Archives of the University of Notre Dame COLLEGIATE University of Notre Dame -- 30th Anniversary April 8th and 9th 1988 Archives of the University of Notre Dame "You Don't Explain It. You Feel It!' MS: You have ro respect Table of Contents Yamaha quality. Not just their instruments, but Brief History and Festival Facts 3-5 Marvin Stamm arul Woody Shaw on life, the way they believe in music arul Yamaha's 6000 Series trumpets. giving back [0 the com­ Has All the Jazz Been Played? 9 munity. They're sensitive The following is a conversation between WS: You said it. The very first time I to people and to music, and they're On the Master of Ceremonies 10 twO or the foremost trumpet players in the picked up my Yamaha horn, it was so dedicated to bringing out the best in world. Marvin Stamm, one of the most on. The intonation's so perfect, it rook life throughout the world. Judges for CJF '88 14-15 respected studio players around today, and me a week ro get used ro it l The high WS: Amen to that, Marvin. Amen Woody Shaw, whose accomplishments in G's were like silk. And on the slow to that. Joe <;arey: Where It All Began 16 jazz are legendary. Participating Bands 20-25 MS: Woody, thirty years ago, my dad Schedule of Events 29-33 gave me some good advice that I'll pass on to my own kids. He told me what­ A Word from the Festival Advisor 34 ever I picked to do for a living, make sure I really like it. Because ['II prob­ ably be doing it for a long, long time. For me, the answer was music. And ['ve never regretted it. ***** WS: There's nothing like it. We're CJF '88 Staff actually making a living doing what we really love. MS: For sure. You can't beat it. Chairman David C. Thornton WS: And so many good things happen to you. Like last Saturday in Newark. Facilities Director Paul Loughridge They gave a concert fat me and gave me an honorary degree from Arts High. There were three great high school Staff Supervisor Ken Schwartz orchestras. I saw myoid trumpet teach­ er. Man, I cried for half an hour. MS That's what music's all about. You Advertizing Director. Kevin Keane don't explain it. Not really. You feel it. Assistant Mark Wiltburger It comes from deep inside. The trick is getting it out. And if I don't have the right horn, I can't do it. That's why I'm Applications Director Kathryn Kager so excited about these new Yamahas. And it's fun to be excited about a Assistant Ken Ceonzo horn again. WS: Right, You can play anything on Business Manager Mary Marchal them. And everything.comes so much easier. I don't use as much energy to play. It's like they rook all the best things where I'd always u ed a fluegel, I The 6000 Series profeSSional trumpets Publicity Director Kevin Mundy parts of the great trumpets and rolled end up staying with the trumpet 'cause from Yamaha. For information, visit them into one. On the European it can give me the kind of full. dark )'our authorized Yamaha dealer or Tour I JUSt finished, several classical sound I want. My trombone player write to Yamaha Music Corporation, Faculty Advisor. Fr. George Wiskirchen, C.S.C. players came up ro me and asked said, "Woody, I never hear Iyou sound USA, Musical Instrument Division, about the horn ... like that before." I said, "M neither." 3050 Breton Rd., S. E., PO. Box Festival Advisor Ceil Paulsen MS: They were hearing something. I really love this horn. 7271, Grand Rapids, MI 49510. WS: Yeah. And I know what they were MS: So do I. My reputation as a studio WI"Ii)IsneyWorld vacahon klngaom ollhe worla player is based on versatility, and this hearing. Because sometimes it feels Yamaha Band & Orchestral/nstrumencs are featured Graphic Design Brian Doherty like I can just reach out and touch new horn from Yamaha is the epitome at [he Walt Disney World Vacation Kingdom. the notes. of versatility. It got me to switch when MS: Absolutely. I can playa soft I thought I never would. Printer and Moral Support. Arthur D. M. Reemer ballad. It responds. I can play loud and WS: You're absolutely right. You know fast. It responds. Brilliant, fat, rich what horn I used to play. Nothing was .YAMAHA~ This program is the product of many late nights and shoe-string catches on the sounds. It comes from the way these going to make me change but one part of our staff, I would like to thank them all for their work. DCT horns are made. thing. A better trumpet. Play the very best you can:" 1 Archives of the University of Notre Dame A 30TH YEAR COLLEGIATE JAZZ FESTIVAL CELEBRATION ALUMNI by Joseph Kuhn Carey SENIOR' How do you put a finger on an essence, a myth, a magical Would guitarist Gene Bertoncini have given up a promis­ and mysterious spring musical rite? ing career as an architect if he hadn't received several jazz How do you hold a moonbeam in your hand? bookings from promoters who heard his Notre Dame combo Like Brigadoon, the legendary Scottish village that reap­ at the 1959 festival? Would bassist Richard Davis and drum pears once every hundred years, the University ofNotre Dame great Philly Joe Jones have turned up on the Manhattan The Management and Staff Collegiate Jazz Festival rises up each April out of the largely Transfer's stellar "Vocalese" album in the mid-80's if they jazzless mist surrounding South Bend to celebrate improvised hadn't met up with Transfer-founder Tim Hauser as festival of the ALUMNI SENIOR CLUB sound and all-the-things-we-in-youth-are. judge in 1979? Would David Sanborn and Bob James have recorded an album together (as they reoently did) ifthey hadn't It's a crack in the gloom of a slowly fading Midwest gotten to know one another as '77 CJF judges and performed Congratulates Those Who winter. together onstage during the year's Judge's Jam? It's a musical bacchanal. The list ofinterrelated connections goes on and on. In fact, Participated in the 1988 It's a chance to steep oneselfin the jazz-joy ofnature 's in the world ofmusic, it can sometimes become difficult to go seasonal rebirth. COLLEGIATE JAZZ FESTIVAL very far without stumbling into a musician who has ties to the It's a full-blown, no holds-barred coming un-glum. Collegiate Jazz Festival's colorful history. "Drop By For A Cold One" Each year, the Collegiate Jazz Festival pays tribute to Look at the jazz education field and you'Il find one-time creativity-the hot, unbridled creativity of youth-and a music CJF student musicians such as David Baker, Bunky Green, that thrives on spontaneity, rhythmic drive, and emotional Larry Ridley, Mark Gridley, Dr. Warrick Carter, and Jamey spark. To be sure, the festival also celebrates the importance Aebersold. Tum to the pop music world and you'11 find scores of discipline (without which meaningful creativity is lost and of albums with ex-CJFers on them, musicians such as Oscar scattered to the winds), but the event's most lasting legacy may Brashear, Omar Clay, Randy and Michael Brecker, David well be found inthe fact that it has always been a platform upon Sanborn, Don Grolnick, and Bob James. (You can even find a which students could try new things. CJF influence in the soul/funk/fusion of Earth, Wind & Fire For three decades, the CJF has been 1M place to take the because founder/drummer Maurice White and most of the risk. Some risks, of course, have been more successful than horn section of the group performed togetherin a fiery finalist others, but it is this very openness to experiment, innovation, combo during CJF 1963.) change, and failure that has energized and rejuvenated the Like big bands? Ifyou checked out theToshiko Akiyoshi/ event each year. Lew Tabackin big band of the 70's and 80's, you surely The Collegiate Jazz Festival is simply a swinging, excit­ discovered several CJF exports, including trumpeter Mike ing, entirely unpredictable roll of the jazz dice. In short, it's a Price, saxophonist Bob Sheppard, and, most recently, '79 CJF stirring shout oftife. And what a raucous thirty-year shout it Outstanding Instrumentalist Mark Lopeman. And who could has been! listen to the late (and sadly missed) Woody Hennan's 70's and As the 30th Collegiate Jazz Festival percolates itself into 80's aggregates without taking notice of the potent trombone existence, one can't help but wonder what jazz as a whole and standup-and-take-notice arranging/writing of former CJF might have missed had the CJF never taken place. standout John Fedchock, or the Count Basie-band bass work Would well-known pianist/composer Bob James have in the mid 70's of 1973 CJF Outstanding [nstrumentalist John gone on to such a meteoric career if CJF judge Quincy Jones Clayton Jr., hadn't discovered and signed James' knock-out University of or trurnpeter/flugelhornist Cecil Bridgewater's improvisa­ Mi chigan Trio to a Mercury Records contract in 19621 Would tions in any of Max Roach's small groups of the last decade trumpeter Marvin Stamm (and many other North Texas State and a half, or the work of Chico Freeman, Paul Winter, Don Lab Band members) have latched onto Stan Kenton's big band Menza, Gary Foster, Cannell Jones, Joe Farrell and others? as quickly as they did if they hadn't caught the bandleader's Better watch out~these CJF guys are everywhere you tum.