Archives of the University of Notre Dame Archives of the University of Notre Dame

WHA VER

YOU ON

KUSTOM'S GOT IT!

Those seeking the most unusual sound expenence need look no further. Kustom's got It! No amplification system used on the stage. today IS more appreciated by the ~4uOsOI~.'asn than the magnificent Kustom enes. This model gives any bass man a sense of power with unmatched depth and sound quality. Outstanding performance comes .. from the most functional amplifiers ever put In the production of a combo unit and from the most sophisticated use of elec­ tronic components in the industry. All systems available in seven exciting colors, handsomely covered in tough rolled and pleated naugah ide. Kustom bass, PA and lead systems total more than 100 combinations and all are backed by 100% life time g~arantee to that anginal owner. See your Kustom Dealer and feel for yourself. ZuSLOW/: ELECTRONICS, INC. -MS Dept. JF·1 1010 WEST CHESTNUT • CHANUTE, KANSAS 66720

2 •••'11UIf Archives of the University of Notre Dame

Being the chairlady of the festival, I'm supposed to write a short article in the program saying how this, as the twelfth annual Col­ legiate Jazz Festival, promises to be the best yet and remains the most prestigious of all the college jazz festivals that followed it; how we're offering some of the most exciting groups and judging panel ever; and how the enthusiasm I encountered in the musicians, the audiences and my staff (below) was inspiring. Well, it's true. And some of the people who helped make it true are Dan Mor­ genstern, Willis Conover, Dick and Joyce Bizot and the Michiana Friends of Jazz, Bill Raventos and Bill Sutherland of Electro-Voice, Jim Herendeen from Selmer, Rev. George Wiskirchen, Don Tolosko, James Phillips; Ludwig, Zildjian, King, Getzen, Gemeinhardt, Gar­ rard, Selmer and Conn; all our advertisers; Denny Clark, Dave Vecchi, Greg Mullen, John Noel, etc., etc., etc... Thanks to you and to all the unmentioned ones who helped create another CJF. cAtUl C(JJeitllr.te'lg

CJ F '70 STAFF "Play it again 00 another hom. Seated, left to right: Dave Wehner, High Then compare tone and feel." School Contest; Ron Mosca, Production; "If you want to know how good a horn is before you buy it, don't play it. Test it. Jenny Engel, Publicity; Ann Heinrichs, With the experimental music I composed and designed. It's short but it covers every important phase of trumpet performance. Chairman; Kathy Martin, Advertising; Mike "First play the music on a Holton trumpet. All different ways. Loud. Soft. Fast. Slow. Slurred. Tongued. Listen for tonal quality, timbre. Overall intonation. Lenehan, Program; John (JB) Buchanan, While you're playing, be conscious of how the horn responds to the changes Assistant Chairman. Standing, left to right: in dynamics and tempo. And how it feels as you play. Do tne same thing 'with another make of trumpet. Then cempare the results. AI Isenman, Advertising; Nick Talarico, "After I made the test, I picked the Holton Trumpet Model T100 by Leblanc. Assistant Chairman; Howard Hoffman, High It's really a gutsy horn. The "100" really projects when I want to shout. Yet whispers when I playa lush, sensitive ballad. And control? I playas fast and School Contest; Curt DeClue, Publicity; free as I want. Any time I want. Bruce Carter, Art; Don Patrician, Applica­ "Stop in at a local dealer and make lhis playing test. Then you'll see, feel and hear why Hollon was my sound decision." tions; Bob Syburg, Stage Manager; Dick Bizot, Faculty Advisor. Not shown: Pam Schertz, Prizes; Rick McDonough, Pro­ gram; Jeff Day, Greg Powers, Production. LEblANC G. leblanc Corporation, Kenosha, Wisconsin 53141 THE SOUND DECISION IN MUSICAL INSTRUMENTS: Leblanc (Paris), Noblet, Normandy, Vila and Hollon

4 5 Archives of the University of Notre Dame

• • • A Brief Outline Of All Worthwhile Thoughts Pertaining To Jazz

A Light Hearted Bit of Introduction give or take a bit, ago. Then jazz was danced to, af­ fected speech patterns, in short was lived with and to. Rare indeed is the jazz festival program without an The decline of jazz' societal function was the sub­ article (cajoling, threatening, tearful or whatever) cultural beatnik s gment whose behavior was affected asking the question, at times it seems the only ques­ by jazz. Now virtually no one lives communally in tion the cosmos has to offer, "whither jazz?" On jazz (although individually it may still happen). could as easily separate child from mother or antelop Jazz is not lived to, it is listened to. from gazelleschaft. Critics, major, minor, seventh and diminished, pronounce on the future of the put upon music. A Second Hasty Note of Explanation This is not a bad thing, you know. Mozart 's listened Our Author Pounces Upon the Crux of the Matter to too. The difficulty is that jazz is not going where these A Third Note of Explanation, This Less Hasty, people think it is, indeed it has stopped moving in these channels at all. In short, jazz has gotten wher­ Completing the Chord of Explanation and ever it was that jazz was going and is going someplace Breaching the Thesis else entirely. I can't really see starting another round What happ ns when an art form is societal is that of whither jazz articles in another key, so suppose we it is judged on relatively ethical rather than esthetic just content ours lves with looking at where it was standards. The folk art works less to expand con­ jazz was going that jazz isn't going any more and how sciousness in new and personal directions as to ex­ it was that it got there and isn't going there any more. plore a group xperience; and the folk (not banjo picking sense) artist must poise himself in an eternal The Mundane Milieu present, neither looking forward nor backward, but bing vitally conscious of the present group reality of a. A Brief Digression on the Jazz musician as public his time. When the art form ceases to have a function figure but remains viable, it ceases to be art for any sake but The jazz musician as he appears in print and on air its own. Art for art's sake being some sort or other of peaking of his art is generally obnoxious. Jazz mu­ western ideal, we assume Jazz has transcended, not sicians feel guilt because they don't make as much died. money as Herb Alpert or Tommy James and the Shondells and they take up purism as a defense. They rip down rock as bad music, they rip up other On Sales jazz musicians as not jazz after all, they have a gen­ "But," snivels the detractor, "what about the mon­ eral tendency to regard the jazz as the good and the strous sales of these jazz-rock sort of groups. The ki.ds non-jazz s the non-good. (I don't want to hear are coming over to the way, the truth and the alto sax about xceptions. Don't mess with my stereotypes in droves." Functional/societal art interacts with for and I won't mess with yours.) arts sake art, bringing sam of the best or worst of it The fact of things is that good and bad is hardly the (choose your bias) to the society at large (i.e. esthet­ criterion to apply to rock, and the vitriol of the jazz ically unconcerned) while transforming it in such a musician in relation to it is symptomatic of the end way that it isn't anything other than what there was of jazz's era as a socially relevant, functional art form. b fore in the society's experience. Witness folk music, Jazz's motion for nearly as long as people have been which ceased its social function in most of the country talking about it has been to irrelevance and function­ something like three decades ago. The hootenanny lessness. movement took it and changed it in to pop (that is societal) music. Folk is interesting since, as a rural art f I'm it can, xist in its pre-esthetic and post-ethical A Hasty Note of Explanation forms simultaneoLlsly. Jazz, a more urban art form, Irrelevance does not imply lack of merit; and note may not have this opportunity. we are talking of societal relevance, not personal or artistic relevance. Jazz has those. Societal relevance Whither Jazz? it don't got. This is most easily understo d when you try to figur out what a jazz fan looks like or acts like. Jazz can go three places and parts of it will un­ rt's asy nough to figur what a rock fan looks like. doubtedly go all three. It can become art for its own He's a kid. Almost any kid at all. Rock is a funda­ sake and simply settle down and get some good play­ ·~ ment, a foundation of kid life. Without kids there isn't ing and thinking done (check Steve Marcus' album Lord's Prayer with its work in anti-·virtuosity and post­ rock and (one speculates) without rock there very well might not be kids qua kids. ethical mood music). It can join the societal musical structure and become muzak (and God knows that's A jazz fan looks just like anyone else, in many cases done), or it can become an art form of museum pieces. more so. Admittedly, this was not true a generation, And that's where jazz is going this round.

6 7 Archives of the University of Notre Dame

NewrJUUUUl.Jl.JUl~UUl.Jl.JUl~UUl...... ""-"-'UUl...... ~ CJF '70 XCITING! ,, ~e !Sai!e-'-CnfiaJ STEREO TAPES .. Jer,eJ DESIGNED TO GIVE YOUR BAND THE "SASIE SOUND" BY: Composed and arranged by SAMMY HESTICO (Conductor,S saxes, 8 brass, 4 rhythm, op. horns & tubal ~I<~ *BASIE-STRAIGHT AHEAD *THE QUEEN BEE t" IT' 5 OH, SO NICE \,\e\\l'· SMALL TALK /I~ *LONELY STREET \,\eJYOU 'N ME P.O. Box 2071 ~'FUN TIME \,\e'il' THIS WAY KETIERING, OHIO 45429 *MAGIC FLEA \,\e'\ll'IT'S ABOUT TIME Phone 513 - 434-7582 *SWITCH IN TIME ~e'Ill'.EV'RY LITTLE Professional tape recordings are available on SCOTC H *HAY BURNER BEAT HELPS 111 tape in 4-track Stereo at 7Y2 ips. *THAT WARM FEELING

"Finals Performance Set" Includes ALL Finals 9 STARRID OIARfS indicate tunes performed by moo groups, on 3 reels of tape, only $ 14.00 BASIE and his Orchestra on Dot record "Basie­ Straight Ahead". AVAILABLE FROM KEl\'DCll (DlP 25902 Semi-Finals or Finals single performances $4.98 stereo only) $ 5.00 each, or any two for $ 8.00 Order from your dealer, or direct. Obtain order forms at the Recording Desk or mail to above address_ (Ohio res. add 4% tax) KENDOR MUSIC, INC. DELEVAN, NEW YORK UOU

4-tr. cassette tapes and 8-tr. cartridges also available by request

MICHIANA FRIENDS OF ....AZZ Though less than a year old. MICHIANA FRIENDS OF JAZZ has already sponsored highly successfull concerts by: THE BILL HURD QUINTET CLARK TERRY THE ELVIN JONES TRIO THE HAROLD LAND-BOBBY hlUTCHERSON QUINTET - and has plans for more! Who would you like to see/hear? Indicate your preferences below. Turn in the quest'ionnalire at the MFJ information booth. or mail to MICHIANA FRIENDS OF JAZZ BOX 531. SOUTH BEND. 'INDIANA 46624. I would definitely come to an MFJ concert by: o Sonny Criss 0 James Moody o Dexter Gordon 0 Lee Morgan o Herbie Hancock 0 Judy Roberts o Eddie Harris 0 Pharaoh Sanders o Freddie Hubbard 0 Sonny Stitt o Lee Konitz D . o Yusef Lateef 0 ".. Circle your first three preferences. ""00~""00 I 0 am 0 am not present'ly a member of MFJ. I 0 do 0 do not live within a 50-mile radius of So. Bend...... :.i" ..•. I am 0 under 20 0 over 40 year's of age. between 20 & 29 between 30 39 " ~ D 0 & For more information on MFJ, see the article on page 33 and our other ad ~----- (with application blank) on page 37. ------'

8 9 Archives of the University of Notre Dame

MA YOF THIS COU TRY'S FNEST MUSICIANS (LIKE CLARK TERRY) HAVE DISCOVERED THE SELMER RADIAL 2° TRUMPET. HAVE YOU?

Clark Terry chose the Selmer Radial t trumpet for some good reasons: great sound, accurate intonation, ease of blowing, light­ ning fast valve action (among others). So Fa So La So good. Right? What's that? You say -and they're at your disposal for a collect call to To help yourself choose as wisely you've heard that song before? Perhaps-except Dave Combs at (212) MU 8-8800, along with a free we're not just whistling Dixie. We will pay you more analysis of these figures. All-of which may well have as Clark did, playa Selmer Radial 2° per performance than will 8MI. And we can show influenced Janis Joplin's decision to join ASGA.P trumpet at your Selmer dealer's today. it to you in black and white, inasmuch as ASCAP along with 11,000 other celebrated songwriters surveys performances of aII songs whether or not whose names-we promise them-will appear in the composer is a member. A leisurely scrutiny of our subsequent 11,000 ads. If that fails to provide these surveys equips you to estimate what addi­ sufficient inducement, try repeating over and over tional income a given property might have earned again - in 3/4 time-at ASCAP Every Good Boy had the author been an ASCAP member at the time Does Finer. MORE DOUGH RE MI

DIVISION OF THE MAGNAVOX COMPANY

American Society of Composers Authorsand Publishers 575 Madison Avenue. New York. N. Y. 10022 10 Herbert Gatti ieb Ed Shea 9301 Wilshire Blvd., Beverly Hills, California (213) CR 3·6022 700 17th Avenue South, Nashville, Tennessee (615) 244-3936 Archives of the University of Notre Dame

DAN MORGE STERN wa born RICHARD ABRAMS, pianist, sax­ CJF '70 JUDGES in Vienna, Austria, and raised in ophonist and jazz theorist, is a self Denmark and Sweden. His initia­ educated man. He spent four years, tra, and the Cincinnati Symphony and Harry James, began to earn tion into the music world began from 1948-1952, receiving his for­ Orchestra, as well as over 400 high him worldwide recognition. He when he studied violin as a child. mal education at The Metropolitan school and college stage hands. In quickly became one of the busiest and his interest in jazz when he School of Music, The Chicago Col­ 1965 he was chosen "Outstanding arrangers in ew York, taking saw Fats Waller in Copenhagen in leg, and Roosevelt Univ rsity. Professor" by the United Students time out only to join Dizzy Gilles­ 1938. After coming to the United After 1952, his studies continued under his own tutelage. He taught of orth Texas State, and in 1967 pie in 1956 for his famous State Stat s in 1947, he became involved himself the complete Joseph Shil­ h was awarded the "Outstanding Department-sponsored Middle East in journalism, served in the army linger System of Musical Composi­ Contribution to Culture and Music" tour. Of the numerous jazz and from 1951-'53, and then attended tion, as well as Hindemith's Crail award by the West Texas Chamb r pop artists Ernie has arranged for, Brandeis Univ rsity until 1957. of Commerce. Last December, Mr. some of the mo t famous include Morgenstern began writing about Breeden conducted the First All­ Sarah Vaughn, Billy Eckstein Can­ jazz in 1958 as the New York cor­ State Stage Band of New York for nonball Adderley, Ted Heath, Car­ respondent for the Jazz Journal of a convention of New York State men McRae, Milt Jackson, Quincy London, and served as editor of Educators. He has also appeared Jones, and Buddy Rich. Presently both M tronome magazine in 1951 as a clinician/adjudicator at the he is in partnership with Clark and Jazz magazine 1962-'63. J oin­ Tri-State Festival at Enid, Okla­ T rry in a New York-based musi­ ing Down Beat magazine in 1964 as homa, the convention of Nebraska cal firm, and he is musical direct r New York editor, he became editor Music Educators, Kansas State for Terry's big band. Sinc last in June 1967. He produced an an­ University, and at the Ohio State year's festival. Ernie has b n busy nual cone rt series, Jazz in the LEON BREEDEN, prominent jazz Music Educators convention. recording his first album for Main­ Garden, at the Museum of Modern educator and critic, is currently di­ stream, a ventur about which he Art in ew York from 1961-'66, and rector of the nationally famous Lab ERNIE WILKINS, composer, ar­ is understandabl excited. He re­ also the Jazz on Broadway concerts Bands of North Texas State Uni­ ranger, conductor and saxophonist, cently appeared in concert in ew in New York in 1963, which were versity, a post which he has occu­ makes his second consecutive ap­ York's Carnegie Hall, where he the occasion for Earl Hines' come­ pied for the past ten years. Mr. pearance as a CJF judge in 1970. premi red many of his new com­ JOE FARRELL, known in jazz cir­ back. Also, he conducted a radio Breeden's formal education in­ Ernie began his musical career at positions. cles as a "reed man." is currently program "The Scope of Jazz" on cludes a Bachelor of Arts and Mas­ the age of 12, when he started a member of the Elvin Jones Trio. WBAI-FM, New York, from 1963­ An accomplished performer, Joe ter of Music Education from Texas studying violin; he took up the prefers the alto and soprano saxo­ '67. Morgenstern has been a judge Christian University, followed by saxophone in high school, and dur­ phones and the flute to the other at the Villanova Jazz Festival sev­ doctorate study at Columbia in ing this time he also became inter­ instruments he has mastered, and eral times, and for the third year in he is an International Poll winner New York and private work at the ested in arranging. After high a row is chairman of the CJF panel of Musical Composition. Along the Mann s School of Music, also in school, he attended Wilberforce on these three instruments. He was of judges. voted best t nor in the 1968 criticis' way he found time to be founder, New York. Before assuming the University, where he majored in poll, best soprano in the 1969 read­ president and instructor of the post of director of Lab Bands at Public School Music, earning his ers' poll, as well as best flute in the A.A.C.M., The Association for the North Texas State, Mr. Breeden tuition playing in the college band. 1969 critics' poll; also in 1969 Joe Advancement of Creative Musi­ was judged number one "new star" spent five years as Director of When World War II broke out, cians. At this unique musical li­ Bands at T.C.U., two years as Band Ernie joined the navy along with by Melody Maker, the English jazz paper. Joe received his music de­ brary the arts of composing and Director in the Fort Worth schools, his brother Jimmy and his life-long gree from the University of Illinois. performing are taught to profes­ and six years as Director of Bands friend, Clark Terry. It was during After graduating, he moved on to sionals and to young aspirant mu­ in the Grand Prarie, Texas, school this time that Ernie f els he matur­ the New York jazz scene, where he sicians from the inner city. Rich­ has been active as a performer and system. Included in his extensive ed as a composer/arranger, and a ard's musical is not confined to the professional exp rience are tele­ productive period at the U.S. Navy studio musician for the past ten years. Besides his talents as a per­ theoretical, however. His respect­ vision appearances in Fort Worth School of Music added to his stat­ former (he is also recognized as a ed career as a performer dates back and for NBC in New York, and a ure as a musician. After his dis­ legitimate flutist on the orchestral over the last twenty years. He has period of several years during charge from the navy, he played level) , Joe is respected for his ar­ played with such jazz talents as rangements and compositions; his which he was director of a profes­ and wrote for the last big band of Eddie Lockjaw Davis, Gene Am­ sional dance band in Fort Worth. Earl Hines, and later joined George first recorded composition appears on a 1960 Maynard Ferguson re­ mons, Lambert Hendricks and He is a performer with the Fort Hud on. In 1951 Ernie was hired lease, and his records with Elvin Ross, Buddy Morrow, Maynard Worth and Dallas Symphony Or­ by Count Basie, who was then re­ Jones include his compositions as Ferguson, Roland Kirk, Art Far­ chestras and his compositions and forming his big band. He stayed well as his playing. Joe has re­ mer, Max Roach, Woody Herman, corded over fifty albums, and he arrangements have been perform­ with the Count until 1955, and his the Bobby Hutcherson-Harold ed by the Boston "Pops" Orchestra, arrangements for the band, as well has made countless records with some of today's most noted vocal­ Land Quintet, the Zoot Sims-AI the Cleveland Symphony Orches­ as for the bands of Tommy Dorsey ists and groups. Cohn Combo, and many others.

12 13 Archives of the University of Notre Dame

TOWSON STATE JAZZ ENSEMBLE The Towson State Jazz Ensemble, directed by Mr. Hank Levy, makes its first CJF appearance this year. The success of the group, which plays numerous concerts in the Baltimore area, has been instru­ mental in the placement of such courses as Jazz Arranging, Jazz Composi·tion and Improvisation in the regular Towson State music UNIVERSITY OF ILLINOIS curriculum. The band has played JAZZ BAND II at the Laurel Festival (1968) and The University of Illinois Jazz the Morgan State Festival in 1969, Band II, under the direction of Mr. both of which are professional fes­ Paul J. VanderGheynst, makes its tivals; they also competed in Villa­ first appearance at The Collegiate nova's Jazz Festival last year. The Jazz Festival this year. Members band plays original compositions by of the group are all University of their director. Illinois students, and they devote three hours each week to rehears­ als with th band. Featured solo­ ists include Ken Mauro, alto sax and clarinet, Ray Johnston, trum­ BG BANDS pet, and Paul Swanson, trombone. The group has appeared in the Elmhurst Jazz Festival, where they were chosen as finalists in 1969.

SHENANDOAH CONSERVATORY OF MUSIC JAZZ ENSENMBLE The Shenandoah Conservatory of Music Jazz Ensemble comes all the way from Shenandoah College, Winchester, Virginia, to partici­ pate in CJF '70. The band is di­ rected by Paul Noble, who is a UNIVERSITY OF NORTHERN member of the National Associa­ IOWA JAZZ BAND tion of Jazz Educators; Mr. Noble The University of Northern Iowa has been director of the group Jazz Band returns to CJF for the since 1965. In 1968 the Ensemble second time, after an extremely appeared at the Villanova festival, successful showing last year. The and a combo from the group par­ Band has performed at the Chica­ ticipated as a finalist and was seen goland and Jazz Band Festival, and over regional television through­ has given a series of concerts at the out the east coast. University of Minnesota. The band, under the direction of James A. Coffin, is the main performance group from the UNI jazz studies program, and took first place at the Wisconsin Jazz Festival in 1968.

14 15 Archives of the University of Notre Dame

BIG BANDS

MEMPHIS STATE UNIVERSITY JAZZ BAND Memphis State is one of the few schools granting academic credit for jazz band. At MSU there are three, of which the "A" Band is performing at CJF. This is the third consecutive year at Notre Dame for the A Band. Last year the band also appeared at the Mo­ bile Jazz Festival, the Little Rock Jazz Festival, and the University of Illinois Invitational Festival. The band is under the Direction of Thomas Ferguson, Director of Bands at Memphis State.

M.LT. FES TIVAL JAll EN SEM BLE Th M.I.T. Ensemble is a familiar one to CJF fans, having appeared at the Festival every year since 1965. This year. in addition to their CJF bid, the band, under the di­ rection of Herb Pomeroy, has re­ ceived an invitation to perform at the Montreux Jazz Festival in Switzerland. A major distinguish­ ing characteristic of the group is that none of its members are ma­ joring in mu ic (there is no music major at M.I.T.) , and they prefer to let their music speak for itself.

16 Archives of the University of Notre Dame

Jump Tune." "Blend: similarity of him, an idea that is foreign to tra­ Director of bands at Westmas Col­ tone quality ..." "Instrumentation: ditional conservatory training. I lege, Le Mars, Iowa did a similar Is it standard? 5 saxes, 3 trpts., 3 have no statistics to determine survey of a seven state area and tromb., 4 rhythm." "Appearance: whether or not jazz hurts a musi­ came up with 80% participation. Is the band neat and uniform in ap­ cian's ability to play with a classi­ However, these figures can be mis­ pearance?" I can only conclude that cally pure sound, but I have seen leading. A comprehensive survey these bands placed a high value on no evidence other than untested of the entire country would prob­ this sort of regimentation. But in opinion. ably result in a figure somewhat less the context of artistic freedom that Ther also may be some emotion­ than 50%. And in a great many of exists in this hall tonight, such ob­ al antagonism to the fact that jazz these cases, the stage band would vious repressions of creativity are musicians do not play what's on the be just a token effort, viewed as a nothing short of ghastly. And, I'm pages; rhythms are not played as novelty more than has a serious sorry to say, even today it is a rare notated, notes are changed, and educational endeavor. And this sit­ high school or college jazz festival written notes are oft n not even uation can only improve if more that is entirely free from all of this. used. A classical musician who has band directors are convinced that Let's return to the prejudice spent all his life developing the a good band program is worth their against jazz. You know, and I know, ability to reproduce exactly what's efforts. Although the original im­ that serious jazz musicians are on the page perhaps will complain petus for starting a stage band may highly skilled, highly creative, and that jazz encourages sloppiness and come from the students, little can as dedicated as any other artists. inaccuracy in the young musician, be accomplished on the college And we also know that being a jazz undoing all his training in preci­ level, and virtually nothing on the musician does not go hand in hand sion. Perhaps he is secretly jealous high school level without the or­ with moral depravity. But we have of the spontaneity of jazz. In any ganizational ability of the band di­ to face the fact that a poor image case he is ignoring the precision in rector, and his cooperation in secur­ may exist in the minds of many rhythms and intonation required in ing school funds and facilities. I school administrators. And even big band jazz. And, of cours , the have watched in dismay student with an open minded administrator extremely rubato piano style of efforts repeatedly squelched by a it's almost a sure bet that the jazz Chopin, and the famous improvi­ hostile band director. program will have to take a back sations of Bach, Handel, Mozart, Perhaps many of the "old guard" seat to more traditional, proven and Beethoven, even the theme and are beyond conversion. But younger musical organizations, like the con­ variations form itself show that band directors, not yet set in their cert band and symphony orchestra. rhythmic and melodic variation is routine, need only to be informed It's difficult to discuss with a non­ not foreign to Baroque and Classi­ of all that is going on educationally musician the relative educational cal music. All of which indicates in stage band music in order to be values of the music of John LaPor­ that arguments such as the above convinced that it is well worth ta, Ralph Mutchler, and Art Ded­ reach an impasse, due to their emo­ their efforts to start a stage band. rick as compared to that of Paul tional rather than factual basis. And much help is available. If pub­ Yod 1', Clare Grundman, and Har­ An anecdote that comes to mind lic relations is the problem, books old Walters, currently popular wri­ illustrating this emotional basis like Don McCathren's Organizing • • ters for concert band. concerns a music theory teacher I the School Stage Band can provide In spite of all this, in any given once had who patronizingly devoted some ideas. If the problem is basic • • • w ere IS I now? school that has a music program half a class to "The Jazz Song." It techniques, and a listen at any high but no stage band, th obstacle al­ seems that, according to a study he school festival will indicate the most invariably is the band direc­ once did, 80 to 85 per cent of "jazz great need for training in the basics by Gregory J. Mullen This figure may startle some to bank: Modern Syncopatio.n, and tor. The causes range from indif­ songs" (like Misty) were a 32 bar even among enthusiastic directors, whom th high school stage band Organizing and Conducting the ference or lack of sufficient enthu­ form, AABA. And thus it is evi­ there are books like Rev. George The Collegiate Jazz Festival is an movement is a very recent phe­ Student Dance Orchestra. Even in siasm to open hostility. Many of dent that jazz is much less creative Wiskirchen, C.S.C.'s Developmental annual representative display of nomenon. It is true that high school these few early attempts, however, their complaints are, on the surface, than the formally complex works Techniques for the SchooL Stage the current jazz activities in our na­ stage bands (formerly dance there is little about improvising, musical ones. But in the light of of the masters. (I tactfully resisted Band Musician and Dr. M. E. Hall's tion's colleges. And what will be bands) did not spread nationwide and the term "jazz band" seems to the highly developed educative as­ the temptation to ask in which dec­ Stage Band Techniques. There are happening in our colleges tomorrow until the years following th second be studiously avoided. (Even "stage pect band music, these objections ade this "study" was don .) I later works for the individual, like Daw­ is directly related to what is going world war. However, there were a band" is a euphemism ­ copout, if are indefensible and primarily emo­ saw him briefly at a CJF perform­ son and De Michael's A Manual for on in our high schools today. I had number of these bands, concentra­ you prefer.) Th reason for this is tional in basis. ance. He is a highly intelligent and the Modern Drummer and Jam y the privilege of organizing the first ted in the Midwest, already in ex­ familiar to most of us. Jazz had, One common complaint is that educated man, yet he persisted in Aebersold's works on teaching im" CJF High School Festival, which istence in the 20's. The Austin High and, let's face it, still has in many jazz musicians play with bad in his prejudice. Obviously, his provisation. Berklee Press and oth­ took place in March, 1967. The ad­ School (Chicago) dance band was circles a bad reputation. Th ideal sounds, and the music will hurt opinions couldn't be argued, since ers publish many works like this, judication and the clinic that fol­ organized in 1924 under H. E. Nutt, in the early school bands was to young embouchures. This is based they were not based on an openness plus a great number of graded, mu­ lowed were aimed at furthering the with 16 players, and had sev ral ad­ come a close as po sible to a car­ on the desire in European music to to facts, but on an opinion formed sically worthwhile arrangements high school stage band movement junct combos, to name one example. bon copy of "respectable" bands, achieve an "ideal" sound, and, if long ago, and not to be easily for school stage bands. These works in this area. It may be interesting Despite a few ardent pioneers, like those of Glenn Miller and the possible, to have all members of a changed after so many years. were once rare. Now long lists are to inquire into the progress of this high school dance bands were very Dorseys. That this dance image ex­ section achieve the same ideal How does all this relate to our available for the asking at any mu­ movement as it approaches its f1fti­ much the exc phon during pre-war isted well beyond the war years is sound. In jazz different tone quali­ original question, where is the sic store. eth year. years. Easy, but musically good, evidenced by a glance at the 1958 ties are accepted as part of each stage band movement now? A sur­ Also essential for the beginning arrangements were difficult to find, judging form used at the Tri-State artist's individual expression. Does vey conducted in the late 50's by director (and also for those who are GREG MULLEN was chairman of last year's and educational works were just as Music Festival, Enid, Oklahoma: Stan Getz have a better sound than Matt Betton indicated that 70% of somewhat advanced) is live in- CJF. He is currently teaching at Notre scarce. In 1940 and '41 Ted Hunt "1st Selection, Fox Trot; 2nd Selec­ Archie Shepp? The answer is that the high schools in Kansas had or­ Dame High School. Niles, Illin'Jis. wrote two books published by Ru­ tion, Latin American; 3rd Selection, each has the sound that is best for ganized stage bands. Wayne Perrill, (Coni'd on page 34)

18 19 Archives of the University of Notre Dame

PROGRA FRIDAY AF R 00 PROGRAM FR DAY VE I G March 20, 1:30 p.m. March 20, 7:30 p.m.

1: 30 - MIDWEST COLLECTIVE - Indiana University, Bloomington, Indiana. 7: 30 - LARRY BEACHLER SEXTET - University of Notre Dame, Notre Dame, Indiana. PersonneL: Piano - Shelby Janes; Drums - Phil Johnson; Tenor - Kim Hutchcroft; Trumpet - Ken Personnel: Trombone - John Buchanan; Alto Saxophone - Jack Leo; Bass - John Prendergast; Gui­ Sloane; Alto - Paul DeMartinis; Bass - Kyle Tullis. tar - Norm Zeller; Keyboards - Nick Talarico; Drums - Pete Szujewski.

2: 00 - NEW JAZZ SEXTET - University of Missouri, Columbia, Missouri. 8: 00 - TOMMY LEE QUARTET - University of Pittsburgh, Pittsburgh, Pennsylvania. PersonneL: Leader, Trumpet, Flugelhorn - R. G. Holmes; Flute, Alto and Soprano Sax - Bill Noll; PersonneL: Flute - Tommy Lee; Electric Piano - Don Deapolis; Bass - Virgil Walters; Drums - Tony Tenor Sax, Flute - Fred Baugh; Piano - Don Kinnison; Bass, Cello, Jim Hackman; Drums - Rich Fountain. Oberto.

8: 30 - RICHIE ORR QUINTET - Massachusetts Institute of Technology, Cambridge, Massachussetts. PersonneL: Leader, Trombone, Alto - Richie Orr; Piano - Ned Lagin; Bass - Larry Cohen; Drums­ INTERMISSION Ken Maden; Flute, Saxophone - Bill Hurd.

2: 40 -- GRAFFITI - Ball State University, University of Illinois, Drake University, Indiana University, East­ ern Illinois University. PersonneL: Leader, Trombone, Bass Trumpet - Dave Pavolka; Tenor and Soprano Sax - Bob Hores; Bass - Wayne Darling; Piano - Bill Isom; Valve Trombone - Floyd Darling; Drums - Dake Parkinson.

3:10-MARILYN WALTON - Vocalist-Elmhurst College, Elmhurst, Illinois. INTERMISSION

9: 10 - UNIVERSITY OF ILLINOIS JAZZ BAND II - University of Illinois, Champaign, Illinois. PersonneL: Leader - Paul J. VanderGheynst; Alto Sax, Clarinet - Ken Mauro; Alto Sax - Bob Feld­ man; Tenor Sax - Ron Bridgewater; Tenor Sax - Terry Tritt; Baritone Sax - Jim Feldman; Trombone - Phil Swanson, Bob Samborski, Neil Bartee; Bass Trombone - Dave Peters; Tuba - Carl Behmer; Trumpet - Ray Johnston, Ron Meng, Charlie Henkin, Nate Banks, John Burl y; Piano - Jim McNee­ ly; Bass - Jim Pacholke; Drums - Jim Theobald.

9: 40 - UNIVERSITY OF NORTHERN lOWA JAZZ BAND - University of North rn Iowa, Cedar Falls, Iowa.

PersonneL: Leader - James Coffin; Alto Sax - Tony KuHm 1', Dennis Brostrom; Tenor Sax - Andy Musel, Roger Birkeland; Baritone - Paul Ahrens; Trombone - Carl Hermanson, Bob Rannells, Rick Stendel, Dave McQuirk, Lee Gause; Trumpet - Steve Jones, Doug Sorenson, Steve Hentzelman, Al Nay­ lor, Torri Gause; Piano - Ann Guetzlaff; Bass - Clay Bergen; Drums - Bob Emry; Vocals - Tony Brown.

10: 10 - MELODONS - Notre Dame High School, Niles, Illinois.

20 21 Archives of the University of Notre Dame

PROGRAM PROGRAM SATURDAY EVEN,ING URDAY AFTERNOON March 21, 7:30 p.m. March 21, 1:30 p.m.

1: :30 - SHENANDOAH CONSERVATORY JAZZ ENSEMBLE - Shenandoah Conservatory of Music, Winches­ ter, Virginia. 7: 30 - FINALIST COMBO Personnel: Leader - Paul Noble; Saxophone - Vinnie Tornello, Bryan Kidd, David Wright, Doug Ma­ 7: 55 - FINALIST COMBO her, Don Costello; Trumpet, Flugelhorn - Bill Stev nson; Trumpet - Arnie Young, Wallace White, Woody Ramsey, Charles Menefe ; Trombone - Jim Oliver, Chris Mendoza, Bruce Gavlik, Jim Stephens, 8: 20 - FINALIST COMBO David Lipps; Piano - Duncan Holmes; Bass - Skip Summers; Drums - Bruce Pierson; Vibes - Rusty Cloud. 8: 45 - FINALIST BIG BAND

2: 00 - HGJJK QUINTET - Michigan State University, East Lansing, Michigan. Personnel: Trumpet - Dan Jacobs; Tenor Sax - Jerry Kalber; Piano - Jim Hartway; Bass - Michael INTERMISSION Grace; Drums - Warrick Carter. 9: 20 - FINALIST BIG BAND 2: 30 - TOWSON STATE JAZZ ENSEMBLE - Towson State College, Baltimore, Maryland. 9:45-FINALIST BIG BAND Personnel: Leader - Hank Levy; Saxophone - Alan Lawson, Kevin Lysaght, Gene Meros, Larry Pras­ cus, Rocky Birely; Trumpet - Tony He nan, Gil Rathel Paul Cridler, Stan Meros, Bob East, Jay Ber­ wanger; Trombone - David Horak, Harvey Coonan, Michael Moran, Rick Rollins; French Horn - Anne 10: 10 - CJF HIGH SCHOOL WINNER Sharp, Mike McCommas; Bass - Ron Harryman, Gary Kerner; Tuba - Don Huber; Contra Clarinet­ St phanie Tolen; Piano - Mike Meros; Percussion - Dave Gimbel, Frank Zack, Bill Reiber, Bill Blan­ 10:30-PRESENTATION OF AWARDS chard, Betty Ann Calvert, Ray Bertie.

INTERMISSION

3: 10 - MEMPHIS STATE UNIVERSITY JAZZ BAND "A" - Memphis State University, Memphis, Tennessee. Personnel: Leader - Thomas Ferguson; Alto Sax - Al Cochran, Bill Banker; Tenor Sax - Louis Keel, MASTER OF CEREMONIES - WILLIS CONOVER Gary Goldsmith; Bartitone Sax - Mike O'Rear; Trumpet - Reid McCoy, Andy Woodward, Mark Blum­ berg, Hillary Laybourne; Trombone - T m Salagaj, Ken Spain, Russ Schultz, Phil Morgan; French For the third consecutive year, and emceeing the Kennedy Center's Horn - Tony Cason, George Pokorski; Piano - Pete Gloria; Drums - Don Patterson; Bass - Ron Eas­ The Collegiate Jazz Festival has the collegiate jazz festival at the Uni­ ley; Tuba - Jim Crossnoe pleasure of presenting Mr. Willis versity of Maryland this coming Conover as its Master of Ceremo­ May. nies. At one time Mr. Conover pre­ 3: 30 - UNIVERSITY OF ILLINOIS DIXIE BAND - University of Illinois, Champaign, Illinois. Mr. Conover's contributions to sented the outstanding big band Personnel: Leader, Piano - Larry Dwyer; Trump t - Ric Bendel; Clarinet - Jim Cuomo; Trombone­ the exposure of jazz both through­ called The Orchestra in Washing­ Rich Roush; Tuba - Dean Let!; Banjo - Terry Pettijohn; Drums - Chuck Braugham. out the nation and overseas is over­ ton, D.C. He will be premiering a whelming. Since 1955 he has broad­ n w reh arsal band at the Roose­ cast American music around the velt Grill in New York on March 22 4: 10 - M.l. T. JAZZ FESTIVAL - Massachusetts Institue of Technology, Cambridge, Massachussetts. world over the Voice of America. after leaving CJF. Th most well Both the White House Record Li­ known production our master of Personnel: Lead r - Herb Pomeroy; Reeds - John Halkyard, Timothy DeCook, Brian Good, Bill Hurd, brary Commission and the Advi­ Steve Shields; Trumpet and Flugelhorn - Fred Jacobs, George Scherer; Trumpet - Greg Olson, Thom­ ceremonies has been involved with as Gibson, Larry Stockmeyer; Trombone - Richie Orr, Pete Campoli, John Kiehl, Don Krasnik; French sory Music Panel for Jazz of the ree nUy is the White House Salute Horns - Bill Grossman, Bob Schmidt; Piano - Ned Lagin; Guitar - Fred Milder; Bass - Larry Cohen; National Endowment for the Arts to Duke Ellington, which he pro­ Drums - Ken Madell. are chaired by Mr. Conover. duced and emceed at the White Mr. Conover is a member of the House on April 29 of last year, jazz committee of the State Depart­ Duke's birthday. 4: 40 - MARILYN WALTON, Vocalist - Elmhurst College, Elmhurst, Illinois. ment's Cultural Presentations Pro­ CJF is indeed proud to present gram, and Consultant of the John F. one of the world's foremost jazz Personnel: Piano - Leslie Maclean; Bass - Rick Tapio; Drums - Glenn Oliver. Kennedy Center for the Perform­ personalities as the Emcee of this - ANNOUNCEMENT OF FINALIST BIG BANDS AND COMBOS ­ ing Arts; he will also be producing year's festival.

22 23 Archives of the University of Notre Dame

be done and six of Notre Dame's Dame Jazz Sextet, will be return­ AWARDS FORMAT most talented musicians decided to ing to the CJF with the M.LT. big CHANGED do it. With Larry Beachler acting band and combo. Larry Dwyer as father-image, moral guide, and played with the same group and A major. change in CJF's awards general inspiration, they formed took Best Trombone in both 1965 format has taken place this year. the Larry Beachler Sextet. Born and 1966. This year he will be In an attempt to ins·till a higher a little more than a month ago, playing piano for The University educational and creative level at the group already seems to be of Illinois Dixie Band. For the first the festival and reduce its com­ reaching maturity. Its rapid de­ time in a long time, Notre Dame petitive nature, the CJF committee velopment is not at all surprising will be well represented in The ost has eliminated the award for Best when one considers the individual Collegiate Jazz Festival. In both Overall Group, which for the past experience and talent of its mem­ its students and its alumni, Notre two years has been a trip to the bers. John Prendergast, the group's Dame can boast some of the finest Newport Jazz Festival. Under this bass player, is a m mber of N.I::s musical talent available at this Poll-Winning new format, three groups will be favorite rock group, First Friday. year's CJF. chosen as finalists in each the Big John is hardly new to jazz, how­ Band and Combo categories; cash ever; in fact, he spent a few weeks prizes of $50 for combos and $150 Jazz Composers last summer meandering his way for big bands \\Till be awarded to through Europe with the Univer­ • the finalist groups. sity of Illinois Jazz Band. Norm Before making the decision to Zeller, a young man who can make PRE-FESTIVAL CONCERT: IceDse eliminate the Best Overall Group a guitar do just about everything a;1d the Best Big Eicmd and Combo except belch, is another First Fri­ JAMEY AEBERSOlD awards, the CJF committee sent a day member who just sort of stum­ their mus·c questionnaire to judges, consult­ bled into Notre Dame's only jazz Jazz musician Jamey Aebersold ants, musicians, and band directors combo. Shortly after First Friday's will admit to being an instructor who have been connected with album was released, Norm started first and a performer second, but CJF in the past. The response was jamming with John and the other the enthusiastic audience that wit­ th ough BMI over"!helmingly in "'lVor of elimi­ guys, liked what he heard, and nessed CJF's pre-festival concert nating these awards and reducing decided to stay. last Sunday in Notre Dame's Me­ the compet.tive nature of the festi­ morial Library Auditorium is hard val in general. The majority of Both of the assistant chairmen of pressed to recognize any distinc­ NELSON, ZAPPA, LENNON, McCARTNEY, tion. The concert included descrip­ those who responded felt that it this year's Jazz Festival are mem­ DAVIS, WILLIAMS, BLEY and was an unnecessary and nearly im­ bers of the Sextet: Nick Talarico tion of various jazz idioms and possible task to choose one colle­ plays piano, and John Buchanan, styles and illustrations by Aeber­ giate band as "the best." Most sug­ the group's organizer and arranger, sold's Quintet. innumerable other composers who make gested placing the emphasis on in­ plays trombone. John is the leader Aebersold, primarily an alto and dividual awards, also that the of The Magnificent Seven, a popu­ jazz an expression of emotion and judges be allowed to create cate­ lar campus soul/rock group that soprano saxophonist, is a professor gories and awards for groups and has recently been invited to par­ of music at Indiana University­ musicians deserving of special rec­ ticipate in Villanova's College Rock New Albany extension and faculty imagination have elected to license their ognition outside the existing prize Festival, and he brings two others member at two summer jazz cli­ structure. Several individual of The Seven with him to the Larry nics. He has recently released "A music through 8MI. awards have been added since last Beechler Sextet. Jack Leo is on New Approach to Jazz Improvisa­ year, and, as in the past, the judges alto sax, and as one member of the tion," a record course in jazz im­ are free to alter and supplement group so elegantly put it, "He's provisation supplemented by an We pay tribute to them and to the many the prize list as they see fit. pretty good." Also from The Mag­ instruction book. nificent Seven is drummer Pete other poll-winning composers whose By reducing the competitiveness Szujewski. Last year Pete played J amey is no stranger to CJF fans. of the festival in this manner, CJF along with John Buchanan in the In 1963, he was voted best saxo­ hopes to encourage greater free­ Bill Hurd Quintet, a group that phonist, and in 1964 his septet re­ talent brings credit to us and to thousands dom of artistic expression and place appeared in concert under the ceived the award for best combo. the emphasis of the festival on mu­ sponsorship of CJF several times. Teaming with Jamey in this year's of their fellow affiliated composers in sicianship. Performance in the fi­ The Quintet was broken up last pre-festival concert were Tyrone nals of this year's CJF will be an May, as John's last ditch efforts to Brown, a bassist from Philadel­ all fields of music. opportunity for displaying musical red-shirt Bill Hurd and Larry phia who has recorded with singer virtuosity without the pressure of Dwyer failed. Both have received Billie Paul; Shelby Janes, a pianist added competition. their bachelor's degrees and moved and music major at Indiana Uni­ on to graduate school. A joyous re­ versity at Bloomington; Charlie union seems likely though, since Craig, a drummer from Louisville, All the worlds of music NO REPRESENTED; HURD both will be performing in this Kentucky, whose background in­ year's CJF. Both have appeared in cludes a stint with pop sing r for all of today's audience. AND DWYER RETURN the festival in the past and both Brenda Lee, and Ken Sloane, a Somehow it just didn't seem have won awards for their perform­ trumpeter and classmate of Shelby right that Notre Dame wasn't even ances. Hurd, who won the Most Janes at IU, who hails from Ja­ represented at its very own festi­ Promising Sax award in 1966 when mey's home town of New Albany, val. Something obviously had to he was playing with the Notre Indiana. BMI 24 BROADCAST MUSIC, INC. • Archives of the University of Notre Dame

COMBOS

THE LARRY BEACHLER SEXTET The Larry Beachler Sextet is a hand-picked selection of players drawn from the hundreds of fine musicians in residence at this Sparta of the midwest. "Jack-a­ Boy" Leo on alto sax and F -lU's HGJJK QUINTET and "J.B." Buchanan on trombone Four music majors and an econom­ and hobersack are a well-integrat­ ics major from Michigan State Uni­ ed front line backed up by Nick versity makeup the HGJJK Quin­ "Ming the Magnificent" Talarico on tet. This marks the first festival keyboards,and Concert Band, Norm appearance for the group, although "The Farmer" Zeller on guitar and trumpet player Dan Jacobs was at hot Pepsis, "Wildman Jack" Pren­ CJF in 1968, when he won Best dergast on bass and Boystown, and Trumpet. Other members are Mi­ Pete "Pud" Szujewski on drums, chael Grace, bass, Jim Hartway, Bud and Flame. The common de­ piano, Warrick Carter, drums, and nominators which brought these Jerry Kalber, tenor sax. The Quin­ six misfits together were (1) be­ tet has been playing in the Mich­ wilderment over the conspicuous igan area for about a year, and has absence of a Notre Dame entry in made many appearances in con­ recent years, and (2), a fervent junction with the Michigan State love for the Golden Dome and all Lab Band. it represents. (Larry Beachler is on ubiquitous spirit and mysti­ cism.)

RICHIE ORR QUINTET For the fourth consecutive year, a combo from M.I.T. is participating in the CJF. This marks the fourth appearance of leader Richie Orr, who plays trombone and alto horn. ed Lagin, on piano, and Larry Cohen, on acoustic and electric bass, appeared with the group last year. Drummer Ken Madell has played twice before. Newest mem­ ber is Bill Hurd, a 1969 graduate of MIDWEST COLLECTIVE Notre Dame, who plays alto and so­ Pianist/leader Shelby Janes and prano saxophones and flute. trumpeter Ken Sloane of Midwest CoLlective appear d here last week with the Jamey Aebersold Quintet in CJF's pre-festival concert. Janes appeared in the 1968 CJF with the Randy Sandke Sound Band, and he has recently cut a record for ESP with drummer Phil Johnson and tenor saxophonist Kim Hutchcraft. Other members of the group are Paul DeMartinis, alto, and Kyle Tullis, bass. All are students at the University of Indiana at Blooming­ ton.

26 27 Archives of the University of Notre Dame

GRAFITTI Dave Pavolka, leader and trom­ COMBOS bonist for Grafitti, has been chosen "best trombonist" at CJF for the past three years. He appeared last year with the B.S.U.I.I.S. QUintet, along with Wayne Darling (best bass, CJF '69) , and Bill Is m, piano, both of whom play with Gmfitti this year. Other m mbers of the group are Floyd Darling, valve trombone, Bob Hores, tenor and so­ prano sax, and Dave Parkinson, drums. The members of GTafitti are spread out among several midwest UNIVERSITY OF ILLINOIS schools: Ball State U. of Illinois, DIXIE BAND Drake ., U of Indian and Eastern This is the first appearance of the Illinois U. They met playing gigs Illinois Dixie Band at the CJF and sessions with ach other but Formed in th Fall of 1968 to play they hav never appeared together concerts during the Illinois Jazz as a group. Band's tour of Europe, the Dixie Band has since played in uncert at the University of Illinois As em­ bly Hall, and, in late 1969, went on a tour of the Soviet Union. Al­ though the members of the group have interests in many aspects of jazz, contemporary and classical music, their performances retain the spirit of early jazz Included in their repertoire are swing tunes of the 1930's, as well as arrangements used by the Louis Armstrong Hot Five and Hot Seven groups of the late 1920's.

TOMMY LEE QUARTET The Tommy Lee QU2.rtet has been together for two years and are THE NEW JAZZ SEXTET making their first appearance at The New Jazz Sextet has been the CJF. They have performed on playina on the campus of the U. of the campus of the University of Missouri and in th town of Colom­ Pittsburgh, and at the Villanova bia since 1967. Last year the group, Collegiate Jazz Festival. Don Deap­ as a septet, placed econd in the olis, the group's composer-arranger­ finals of the Intercollegiate Music pianist, has performed with Eric Fe tiva! at S1. Louis. The group is Kloss, and has cut a record with compos~d of Don Kinnison, piano, saxophonist Nathan Davis, Pitt's Bill all, sax and flute, Fr d Jazz Director. Other members of Baugh, tenor sax and flute, Jim the group include leader Tommy Hackman, bass and cello, Rich Lee on flute, Tony Fountain on Oberto, drums, and R. G. Holmes, drums, and the only member of the who plays trumpet and flugelhorn group not from the University of and is th group's leader. Four of Pittsburgh, Virgil Walters, from the Sextet are members of the U. Carnegie Mellon University, on of Missouri Studio Band; all are electric bass. music majors except for Holmes and Baugh, wh are English ma­ jors.

28 29 Archives of the University of Notre Dame

1970

Finalist Big Bands - $150.00 Cash Awards CJF Plaques

Finalist Combos - $50.00 Cash Awards CJF Plaques

Outstanding Instrumentalist -CJF Trophy

Best Saxophone Soloist - King Saxophone, donated by King CJF Plaque

Best Trombone Soloist - Bolero Trombone, donated by Selmer CJF Plaque

Best Trumpet Soloist - Getzen Flugelhorn, donated by Getzen CJF Plaque

Best Flute Soloist - Gemeinhardt Flute, donated by Gemeinhardt CJF Plaque

Best Guitarist - Gibson Electric Guitar and Case, donated by G'ibson CJF Plaque

Best Pianist - Garrard Turntable, donated by Garrard CJF Plaque

Best Drummer (s) - Ludwig Drum Set, donated by Ludwig Zildjian Cymbals, donated by 2irdjian CJF Plaques

Best Composer-Arranger - Selmer Trophy

Best Miscellaneous Instrumentalist - Plaque, donated by Conn

Best Bass Player -CJF Plaque

Best High School Band - Selmer Award of Excellence for Jazz Performance Selmer Porta~Desks

Superior High School Bands - CJF Plaques

31 Archives of the University of Notre Dame HERE IS H p PS JAZZ AUDIE CE

By RICHARD BIZOT more and groups like that. And it was very pleasant to look At last year's CJF Symposium the [Sure, Clark, but this ain't no at the bank balance left over after panel was pondering the question, Baltimore.] the concert. That gave MFJ the "Where Is the Jazz Audience?" "Look," he said, "you get your cushion it needed to be ab~e to book "Pondeling" is too stuffy a word to group going, and I'll come out and future concerts. So it w,as Clark You've got a lot to live. apply to the collective and public play your first gig, For free." who set the spark and then it was r flections of such non-stuffy men That was the spark; it kindled a Clark who blew the spark into a as Clark Terry, Gary McFarland, few of us, at least. Couple of weeks flame, Ernie Wilkins, and Dan Morgen­ after the CJF we called a meeting; Since then Michiana Friends of stern - but let it pass. maybe a dozen showed up. In an­ Jazz has hosted two more concerts: Pepsi's go a lot to give. [Incidentally, if you haven't been other month or so we put on our the Elvin Jones Trio and the Harold going to the Thursday night sym­ first concert - the Bill Hurd Quin­ Land - Bobby Hutcherson Quintet, posiums (symposia?), you ought to. tet - and things were underway. the former at Notre Dame's Wash­ It's your best chance to meet and We called the group Michiana ington Hall in November, the latter talk with the judges at each year's Friends of Jazz. back at rUSB in February. And as CJF.] In August Clark made good on we've gone along we've been stead­ Anyway, the thing was moving his promise: flew in from Denver ily picking up members - we're right along - the audience had got late on a Saturday afternoon, ex­ up to about 70 or 75, now, and look­ into a pretty good rap with the hausted; caught an hour's sleep; ing for more. • • panel- and somebody in the audi­ then blew up a storm for some 500 And we're not simply in the busi­ ence had just intoned the time­ delighted customers at the South ness of putting on concerts, though I honored lament: "Between one CJF Bend campus of Indiana Univer­ that's certainly the most visible of • and the next, we're starved for jazz sity. To be perfectly honest about the things we've been up to. We've • around here. And blah, blah, blah." it, Clark did not play for free. In also set up a sort of informal com­ [Right (I remember thinking); order to avoid hassle with the union munications network, so that our depressingly true. So we'll all ob­ we had to pay him scale. It was a members will be kept aware of serve a moment of silent gloom and funny feeling writing a check to whatever jazz happens to wander th n in a minute we'll talk about Clark Terry for $27.83. into the area, whether it be Buddy something else. Because there is no Rich in Niles, Michigan, the Uni­ solution to that problem; this is versity of Illinois big band at Kala­ Iii South Bend, Indiana after all. mazoo, Woody Herman in South We're lucky we even have the CJF. Bend, or whatever. We've given ac­ And blah (I thought), blah, blah.] tive and tangible support to CJF's Wrong. Before the gloom had a promotional efforts. And we're chance to get comfortable, it was anxious to support jazz at the high WE DO MORE THAN THE CLASSICAL CLASSICS. dispersed by the evangelizing voice school level (were you aware, for of Clark Terry. He was bitching at example, of the fine things that FOR THE FINEST IN ROCK, FOLK, AND JAZZ, TRY US ANY NIGHT AT MIDNIGHT. us and encouraging us at the same Randy Brugh is doing with his stu­ time. "Don't just sit there and com­ dents at Penn High School in Mish­ plain," he said; "you've got to go awaka?) . out and do it yourself. You've got So that, as they say, is where to get yourselves together and bring we're at. Maybe you ought to he the music in." He told us about the there to. Check our ads elsewhere Left Bank Jazz Society in Balti- in this program (pages 9 and 37); DR. RICHARD BIZOT, of Notre Dame's stop by to see us at the Michiana English Department, is the faCUlty advisor Friends of Jazz information booth to CJF and a member of the Michiana near the entrance to Stepan Cen­ Friends of Jazz. ter). Oh - and if you see Clark I Terry, tell him thanks for us.

32 33 Archives of the University of Notre Dame

C'-'F JUDG S 1959-Art Van Damme, Charles Su­ ber, Robert TrendIer, Frank Holzfeind. CJF HIGH SCHOOL CONTEST 1960-Frank Holzfeind, Robert Share, Charles Suber, Willis Conover, Stan Kenton. 1961-Johnny Richards, George • • • FOURTH YEAR RUNNING Russell, Robert Share, Char­ les Suber. 1962-Don DeMichael, Quincy Jones, Henry Mancini, Rob­ ert Share, Charles Suber. 1963-Manny Albam, Leo n a I'd By BOB BEST Dame High School, Niles, Illinois The Lincoln High School "Varia­ Feather, Terry Gibbs, Robert The year 1970 marks the 12th an­ will be two of this year's judges. tions" have finished first in the pre­ Share, Charles Suber. niversary of the Collegiate Jazz Father Wiskirchen will once again vious three contests and hope to Festival. Naturally, much evolu­ serve as Chairman of Judges in ad­ make the "4th time another charm." 1964-Julian Adderley, Gary Mc­ tion has taken place since its incep­ dition to holding the traditional Each band will appear for a 20­ Farland, Oliver Nelson, tion. Perhaps the most important clinic. This year for the first time minute period between 9 AM. and George Russell, Robert Share, development of all has been the another clinic will be held during 5 P.M. on Saturday. At least two Charles Suber. addition of the HIGH SCHOOL the morning session by one of the numbers must be performed - one 1965-Clark Terry, Paul Horn, Rob­ STAGE BAND CONTEST judges from the CJF panel. of which must be a slow tune. The ert Share, Charles Su bel', For a number of years students, Thirteen of Indiana's finest high High School musicians are judged Arif Mardin. businessmen, and educators con­ school stage bands are scheduled to on much the same basis as their college counterparts - blend and 1966-Don DeMichael, Quincy nected with the CJF felt that a perform, including: program for high school students balance, interpretation, precision, Jones, Robert Share, Charles " Ben Davis High School Stage Suber, Billy Taylor. would provide a perfect comple­ soloists, rhythm, and intonation. ment to the existing structure. Band As usual, the winner of the compe­ 1967-Lalo Schifrin, Herbie Han­ After all, education is one of the Indianapolis tition will have the honor of play­ cock, Don DeMichael, Robert chief aims of the Festival, and why • Bishop Dwenger Stage Band ing at the finals performance of the Share, William Russo, Don­ limit it just to the college student? Fort Wayne CJF on Saturday evening. This ald Byrd. band will also receive a trophy and So, through the efforts of men like • Crown Point High School Jazz 1968-Freddie Hubbard, Dan Mor­ Reverend George Wiskirchen, C.S.C., a set of Selmer Porta-Desks, com­ Ensemble pliments of H. &A Selmer, Inc., genstern, Gerald Wilson, Oli­ Mr. James Herendeen of H.&A Crown Point ver Nelson, Robert Share, Selmer, Inc., and students Paul Elkhart, Indiana. Ray Brown. Schlaver and Gregory Mullen, the • Danville Community High The High School Stage Band elF IN RETROSPECT School Jazz Band 1969-Clark Terry, Ernie Wilkins, High School division of the CJF Contest has become an integral and became a reality in 1967. Danville Looking back at the humble but few weeks ago in the group Dan Morgenstern, Gary Mc­ exciting portion of the Collegiate Farland, Sonny Stitt. Mullen chaired that first contest • Elmhurst High School Stage Jazz Festival. Why not plan on put­ brave happening in the fieldhouse "Dreams"), Lee Schipper, and Ran­ which was held in Washington Hall in 1959 that was the first CJF, and dy Sandke. Although numefOUS Band ting Washington Hall on Saturday's on the Notre Dame Campus. Eigh­ Fort Wayne music agenda? comparing it to the elaborate pro­ college jazz festivals have sprung teen bands participated and the duction that is CJF today, it seems up since the 1959 CJF - some fal­ STAGE BAND MOVEMENT Lincoln High School "Variations" • Garfield "Purple Eagle" Stage we've come a long way. And with tering, others folding - none have Band (Cont'd from page 19) weI' e n a m edt h e "BEST OF the knack for survival that CJF has met with such overwhelming suc­ SHOW." Father Wiskirchen, Di­ Terre Haute shown over the last twelve years, cess as Notre Dame's. struction, from attending festivals, rector of "The Melodons" from o Hobart High School Ensemble it should keep kicking for many Speaking of the past, it has been clinics, conventions, and concerts Notre Dame High School, Niles, Hobart more. good in many other ways. Our given by the better school and pro­ Illinois, and also a noted columnist As CJF's fame spreads far and • Lincoln High School "Variations" judges (listed below) have been fessional jazz bands. Profitable ex­ for Down Beat magazine, held a Vincennes wide (Voice of America is record­ some of the finest and most respect­ changes of ideas and arrangements clinic after the contest. This has ing this year's festival to broadcast ed jazz musicians, composers, edu­ • Maconaquah High School Stage will keep the stage band program continued to be a popular feature Band internationally), so do its partici­ cators and critics known. The State from stagnating, keep it alive and pants hail from one end of the coun­ Department has sent representa­ of the program. Bunker Hill growing. I'm sure you've heard it said be­ try to another. '~::'his year's groups tives here searching for talent for • New Prairie High Schooi Stage alone come from ten different states. foreign tours,and has chosen our The stage band movement is no fore, but this year's version does Band and those hom past CJF's have rep~ outstanding group for this purpose longer a novelty, it is a truly educa­ truly promise to be the b st edi­ New Carlisle tion yet. Howard Hoffman, Drum resented everywhere from Arkansas for the last four years. Time maga­ tional force in music. And, although • North Central High School Stage to Oregon to New Hampshire - 26 zine has called us the "biggest col­ it is almost a cliche, jazz is a very Major of the Notre Dame Band, and David Wehner, also a member of Band states in all. Just a few of the CJF lege bash of them all." With such American art form. Jazz has its Indianapolis foot in the door in this country's the Band of the Fighting Irish, are "alumni" who have gone on to play encouragement and support as elF • Penn High School Jazz Band music education system, and I don't the co-chairmen for the 1970 con­ professionally are: Jamey Aeber­ has met in the last twelve years. Mishawaka sold (whose quintet provided our we anticipate continuing to present think it will be another fifty years test. Mr. James S. Phillips, Assist­ pre-festival concert this year), our audiences for many years to before a jazz band is an essential ant Director of Bands, University • Warren Central "Big Chief" Ladd McIntosh, Mike and Randy come with the best that the college part of every school's music pro­ of Notre Dame, and Mr. Donald Stage Band Brecker (who performed here a jazz h as to offer. gram. Tolosko, Director of Bands, Notre Indianapolis

34 35

,I Archives of the University of Notre Dame

..JUDGES CRITERIA

(Each category mted on a 1-5 point basis) things go b~~th BIG BANDS COMBOS COke

Blend and Balance General Musicianship

Interpretation Over-All Creativity

Precision Soloists

Soloists Rhythm Section

Rhythm Ensemble

Ensemble

Dynamic

Music

Intonation THE COCA·COLA BOTTLING COMPANY OF SOUTH BEND,INC.

Welcome to the MICHIANA FRIENDS OF Restful Comfort of wAZZ Compliments of You are cordially invited to Join MICHIANA FRIENDS OF JAZZ, ~OWARDJON a non-profit organization dedicated to the promotion of live jazz son'S in the Michiana area. In less than a year of operation, we have run four highly successful concerts and he,lped promote jaz.z in WNDU-TV many other ways - including active promotion of th'e CJF. (See the article on page 33 for a full account of what we've done MOTOR LODGE and plan to do.) If you have an interest in jazz - and that's presumably why you're at the CJF - then you belong with us. Our members are from all age groups and from all walks of life. WNDU-AM, FM RADIO 52939 U.S. 31, No., South Bend, Indiana 46637 They come from all over Northern Indiana (e.g., Elkhart, Terre Telephone: 272-1500 Haute, Fort Wayne, Michigan City, South Bend) and Southern Michigan. --- lOIN NOW! --­ Fill out the application blank and leave it at the MFJ information booth, or mail THE THE HARMONY COMPANY to MICHIANA FRIENDS OF JAZZ, BOX 53!, SOUTH BEND, INDIANA 46624. 46G9 South Kolin Avenue- Chicago. III. 60632 I wish to join Michiana Friends of Jazz as a: NOTRE DAME o Patron (minimum of $10 per year) NAME ACE o Regular Member ($3 per year) o High School Member ($1 per year) STATIONS ... bbNti5 Name Address .. _ . tip City State .. Zip . N"ME 0,.. YOUR F'AVO'AITIE ,,",uSI2 siolti o My check for $...... is attached. STORe Ab6 £$5 AND CiTY NDF.O o Please bill me in the amount of $ ...... Len Davis, Manager (Make checks payable to "Michiana Friends of Jazz")

36 37 Archives of the University of Notre Dame

Once the are set, they stay set. No slipping, grabber turning or twisting. grabs hold. The grabber is but one reason it never (there are many more) why Rogers lets go. is a top choice among The grabber (it's professional drummers. called Swiv-o-matic) is a ball-and-socket Rogers Drums, attachment that gives CBS Musical Instruments, the professional and Columbia Broadcasting System, Inc., student drummer more 1300 E. Valencia, time to play and less Fullerton, Ca. 92631 time to fuss. It lets the drummer adjust his cymbals and tom-toms to any angle, height or direction in a matter of seconds. Swiv-o-matic hi-hats and foot pedals adjust to his most natural and com­ fortable playing position. With a Rogers' drum key and a twist of the wrist, that's all there is to it. Fast set-up, adjustment and take-down. And once the attachments Archives of the University of Notre Dame