-9 Disneyland All American College Band Anaheim, California

September 13 Lionel Hampton Concert with the St. Johns River City Band Jacksonville, Florida

29 St. Augustine High School St. Augustine, Florida

October 10 Jacksonville Jazz Festival Jacksonville, Florida

17 Orange Park High School Orange Park, Florida

30 School of Fine Arts Jacksonville, Florida

November 2 St. Johns River City Band Jacksonville, Florida

4 Ed White High School Jacksonville, Florida 81

7 Middleburg High School Middleburg, Florida

10 Stanton Preparatory School Jacksonville, Florida

17 Bishop Kenny High School Jacksonville, Florida

19-22 Georgia Music Educators Association Atlanta, Georgia

25 Wolfson Senior High School Jacksonville, Florida

December 3-4 Disney World Entertainment Arts Orlando, Florida

17-20 Jazz Showcase Chicago Mid-West Convention Chicago, Illinois

1987

January 2 The Jazz Corner -- Radio Show Stereo 90 Jacksonville, Florida

8-12 8th Annual Western International Band Clinic Seattle, Washington

10 15th Annual Opera House Jazz Festival Seattle, Washington

14 Neptune Beach Library Lecture

21 Clinic - Orange Park High School Clinic - Nease High School

22-24 Georgia Music Educators Association Columbus, Georgia

February 12-14 "All That Jazz" Jazz Club Jacksonville, Florida

16 Georgia College 82

Milledgeville, Georgia

24 U. S. Army Blues University of North Florida Jacksonville, Florida

24 University of North Florida Jazz Ensemble Jacksonville, Florida

March 27-28 Tennessee Technical University Cookeville, Tennessee

30 Clinic -- Florida Junior College Jacksonville, Florida

April 1-3 Clinic - Disney World Orlando, Florida

3-4 "All That Jazz" Jazz Club Jacksonville, Florida

April 8 Clinic -- Florida Junior College Jacksonville, Florida

10-11 University of Nebraska Lincoln, Nebraska

15-16 University of Florida Gainesville, Florida

24 Western Carolina University Cullowhee, North Carolina

May 1-2 "All That Jazz" Jazz Club Jacksonville, Florida

3 St. Johns River City Band Jacksonville, Florida

7-9 State Music Contest Ft. Pierce, Florida

11 State Music Contest Lakeland, Florida

12 University of North Florida Jazz Ensemble "All That Jazz" Jazz Club 83

Jacksonville, Florida

13 Clinic - Nease High School Jacksonville, Florida

14-16 State Music Contest Tallahassee, Florida

20 Clinic - Baker County High School Macclenny, Florida

21 Clinic - Bradford High School Stark, Florida

22 College Jazz Festival Epcot - Disney World Orlando, Florida

May 25 Guest Speaker Bishop Kenny Band Banquet Jacksonville, Florida

31 St. Johns River City Band Jacksonville, Florida

June 13-20 Clark Terry Summer Camp Emporia, Kansas

25-28 Disney World All American College Band Orlando, Florida

July 1-3 Arts in the Park - Workshop Manhattan, Kansas

5-10 Monterey Summer Jazz Camp Monterey, California

14-16 Disneyland All American College Band Anaheim, California

17 Four Freshmen Florida Theater, Jacksonville, Florida

20-26 Rich Matteson Summer Camp Telluride, Colorado

S eptember 25-30 Guest soloist with St. Johns River City Band 84

Carnegie Hall New York, New York

October 15-17 Judged piano competition Guest soloist with St. Johns River City Band Conducted University of North Florida 1:30 Jazz Ensemble Jacksonville Jazz Festival

November 21 Conducted University of North Florida 1:30 Jazz Ensemble Disney World, Orlando

During 1987 Matteson participated in "The Jazz Corner with Rich Matteson" radio show every Friday night from 9:00 - 11:00 p.m.

1988

January 7-10 National Association of Jazz Educators Convention Detroit, Michigan

29 Georgia Music Educators Convention Jekyll Island, Georgia

February 4 Howard University Washington, D.C.

5-6 Tuba/Euphonium Conference U.S. Army Band Washington, D.C.

10 Rehearse Sandalwood High School Jacksonville, Florida

14 UNF Performance - Tuesday Night Dues Band Epcot Center Disney World Orlando, Florida

22 Villa Nova Club Orlando, Florida

24-25 Augusta College Augusta, Georgia 85

26-27 Western New Mexico Silver City, New Mexico

March 1 2nd Annual Ira Koger Invitational Jazz Festival Jacksonville, Florida

3 UNF 1:30 Jazz Ensemble Cocoa Beach Junior College Cocoa Beach, Florida

4 UNF 1:30 Jazz Ensemble St. Petersburg Junior College St. Petersburg, Florida

5 UNF 1:30 Jazz Ensemble Suncoast Jazz Festival Tampa, Florida

March 6 Guest Soloist with U.S. Jazz Ambassadors Suncoast Jazz Festival Tampa, Florida

13 St. Johns River City Band Jacksonville, Florida

19 UNF 3:00 Jazz Ensemble Disney World Orlando, Florida

22 UNF 1:30 Jazz Ensemble Valdosta High School Valdosta, Georgia

22 UNF 1:30 Jazz Ensemble Lowndes High School Valdosta, Georgia

23 UNF 1:30 Jazz Ensemble Central High School Macon, Georgia

24 UNF 1:30 Jazz Ensemble Atlanta Jazz Festival Atlanta, Georgia

25 UNF 1:30 Jazz Ensemble Lincolnton High School 86

Lincolnton, Georgia

26 UNF 1:30 Jazz Ensemble Savannah, Georgia

April 13 St. Johns River City Band Valdosta, Georgia

14-17 Pensacola Jazz Festival Pensacola, Florida

23 Pembroke State University Pembroke, North Carolina

April 28 Clinic/Concert Wolfson High School Jacksonville, Florida

30 UNF 1:30 Jazz Ensemble Graduation Ceremonies Jacksonville, Florida

May 4-8 Musicfest Orlando, Florida

14 Abraham-Baldwin College Tifton, Georgia

25 Guest Speaker Bishop Kenny High School Band Banquet Jacksonville, Florida

June 12-13 Bands of America Arlington Heights, Illinois

June 26 - July 1 Clark Terry/Rich Matteson Summer Jazz Camp Emporia, Kansas

July 4-8 Monterey Summer Music Workshop Monterey, California

12-14 Disneyland All American College Workshop/Concert Anaheim, California

18-24 Rich Matteson Summer Jazz Camp Telluride, Colorado 87

August 11-14 Disney World All American College Workshop/Concert Orlando, Florida

October 15 UNF 1:30 Jazz Ensemble Jacksonville Jazz Festival Jacksonville, Florida

16 Clearwater Jazz Festival Clearwater, Florida

During 1988 Matteson participated in "The Jazz Corner with Rich Matteson" radio show every Friday night from 9:00 - 11:00 p.m.

1989

January 4-6 Florida All State Band Tampa, Florida

12-15 National Association of Jazz Educators Convention San Diego, California

February 9-10 Southwestern State University Weatherford, Oklahoma

11-14 UNF Third Annual Ira Koger Jazz Festival Jacksonville, Florida

24-25 Mile High Jazz Festival Denver, Colorado

March 4 Central Methodist College Fayette, Missouri

10 Edmonds Community College Lynwood, Washington

11 San Jacinto Junior College Pasadena, Texas

13 Steven's High School Rapid City, South Dakota

16 West Valley High School 88

Yakima, Washington

March 27 - April 1 UNF Florida Tour

April 6 Brevard All County Jazz Band Satellite Beach, Florida

15 St. Cloud State University St. Cloud, Minnesota

17-20 UNF Florida Tour

21-23 Disney World Jazz Festival Orlando, Florida

April 29-30 Musicfest USA Philadelphia, Pennsylvania

May 6 Buena Vista College Storm Lake, Iowa

May 25 - June 23 American Wind Symphony Orchestra Tour Amsterdam, Rotterdam, and Heusden, Holland. Salle Du Hainaut, France. Brussels, Belgium. Cork, Cogh, Waterford, and Dublin, Ireland. Londonderry and Belfast, Northern Ireland. Glasgow, Scotland.

June 25-30 Clark Terry Summer Camp Central State University Oklahoma

July 5-8 Disney World All American College Band Orlando, Florida

12-15 Disneyland All American College Band Anaheim, California

17-23 Rich Matteson Summer Camp Telluride, Colorado

24-28 Monterey Teachers Summer Music Workshop Monterey, California

September 16 University of North Florida Jazz Cruise Jacksonville, Florida 89

21 Ponte Vedra Rotary Club Marsh Landing Ponte Vedra, Florida

October 1 St. Johns River City Band Jacksonville, Florida

3-4 Richard's Jazz Club St. Augustine, Florida

10-11 Indiana University Indiana, Pennsylvania

October 13-14 University of North Florida Jazz Ensemble Jacksonville Jazz Festival Jacksonville, Florida

November 9-10 Adams State College Alamosa, Colorado

17 University of North Florida Jazz Ensemble UNF Osprey Auction Jacksonville, Florida

21 University of North Florida Fall Concert Jacksonville, Florida

December 14-16 Clinic on rehearsing a Jazz Ensemble and performance by the UNF Jazz Ensemble Chicago Mid-West Convention Chicago, Illinois

1990

January 11-14 Performance by the UNF Jazz Ensemble National Association of Jazz Educators Convention New Orleans, Louisiana

27 North Dakota State University Fargo, North Dakota

February 1 Ohio Music Educators Convention Dayton, Ohio 90

6 Fourth Annual Ira Koger Invitational Jazz Festival Jacksonville, Florida

9 20th Annual Jazz Festival Southwestern State University Weatherford, Oklahoma

17 Millikin University Decatur, Illinois

March 6 Northeastern State University Tahlequah, Oklahoma

March 13 Gainesville Jazz Festival Gainesville, Florida

April 7 Peru State College Peru, Nebraska

10 Johnson City, Tennessee

22 Orlando Jazz Society Orlando, Florida

May 4-5 East Valencia College Orlando, Florida

29 DeKalb Community College DeKalb, Illinois

June 24-29 Clark Terry Summer Camp Central State University Oklahoma

Disney World All American College Band Orlando, Florida

Disneyland All American College Band Anaheim, California

July 23-29 Rich Matteson Summer Jazz Camp Telluride, Colorado

August 1-5 Spokane University Spokane, Washington 91

7-12 International TUBA Convention Sapporo, Japan

October 18-20 James Madison University Harrisonburg, Virginia BIBLIOGRAPHY

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