Rich Matteson Will Be Heard When Others Perform

Total Page:16

File Type:pdf, Size:1020Kb

Rich Matteson Will Be Heard When Others Perform Rich Biography Matteson Biography The legacy of jazz musician Rich Matteson will be heard when others perform. Mr. Matteson, who founded the award-winning University of North Florida jazz program in 1986, died June 24, 1993 after a long illness. He was 64. Mr. Matteson jokingly called himself the best jazz euphonium player in the world because he was the only one. But he'll be remembered as a man who loved music and loved teaching it, and for taking the instrument to new levels of acceptance, having played with jazz greats Duke Ellington, Louis Armstrong, Count Basie, Clark Terry, Louis Bellson, and many others. Mr. Matteson was honored frequently by the International Association of Jazz Educators and is a member of its Hall of Fame. He was a founding member of the Tubists Universal Brotherhood Association, won the Homer Osborne Award, and was honored as an Ambassador of Jazz by Walt Disney World. Last year he was Down Beat magazine's Lifetime Achievement Award winner. "I guess Gabriel will have to move over," said Harvey Phillips, with whom Mr. Matteson formed the Matteson Phillips Tubajazz Consort. They played all over the world. Mr. Matteson made his biggest mark as an educator. He began as an associate professor at the University of North Texas, and he gained recognition for the many master classes that he conducted throughout the world. He was brought to Jacksonville when philanthropist Ira Koger asked him to head the new department at UNF. Bunky Green, who succeeded Mr. Matteson as director of jazz studies at UNF, recalled how Mr. Matteson disliked mediocrity. "For Rich, a C wasn't good enough. He'd advise that a student take the class over again." As a player, Mr. Matteson was an inspiration, said guitarist Jack Petersen. "It was just something that was there. When he played, he made you want to play." Mr. Matteson is survived by his wife, Michelle "Mikki", and four sons, Mark, John, TK, and Chris. -Reprinted from memorial program From: International Tuba Euphonium Association Honorary Life Members .
Recommended publications
  • The Composer's Guide to the Tuba
    THE COMPOSER’S GUIDE TO THE TUBA: CREATING A NEW RESOURCE ON THE CAPABILITIES OF THE TUBA FAMILY Aaron Michael Hynds A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS August 2019 Committee: David Saltzman, Advisor Marco Nardone Graduate Faculty Representative Mikel Kuehn Andrew Pelletier © 2019 Aaron Michael Hynds All Rights Reserved iii ABSTRACT David Saltzman, Advisor The solo repertoire of the tuba and euphonium has grown exponentially since the middle of the 20th century, due in large part to the pioneering work of several artist-performers on those instruments. These performers sought out and collaborated directly with composers, helping to produce works that sensibly and musically used the tuba and euphonium. However, not every composer who wishes to write for the tuba and euphonium has access to world-class tubists and euphonists, and the body of available literature concerning the capabilities of the tuba family is both small in number and lacking in comprehensiveness. This document seeks to remedy this situation by producing a comprehensive and accessible guide on the capabilities of the tuba family. An analysis of the currently-available materials concerning the tuba family will give direction on the structure and content of this new guide, as will the dissemination of a survey to the North American composition community. The end result, the Composer’s Guide to the Tuba, is a practical, accessible, and composer-centric guide to the modern capabilities of the tuba family of instruments. iv To Sara and Dad, who both kept me going with their never-ending love.
    [Show full text]
  • DB Music Shop Must Arrive 2 Months Prior to DB Cover Date
    05 5 $4.99 DownBeat.com 09281 01493 0 MAY 2010MAY U.K. £3.50 001_COVER.qxd 3/16/10 2:08 PM Page 1 DOWNBEAT MIGUEL ZENÓN // RAMSEY LEWIS & KIRK WHALUM // EVAN PARKER // SUMMER FESTIVAL GUIDE MAY 2010 002-025_FRONT.qxd 3/17/10 10:28 AM Page 2 002-025_FRONT.qxd 3/17/10 10:29 AM Page 3 002-025_FRONT.qxd 3/17/10 10:29 AM Page 4 May 2010 VOLUME 77 – NUMBER 5 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Kelly Grosser ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 www.downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough, Howard Mandel Austin: Michael Point; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D.
    [Show full text]
  • A Historical Overview of the Development of Collegiate and Professional Tuba Euphonium Ensembles in the United States Christopher Lair
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2010 A Historical Overview of the Development of Collegiate and Professional Tuba Euphonium Ensembles in the United States Christopher Lair Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC A HISTORICAL OVERVIEW OF THE DEVELOPMENT OF COLLEGIATE AND PROFESSIONAL TUBA EUPHONIUM ENSEMBLES IN THE UNITED STATES By CHRISTOPHER LAIR A Treatise su mitted to the College of Music in partial fulfillment of the requirements for the degree Doctor of Music Degree A,arded- Spring Semester. 2010 The mem ers of the committee appro2e the treatise of Christopher Lair defended on Octo er 23. 2003. __________________________________ 6ohn Dre, Professor Co7Directing Treatise __________________________________ Paul E ers Professor Co7Directing Treatise __________________________________ Charles Bre,er Uni2ersity Representati2e __________________________________ Eric Ohlsson Committee Mem er The Graduate School has 2erified and appro2ed the a o2e7named committee mem ers. ii AC8NOWLEDGEMENTS During the preparation of this document. I recei2ed assistance from a 2ariety of generous indi2iduals and organi9ations. I am deeply inde ted to all of them. I ,ould li:e to offer my than:s to professors R. Winston Morris. Scott Watson. 6erry Young. Har2ey Phillips. 6ohn Ste2ens. 6oe S:illen. Demondrae Thurman. and S:ip Gray. ,ho generously donated their time and expertise for inter2ie,s. Special than:s to R. Winston Morris for pro2iding decades of recital and concert programs. and for a ,ealth of in2alua le information in a 2ariety of forms. I ,ould li:e to offer my gratitude to The Florida State Uni2ersity and to my doctoral committee.
    [Show full text]
  • Teaching and Learning Jazz Trombone Dissertation
    TEACHING AND LEARNING JAZZ TROMBONE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Julia M. Gendrich, B.S., M.S. * * * * * The Ohio State University 2003 Dissertation Committee: Approved by Dr. William T. McDaniel, Co-Adviser _______________________________ Co-Adviser Dr. Timothy A. Gerber, Co-Adviser School of Music Dr. Jon R. Woods _______________________________ Co-Adviser School of Music ABSTRACT The purpose of the study was to identify and assess methods of teaching and learning jazz trombone improvisation that have been implemented by jazz trombone professors. Its intent was to describe learning procedures and areas of trombone study. A survey instrument was designed after interviewing 20 professional jazz trombonists. The survey was pilot-tested (n = 9) and adjustments were made. Jazz trombone professors (n = 377) were sent questionnaires, with a response rate of 28 percent after an additional reminder to all and follow-up phone calls to one-third of the sample. Of the 106 total respondents, 58 were deemed to be eligible participants as both trombonists and as teachers of jazz improvisation. Three areas were explored: 1) early stages of development, 2) teaching, and 3) trombone technique. Data showed that most of the professors (77%) had learned to improvise between 7th-12th grades. They identified the most important method of learning for themselves as listening and playing-along with recordings. Learning occurred on their own for many, though college also had an impact. Schools (K-12) were not strongly rated as being helpful in the trombonists learning to improvise (2.49 on a scale of one to five), though schools did provide many jazz performance experiences.
    [Show full text]
  • ITEC Program Book
    ITEC 2019 Program Addendum Voxman Building Notes - The Voxman School of Music’s facilities will be open every day from 7am – 10pm for the duration of the conference - The registration desk will be available on the 2000 level in the Pearl West Lobby from 8am-8pm for the duration of the conference - Instrument storage will be available in the Stark Opera Theater (0151) from Tuesday through Saturday, 8am-8pm and for 30 minutes after the end of the evening concerts o Exception: instrument storage will close at 4:30pm on Thursday to allow volunteers time to prepare for and attend the Banquet - No instruments or cases are allowed in the Concert Hall or Recital Hall audience during performances - No food or drink (except water) in any classroom or performance space - Lessons with students under 18 years of age require a parent or guardian in the room Schedule Corrections Monday, May 27 Correction 9:00am – Recital Hall (2301) – Competition: Mock Band - Tuba Incorrectly listed as taking place in Stark Opera Theater (pg. 17, pg. 27) Correction 9:00am – Stark Opera Theater (0151) – Competition: Electronics Incorrectly listed as starting at 5:00pm (pg. 27) Correction 3:00pm – Recital Hall (2301) – Competition: Young Artist Euphonium Final Round Incorrectly listed as Artist Euphonium Final Round (pg. 27) Correction 3:30pm – Concert Hall (2101) – Competition: Ensemble Final Round Incorrectly listed as starting at 3:00pm (pg. 17, omitted on pg. 27) Tuesday, May 28 Cancellation 9:00am – James Dixon Room (0002) – Presentation: Samuel Adler – David Saltzman (pg. 18, 32) Correction 2:00pm – James Dixon Room (0002) – Presentation: Young at Heart – Velvet Brown and Roger Bobo (pg.
    [Show full text]
  • Richmond Matteson: Euphonium Innovator, Teacher and Performer, with Three Recitals Of
    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.
    [Show full text]
  • August 23–25, 2019 Our 19Th Year!
    Our 19th Year! August 23–25, 2019 –1– About the Jazz Summit Education is a primary purpose behind the Prescott Jazz Summit. We provide clinics for bands from all over Arizona, have student ensembles perform at our annual festival, and give funds to local music departments. We’ve also given scholarships to deserving students, and regularly present assemblies to schools. Our programs have reached more than 5000 students in North Central Arizona elementary schools, middle schools and high schools. Our assemblies adress the WHOLE student body in the schools where we perform. We present jazz music in an entertaining and “inclusive” form for ALL the students, not just the music students. Our programs are done at NO CHARGE to each school. We also demonstrate each instrument, so that the students get an idea of what each instrument sounds like and how it works. Our Educational Outreach program is funded through donations to “Friends of Big Band Jazz,” a 501c3 nonprofit corporation. FBBJ is the sponsoring organi- zation for the Prescott Jazz Summit and the Stan Kenton Legacy Orchestra. It has given more than $60,000 for jazz camp scholarships, funds to school music departments, funds to help musicians in need, and the Habitat for Humanity for the New Orleans Musicians Village. –2– Born in Scranton, PA, our Master of Ceremonies Pete Barbutti started accordion lessons at 11 and within a year was earning money playing at weddings. Later, Pete formed a musical-comedy-vocal quartet group called “The Millionaires,” which toured the country. Settling in Las Vegas, “The Millionaires” quickly became a Las Vegas favorite.
    [Show full text]
  • ATU BANDS and ASBOA VIRTUAL DIRECTORS ACADEMY “Preparing Young Euphoniumists for Challenges and Opportunities That Are Unique to the Instrument” Dr
    ATU BANDS AND ASBOA VIRTUAL DIRECTORS ACADEMY “Preparing Young Euphoniumists for Challenges and Opportunities that are Unique to the Instrument” Dr. Sean Scot Reed June 16, 2020 Challenges • High quality, compensating horns are expensive • Bb-Treble Clef • Performing gigs are hard fewer and farther between • There are different universes of repertoires for the instrument, requiring context. • Repertoire relies heavily on transcriptions, or is too difficult for intermediate players Instruments • Euph are expensive. 4 valves is a must • If a student is going to ask family for an investment, it is very important to lead them down a path that they will happy about later. There are lots of inexpensive horns that are either not compensating, do not have a fourth valve on the side, or will not play very well in tune for example. • Intonation, accuracy and response on high G’s and high B-Natural are the first things I look for when I pick up a horn – will it ‘slot’ on a high G and a high B-Natural? • YEP 842 series is a good horn, but student model horns will be less expensive. Instruments, cont. Euphs in your inventory • Keeping instruments in good shape. • Isopropyl alcohol and washcloth wiping down every day • Proper valve oil – throw out the stuff that comes with horns and buy Hetman oil, or something comparable, and get the right thickness – Light Piston works best on my Yamaha for example because the valves are close tolerance - flush with the casings. Bb Treble Clef • OFTEN PROBLEMATIC - This is difficult to ‘un-learn’ when young players come to college.
    [Show full text]
  • Modern Jazz Tuba Project “Jazz at the Bottom Line”
    Modern Jazz Tuba Project “Jazz At The Bottom Line” of tradition utilizing of the internationally acclaimed “The Modern Jazz Tuba Project is exceptional by any standard. Rich Matteson arrangements catch fire, the horns the euphonium Matteson-Phillips TUBAJAZZ flex like alto saxophones on a bebop trip, the rhythm section and tuba as lead CONSORT in the mid-1970s. The cooks, even the tortuous ‘Blue Rondo A La Turk’ fails to stop instruments in jazz. MJT Project is an outgrowth of the progress of these consummate musicians. In competent hands the ballads are always going to be warm and graceful, This tradition started these traditions. but add the beautifully written section backgrounds and you in the late 1940s with Utilizing the talents of three immediately appreciate that these are classic sounds. There “the birth of the cool” outstanding jazz euphoniumists— is no novelty value here, this is a marvelous jazz project and you’d be wise to seek it out. and the collaboration Billy Huber and Barry Green of —John Killoch of Mainlybigbands.com between Miles Davis Nashville and Marcus Dickman and Bill Barber on of Jacksonville, Florida—and The Modern Jazz Tuba Project a number of recordings arranged balancing the low end with tubists is a ten-piece modern jazz group by Gil Evans, and was extended Joe Murphy and Winston Morris consisting of professional jazz through the 1950s by Harvey of Tennessee and Richard Perry musicians, primarily based Phillips (the Sauter-Finegan of Hattiesburg, Mississippi, the in Nashville, Tennessee. The Orchestra, Gil Evans, etc.) and MJT Project explores the best in MJT Project has produced two Don Butterfield (Clark Terry, jazz tuba literature.
    [Show full text]
  • Northwestern University the Tubist's Guide to the Brass
    NORTHWESTERN UNIVERSITY THE TUBIST’S GUIDE TO THE BRASS QUINTET: A SURVEY OF HISTORICAL DEVELOPMENTS AND PERFORMANCE TECHNIQUES A RESEARCH DOCUMENT SUBMITTED TO THE BIENEN SCHOOL OF MUSIC IN PARTIAL FULFILLMENT OF THE REQUIREMENTS for the degree DOCTOR OF MUSICAL ARTS Program of Tuba Performance By Thomas Walsh Curry EVANSTON, ILLINOIS DECEMBER 2015 2 ABSTRACT The Tubist’s Guide to the Brass Quintet: A Survey of Historical Developments and Performance Techniques Tom Curry Since the standardization of the modern brass quintet in the middle of the twentieth century, extensive research has been dedicated to the history of the genre, ensembles which have promoted and advanced brass chamber music and the growing body of original brass quintet repertoire. Such scholarship has provided practical benefits to performers and reflected the increased validity of the brass quintet as a chamber music entity equal to that of its string and woodwind counterparts. No instrument has benefitted more from the progress and recognition of the brass quintet than the tuba. Despite this fact, relatively little scholarly activity has been devoted to the specific demands and applications of the tubist’s role in brass quintet performance. The current study serves as a performer’s guide for the tubist in a brass quintet. Following a brief introduction, the second chapter provides historical context by studying several ensembles and individuals who developed the genre of brass chamber music and the tuba’s function therein. Based on writings, interviews and recordings of these and many other preeminent chamber musicians and pedagogues, Chapter Three includes an overview of equipment considerations and elements of tuba performance unique or relevant to the brass quintet setting.
    [Show full text]
  • Category 4 Jeff Jarvis (B. 1952) Jazz Suite Bob Seibert (B. 1943) Sing
    Category 4 Jeff Jarvis is a trumpeter, composer, jazz educator, and music publisher. He serves as Director of Jazz Studies at California State University Long Beach and frequently appears as a honors jazz band conductor, clinician and lecturer. Jeff is the Music Director Emeritus of the Central New York Jazz Orchestra, and is a former Vice-President of the International Association for Jazz Education. STUDIO BIG BAND David Scott, Director Jeff is part-owner of Kendor Music, Inc., the first educational music publisher to provide jazz charts written especially for students. Wednesday, December 8th, 8 p.m. Jazz Suite ORTON CENTER Bob Seibert is a recipient of Bachelor and Masters of Music Degrees from Manhattan School of Music. His private studies were with Armen Boyajian, pianist to Beverly Sills. He has been a performer/ composer/teacher in the New York area for the past thirty five years. Category 4 Jeff Jarvis (b. 1952) Sing Sang Sung Jazz Suite Bob Seibert (b. 1943) Gordon Goodwin is a Grammy award-winning American studio pianist, saxophonist, composer, arranger and conductor. Sing Sang Sing Sang Sung Gordon Goodwin (b. 1954) Sung is one of several of his songs that are plays on old jazz tunes. Sing Sang Sung mimics the famous Louis Prima song “Sing, Sing, Journal Square David berger (b. 1949) Sing” as performed by Benny Goodman. Silk Cutter Bob Clarida (b. 1959) Journal Square Jazz composer, arranger and conductor David Berger is recognized What a Wonderful World Rich Matterson (1929-1993) internationally as a leading authority on the music of Duke Ellington and the Swing Era.
    [Show full text]
  • The Evolution of the Tuba Quartet and Its Repertoire Bradley Bryant Boone Louisiana State University and Agricultural and Mechanical College, [email protected]
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2011 The evolution of the tuba quartet and its repertoire Bradley Bryant Boone Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Boone, Bradley Bryant, "The ve olution of the tuba quartet and its repertoire" (2011). LSU Doctoral Dissertations. 377. https://digitalcommons.lsu.edu/gradschool_dissertations/377 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE EVOLUTION OF THE TUBA QUARTET AND ITS REPERTOIRE A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Bradley Bryant Boone B.M.E., Stetson University, 2002 M.M., Louisiana State University, 2005 December 2011 © Copyright 2011 Bradley Bryant Boone All rights reserved ii ACKNOWLEDGEMENTS I am deeply indebted to my entire committee for their patience, support, and guidance throughout this process. I owe a special debt of gratitude to Dr. Joseph Skillen, my mentor and advisor, for his direction and commitment to this document. I am most appreciative of the outstanding work of R. Winston Morris, Daniel Perantoni, Kenyon Wilson, and Charles McAdams. Without their steadfast dedication to cataloging the repertoire of the tuba quartet in Guide to the Tuba Repertoire: The New Tuba Source Book, a document of this scope would be impractical.
    [Show full text]