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Archives of the University of Notre Dame Archives of the University of Notre Dame people on the go... go BURCER CHEF 52920 U. S. 31 NORTH (Roseland Area) 1710 NORTH IRONWOOD (Maplelane Area) 4920 WESTERN AVE. (Across from Washington High School) 3800 LINCOLNWAY WEST (Near St. Joseph Airport) 1821 LINCOLNWAY EAST (Playland Park Area) CONTENTS Artists and Attitudes by Dan Morg_enstern 5 Schlitz Salute to Jazz 7 Looking Ahead by Don Heckman 9 Quality, university-styled apparel fCllr men Judges 12 Big Bands 15 ~--"'"- Friday Afternoon 19 Friday Evening 20 A Decade of Jazz by John Noel 22 Prizes 23 Saturday Afternoon 24 Saturday Evening 25 Master of Ceremonies 25 Sample Judges Sheet 27 Combos 29 ON THE CAMPUS ... NOTRE DAME The Big Band from Notre Dame 32 High School Contest Winner Plays at CJF -------­ 32 What IS Jazz ---------------­ 33 The Chicago Fire -----------­ 33 Rise and Fall of the Tenth Reich 36 Looking Backward ----------­ 37 2 • Archives of the University of Notre Dame Cannonball Adderley.- The Afro-Drum dominate the imagination of every Musical competitions - unlike Ensemble .-Sidney Bechet.- Art Blakey ARTISTS AND young player. Young musicians al­ athletic events - have no fixed and most always reflect some key influ­ firm rules and regulations for se­ George Braith .-Clifford Brown.- Kenny ATTITUDES ence, and that's only as it should be. lecting winners. No matter how scrupulously fair, judgments in the The growth of the collegiate jazz But today, you 'can hear Getz and Burrell .-Donald Byrd.- Paul Chambers Coltrane; Adderley and Coleman; realm of esthetics are, to some ex­ movement-in which, I'm happy to Kenton and Basie (and sometimes, tent, arbitrary and personal. Tech­ state, Down Beat has played a not but not, it seems to me, often nical factors and comparative skills Don Cherry .-Sonny Clark .-Ornette insignificant role-has been quite enough, Ellington) ; Davis and Ter­ being equal, a choice between two phenomenal in the past decade. ry; Brubeck and Evans, etc., etc. excellent tenor saxophonists, for Coleman .-Johnny Coles.- John Coltrane example, will be decided by the My first encounter with this area You hear inside and outside collective tastes of the judges. So Miles Davis .-Eric Dolphy. Lou Donaldson of jazz came in 1964, when, with sounds, often mixed in fresh combi­ if you don't win, don't get bitter. some trepidation, I accepted an in­ nations, and that is a healthy state The decisions are not absolute or Kenny Dorham.- Kenny Drew.- Art Farmer vitation to be a judge at the Villa­ of affairs. Student bands and solo­ made for all time. nova Jazz Festival. The trepida­ ists are assuming personality and ~ individuality - qualities without Besides, winning is not (or should Curtis Fuller. Dexter Gordon Bennie tion was caused by entirely false which there can be no real jazz not be) the most important thing. notions about the caliber of music music. And the level appears to be Learning - from others, from new Green .-Grant Green .-Dodo Greene presented at such events. rising steadily. experiences in performing, from suggestions and critcisims - is far Herbie Hancock.- Joe Henderson.- Andrew I fully expected to be at best A collegiate jazz festival is, of more valuable, in a real sense, than bored and at worst tortured, but course, a highly competitive exer­ walking away with a prize. the festival was a revelation. The cise. In a way, the competitive Hill.- Freddie Hubbard .-Bobby Hutcherson talent, enthusiasm, energy and de­ framework appears out of context I have seen potentially first-rate dication of the young musicians, in what, after all, is a creative ar­ groups lose out due to errors in Solomon lIori.- Fred Jackson .-Milt Jackson tistic endeavor. But the competi­ pacing and choice of program, and and the considerable median level return next year with those mis­ of their musicianship were most tive system is built-in and without The Jazz Messengers .-Jay Jay Johnson it, it would very probably be diffi­ takes corrected, which is a gratify­ impressive. To be sure, there was cult-perhaps impossible-to hold ing experience, and proves that the Sheila Jordan.- Pete La Roca.- George bad mixed in with the good, but the these music festivals. festival system works in a con­ good far outbalanced it. structive manner. I mention this because, invaria­ Lewis .-Jackie McLean .- Blue Mitchell Since then, I have attended a bly, at each event I have attended, More than ever, our music is be­ large number of such events, both some (if not most) of the non-win­ ing made by young people. Today, Hank Mobley .-Grachan Moncur III as judge and observer, and it is jazz is not the popularly dominant ners are bitterly disappointed. This strain. But anything can happen in always a refreshing experience. In­ is disheartening to the judges, who Thelonious Monk.- Lee Morgan .-Fats stead of wondering where jazz' new the realm of music, and what will just as invariably have done their happen is in large measure up to blood was going to come from, I level best to listen carefully and you who have gathered here to play Navarro. Herbie Nichols.- Leo Parker now wonder how the music is go­ judge fairly. and listen. ing to be able to accommodate so Horace Parlan ..- "Big" John Patton.- Duke much fresh young talent. Pearson .- Bud Powell.- Ike Quebec The answer, of course, is that not every young man with a horn in a Sonny Red.- Freddie Redd. Dizzy Reece college band is looking toward a professional career in music. Many Sam Rivers.- Freddie Roach.- Sonny Rollins will join the ranks of the more than 60 million amateur musicians in the Charlie Rouse.- Sabu .-Wayne Shorter United States, getting their kicks with other like-minded part-time Horace Silver.- Jimmy Smith.- Art Taylor practitioners. But a few will join the battle, and make a place for Cecil Taylor. The Three Sounds. Stanley themselves. And even those who drop out will perform an important Turrentine .- Harold Vick .- Don Wilkerson function in terms of providing a tuned-in audience---and God knows .-"Baby Face" Willette that jazz needs informed listeners and fans. Anthony Williams.- Jack Wilson .- Larry Young One of the nice things about col­ lege festivals is that one is made aware of the multiplicity of influ­ provideA TASTE FOR EVERYO ences. Gone are the days when ev­ ery student orchestra seemed cut on from the same cloth, when certain Blue Note Records arrangers and soloists appeared to 4 FOR FREE CATALOG WRITE: • DEPT.DB-1 • BLUE NOTE RECORDS • 6920 SUNSET BOULEVARD • LOS ANGELES, CALIF. 90028 5 Archives of the University of Notre Dame " ROBERT A. UIHLEIN, JR. President and Chairman of the Board Take it from Diz­ JOS. SCHLITZ BREWING CO. "It's the valve action. Only Martin has the action that lets me playas freely and accurately as I can!" The JOS SCHLITZ BREWING COMPANY is proud to be able to par­ '1ln,u1in ticipate in this outstanding collegiate jazz event as part of its 1968 Schlitz Salute to Jazz. A product of Wurlitzer, P.O. Box 807, Elkhart, Indiana. 46514 Schlitz has long been interested in assisting notable cultural activities band instruments, gUllars, amplifiers. pianos, electronic organs, and stereo radio phonographs and we feel that jazz is an aspect of American culture most deserving of support and encouragement. It's an uniquely American art form that's eminently enjoyable. We know you'll enjoy the 10th annual Collegiate Jazz Festival and we look forward to presenting the best overall jazz group to the Newport audience this summer. Robert A. Uihlein, Jr. President JOS. SCHLITZ BREWING COMPANY Dizzy Gillespie at the Plugged Nickel-Chicago. The instrument-a Martin Committee trumpet with tilted bell. 6 7 Archives of the University of Notre Dame Duke Ellington, Dizzy Gilles­ ... pie, Omette Coleman, Gerry Mul­ ::ligan, Horace Silver, Thad Jones, ...... Chuck lsraels, Billy Taylor and U Kenny Burrell are just a few of the fine composers enjoying the The "fabulous invalid" of show Like the theatre, jazz has its taken them out of mainstream of .....- many benefits of ASCAP mem­ business has traditionally been the share of artists whose aesthetic popular music.) bership. And if you've written a Broadway theatre. Yet one is in­ drives extend beyond commercial But post-World War II jazz clear­ song, you may be eligible to join clined to speculate that jazz, too, considerations, artists who have ly has followed a path which leads can claim at least a part of that du­ long confronted the paradoxes of away from the confines of popular ASCAP too-you'll be in great bious distinction. The malaise of popular art. The result has been a art. The change has taken place on ---. company. the dramatic arts can be traced to harrowing, on - and - off - again ro­ many levels: the new improvisa­ the confusion of aesthetics with mance between jazz and more pop­ tional styles of the 40's and late 50's economics. Jazz has often had a ular music forms. In the 30's, the developed melody lines that were similar problem, but never more interchange was particularly in­ difficult, if not impossible, for the so than in the last few years. tense, with jazzmen making exten­ average listener to sing (as had al­ The trouble is that jazz, like the sive use of the magnificent songs most always been possible with theatre, doesn't fit anyone's defini­ produced by a superb generation pre-war classic jazz solos) ; rhythms tion. For some it means the Dukes of songwriters. At the same time, became more dense, with so many of Dixieland ripping through Tiger popular music became heavily jazz­ overlapping layers of accents that Rag at Disll-eyland; for others it can influenced, as the big bands of the music became less and less ap­ be Stan Getz playing Desafinado or Glenn Miller, the Dorsey Brothers, propriate for dancing; repertoire John Coltrane burning up My Fa­ Harry James, Benny Goodman, et changed - although certain popu­ vorite Things.

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