sign in sign up
<<
Home , Bob Harvey (musician), Ernie Watts, Ira Sullivan, Oscar Brashear, Red Rodney

Archives of the University of Notre Dame Archives of the University of Notre Dame 'i1

1WEN1Y-NINTH ANNUAL COLLEGIATE FESTIVAL

Chairman Kevin Cronin Producer David Thornton Applications Director Kathryn Kager Assistant Paul Bonadies Advertising Director Paul Giorgianni Publicity Director Paul Giorglannl Production Crew Manager Mary Marchal Stage Manager Matt Snyder Faculty Advisor Fr. George Wiskirchen, C.S.C. Cultural Arts Advisor Ceil Paulsen Cover/T-Shirt Design Mark Weimholt Printer Harmony Press, Inc., Bourbon, IN - Portions of CJF '87 will be broadcast live on WSND, 88.9FM • Sponsored by the Notre Dame Student Activities Board Cultural Arts Commission 1 Archives of the University of Notre Dame

~ NASSER & SONS HOME OF WORLD FAMOUS GRAND PIANOS AlJ o

UNIVERSITY FOOD SERVICES - NOTRE DAME ~~~ your Complele 7J. 71. Jfearkruarlers AND ~t) COCA-COLA BOTTLING COMPANY OF SOUTH BEND .'/ JOIN TOGETHER TO SUPPORT THE FINEST STUDENT PROGRAM IN THE COUNTRY

PROVIDING THE LIGHTING THE 29th ANNUAL COLLEGIATE AND P.A. SYSTEMS FOR Over 75 In Stock: CJF '87 JAZZ FESTIVAL - STEINWAY - BALDWIN ­ - KAWAI - YOUNG CHANG ­

Congratulations on Producing this Program 282 Dunes Plaza of Excellence for Our Community Michigan Cicy, IN 46360 Ken Reinecke 0-1640 Lake Michigan Dr., N.W. 879-4474 616/677-5228 Grand Rapids, Michigan 49504

While attending this outstanding program, stop at our refreshment cafe and enjoy ...

Sandwich Counter Ice Cream Counter Mini Castle Burger Cups c AIG RIOT All-Beef Hot Dog Cones Philly Steak Sandwich Sundaes PA o I G & R PAl Snacks Beverage Fountain Popcorn Coke and Diet Coke Nachos Root Beer and Sprite Pretzels Coffee "The Musician's Choice" Pizza by the Slice Strawberry Slush ***** Serving All Makes ***** ***** Full Time Since 1978 *****

SPECIALIZING IN: CONCERT & PERFORMANCE TUNING • IN HOME TUNING & REPAIR ANTIQUE & USED PIANO REPAIRS • APPRAISALS "Quality Service at Reasonable Rates;' Call 8 AM - 9 PM "Please Leave Message" P. 0 ... Box 44 (219) 255-9810 Osceola, IN 46561-0044 Mr. Ridout will be tuning the piano used for CJF '87. •

2 3 Archives of the University of Notre Dame

and Ron Bridgewater. Randy and and ended only on Sunday morning versltles around the country, ofcourse. Michael Brecker, Gene Bertoncinl, Joe when. sleepless, I drove Malachi Favors But. more. Its a tribute to the meaning Farrell. Stanley Cowell, Bob James, Paul and his bass to the South ShoreStation. behind the CJF - the promotion of Looking Back: Winter, Al Jarreau. Oscar Brashear, We had the times wrong. and he had to America's sole claim to musical art. And David Sanborn, Jim McNeely, Peter Ers­ wait an hour for the train. I offered to CJF does It with class: no hype, no com­ kine, and Chico Freeman, to name but a take him somewhere for coffee, but he mercialism. just a sincere dedication to few. Also on that list would be Pat Said. 'No, that's cool. rn just practice a providing that special moment when A BriefHistoIY oftile CJF Metheny Group bassist Steve Rodby, bit,' I left him In the deserted waiting musician and idea and Instrument and and the Founding Fathers of room qUietly playing. It great," sound and audience are one. That spe­ (James Pankow) and Earth Wind and There Is no question that the judges cial moment called jazz," Fire (Maurice White. Don Myrick, and add a special dimension to the CJF. The CJF '87 staff, and many more to Louis Satterfield). making It unique among festivals and a come, we hope. will continue to provide After nearly three full decades ofexist­ slon station WGN music director Robert bookings. Judge Stan Kenton referred While these and other college per­ real treat to attend. However. what really that "speCial moment". Our hope Is kept ence, it continues: the oldest. longest­ TrendIer, and popularjazz accordionist to that second CJFas "the most magn1f­ formers are the primary focus of CJF, makes this Festival speCial Is the wealth alive through the same dedication and running, most prestigious college jazz Art Van Damme. The first place award, icent. clean-cut, swlngin' affair I've ever another aspect of the Festival that has ofcollegiate talent. "One of the most sig­ commitment which have brought us festival in the country. This year, fifteen $200 cash and a 3-week Blue Note attended," In just two short years. CJF continued to gain prominence Is the nificant observations I made at the this far. We cannot merely continue. of the country's best collegiate groups. engagement. went to theUntversltyJazz had gained the reputation It still carries Judges' Jam. The 60's saw the advent of twentieth Collegiate Jazz Festival:' though: we have not been successful for from nine states, will gather In Stepan Workshop Quartet of the Untverslty of today: a forum presenting the best in judge/student jams, which spotlighted wrote Observer reporter Frank laurino twenty-nine years by being satisfied Center for the twenty-ninth annual Minnesota. college jazz. top Festival solOiSts on stage with the l'n 1978, "was the Incredible amount of with past accomplishments. By always Notre Dame Collegiate Jazz Festival. From these humble beginnings, the That reputation continued to grow. It musician judges In attendance. That talent on stage. This Is a tribute to the attempting to make CJF better. we wUl Whlle all of us on this year's committee CJF grew at an astonishing rate. which kept growing as CJF developed Its own led, In 1977, to a group ofjudgesselected many fine jazz programs at major unl­ further Its past tradition of greatness, can only hope that the Festival wlllllve was exactly what Its originators had logo In 1963 (recently updated In 1984). not only to critique. but specifically to up to Its own legacy over the next dreamed of. The prologue ofthe first CJF It kept on growing as CJF moved out of perform well together In a Friday night twenty-nine years, we cannot help but to program began with the follOwing state­ the Old Fieldhouse and Into Stepan jam session. It Is a great thrill to I1sten to look back over those past with a lot of ment: "From an embryonic Idea has Center for the '67 Festival. 1967also saw five profeSSionals. some of whom have pride and a bit ofawe at what ourefforts grown what mayweU become. within the the Introduction ofthe High School Fes­ never met. get together on stage and are perpetuating. span ofa few shortyears, the ultimate In tival, which would be held for eighteen of blend so well. TheJam often turnsout to Exactly twenty-eight years ago, on collegiate jazz competition." In fact. the the next nineteen CJFs (It was dropped be the highlight of the weekend - not April 11. 1959, the Midwest Collegiate first CJF met with such acclaim that the for one year In 1980. temporarily only for the audience. but for thejudges Jazz Festival gave birth to one of the second annual Collegiate Jazz Festival revived, and then scrapped In 1986 for as well. Just three years ago, the judges greatest traditions In the jazz world. had no trouble at all In lining up bands budgetary reasons). And as CJFgrew, so enjoyed playing together so mUCh. that Notre Dame senior Tom Cahill had orjudges. CJF '60 expanded to two days. did the accompllshments ofltspast par­ after the awards were decided and an­ searched for a way to relieve the dol­ and attracted not fifteen, but twenty-six ticipants - not the judges, but those nounced on Saturday night. they took drums of a South Bend winter: some­ bands and combos. The prizes included who had been there as student per­ the stage again for an unheard-of thing big, but at the same time not oruy cash, but trophies. instru­ formers. A llst of Festival alumni com­ second Jam. Theseveral hundred people down-to-earth and entertaining; "some­ ments, scholarships. and Blue Note piled today would Include Cecll, Dee Dee. remaining in Stepan Centerwere treated thing collegiate for collegians" ... music, to a show as spectacular as that of the he reallzed,just might be the key. Cahill night before, and listened and cheered spoke of his Idea to Bill Graham, who as the judges Improvised energetically eventually became chairman of that until theearly hoursofSunday morning. first CJF. Their original concept of the Those of us on the CJF staff find It Festival was a showcase for Notre Dame very easy to get motivated and excited talent only. But their thinking soon about the event. We find that there Is a broadened to Include all collegiate musi­ lot given up (most notably sleep and stu­ cians from across the Midwest In a dies), but a lot to be gained. Some of the "Newport-llke" setting. memories provided by CJF will last a To make their Idea a reality, they llfetlme, as onewould expectofanything sought the assistance ofCharles Suber, which generates such Intense Involve­ then publisher of down beat magazine. ment - memories ofthe quiet moments and Frank Hol:z;fiend. owner of the Blue as well as the hectic ones. Damian Note Jazz Room, the premier downtown Leader. Chairman of CJF '76, relates ChIcagojazz spot. They procured a small some of his memories In a paragraph budget from the Student Government which may well sum up what the Notre (Bill Graham also happened to be the Dame Collegiate Jazz Festival Is all student body vice-president), and per­ about: mission to hold the one-dayevent In the "What I really remember of the Festi­ Old Fieldhouse (even more ofan acousti­ vals probably never changes: the hectic cal nightmare than Stepan Center). days. the late nights. the craziness. the That historic beginning saw fifteen people. the music . . . I remember the bands from lllinois. Indiana. Michigan, contrasting styles of judging: Bob Minnesota, Ohio. and Wisconsin gather James' extensive critiques, while Lester In the Fieldhouse tojam from 1:00 In the Bowie once just scrawled 'DO IT! DO IT! afternoon until late Into the ntght.. DO IT!' Another time he ran backstage Suber and Holzflend were joined on the to grab a young trombonist and shook judging panel by Chicago radlo/televl­ him with both hands: highest praise. The whole experience was marvelous. 4 5 Archives of the University of Notre Dame

NEW CHARTS FOR ADVANCED ENSEMBLES History

Past CJF Chairmen Past CJF Judges

1959 Bill Graham 1959 Art Van Damme. Frank Holzfiend, Charles Suber, 1960 Jim Naughton Robert TrendIer 1961 Dave Sommer 1960 Willis Conover. Frank Holzflend, Stan Kenton. Robert 1962 Tom Elff Share. Charles Suber 1963 Charlie Murphy 1961 Bill Evans, Johnny Richards, George Russell, Robert 1964 Sidney Gage Share. Charles Suber 1962 1965 Daniel Ekkebus Don DeMicheal, , Henry Mancini. Robert Share, Charles Suber 1966 Tony Andrea, Tony Rivlzzlgno 1963 Manny Albam. Leonard Feather, Terry Gibbs. Robert 1967 Paul Schlaver John Fedchock Share, Charles Suber David Caffey 1968 John Noel 1964 Julian "Cannonball" Adderly. Gary McFarland. Oliver Bob Mintzer AS RECORDED ON WOODY'S NEW 1969 Greg Mullen BLIZZARD BOP Nelson, George Russell, Robert Share. Charles Suber "50TH ANNIVERSARY TOUR" ALBUM! 1970 Ann Heinrichs 1965 PauJ Horn. Arlf Mardin. Robert Share. Charles AS RECORDED ON HIS BRAND NEW LIVELY BOP BASED ON PARKER'S 1971 Ann Heinrichs Suber, Clark Terry "CAMOUFLAGE" DIGITAL CASSETTE! CHANGES IN "LADYBIRD", WITH BLUES FOR REO 1972 Bob Syburg 1966 Don DeMicheal. QUincy Jones. Charles Suber. Btlly SOPRANO, TENOR, TRUMPET AND 1973 Bob Syburg Taylor, Fr. George Wiskirchen, C.S.C. DRIVING SWING SPOTLIGHTING 1974 Ken Lee TROMBONE SHARING A BRISK SOLI! 1967 . Don DeMlcheal. Herbie Hancock. HIP HOP ALTO & TRUMPET SOLOS, CLOS I NG 1975 Barbara Simonds William Russo. Lalo Schlfrin, Robert Share WITH A ROARING SHOUT CHORUS! 1976 Damian Leader 1968 Ray Brown. Dan Morgenstern. . Robert OFFERS THE BEST OF BOTH WORLDS 1977 Mike Dtllon Share, AS IT SHIFTS BETWEEN SHUFFLE 1978 Jim Thomas 1969 Gary McFarland. Dan Morgenstern. . AND FUNK BEATS! John LaBarbera CENTRAL PARK WEST 1979 Joe Carey Clark Terry. Ernie Wilkens. Fr. George Wlskirchen. C.S.C. 1980 Stan Huddleston 1970lRichard Abrams. Leon Breeden. . Dan COLTRANE I S CLASSIC BALLAD FOR 1981 Tim Griffin Morgenstern. Ernie Wilkens c=== POSTBOPERATION 1971 Richard Abrams. Willis Conover. . IN THE 80'S THE WHOLE ENSEMBLE, WITH TENOR 1982 Kevin Bauer BRIGHT BOP WRITTEN FOR AND SAX TAKING THE SOLO SPOT! 1983 Bob O'Donnell Dan Morgenstern. Leon Thomas. Gerald Wilson DRIVING MAMBO FEATURING THICK PREMIERED BY PHIL WOODS 1984 Bob O'Donnell 1972 Jamey Aebersold. Willis Conover. Aynsley Dunbar, Roberta Flack, . Dan Morgenstern. VOICINGS AND SOLO SPACE FOR FEATURES ALTO! 1985 John J. Cerablno 1986 Jerry Murphy George Russell ALTO, BARITONE, AND DRUMSl POOLS 1973 Alvin Batiste, Joe Farrell. Jimmy Giuffre, . HOT! POWERFUL FUSION FEATUR­ Hubert Laws, Dan Morgenstern. Jimmy Owens 1974 Charlie Haden, Billy Harper, Roy Haynes, Dan ONE MAN BAND ING TENOR AND BASS SOLOS! Morgenstern, Lonnie Liston Smith, B1I1 Watrous Frank Mantooth 1975 Cecii Bridgewater, Dee Dee Bridgewater. Jack FUNK-ROCK "OPUS" PACKED WITH DeJohnette. Hubert Laws. Dan Morgenstern. Chuck CLEVER COUNTERPOINT, GREAT DARN THAT DREAM Rainey, Sonny RoIltns RHYTHM PARTS. &STRONG THEMES! 1976 Lester Bowie. Joe Farrell. Malachi Favors. Bob THE GREAT CLASSIC IN A DYNAMIC James. Dan Morgenstern. Don Moye. Dave SAMBA FEATURING FLUGELHORNI Matt Harris Remmington TECHNO-POP 1977 Randy Brecker. Bob James. Wtll Lee. Bob Moses. POTATO BLUES David Sanborn LITERALLY "POPS" WITH THE SCAM &EGGS 1978 Louie Sellson. Hubert Laws. John Lewis. Dan CRISP SOUND OF TODAY'S MUSIC, DYNAMIC SWING fEATURING TRUM­ Morgenstern. Larry Ridley. Lew Tabackln WITH SOLO SPACE FOR TRUMPET! HIGH-VOLTAGE, HALF-TIME FUNK PET, AS RECORDED BY THE BLUE 1979 Nat Adderly. Richard Davis, Buddy DeFranco. WITH LOTS OF SOLO SPACE FOR WISP BIG BAND AND GUEST WYNTON . Phllly Joe Jones. DRUMS AND SOPRANO SAX! MARSALI S! 1980 Herb EIlts. Milt Hinton. Dan Morgenstern. . . Tony Wtlliams 1981 Richard Davis. Joe Farrell. Mel Lewis. Jim McNeely. 'Dan Morgenstern. Mike Vax 1982 Frank Foster. Charlie Haden. . Dan Morgenstern. Jimmy Owens, Billy Taylor 1983 Ron Carter. Branford Marsalis. Wynton Marsalis. Jim McNeely. Dan Morgenstern. Tony Williams 1984Terence Blanchard.Joanne Brackeen. Paquito D'Rivera, Kendor Music, Inc. Danny Gottlieb. Dave Holland. Dan Morgenstern KENDOR PUBLICATIONS ARE music publishers WRITE US TO REQUEST 1985 Gene Bertoncln!. Stanley Cowell. Jimmy Heath Main & Grove Sts. Dave HoHand. Butch Miles. Dan Morgenstern AVAILABLE FROM YOUR P.O. Box 278 YOUR FREE JAZZ CATALOG 1986 Conte Candolt. Alan Dawson. Chuck lsraels. Ellis LOCAL MUSIC SUPPLIER! Delevan, New York 14042 &DEMO RECORDINGS! Marsalis. Dan Morgenstern. Lew TabackJn Jim McNeely performs at the '83 Judges' Jam. 6 7 Archives of the University of Notre Dame Master ofCeremonies KISHA/ UNI\E-RSAL ~tia1s This year's Master of Ceremonies for the Collegiate Jazz Festival is Tim Eby. Eby is in his fifth year of AUDIO CASSETTE DUPLICATION, RECORDING managing the local Public Radio Station WVPE-FM 88. WVPE is the area's prime outlet forjazz, featUring more ERNEST W. SCARBROUGH, JR. than eighty hours each week with jazz programming seven days a week. I .-.---.-.---.-,-,-.-._._.- - .-,- - -,------r Eby has developed WVPE from a student operated rock oriented station to a Public Radio station staffed by a full-time and part-time staff. community I Mr. Scarbrough will be recording each group's I volunteers and students. In addition to its jazz I performance at CJF '87. Cassettes will be available I programming, WVPE also features blues, folk, classical, new age and reggae music, plus news and informational I shortly after each group finishes their set, and may I programming. The station is listener supported and I be purchased on the west side of Stepan Center. I receives most ofits funding from listenerand corporate contributions. ..-.~..-....-..~_. L_._. __ n-.n 11 ._'_ _. ._. d I Prior to his work at WVPE, Eby worked as Music Director at wroN in Staunton, Virginia and various P.O.Box 1771 other radio stations. He is a 1982 graduate from the South Bend, IN 46634 219/272-3508 University of Evansville in EvanSville. Indiana. a division of SCARBROUGH ENTERPRISES, INC. • • • • • • • North Village Mal U.S. 33 North South Bend, ndiana 46637 277·5270 MICHIANA'S LARGEST SELECTION Michiana'5 Jazz OF JAZZ, BLUES, AND NEW AGE MUSIC ON COMPACT DISC Connection

Buy, Sell, or Trade Your Dollar Off Jazz and Used Compact Discs • Blues Every Wednesday WEEKDAYS 6 A.M. - 5 P.M. & 8 P.M. - 12 MIDNIGHT SATURDAYS 6 A.M. - 10 A.M. &SUNDAY 1 P.M. - 5 P.M. Special Orders Welcome • • • • • • • • • • • 8 9 Archives of the University of Notre Dame

album with Ernie Watts,Allan Broad­ Judges bent, and . entitled , to be released in May: and an album with OrnetteColeman, CJF '87 Don Cheny, and Billy Higgins, to be released in June. ThiS marks Haden's fourth appearance as a judge at CJF.

Kenny Kirkland Kenny Kirkland was born on Sept­ Frank Wess ember 28,1955. in New York City. At an early age, Kenny discovered a Frank W. Wess began his music piano in his home. The manyyearsof training at the age of 10. When he study that followed this discovery Born Robert Roland Chudnlck in was 15. he attended the Howard prepared him for the training that he Dan Morgenstern 1927 in Philadelphia Red Rodney's University Music Conservatory for would later receive at the Manhattan career has been a series of ups and one year. but left to begin his incre­ School of Music. It was there that he Director of the Institute of Jazz downs. He received his first trumpet dible professional career. He played Charlie Haden was recognized as one ofthe school's Studies at Rutgers, the State Univer­ as a Bar Mitzvah present. and began In various dance. theater. and club most Impressive young pianists. sity of New Jersey, since 1976, his professional career at the age of bands for three years, served in the When he was two years old. little Kenny has performed and record­ Morgenstern has been professionally 15 when he went on tour with the Army Band for four more, and then Charles Edward Haden was alreadya Roy Haynes ed with Wynton Marsalis. Branford active in the jazz field for some 30 Jeny Wald Orchestra. That gig was toured with the Orchestras of Billy performer. appearing six days each Marsalis, Angela Bofill, David San­ years as a writer, editor. teacher. followed by stints with Jimmy Dor­ Eckstine. Eddie Heywood. Lucky week on his father's radio show with Roy Owen Haynes is considered born. and. most recently. Sting. producer and consultant. The sey. Les Brown. , Benny Millender. and Bullmoose Jackson. his three older siblings. He started one of the founding fathers of During the summer of 1987. Kenny Institute Is the world's largest Goodman. Stan Kenton. Claude In 1949. he disappeared from the playing bass when he was fourteen. It modem jazz drumming style. He was will be recording his first album as a archive of jazz and jazz-related Thornhill, and Woody professional ranks. He emerged Herman. In 1949, he received a call was his brother Jim who brought one of the first drummers to develop leader. on Cranbeny Records (the materials and serves as a repository again f~ur years later. armed with a home the and Jazz at the "free form" style of playing. Over label owned by basketball great and and research factltty.A veteranjudge from the great Charlie 'Bird' Parker. Bachelor of Music degree from the the Philharmonic records that the past thirty-five years. Mr. Haynes jazz aficionado Kareem Abdul­ at CJF - he first served in 1968 ­ MUes Davis had quit Parker's group. Modem School ofMusic in Washing­ converted him from hillbilly music to has appeared with numerous artists. Jabbar). Certainly, this will provide Morgenstern is the author of Jazz and Bird wanted Rodney to tl1I the ton, D.C. and joined the jazz. setting him on a road that led among them . Charlie us all with an opportunity to further People and was editor-in-chief of chair. In the mid-50's he moved to Orchestra For the next 11 years. he first to LA's Westlake College of Parker. Thelonius Monk. Billie Holi­ explore his musical perspective and down beat (1967-73). Jazz and Chicago. and subsequently to San toured extensively throughout the Modem Music - a pioneer school of day. . . to gain more insight to this talented Metronome Magazines. He has Francisco and to Las Vegas. In 1963, U.S.. Canada and Europe. He won 6 jazz education - and then to work Stan Getz. , and Kenny pianist contributed to numerous jazz two cops knocked out his teeth. He down beat poll awards. with greats such as Art Pepper. Burrell. During recent years. Mr. anthologies, reference works. period­ continued playing (with false teeth). Leaving the Baste Orchestra to . Keith Jarrett. and. Haynes has made numerous world­ icals and newspapers and is a prolific but it was painful and difficult In freelance in New York City. he played most importantly, renegade saxo­ wide appearances. has recorded with record l1ner notes writer. having won 1972. he suffered a paralytic stroke, for many Broadway shows and for phonist Ornette Coleman. the man his own group. the Hip Ensemble. four Grammy Awards for best album and was temporarily disabled. He several films. He has since played behind the structurally radical and is involved in Trio Music. a notes. He has taught jazz history at recovered and rededicated himselfto with the Billy Taylor Orchestra and "harmolodicism." group featuring Haynes. Chick Peabody Conservatory. Brooklyn Jazz. He began recording again, with the New York Jazz Quartet He has Throughout his performing years. Corea. and Miroslav Vitous. The College. New York University and artists including and performed at Jazz Festivals in Haden has received a Guggenheim albums he has recorded as a leader Rutgers. produced television and . He toured Europe and Holland and Belgium. and atcolleges Fellowship and four NEA grants In are We Three, Thank You Thank radio jazz programs. and served as a then settled in Copenhagen. Den­ andjazz clubs across the country. He composition. He has recorded over You, Vistaltte, and Out oj the PJter­ panelist and consultant to the mark. untll 1978, when he returned has recorded with a great number of 200 albums with everyone from Pee noon. In 1978. the Boston Jazz National Endowment for the Arts' to New York for gum work and teeth people. ranging from Nat King Cole Wee Russell to John Coltrane. His Society established the Roy Haynes jazz program. On behalf of the implants. 'The very next day," claims and to , Liberation Music Orchestra record­ Scholarship Fund: in tribute to Mr. Institute. he produced the 100-LP Rodney, "my chops were better than Ron Carter. Clark Teny. and Sarah ed The Ballad oj the Fallen. which Haynes. one student is awarded a reissue series "The Greatest Jazz they had ever been in my lJfe, even Vaughan. He also performed for won down beat Magazine's critic's scholarhip to Berklee College of Recordings of All Time" for the better than when I had my own many 1V specials. such as Juke Box poll and reader's poll for best album. Music each year. Mr. Haynes has Franklin Mint Record Society. teeth." He has since toured as a solo Saturday Night. the Miss U.SA and and was nominated for a Grammy. appeared twice previously as ajudge Morgenstern is co-editor of The artist and with . Miss Universe Pageants. the Tony Recent projects include an album at CJF. in 1973 and again in 1974. Annual Review ofJazz Studies and Awards, the Celebral Palsy Telethon. with Michael Brecker. Jack DeJohn­ Mr. Haynes Is sponsored by Ludwig the monograph series Studies in and the Duke Ellington and Eubte ette. Kenny Kirkland. and Pat Industries. Jazz. Blake Specials. Metheny. to be released this week: an 11 10 Archives of the University of Notre Dame Keep In Touch! By Dan Morgenstern The Changing Role of COlllpetition at CJF It's always a pleasure to see and hear master like or Buddy Speaking of the latter: too many the eager young performers at CJF, Rich plays with, talks to and instructs converts to jazz tend to become elitists, Sample of critique sheet to be used by the judges at CJF '87. which I've beenattendingwithjusta few young musicians, or, for that matter, overtly or covertly superlor to the gaps for 20 years. During that long hires them to work with him. un1nltlated. That's not the way to period, I've encountered for the first There is continuity In jazz. It never spread the message. Thoughjazz make~ Throughout its earlyyears, CJFwasprimarilyacompetltlve time a numberofgreattalentswhowent gets old-fashioned or boring, It never certain demands on thelistenerin order event Participants competed not only for recognition, but for UNIVERSITY OF NOTRE DAME COLLEGIATE on to make their mark as professionals, loses Its ability to move and Involve the to allow Its flne points to be absorbed­ lucrative prizes as well. Instrument manufacturers offered JAZZ FESTIVAL among them Mike Brecker, the Bridge­ listener. To have discovered It Is a gift after all, it's not elevator music - it Is quality Instruments (Including entire drum sets) to "Best water Brothers (and singer Dee Dee that can last a lifetime, a gift that can be not a deep, dark secret either. At Its Soloists"; top bands were awarded cash prlzes. trips to other Bridgewater), Randy Sandke, John shared, that will bring new discoveries best. in fact. It Isamuslc thatcommunJ­ festivals (with all expenses paid by CJF sponsors), and U.S. PERFORMANCE EVALUATION SHEET Clayton, Charlie Braugham, Jim and new pleasure over the years. But in cates more directly than most. So Ifyou Government-paid International tours. Past committees have McNeely (still In high school when he order to allow the music to bring you want others to learn to enjoy It. you too chosen to de-emphasize this competitive aspect of CJF, and Name of Group: made his CJF debut) and qUite a few those things, you can'tbecome a passive must become a communicator. And If have focused on Its identity as a feStival. To this end. we have Appearance Time: others. receptor. You must continue to be you are able to initiate others, don't seen the elimination of the "Best Overall Group", "Best Big But It stands to reason that most of involved as an active memberofwhat we attempt to impose your personal tastes Band", and "Best Combo" awards, In favor of awarding the Selections: the hundreds of young collegiate jazz call "the jazz community" - that world­ on them. There's more than enough In title "Outstanding Performance" to honor the most deserving musicians in this pasSing parade must, wide, loosely structured yet closely the music to appeal to everyone with an groups, More recently, the selection of the best player on each needs be, tum to other professions bonded collective of people who care ear - indeed. that rlchness Is one ofthe Instrument, as well as the deSignation of the best overall 1) when the time comes. There simplyIsn't about jazz. things that makes jazz a true art. The instrumentalist. was also eliminated. Thisdecision was based 2) enough room in the ranks of jazz to That means that you must continue good listener will be open to new and on the continuing philosophy of de-emphasiZing accommodate all of them, and, to be to support the art form and the artists. different sounds. but that doesn't mean competition. as well as the practical difficulties Involved in 3) frank. not everyone has sufficientdesire by bUying records (not just listening to he or she must love everything equally deciding upon one "best" performeronagiven instrumentAs or talent. It is to theseyoung players. and or taping your friends' and your well, It's fun to argue, but don't dictate. In recent years, this year's judges will award the "Judges' 4) to the friends and fans In the audience libraries' copies, which deprlves the In sum, please don't lose touch with Citation for Distinguished Performance" to each individual Please evaluate each performance in each who cheer them on, that these remarks artists of much-needed royalties, small jazz. The music needs your support In that they feel merits such an award, Consequently. these category on a scale of one to five, five being are addressed. enough to begin with), going to clubs order to thrive and you, having awards will be based on the personal judgement of each outstanding, Participants would appreciate You have been fortunate to beexposed and concerts, joining your local jazz discovered It. need It as well - not to individualjudge, rather than the qualJtyofthe participants as as many written comments as you can offer, to jazz, that wonderful and proto­ society (there are dozens and dozens of bring you material rewards. but to give related only to each other. This year's committee feels that the typically American music that Is certain these allover the U.SA), supporting you something that money can't buy awards to be presented highlight the nature ofCJF as a true 5 4 3 2 1 to be regarded by future generations as your local jazz radio station (more likely and that no one can take from you. May feStival. In the words of 1960 Notre Dame student and MUSICIANSHIP one of this country's - and this than not to be non-profltl. and enJisting the jazz force be with you! SCholastic music crltic Pete Herbert. "Ifyou've gotsomething Technique, century's - greatest contributions to new recruits to the jazz cause. to say, come here and be heard -- this Is the lure of the CJF." Tone Qulity, the arts. Even If you're only a i1stener­ Dynamics, etc. and without good listeners, there canbe no worthwhile music - orjustplayyour RHYTHM FEEL part in a section. you've touched base with the joy and rewards of a creative ENSEMBLE experience. Precision, When the time comes, and your hom Intonation, goes into the closet:. and there's no Balance, etc, longer a home team to cheer for and be part of, please don't forget about jazz. SOLISTS You needn't close your ears to the ever­ changing sounds of the popular music OVERALL CREATIVITY of the day - whatever music yourldds Imagination, are going to be Into come the year 2000 Originality, etc, - in order to remain loyal tojazz. That's because jazz is different from those CHOICE OF MUSIC other musics, no matter what their Quality of Arrangements, etc. merlt Jazz Is not a passing fad. but a music with a glorlous and liVing past and a rich and developing present and EFFECT, IMPACT, . COMMUNICATION, future. AND INTENSITY We see the evidence of that when we hearyoungWynton Marsalis speakwith reverence of LouiS Armstrong, not just JUdge's Comments, as an Icon, but as a continuing Remarks Suggestions Influence, or when we hear young (Continue on back if necessary) musicians paying musical tribute to the lasting legacyofDuke Ellington. And CJF's Silver Anniversary Panel: 1983 Judges - Wynton Marsalis, Branford Marsalis. Jim McNeely, Dan Morgenstern. JUdge's Signature of course we see It when a liVing old Tony Williams (hidden), and Ron Carter. 12 13 Archives of the University of Notre Dame Friday Evening, April 10 Saturday Afternoon, April 11

7:30 - University of Notre Dame Jazz Ensemble 1:00 - University ofAkron Jazz Ensemble University ojAkron, Akron, Ohio University ojNotre Dame, Notre Dame, Indiana Director - Roland PaoluccI; Saxophones -Adam Grom. Tim Carey. Roger Hawk,Andy Director - Fr. George Wlskirchen, C.S.C.; Saxophones - Rob Ginocchio. Bonnie L. Markoch. Scott Davis; Trumpets - Mike Stewart. Greg Garrett, Sue Prince. JeffCorey, Viens, Ken Schwartz, Edmund Gomez, Mike Huberty; Trumpets - Randy O'Keefe. Barry Martin; Trombones - Garney Hicks. Scott Garlock. Nancy Trecaso. James Brian Lamb, John Morgan, Brian DiBona, Bob Lecinski; Trombones - Roger Bradley. Knapp; Piano - Chip Stevens; Bass - JeffRolf; Drums - Joe Brigandi;Guitar- Kevin Eric Baumgartner. Kent A Jeffirs. Tom McCabe (bass); Piano - Kevin Cronin; Gultar­ Miller Scott Tallarida; Bass - Brian Burke; Drums - Mark Van Etten. Paul Loughridge; Vocalist ­ Lori Carter. 1:45 - Western Michie:an University Jazz Orchestra Western Michigan Untversity, Kalamazoo, Michigan 8:15 - Fredonia Jazz Ensemble Director - Tom Lockwood; Saxophones - Jonathon Ball. Steve Miller. Tom Stansell, State University College. Fredonia, New York Mark Hourigan, David Dyke; Trumpets - Kevin Mossman. Mark Byerly. Brandon Director ­ Wayne Davison; Saxophones ­ Wayne Davison. Kevin Peters, Jim Runfola. Pettis, Jim Donovan. Doug Prothero; Trombones - Dave TeRoller. Andrew Bunn. Ellen Dave Fortino. Dean Keller; Trombones - Jeff Marsha, Bill Morgan. Matt Bond, Sloan Petrowski. FrItz Geil, Joy Smith. Neil Maxa; Piano - Brian O'Hem; Bass - Dave Ladwig; Trumpets - Dave Spier. Jim Bohm. Dan Wood. Tom Machuga, Bob Zazzara; Rothstein; Drums. Percussion - Ken Reynolds. Marc Hubbel. Piano - Kent Knappenberger; Bass - Jim Marone; Guitar - Steve Briody; Drums ­ Bill D·Agostino. 2:30 - The Rubber City Rh~m Section University ojAkron. Akron. Ohio 9:00 - William Paterson Collei!e Jazz Sextet Plano - Chip Stevens; Bass - Jeff Rolf; Drums - Joe Brigandi William Paterson College, Wayne,'1lew Jersey Director - Rufus Reid; Piano - Dan Kostelnick; Bass - Tim Ferguson; Drums - Bill Stewart; Guitar - Chris Amelar; Alto Sax - Jesse Davis; Tenor Sax - John McKenna. 3:15 - NIU Jazz Ensemble Northern University, DeKalb, Illinois Director - Michael Steinel; Saxophones - Peter Nevin. MattJames, Larry Panella, Don 9:45 - UMass Jazz Ensemble I Shimkus. Tim Link; Trumpets - Kevin Lawson, Randy Riley. Dave Morehead, Ron University ojMassachusetts, Amherst Massachusetts Sewer. Bill Ward; Trombones - Eric Meyer. Tom MacTaggert, Dave Shrake, Doug Ruhs. Director - Jeff Holmes; Woodwinds - Davina Weinstein (flute); Geoff Mattoon (lead Ed Partyka; Piano - Don FrIedman; Bass - Craig Brandt; Guitar - Felton Offard; alto, soprano. flute). Steve Gaudreau (alto. soprano). John Balut (tenor. clarinet). Scott Drums - Tom Baker; Percussion - Rodney Ledbetter. Chaplin (tenor). Gary Shotz (baritone, bass clarinet); Trumpets - Paul Meneghinl (lead). Dan Tripp. Roger Roberge.JeffHoefler. Laurie Fein;Trombones - SteveChaplin. Erick Schedln. Paul Riley. Bill Carr (bass); Tuba - Steven laFrance; Guitar - Stephen 4:00 - Purdue University Jazz Ensemble Purdue University, West LaJayette, Indiana Blair; Bass - Jeff Dostal; DrumS/Piano - Jon Nathan; Drums - Warren Gossels. Director - J. Richard Dunscomb; Saxophones - Mike Lucroy. Chris Dobosz, Jeff Adams. Susan Lary. Scott Feller; Trumpets - Mark Hornung. Greg Bella, Paul Dodd, 10:30 - Eastman Jazz Ensemble Jerry Kistler. David Althoff; Trombones - Doug Everette. Jeannine Leiter. Kevin Wible. Eastman School ojMusic, Rochester, New York Mark Dodd, Dominick Casadonte; Rhythm - Jonathon Pardue. Andrew Carver, Kyle Director - Rayburn Wright; Saxophones - Miles Osland. Lisa Parent, Bob Sands. Todd Honeycutt. Paul Reust, Bill Cover. Williams. Mike Cohen; Trumpets - Mike Barry. John Bailey. Fred Maxwell. Joe Tartell. Shawn Edmonds; Trombones - John Gove. Jay Gibble. David Lawson. Ed Miller; Piano - Bill Peterson, Joe Gilman; GUitar - Tom Wolfe; Bass - Fred Stone; Drums - Wade Culbreath, Tom Nazzlola; Vibraphone - Deborah Imiolo. . 11:30 - Judges' Jam The CJF '87 Jam - Frank Wess (saxophone). Red Rodney (trumpet). Kenny Kirkland (plano). Charlie Haden (bass). Roy Haynes (drums).

14 15 Archives of the University of Notre Dame

UnNemi~ofNotteD~e Jazz Ensemble Saturday Evening, April 11 Jazz fans at CJF '87 will be welcomed for the fifteenth consecutive year by a performance of the Notre Dame Jazz Ensemble. The band, composed largely of non-music majors from every College at the University. performs on campus each year In their "Dimensions In Jazz" concert:, as well as a concert for Junior Parents Weekend. This year, they have given concerts In downtown South Bend. as well as In Holland, Michigan; Chicago. 7:30 - MIT Festival Jazz Ensemble Illinois; and NlIes. llI1nols. The jazz Massachusetts Institute oj Technology, Cambridge, Massachusetts program at Notre Dame involves two big Director - Jamshied Sharift; Saxophones - Forrest Buzan, Hemanshu Lakhani, Scott bands and three combos. and Is under the MtUer, Ron Soltz. Ray Zepeda; Trumpets - Ali Azar. Karl Buttner. Per Cederstav. Venu direction of Father George Wlskirchen. Chivukula. Kris Grube; Trombones - Chuck Jones. Tony Marra. Jim Roseborough. C.S.C.. who has directed performing Dave Topping; Piano - Eric Ostling; Bass- Dave Becker; Vibraphone - Mike Herman; groups at all but the first CJF. with bands Drums - Gary Leskowttz. from Notre Dame High School In NlIes, Illinois (The Melodons). Northwestern Fredonia Jazz Ensemble 8:15 - University of Notre Dame Jazz Combo University, and now the NDJE. In their 50 plus year existence, The University ojNotre Dame, Notre Dame, Indiana Fredonia Jazz Ensemble. an entirely Trumpet - Brian Lamb; Flugelhorn - RandyO'Keefe; Piano - Kevin Cronin; Guitar­ student run big band from the State University of New York College at Fredo­ Scott Tallarida; Bass - Brian Burke; Drums - Mark Van Etten, nia. has won numerous awards, includ­ ing many at the Notre Dame CJF. Most 9:00 - Michigan State University Jazz Band I recently, In May of 1986, the FJE won Michigan State University. East Lansing, Michigan the top two awards of the Canadian Director - Ron Newman; Trumpets - Bob Harvey, Jeff Hopwood. Dave Kehoer, Dave Stage Band Festival at EXPO 86 In Robison; Saxophones - Chris Creviston. Gary Clavette. Ken Foerch, Kevin Krieger. Vancouver B.C. They received the gold Cara Silvernail; Trombones - Jeff Dieterle. Steve Fitts. Mark Benson. Stuart plaque as first place winners In the Goodburne. Dave Klein; Drums - Clem Waldmann; Percussion - Sam Kestenholtz; International category, and the top award of the competition. the down Guitar - Steve Shoha; Bass - Mike Bragg; Piano - Kurt Poterack. beat Magazine Most Outstanding Award presented to the stage band 9:45 - Stanford Jazz Combo entered In the International class, who Stanford University. StanJord. California "has reached a level of performance Tenor Saxophone - David Aguiar; Trumpet - George Rice; Piano - Bob Adams; Bass above and beyond the outstanding level - Larry Grenadier; Drums - BtU Oliver. represented by the gold plaque." This year's band. still basically intact from the Vancouver trip, is managed by 10:30 - North Texas State University Three O'Clock senior Jeff Marsha and directed by Lab Band sophomore Wayne Davison. North Texas State University. Denton, Texas Director - Bod Lark; Saxophones - Ron Bertolet (lead alto). RandyHamm (alto). Colin WPC Jazz Sextet Wenhardt (tenor). Mark Earley (tenor), Greg Ball (baritone); Trumpets - Mike Thomas The William Paterson College Jazz (lead). Nat Pellegrini. Elaine Mazzio. Vern Sielert. Jon Leonard; Trombones - Mike Sextet Is one of twelve small ensembles Janusek (lead), Keith Oshiro. Hans Bettinger. Lee HtU (bass); Keyboards - Rich Martin. In the College's profeSSional jazz degree Mark Bovee; Guitar - Steve Schrag. Steve Veale; Bass - Sam Goldenhar. CharleyGray; program. The group is currently headed Drumset - Dan Robins, Warren White; PerCUSSion - Joe Cripps. by Rufus Reid, Director of Jazz Studies. WPC groups have performed for the - Presentation ofAwards ­ National Association of Jazz Educators. the Music Educators National Confer­ ence. and for the past three years have won outstanding combo awards at the Collegiate Jazz Festival. A WPC QUintet was winner of the 1986 Lionel Hampton Jazz Combo Competition and was fea­ tured at the Vermont Mozart Festival and Jack K1elnslnger's Highlights of Jazz, In New York City. AnotherWPC Sextet won the Best Combo Performance award at the 1986 Fourth International Duke Ellington Study Conference. 16 17 Archives of the University of Notre Dame

UMass Jazz Ensemble I The Western Michigan The UMass Jazz Ensemble I is the University Jazz Orchestra flagship group of the Afro-American Jazz The top jazz ensemble at Western Studies program. Comprised of both Michigan University. the Jazz Orches­ music and non-music majors. the band tra. has been under the direction of regularly performs in a variety of institu­ Trent Kynaston for the past decade. It tional and civic settings. Repertoire is has performed at a variety ofjazz selected to showcase various jazz idioms festivals. including Notre Dame. Ohio representative of big band literature. State. and Elmhurst OIllnois). and for Guest artists with the ensemble have the past seven years. the Detroit/Mon­ included Slide Hampton. the Max Roach treaux Jazz Festival. Guest artists Quartet. Bill Dobbins. Bev Rohlehr and appearing with the Jazz Orchestra have Jimmy Owens. Jazz saxophonist Michael included David Liebman. Lew Tabackin. Brecker was the ensemble's most recent Peter Erskine, Vinnie DiMartino, and guest At the 1985 Notre Dame Colle­ Bob Brookmeyer. This year. while giate Jazz Festival. Jazz Ensemble I Kynaston is on sabbatical leave "living received an Outstanding Big Band Per­ the jazz life" in New York City, the Jazz formance award. Orchestra is directed by graduate assistant Tom Lockwood. The Rubber City Eastman Jazz Ensemble Rhythm Section The Eastman Jazz Ensemble, directed The Rubber City Rhythm Section was by Rayburn Wright. is the primary big started by pianist/composer Chip Stev­ band at the Eastman School of Music ens, who says. "The dream and vision of (Rochester, NY). where there are four one day finding a group of musicians. big bands. a studio orchestra. and whose capaCity and dimensions were several small groups of different styles shared by myself. has finally come true as part of the program. The Jazz in this trio. It's very rare that you can Ensemble includes both graduates and find the unique balance of technique. undergraduates, and is known for its musicality. and chemistry necessary for constantly expanding repertoire of making a group ·special·... Stevens Is a student compositions. Writers. student senior. studying classical piano and soloists. and the Jazz Ensemble have seeking a Jazz Performance degree. Jeff been multi-winners in many past down Rolf Is a third year student at the beat Magazine awards and past Colleg­ UnIversity. seeking a Jazz Performance iate Jazz Festivals. degree on acoustic bass.. Joe Brigandi Students at the Eastman School at studies Jazz Drumming at the Univer­ the masters level may major in jazz sity of Akron and wllI be finishing a with performance or writing tracks. At Business degree this year. All three play the undergraduate level there is no jazz in the University of Akron Jazz major degree. but an extensive listing of NW Jazz Ensemble Ensemble. jazz courses (:onstitutes a rich program For the past seventeen years the of offerings which involve one out of siX Northern Illinois UniVersity Jazz Ensem­ students in the total Eastman School ble has bullt a strong tradition of population. excellence in jazz performance. The band. Which has just recorded its mnth album, has received eight outstanding performance awards from down beat The University of Akron Magazine. has been the subject of an Jazz Ensemble houdong documentary on pUblic tele­ In several previous appearances at the Vision. and has performed at numerous Collegiate Jazz Festival. the University of Jazz festivals and conventions. including Akron Jazz Ensemble has garnered the Chicago Jazz Fest (86) and the numerous awards. including Outstand­ National Association ofJazz Educators ing Band. Outstanding Trumpet. Out­ National Convention (78 & 82). The NlU standing Trombone, and Outstanding Jazz Ensemble. one of three jazz ensem­ solOist (twice). The ensemble was also bles at Nill. tours regularly with featured the Guest Band at the 1980 Festival. guests. which have included Bobby The band has recently released its Shew. Slide Hampton. , Dizzy Gillespie. Clark Terry. Rich Matteson, fourth album. Tune Up. James Moody. louie Bellson and Marion McPartland. The band has been featured at the Montreaux Jazz Festival, the North Sea Jazz Festival. and Epcot Center: and a trip to HaWaii is being planned for this spring. 18 19 Archives of the University of Notre Dame

Purdue Jazz Band Michigan State University The jazz program at Purdue UnIver­ Jazz Band I sity has grown from one band In 1974 to The Michigan State University Jazz the present three jazz bands. the show Band Is making Its eighth straight band "American Music Review", several appearance at the Notre Dame Colle­ combos. and the studio orchestra The giate Jazz Festival, dUring which time It Purdue Jazz Band has appeared as the has received three Outstanding Band featured jazz group at numerous music Awards and also a Special Recognition conferences and clinics. Among the Award. In addition, numerous individu­ bands recent appearances are perfor­ mances at prestigious Montreux Inter­ als have received honors for solo perfor­ national Jazz Festival (Switzerland), mance and composition. The MSU jazz the Northsea Jazz Festival (Holland), bands are a part of a selection ofJazz the National Association of Jazz course offerings which Include two Educators Conference, the Music years of ImprOvisation, arranging. his­ Educators National Conference. and the tory, pedagogy. combo performance, a Indiana Music Educators Conference. supersax group, and a superbone The Purdue Jazz Band will be making group. their second European tour this coming summer. J. RJchard Dunscomb Is director of bands. and director of the Jazz pro­ gram at Purdue University. He Is national president and International chairman of the National Association of Jazz Educators. Stanford Jazz Combo The members of Stanford's qUintet range In age from fI'eshman to grad student. and have undertaken such MIT Festival Jazz diverse majors as engineering and law. Ensemble The collective membership of the group The MIT Festival Jazz Ensemble Is an extra­ has studied with, among others, Rick curricular group made up ofscienceand engineering Lawn, Ramon :Ricker, Blll Pierce, Joe students from the Massachusetts Institute ofTech­ Viola, Bobby Shew. and David Burk­ nology. The band Is fortunate to primarily play hart. Members of the group have per­ original works commissioned for It with the formed at the Montreux and North Sea assistance of the MIT Council for the Arts. Season Jazz Festivals, and with such jazz performances Include numerous appearances In greats as . Stan Getz. the New England and Boston areas. For the past , Billy Higgins, Art several years, the band has partleipated regularly Farmer, and Toots Thlelsmans. in the Collegiate Jazz Festival. and was selected as an outstanding band under the direction of Berklee educator Herb Pomeroy In 1985. In 1986, theband's direction was passed to Its present director and source of inspiration, Jamshled Sharif!. Mr. Shartfi is also a primary source of original works for the North Texas State University group. Three O'Clock Lab Band The North Texas State University University of Notre Dame Three O'Clock Lab Band Is one of nine Jazz Combo from the School of Music's Jazz Studies program. The ensemble has distingUish­ The sextet performing at CJF '87 Is ed itself under the direction of Bob Lark one of the three combos which, together with several well received perfonnances, with two big bands. roun'd out the Jazz Including a tIibute to the late Thad program at the university. They usually Jones. as well as a successful recording perform as part of the big band concerts. project both on campus and on tour, in Bob Lark is a candidate for the Doctor addition to presenting their own of MUSical Arts degree In trumpet perfor­ concerts. The members of the sextet are mance. While at North Texas State largely non-music majors. and range In University. he has served as a graduate age from freshman to grad student teaching fellow In Uazz) lab bands. Their repertoire ranges from standard applied trumpet, and brass chamber bop and swing fare to original compo­ music. He Is currently principal trumpet sitions by members of the group. with the North Texas Brass QUintet and 1iumpet - Brian Lamb; F1ugelhorn has been a member of the National -Randy O'Keefe; Piano - Kevin Cronin; Football League Dallas COWboys band Guitar - Scott Tallartda; Bass - Brian and the North Texas State University Burke; Drums - Mark Van Etten. One O'Clock Lab Band. 21 20 Archives of the University of Notre Dame Reflections on the Collegiate Jazz Festival GRAC HAL A Conversation With TE EVISION Father George Wiskirchen

• Channel 4 One would consider Corby Hall. nen to Sacred Heart • Church on the Notre Dame campus, to be the last place to look for a jazz ezpert. Corby, after all, is the residence hall THE OFFICIAL 1V for manyofthe HolyCrossclergywhoteachattheUniversity of Notre Dame and help to run the school. Her austere and NElWORK OF THE ezpansive hallways would seem to prefer Gregorian chants to syncopated rhythms. Corby, however, is the home of Father George Wisldrchen, Notre Dame's jazz instructor, 1987 Co legiate The leader of N.D's Jazz Ensembles, Associate Director of OAK ROOM CAFETERIA Bands, and CJF'"s faculty advisor. Jazz Festival presents Father Wisldrchen has had more involvement with the A Collegiate Jazz Festival than any other person. He attended TOUCH OF CLASS DINNER the first Festival in '59 as the guest of judges Frank Holzfiend and Charles Suber, appeared at the second with following the Fest his Notre Dame ffigh School Jazz Bandfrom NUes, Ulinois; 4 to 7 p.m. and has directed an ensemble at every CJF since, leading Saturday. April 11, 1987 bands from Notre Dame ffigh School, Northwestern Select Entrees and Service University, andthe UniversityofNotre Dame. FatherGeorge began teaching music in 1955, first at the high school level University Food Services for seventeen years, then arriving to teach at Notre Dame in University ofNotre Dame 1972. IDs 1961 release from Berklee Press, i>evelop­ mental Techniques for ffigh School Dance Band Musicians" was a pioneering effort in teaching jazz and in helping to legitimize it as an artform at a time in which theword':Jazz" still carried disreputable connotations. Because ofhislongstandinginvolvementwithjazzandhis Has the type of music performed by students at the incredible track record of CJF participation, we wanted to Festival generally mirrored whatwasgoingonatthetlme in pass on some of Father Wisldrchen's reflections on the thejazz world? history of the Festival at Notre Dame. as well as the state of There was a time when we were hoping that the festival the art today. The following are excerpts from a would be an exper1emental place for new Ideas. but I don't conversation which took place on AprU 4, 1983, several think that has really ever happened. The only time there days before the 25th CJF was held, in which Father George might have been a breaking down ofthat minor Image would shared some thoughts on the Festival's first quarter century be in the early sixties when people started to get Into "funny with a member of the sUver anniversary staff. music" or avant garde "space music" or whatever you want to calI It. I think the student mentality lent Itself more toward Father George, what were the first Collegiate Jazz that than the professional mentality. Students could experi­ Festivals ltke here at Notre Dame? Were they pretty low-key ment a bit more because they didn't have to make a living from compared to the present? their mUSIC, and also they were more faSCinated by the weird. No. actually the audience reaction hasn;t changed at all. I'm the strange. the extreme than a professional would be. sure there are more people at the ones now. They used to have It In the Old Fieldhouse and they had the band set up on the How has the Festival changed over the years? southeast comer of the basketball floor and theJudges set up One thing for sure Is that there has been a very definite on the northwest comer across from them with a table on the escalation of abilities over the years in the Festival. The high floor. The people were In the bleachers on both sides and In school bands that you hear In contests and festivals todayare the endzone where they had bleachers for the basketball playing music that Is harder than the stuffthat college bands games. They would have big crowds and they were very were playing back then, The soloist level hasJust gone out of enthusiastic crowds and very appreciative. I don't think sight; the college soloists are so much better than they used to there's been much change In the crowd reaction to the thing. be. That is probably the Single biggest change - the level of professionalism and musicianship and competence. The Do you think that theaudience today is as much informed whole performance level has just shot up so mUCh. IMPRESSIONS about what's going on with the mUSic? SUNDAY EVENINGS 10-12 P.M. Maybe more. In the early days the big band era wasn't that Why Is that? far dead, but I think the audience we get Is a more savvy It's a natural escalation. Look at college basketball 10 years audience. a hipper audience today than back then. But they ago and then compare It with college basketball today. Orlook IMPRESSIONS certainly aren't any more enthusiastic because they used to at the four minute mile which was never going to be beaten really carry on over In the Old Fieldhouse there. untH they did it and now everybody's running It; now they're 22 23 Archives of the University of Notre Dame four seconds under It. There's a natural escalation of ablUty. Maybe It's expecting too much If we want the Jazz Festival The high jump bar keeps going higher and higher and what to blaze new ground. It's going to be very rare thatyou'U find a was rarely done a few years ago has become commonplace student who will have enough maturity, enough experience, now. enough knowledge to blaze new ground. We'll have some very Left: fine soloists, but they're probably not going to be uniquely A member of the Fredonia Jazz Ensemble What do you see as the role oj the Collegiate Jazz Innovative in their approaches to anything. And they're gets Into the swing of things during the Festival? What would you like to see it achieve? certainly not going to come up with some new kind of group's 1984 Festival performance. I would like to see It have a real role In advanCing the direction for jazz suchas Charlie Parkerdid wi th theearlybop parameters ofjazz. but I don't think It does and after twenty­ musicians. five years of working with the thing, I don't think It will By I think the main functions of the festival Is that It Is educa­ Below, left: parameters of jazz, I mean explOring new directions, new tional on a lot of levels. It's educational for the audience. I Wynton Marsalis dazzles the audlenct: In areas. I think the reason for that by and large Is that there Is a think one of the big things that is does Is that It Is buildingan the 1983 Judges' Jam. bigger and bigger body of knowledge and experience that a audience for jazz among the people and the students that person has to go through before he's ready to break into new come to hear it It's educational from the point of view of ground, and even a genius coming along Is going to have to do providing a motivating goal for the musicians, because they Below: that. get pretty excited about It. And It's an educational factor for Judge Paqulto D'R!vera blows up a storm But really, this Isn't putting down the Festival as much as the students In my band, for example. to hear what other saying that In jazz there hasn't been a heck of a lot of innova­ bands and musicians are playing. It's a learning experience, dUring the 1984 Jam. tion. What we've done really Is to send out offshoots from the and also It's just plain good entertainment. We've had some main stream of jazz history, which In modern times begins fine solOists play at the Festival as students, McNeely and with Charlie Parker and bop. We shot offwith the classical end Bridgewater and Bob James. but I don't think there's anyone of the thing, so called third stream, which is gone for all you'd really call an Innovator. But of course If you look at the practical purposes. We shot offwith the free form type ofthing whole history ofjazz and you pare It down, there's probably which Is stU! alive but Isn't really breaking any new ground: I only a halfdozen who have really Innovated, LouisArmstrong, mean It Isn't going to become the mainstream. We shot off Charlie Parker, Lester Young, people like that who have really with fusion which I think Is dying at the present time. It's turned jazz around and started a new direction. So I think It's become a dead end - nothing new Is really happening In a little unfair to expect the CJF to do something Uke that. fusion. And so whatyou've got Is bop gOing along, but the bop But from my personal point ofview, I've seen and met some being played today Is fundamentally the same bop that was fantastic bands, leaders and judges at this Festival. There playec;l by Charlie Parker, except It's being played - and this have been a lot ofgreat names and great people available here sounds a Uttle like heresy - In some ways better because on the campus, and the Festival audiences are fortunate to get there's an advancement In technique. But conceptually or to hear from them and learn from them. I'll always be grateful from an artistic pointofview they reatly haven't advanced the for having been around what Is withouta doubt theoldestand art form. That's where jazz has been for the last twenty years, best of the college festivals. I've learned a lot. I've enjoyed a lot thirty years almost. and we really haven't taken any step And I hope to be around and Involved In the runningsofmany beyond bop. more CJFs.

The Hall Presidents' Council wishes the best to the 1987 Collegiate Jazz Festival

r------~, REMEMBER TO TAKE T uzz os ON FRIDAY AND SATURDAY NIGHTS ------~

24 25 Archives of the University of Notre Dame Psst ... Red Rodney is having an affair ... Scant few things in this life are more intimate than the relationship between a great professional player and the instruments which are the tools of his trade. Red has settled in with his Blessing trumpet and flugelhom. Expe­ rience this unique blend on Elektra-Musician reoords. It's a musical affair you'll remember. Blessing makes ML-l Trumpets in standard and lightweight versions . .. Flugelhorns in three and four valve models. GOOD $615 to $795 CONGRATULATIONS TO ALL L.UCK THOSE PARTICIPATING IN THE TO AL.L. 1987 NOTRE DAME 'IOU COLLEGIATE JAZZ FESTIVAL

CRAZ'I We enjoy your musIc JAZZ and salute your T'IPES. hours of practice. r------, - FROM THE t t I BUY YOUR COpy AT THE FESTIVAL I OLD STUDENT t t The t GOVERNMENT t NOTRE DAME ALOMNI t GU'iS AND ASSOCIATION t THE NEW and t STUDENT t o STUDENT ALUMNI RELATIONS t "With his finger placed firmly on the pulse of America's oldest inter­ collegiate jazz event, Joseph Carey has effe.ctively documented every nuance GOVERNMENT I GROUP t of the Notre Dame Jazz Festival. Big Noise from Notre Dame contains 68 rare pictures that reflect every year from 1959 to 1985 in a vignette iden­ TOO. salute another great year : tifying the ensembles, judges, and outstanding performers. This book would be an outstanding resource for classes in jazz history, especially to help of t students develop historical perspectives." -The Instrumentalist $14.95 paper Collegiate Jazz : t BUY YOUR COPY AT THE FESTIVAL AND GET IT SIGNED BY t at t JOSEPH CAREY OR THE JUDGES! t Notre Dame I t Or order direct by sending check or money order-VISA and MasterCard accepted­ plus $1.75 handling charges to: t t University of Notre Dame Press Lt Jt Notre Dame, Indiana46556

26 27 Archives of the University of Notre Dame

Outlined againsta cold, blue-grayOctobersky...Actually, itwas Marchwhen the CJF'87 staff gathered atop all that remains of the Old Fieldhouse, where the Midwest Collegiate Jazz Festival was held in 1959. From left to right: Paul Giorgianni, Paul Bonadies, Mary Marchal, Matt Snyder, Kevin Cronin, Kathryn Kager, and David Thornton.

Joe Cassidy Becca Cussen Tim Eby From the Jim Fink CJF'87 Ann Foley Staff: Art Heemer William J. Hickey, Jr. A sincere Amy Kizer THANKS! John Monhaut Howard Muldoon Louise Nye Paul Pahoresky Marie Paige Ceil Paulsen - It Maurice Paulsen Jim Phillips wouldn't Rex Rakow have been Ken Reinecke the same Laurie Shea without you . .. Earl Ulbricht Fr. George Wiskirchen, C.S.C.

28 29

s Archives of the University of Notre Dame

30 31 Archives of the University of Notre Dame

collegiate jazz festival CULTURAL ARTS COMMISSION NOTRE DAME STUDENT ACTIVITIES BOARD

The Last Page: A Note from the Chairman

You have reached the last page of your program, and now it's my turn. It is with great excitement and sincere pleasure that I welcome you to CJF '87. I fell in love with this fantastic event as a freshman, and have kept coming back ever since. To those of you who are not newcomers to our Festival: welcome again, and I hope this year's Festival can, in your eyes, live up to those of years past. To those rookies in the audience: I can only hope that you will keep coming back, just as I have. To all ofyou: we need your continued support. Without it, the Collegiate Jazz Festival could not possibly maintain its current level of success.

Throughout my involvement with the Festival. I have consistently found things that amaze me. First and foremost, the quality and intensity of the collegiate groups that travel to Notre Dame every year is simply incredible. I feel fortunate to have ex­ perienced these collegiate musicians perform some of the best jazz anywhere. Next, and just as important, is the quality and intensity of each audience. Impossible to forget, of course, are the phenomenal Judges' Jams, which seem to improve every year -- even when to improve is akin to fixing something which already works perfectly. Lastly -- and from where I stand this was the most pleasing to discover -- is the warm response CJF receives from both the Notre Dame and South Bend communities. The invaluable assistance Jhave received, from Fr. George Wiskirchen and a host of other people far too numerous to mention, has made the impossible become reality.

There is one group which does deserve special mention. I need to extend a heartfelt thanks to my staff. When I realized that the CJF, with all its past glories, was my baby, I was honestly worried that the '87 Festival might have trouble in living up to the high standards established in the past. My worries now appear to be unfounded. The hard work and dedication of this year's staff promises to make this weekend one of the most memorable in CJF history.

Yes, this is the last page, but only of this chapter. CJF has not yet completed its life story. It will continue to leave its mark on the jazz world, and will, in doing so, continue to mark the pages of its own history with success after success. I'm just glad to have had the chance to write on this one page. kn::/1,....'--­ - Kevin M. Cronin Chairman, CJF '87 box 115, notre dame, indiana 46556 32 Archives of the University of Notre Dame

"MUSiCIs Emotion. AndYou can Express Any Number Of student to be Emotions Thiough The Right Instrument." able to get a pro­ fessional type head joint." Another key feature according to Jim is consis­ From Bach to jazz-pop-rock: the sound. I get out exactly what I tent quality padding. "It's an impor­ Jim Walker talks about Yamaha need with a Yamaha flute," Jim says: tant and often overlooked aspect of flutes and his musical journey "The scale on this flute is the an instrument. But not with Yamaha. from principal flute of the L.A. best one I've ever had. The key Yamaha is really leading the pack Philharmonic to the sizzling system has very good balance. It's on that one. " lead of Free Flight. held up to every test I've ever But there is more to making given it." good music than excellent instru­ "A Yamaha flute has absolutely ments, and the master teacher in "Dad had a flute around no limitations for me. I can sit in him has some advice for aspiring and ... " the orchestra and get all the quali­ students: With Dad playing ties out of the instrument ... and "Study with as many teachers as sax and Mom on piano, music came I can tum around and play for a you can ... because you really early and easily to Jim Walker. "I microphone in a totally amplified want to develop your own synthesis was never really pushed," Jim says, "but there was always an easy encouragement, and it still goes to this day." After college, the West Point Band was Jim's first big chance. Here he found big talents from big name schools. "I realized it wasn't going to be easy to just walk into some symphony job, so I started practicing diligently." Jim landed a symphony spot as as­ sociate principal flute with the Pittsburgh Symphony. Then eight years later, he auditioned and won the principal spot witThhth~ L. A. Philharmh~nic. Jim Walker and Free Flight record for CBS M{]$terworks FM. at s career enoug lOr some, but after 7 years in L.A., Jim band. I can express any number of of ideas." He advises getting loose hit a turning point. "I was missing emotions through this instrument." now and then. Improvise with your a certain element of musical expres­ And yet, Jim says, "Yamaha rock records, because "you can be sion that I really wanted," he says. hasn't closed the books on research expressive and have fun on an instru­ His remarkable evolution from and development. They're con­ ment from the first day you play it." classical to jazz began. And Jim be­ stantly listening and improving all Lucky for all of us, that thrill lieves every moment of his classical their products. Not just flutes." comes often to such an unlimited, training was critical. "Every thirty free thinking musician. Especially seconds of time I've spent in music What technical features does when he's playing on such an unlim­ until this minute adds up," Jim says. Jim look for in a flute? First, ited, superior musical instrument. Something else stayed with Jim "Does the head joint really every note of the way. It was his respond well, does it allow you to For information about the complete line search for an instrument as versa­ do what you want to do?" The of Yamaha flutes, write Yamaha tile and unlimited as he is. This Yamaha's double-tapered design International Corporation, Musical Instrument Division, 3050 Breton quest led him towards his Yamaha head j'oint, says Jim, "alonbo with Ro ad ,S . E"ra G nd Ra p'ds I , Ml495IO ' flute. "Now I feel comfortable other lip plate cutting innovations In Canada, Yamaha Canada Music going betweer, real heavy, hard make the head joints very responsive; Ltd" 135 Milner Avenue, Scarborough, rock or jazz-pop-fusion; music that's able to give the player a lot more Ontario MIS3RI, Yamaha flutes just as loud as you could imagine, flexibility with intonation, dynamics available only at authorizea dealers. and as soon as it's finished going and tone color." right into a slow movement of a And Jim says the student model Bach sonata." (which also features the professional "When you're playing for a head joint design) is "phenomenal" eYAMAHA® microphone, you need a little more and "an unbelievable improve- focus and a little more finesse in ment". "It's unheard of for a Play the very best you can:"