sign in sign up
<<
Home , Art Taylor, Cecil Bridgewater, Dizzy Reece, Don Wilkerson, Electric cello, Freddie Redd

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 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 .- The Afro-Drum dominate the imagination of every Musical competitions - unlike Ensemble .-Sidney Bechet.- 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 .-.- 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 .-.- 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 .- .-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 .-.- example, will be decided by the My first encounter with this area You hear inside and outside collective tastes of the judges. So .-. 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 .- .- 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 . 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 .- .-Dodo Greene presented at such events. rising steadily. experiences in performing, from suggestions and critcisims - is far .- .- 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.- .- 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 .- 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 .-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.- .- 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 .- 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, .-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 .- .-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 ..- "Big" .- Duke much fresh young talent. Pearson .- .- The answer, of course, is that not every young man with a in a .- . college band is looking toward a professional career in music. Many .- Freddie Roach.- will join the ranks of the more than 60 million amateur musicians in the .- Sabu .- , getting their kicks with other like-minded part-time .- .- practitioners. But a few will join the battle, and make a place for . The Three Sounds. Stanley themselves. And even those who drop out will perform an important Turrentine .- .- 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 .- 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 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. , 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 with tilted bell.

6 7 Archives of the University of Notre Dame

Duke Ellington, Dizzy Gilles­ ... pie, Omette Coleman, Gerry Mul­ ::ligan, Horace Silver, , ...... Chuck lsraels, and U 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 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. Categorization of an a1. developed their own smoothly lar songs continued to be useful be­ art which means so many things to lubricated versions of current jazz cause of the interest in their chord so many people is difficult indeed, styles. structure, most jazzmen preferred and that's part of the problem. Many listeners view such inter­ to work with material which re­ The "theatre" encompasses a wide action as a productive development flected the newest developments; range of styles, too - from televi­ for both jazz and popular music. blues became more important as an sion soap operas to plays by Harold The cross-fertilization of popular all-purpose form rather than as the Pinter and Samuel Beckett. The and serious art forms, however, is specific style it tended to represent differences in these styles - in the feasible only so long as the promise in pre-war jazz. Musicians devel­ case of both jazz and dramatic art of popularity is kept. If such an in­ oped a new personal image, view­ - are inseparable from their inten­ terbreeding of jazz and popular ing themselves as artists rather tions; the soap opera maintains its music worked as well as it did in than entertainers, and focused their dedication to mass popularity in a the past, it was because even the attention on the aesthetics of im­ way that a Pinter or Beckett play most serious jazzmen rarely consi­ provisation rather than upon the does not. Despite this fundamental dered their music anything more establishment and maintenance of difference, both dramatic forms than another wing in the vast man­ audience rapport. • must grapple for dollars in the sion of popular music. (Surely one Despite the fact-or perhaps be­ market place. Only a special kind of the contributing factors to the cause of it-that this pattern has of inverse snobbism makes it possi­ introverted life styles of so many been the dominant element in jazz ble for Pinter's plays to compete, musicians in the middle and the for at least the last 15 or 20 years, even in the most minimal sense, late 40's was their failure to com­ current opinion suggests that a rap­ with soap operas. prehend how far their playing had (Cont'd on Page 10)

8 9 Archives of the University of Notre Dame

LOOKING AHEAD am not suggesting that jazz cannot able if not particularly interesting CL 2693 / cs 9493 (Cont'd from Page 9) produce music which becomes firm­ way to play.) 1M~1Ii1Ml~ WOODY HERMAN AND prochement may be taking place, ly implanted in the listener's mind. This easy mobility from major lWi~"~~'~ THE SWINGIN' HERD But that is simply not its only in­ INCLUDING: \\'()()I)Y LIVE that jazz and pop music are on the chord to major chord has led, I !;1DEWINDER/MOANIN' verge of finding a common meeting tention. The focus of any improvi­ think, to the vast number of tunes MERCY. MERCY. MERCY .:J\.'1"1lij ~I) "'.....'1"1 ... I REMEMBER CLIFFORD INCLUDING, ground. As important a young mu­ sational music is invention, not re­ that use recurrent whole tone pat­ MAJ(E SOMEOHE HAPPY EMBER CLIFFORD '" TAKE FIVE BROTHERS (REVISITEO) sician as Gabor Szabo has said, petition. terns (a pattern, for example, of a THE PRf.'CHER/FREE AGAIN "Jazz as we've known it is dead." Pop music is something else bar of C Major followed by a bar of ~. ~ But what precisely would such a again. And it is probably the very Bb Major, sometimes with move­ • ;'''00­ rapprochement mean, in terms of attractiveness of the newest pop ment to a similar pattern on the jazz and pop music as they exist music that makes it so intriguing, IV and V chords), parallel chord , '~ today? for the young rock musicians are movement (listen to the last three r ~ 1/1 The relationship of jazz and pop­ producing a music which contains chords in the Benson & Hedges tele­ ular music has always been symbi­ the dance rhythms, adventurous vision commercial), and substitu­ CL 2697 / CS 9497 otic, a peculiarly intimate associa­ playing styles, and provocative per­ tions in blues tunes (the commonly tion between musical forms that sonal images that once accrued to used pattern of V chord to IV chord MORE CL 2744 I CS 9544 CL 2785 / CS 9585 have markedly dissimilar goals. Ul­ jazz. in the 9th and 10th bars - some­ BRAZILIAN BYRD timately, of course, both result Equally important, it is a music times repeated to make a 14 or 16 CHARLIE ELECTRIC BATH from a distillation of elements, mu­ which departs radically from the bar blues - is typical) . BYRD THE DON ELLIS ORCHESTRA ....l.:.":!!!!~."!1TH~~~:STRA INCLUDING, INDIAN LADY sical techniques and-most import­ The second important factor in TURKISH BATH OPEN BEAUTY harmonic, rhythmic, and melodic How Insensitive antly-interpretive styles develop­ the new pop music is that the musi­ r.tlclclodo ALONE NEW HORIZONS concepts that have dominated pop­ One Note Samba ed by the black man in America. ular music for the last 50 years. cians have been for the most part, Wnle Boot But although both musical forms This can be traced to several unencumbered by the restrictions start at essentially the same place, causes. First, the new pop music of formal musical training; they they move in different directions: has been composed, almost in its have been willing to try things that pop music toward glossy simplifica­ entirety, by musicians who plays earlier pop musicians - and many tion, jazz toward complex sophisti­ guitar and sing. In the hands of a jazz musicians as well- have not cated re-development. Segovia or a Julian Bream, the tried. (It is perhaps equally im­ The possible joining of jazz and portant to note that the implicit guitar can be a gloriously contra­ CI 2~92 / CS 9492 pop music, then, raises more seri­ puntal instrument, but is rarely so economics of pop music have help­ ous questions that it answers. Cer­ when played by a young pop musi­ ed make experimentation possible. tainly anyone who has any affec­ cian. Once the left hand positions Record companies are willing to tion for jazz would like to see the for basic chords are learned, a mu­ take a chance with certain kinds of music and its practitioners receive sician can quickly use the instru­ experimental techniques if they the emotional and material rewards ment for vocal accompaniment, re­ seem to have a potential for com­ THE SOUND OF JAZZ so long denied. But do the conces­ lying upon various easily manipu­ mercial success.) A list of exam­ sions which must be made to gain lated strumming techniques to liv­ ples would be very long indeed, but ON COLUMBrA RECORDS ~ those rewards damage the quality, en up simple chord progressions tor openers try listening to the the substance, and the potential of (note Bobbie Gentry's strumming Beatles' Sgt. Peppe7' or, jazz? pattern on Ode To Billie Joe). It somewhat more in the jazz area, Before any of these questions can the first two releases by the Moth­ CL 2770 I CS 9570 doesn't take long to figure out that CL 2712 / CS 9512 be answered, the concessions to be basic left hand positions can be ers of Invention. made must be clearly understood. moved up or down a few frets to Obviously these developments MONGO SANTAMARIA Unlike pop music, rock-style or make parallel chors. (Some play­ carry within them seeds of artistic EXPLODES otherwise, jazz is an improvisation­ ers, in fact, tune their instruments adventure-but only up to a point. AT THE V1UAGE GATE including: al art. When playing their best, to an open major chord by lowering It's all well and good to be unem­ Bloodshot-Philadelphia-Afro Blue jazz players don't repeat them­ the E and A strings a whole tone. cumbered by traditional aesthetic Elephanl Pants· Mongoet1es selves. The goal of popular music, By using a barre technique-hold­ ideas, but the fact remains that ~ almost by definition, is quite differ­ ing the index and/ or ring finger all iconoclasm alone rarely makes a i".;±..,.: .. -."._T·4AJ.. t:··,. "'"..;' \ ent. It is the creation of lasting the way across the fret-parallel complete artistic expression, Too --,' '. , . ~ ~ images, of melodies, rhythms, en­ major chords can be played up and often the young pop musicians, in­ - semble textures, and harmonic pat­ down the finger board-a service­ vigorated by the "new" sounds and \ I ,­ terns that will be sustained in the progressions they have discovered, public mind. Usually this means have done little more than to use that such music must deal in small these techniques as one-shot gim­ CL 2453/C5 9253 5tereo units, that its progress should be micks. This is in the true pop art STEREO~ predictable, with allowance for oc­ tradition. In commercial popular _rr.... _ casional surprises, and that it be music the principal idea, after all, repetitious enough to become fam­ is to sell, whether it be in the form 8 DAVE iliar. (Television commercials - a of the sliding strings and turgid form of pop music in miniature­ ballads that appeal to one genera­ BRUBECK'S provide a good example; they suc­ tion, or the quasi-philosophical, ceed in direct proportion to the re­ blues-articulated songs and freak­ ~R&rl:S~ call value of their short melodic out sounds that appeal to another. statements. Remember Alka-Seltz­ Popular art can advance a mean­ '~YJ \~' er's No Matter What Shape Your ingful aesthetic only in the most Stomach's In? And Eastern Air­ limited sense. It seems to me that ~ lines' Number One to the Sun?) I (Cont'd on Page 35) CL 1412/C5 8210 CL 1480/C5 8271 CL 2484/CS 9284 10 11 Archives of the University of Notre Dame

~UDGES ~UDGES

DAN MORGENSTERN was born ROBERT SHARE is the Admin­ in Vienna, Austria, where he began istrator of the Berklee School of Music in , Massachusetts. FREDDIE HUBBARD is the most violin studies as a child. He was RAY BROWN, one of the greatest Prior to assuming his current ad­ bassists in jazz, was playing with significant young trumpet player. raised in Denmark and Sweden. ministrative duties, Mr. Share was Incorporating both the styles of at the age of 18. His interest in jazz began in 1938 a member of the Berklee faculty He formed his own trio in 1948, and Dizzy Gilespie and Miles Davis, when he saw Fats Waller in Copen­ and was instrumental in the devel­ toured with Ella Fitzgerald for Hubbard has developed a very hagen. He came to the United opment of the school's jazz curricu­ three years. He joined the Oscar forceful and distinctive sound. lum. The effectiveness of this cur­ Peterson Trio in 1951, and stayed States in 1947 and became active in riculum can best be judged by the journalism. He served in the army with him until January of 1966. He success of such Berklee alumni as is best known for his work in this from 1951-'53, and then attended , , Gary group. During this period, he also Brandeis University until 1957. He McFarland, and a host of other pro­ toured with Jazz at the Philhar­ began writing about jazz in 1958 as fessionally active jazz artists. monic, taught with the other mem­ In addition to his work at Berk­ bers of the trio at the Advanced the correspondent for lee, Share has had extensive pro­ the Jazz Journal of London. He was School of Contemporary Music in fessional experience as an arranger Toronto, Ontario from 1959-'63, the Editor of Metronome magazine and a composer and has authored served on the faculty of the School in 1961 and of Jazz magazine in numerous articles on the tech­ of Jazz in Lenox, Massachusetts, 1962-'63. He joined Down Beat niques of jazz composition and per­ formance. He is adding to the and made hundreds of recordings, magazine in 1964 as the New York vocabulary of jazz as an interna­ many of them as a leader. He de­ Editor, and became Editor in June, veloped a specially built on 1967. He produced an annual con­ which he recorded as a soloist. from , he cert series, Jazz in the Garden, at has recently settled in Los Angeles, Hubbard was born in Indianap­ the Museum of Modern Art in New where he divides his time among was born in was born in St. olis into a very musically inclined York from 1961-'66, and he pro­ studio work (he has become one of duced the Jazz On Broadway con­ Shelby, Mississippi. When he was Louis, where he studied at 6, the most sought-after bassists for family. His older brother played and saxophone at 11. He was a certs in New York in 1963 which 13, he went to and studied movie, TV, and recording work), the piano and his sister was a sin­ working musician while still in composing, and music publishing. ger. Hubbard himself studied trum­ were the occasion for the comeback piano with his mother and trumpet grade school. At 18 he joined the Among his best known composi­ pet and melophone in high school. of . He also conducted a at Casso Tech. In 1939 he took over Louis Jordan big band. From 1952­ tions are Gravy Waltz, Steve Al­ When he was 21, he joined the radio program, "The Scope of Jazz," Sy Oliver's trumpet chair in the '54 he was in the Marines. During len's theme song, and Pyramid, a Montgomery brothers' group and on WBAI-FM, New York, from Jimmie Lunceford Orchestra. He this time he played in the Third favorite of the Modern Jazz Quar­ played with them around Indianap­ also arranged for the band. In 1942 Division Band and played with a tet. He is a perennial jazz poll win­ 1963-'67. Morgenstern served on group at officers' clubs in Japan. olis. In 1960, Hubbard went to New he settled in Los Angeles and work­ ner, topping the Playboy All Star the symposium panel at CJF '67, From 1954-'58 he studied composi­ Poll every year since its inception York and joined Sonny Rollins' and has been a judge at the Villa­ ed with , Phil Moore, tion and theory at Washington Uni­ group. He also played with Slide in 1958, and winning the Down nova Jazz Festival several times. and others, until he formed his first versity and Lincoln University. In Beat Reader's Poll this year for the Hampton, J. J. Johnson, and Quin­ big band in 1944. In 1948 he worked 1958 he came to New York, where thirteenth time. cy Jones. The following year, he with and Dizzy Gilles­ he worked with Erskine Hawkins, joined Art Blakey's Jazz Messen­ Wil~ Bill Davis, and Louis Bellson, tiona1 language through his work gers and toured the U. S., Europe, pie, both as trumpeter and arrang­ playmg alto and tenor saxophone. as a special consultant to the Music and Japan. In 1963, Hubbard form­ er. After a temporary retirement Soon, however, he began to make Committee of the President's "Peo­ ed his own group with Jim Spaul­ from music, he gradually returned a reputation for himself as a com­ ple to People" program and the ding, Ronnie Matthews, Eddie to full-scale activity with his own poser-arranger. His first major Music Division of the United States work was Afro-American Sketches Kahn, and . From big bands in San Francisco and Los Information Agency. This year, he and his first famous piece was will be a guest lecturer at the In­ 1964 until recently, he was a main­ Angeles. His current orchestra Stolen Moments. Though his work ternational Jazz Festival in Mon­ stay in 's groups. Pres­ made its first major appearance in as a player was for a time eclipsed treux, Switzerland. ently, Hubbard is the co-leader of 1961. Wilson has also done much by his writing activities, he has re­ Share has served as a judge at the Jazz Communicators with writing for movies and TV, con­ cently done a lot more playing, es­ almost every Notre Dame Collegi­ tenor saxophonist Joe Henderson. tributed scores to the Duke Elling­ pecially on soprano saxophone. In ate Jazz Festival since the first CJF late 1966 he moved to Los Angeles, In the past few years, Hubbard ton band, and worked as composer­ in 1959 and, in this time, has given has done a great deal of recording where he has been busy writing for the CJF much valuable advice. His work with such names as Eric Dol­ arranger for many top singers, in­ movies and TV. His recent compo­ experience and authority for recog­ phy, John Coltrane, Oliver Nelson, cluding , Bobby Darin, sitions include The Ken ned y nizing the best in young jazz talent Sonny Rollins, Art Blakey, Herbie Julie London, and . Dr e am, recorded last year, and has also been sought by the Villa­ Hancock, and Max Roach. He was Among his many compositions are several classical works, including nova, Georgetown, Kansas Univer­ a woodwind quintet, a song cycle a major contributor to Ornette Moment of Truth, Blues for Yna sity, Quinnipiac, and Case Institute Coleman's famous "" al­ for contralto and piano, and Dirge Collegiate Jazz Festivals, and by bum and to Quincy Jones' sound­ Yna, Imagine My Frustration, for Chamber Orchestra. the Intercollegiate Music Festival. track for The Pawnbroker.. Ravi, and El Viti.

12 13 Archives of the University of Notre Dame

BIG BA os Bird lives! ROOSEVELT UNIVERSITY , the man, is dead. But his BAND spirit lives on as a dominant force in jazz. The Roosevelt University Jazz He gave form and direction to the music Lab Band, under the direction of of his generation, capturing something of Mr. S. Lane Emery, is six years old. The general emphasis on the edu­ the loneliness, the discord, the romance cational aspect of music in the of his time and shaped it into a haunting Roosevelt music department is evi­ art. His innovations-the bases for themes dent in the many appearances the band makes at Chicago area high that have become jazz standards-have .. schools, and in the fact that seven­ affected the work of all who followed him. teen members of the band are mu­ sic education majors. The band Bird lives. Jazz remains indebted to Charlie makes its third appearance at the Parker. BMI is proud to license the public CJF this year. They played in the performance of his music as well as that finals in 1963. of many on whom his influence is indelible. All lHE WORLDS OF MUSIC FOR ALL OF lODAY'S AUDIENCE

INDIANA STATE UNIVERSITY STAGE BAND The Indiana State University Stage Band was instituted two years ago as a regular course in the music curriculum at LS.U. The band tours the high schools of the state as part of the University mu­ sic education program. Director Glen Daum arranges for the band, and they play compositions by Pete Simpson, , and Rich­ \ ard Rodgers. The group, all but one of whom are music majors, makes its first appearance at the CJF this year.

\ \ I STATE UNIVERSITY \ JAZZ ENSEMBLE \ I The MSU Jazz Ensemble makes its fifth appearance at the CJF this year, winning the Best Big Band Award in 1962 and playing in the finals in 1964. Organized in 1960, the group sometimes is billed as the MSU Television Orchestra, because of its many television appearances throughout Michigan. Earlier this year, they performed at the Rose­ ville Arts Festival in Detroit. After a two-year absence, Mr. George West is back directing the band. Mr. West has played and written for such names as Glenn Miller, , Les Brown, and Woody Herman.

15 14 Archives of the University of Notre Dame

MEMPHIS STATE STATESMEN The Memphis State Statesmen are the CJF's first representative from Tennessee. The jazz program M.I. T. CONCERT JAZZ QUARTET The Massachusetts Institute of at MSU was begun in 1961, and Tec~nolo.gy consists of two stage bands, both Jazz Quartet, led by r ceiving college credit. The band engmeenng student and trombon­ is quite well known in their area, ist Richy Orr, was formed from the making annual tours and record­ M.I.T. Jazz Sextet which played in ings. Their first concert this vear the CJF finals last year. A new ad­ featured guest soloist "Doc" Se·ver­ dition to the group is freshman inson. They have appeared on tele­ drummer Ken Madell. The reor­ vision 25 times in the last two ganized group began working to­ years. All but one are under­ gether six months ago and played graduates, and all but two are mu­ a fall c?I.1cert at M.LT. They play sic majors. Their director, Mr. compOSItIOns by Orr, Herbie Han­ Thomas Ferguson, is Director of cock, and John Coltrane. Bands at MSU and has a jazz trio in Memphis.

TUFTS UNIVERSITY CONCERT WRIGHT COLLEGE STAGE BAND The Wright College Stage Band JAZZ BAND The Tufts University Concert makes its third appearance at the Jazz Band makes its first appear­ CJF this year. The last time was in ance at the CJF this year under the 1964 when they were selected to directIOn of Charlie Mariano. Mr. play in the finals. They are a young Mariano formerly played lead sax­ group (average age 21), two-thirds ophone with the Stan Kenton Or­ of whom are music majors. The chesi~a and is nationally recognized sustaining force in this group with for his work In jazz education. The constantly changing personnel has group has been together since 1965, been Mr. John DeRoule, who di- and appeared at the 1967 Villanova o rects and writes for the ban . Jazz Festival. They play composi­ They also play compositions bv tIOns by Sam Alongi (Most Promis­ Richard Richardson and Bob Oje­ ing Brass, CJF '67), Glenn Adams, da. The band is a poular perform­ and Johnny Richards. ing group in Chicago area schools. •

OHIO STATE UNIVERSITY UNIVERSITY OF JAZZ ORCHESTRA JAZZ BAND Ohio State University's associa­ The University of Illinois Jazz tion with the CJF extends as far Band, winner of the aw~rd for Best back as the first Midwest Collegiate Overall Jazz Group last year, re­ Jazz Festivals in 1959 and 1960. turns to defend their title. This This year's entry is the sixth big marks the fifth straight year the band from O.S.U. to compete at the group has appeared at the CJF, CJF. O.S.U. is the only school ever winning the Best Big Band award to send two groups in the same ca­ in 1964, and playing in the finals in tegory in one year (big bands, 1965 and 1966. The band is the top 1964). A well travelled group, the Jazz group in an expanding jazz orchestra plays concerts all over program at U. of 1. The program Ohio and , including was begun in 1960, and now con­ the Ohio State Fair, and they won sists of five big bands, several com­ the Intercollegiate Music Festival bos, and a course in writing for the Best Big Band Award last year at jazz band. The band has performed Miami Beach. The group plays with J. J. Johnson, the Modern Jazz compositions by their director, Quartet, and Eric Dolphy and will Ladd McIntosh, a woodwind major. be directed for a month by~ Duke Mr. McIntosh's composing abilities Ellington during the Sabbatical have been cited by the Best Ar­ leave of their dynamic and unpre­ ranger-Composer Award at CJF dictable director, Mr. John Garvey. '65.

L6 17 • Archives of the University of Notre Dame

FRIDA Y AFTERNOON

things go March 8th, 1:30 p.m. b~WIth

COke 1:30-THE HIPPS-EVERMAN GROUP with STRINGS-Northwestern University, Evanston, Illinois. Personnel: Trumpet - Welsh Everman. Piano - Jon Hipps. Bass - Dennis Gardino.

• 1: 55 - BOB LAH SEXTETTE - Roosevelt University, Chicago, Illinois. Personnel: Leader, Piano - Bob Lah. - Weldon Slater. Cello - Ralph Lotz, Bobbe Jacobs. Bass - Bob Morrow. Drums - Larry Stoll.

2: 20 - BALL STATE UNIVERSITY JAZZ QUINTET - Ball State University, Muncie, Indiana. P Personnel: Leader, , Bass Trumpet - Dave Pavolka. - Warren Jones. Vibes - Terry Mahady. Bass - Larry Carney. Drums - Don Ridenour. R THE COCA-COLA BOTTLING COMPANY OF SOUTH BEND, INC. INTERMISSION o G 2: 55 - WRIGHT COLLEGE STAGE BAND - Wright College, Chicago, Illinois. Personnel: Leader - John E. DeRoule. Alto Sax - Larry Boisen, Fred Entesari. Tenor Sax - John R Stumpf, Jim Sunseri. Baritone Sax - Bernard Cole. - Robert Portle, George Cacini, Ern­ est Uterhardt. Bass Trombone - Jay Milman. - Peter Masseri. - John Priola, Mel A Bator, Ken Gelz, Ken Jacobson. Trumpet and Flugelhorn-Dan Kutara. Piano-Frank Caruso. Bass - Ron Cierny. Guitar - Ron Pingel. Drums - Alan Pearlman. M

3: 20 - INDIANA STATE UNIVERSITY STAGE BAND - Indiana State University, Terre Haute, Indiana.

Personnel: Leader- Glen Daum. Alto Sax - Jane Dobson, Jerry Drake. Tenor Sax - Elliot Stern. Baritone Sax-David Giesvold. Trombones- Alan Horney, Keith Stewart, Joe Spence, Norman Klumpp. Trumpets - Bill Broadstreet, David Graesch, Gordon Curtis, Robert Murray. Bass-Larry Crabbs. Guitar - Wayne Phillips. Drums - Jim Ganduglia, Herb Hardt.

3: 45 - ROOSEVELT UNIVERSITY JAZZ LAB BAND - Roosevelt University, Chicago, Illinois. Personnels Leader-S. Lane Emery. Alto Sax- Richard Rudolph, Claudia Hoover. Tenor Sax - Robert May, Gary Van Horn. Baritone Sax - James N eiburger. Trombones-Ian Lilly, Steven Galloway, Tam McNamara, Charles Taylor. Bass Trombones - John Nies, Larry Leonard. Trumpets - Tim Galloway, Allan Licause, Weldon Slater, Stephen Bentkover, Steve Gulley. Piano - Robert Lah. Bass - Robert Morrow. Guitar - Thomas Donahue. Drums - Larry Stoll, David Samuels. FREE 1968 CATALOG / Write Fender Musical Instruments, Dept. C J F, 1402 East Chestnut, Santa Ana,

18 19 Archives of the University of Notre Dame

FRIDA Y EVENING

March 8th, 7:30 p.m.

7: 30 ­ PAUL ZIPKIN TRIO - Reed College, Portland, Oregon. Personnel: Leader, Tenor Sax - Paul Zipkin. Piano - Larry Karush. Electric Bass - Laura Fisher. Like it or not, 7: 55 ­ JAC MURPHY TRIO - Southern Methodist University, Dallas, Texas. Personnel: Leader, Piano - Jac Murphy. Bass - Gil Pitts. Drums - Banks Dimow. there's something J 8: 20 ­ THE DOMINIC JAMES QUARTET - University of Illinois, Champaign, Illinois. standing between Personnel: Leader, Sax - James Cuomo. Trumpet, Flugelhorn - James Knapp. Piano-Mitch Hennes. I Bass - Robert Witmer. Drums - Charles Braugham. you and your 8: 45 ­ MIKE PEDICIN, JR. QUINTET - Philadelphia Musical Academy, Philadelphia, Pennsylvania. P Personnel: Leader, Saxophone - Mike Pedicin, Jr. Trumpet, Flugelhorn - Steve Weiner. Piano­ audience. R Steve Friedkey. Bass - Ron Gilotti. Percussion - James Paxson. o INTERMISSION

G9: 25 ­ THE OHIO STATE UNIVERSITY JAZZ ORCHESTRA - Ohio State University, Columbus, Ohio. Personnel: Leader - Ladd McIntosh. Woodwinds - Tom Ryan, Stu Best, Jon Crosse, Del Gittinger, Bar­ ney Rooker. Trombones - Bill Bendler, John Johanssen, Steve Livingston, Earl Chenoweth. French R Horns - Dave Kimball, John Freeman, Ray Ziska, John Shrader. Tuba - Del Williams. Trumpets­ SPACE. Wes Orr, Tony Greenwald, Jack Munthe, Steve Berry, Phil Sbrochi. Piano, Organ - Dave Chase. Bass - Will Burkey. Guitar - Duncan James. Drums - Lye Preest. Percussion - Dan Ruddick, Dean A Appleman. M9: 50 ­ UNIVERSITY OF ILLINOIS JAZZ BAND - University of Illinois, Champaign, Illinois. Personnel: Leader - John Garvey. Alto and Soprano Saxes - Howard Smith. Alto Sax - John Won­ sowicz. Tenor Sax, Bb and Eb - James Cuomo. Tenor Sax - Lawrence Cangelosi. Baritone Sax - William Feldman. Tenor Sax - Ronald Dewar. Flute, Piccolo - Ann Kozuch. , English Horn - Louis Hall. Flute, Vocal- Don Smith. Trombones - Paul Vander Gheynst, Richard Roush. 1 Jerry Kampton, Allen Engelberg. Bass Trombone - James Fulkerson. Tuba - Paul Rainey. Trum­ , pets - Kenneth Ferrantino, Jerry Tessin, Allen Moore. Trumpets, Flugelhorn - Cecil Bridgewater, When you can't get close to your You'll also find E-V speakers signed to add clarity and power James Knapp. - Terry Pettijohn. Piano - Ronald Elliston. Guitar, Piano - Mitchell listeners, you need the hel p of a wherever sound quality really wherever they are used. Hennes. Bass - Robert Witmer. Vibes - John Aschoss. Conga Drums - Maurice McKinley. Drums good sound system. It's hardJy a counts. From huge stadiums to Good music demands good sound. - Charles Braugham. new problem. Professional sound home high fidelity systems. In Insist on Electro-Voice microphones engineers in radio, TV, and the churches, auditoriums, schools and and speakers and let your audience movies have been dealing with it night clubs ... wherever people lis­ 10: 15 ­ MELODONS - Notre Dame High School, Niles, Illinois. hear you at your best. We'll let for years. ten critically. nothing stand in your way! Personnel: Leader - Rev. George Wiskirchen, C.S.C. Alto Sax - James Fesl, Jeff Pilarski. Tenor Sax Perhaps you've noticed that their And now Electro-Voice musical - James Feldman, Mark West. Baritone Sax - Gary Glowacz. Trombones - Ed Nieminski, John Red­ overwhelming choice is EJectro­ instrument loudspeakers have been man, Alan Sindelar, Michael Halpin. Mellophoniums - John Reschke, Ronald Sindelar. Tuba - An­ Voice. Surveys consistently show created to add a new dimension to drew Paul. Trumpets - Vic LoVerde, Dan Piller, Thomas Devitt, William Grubbe, Robert Glees. Piano more E-V microphones at major music. They are an integral part of A SUBSIDIARY Of CULTON INQUSTRIES, INC. organs, electronic saxophones, and - David Ciemega. Bass - Dan DeLorenzo. Guitar - Mark Madsen. Vibes - Stephen Adams. Drums new events than all other U.S. ELECTRO-VOICE, INC., Dept. 283CJ, - John Burkart, Thomas Kost. brands combined, for instance. the ubiquitous guitar. Carefully de- 687 Cecil Street, Buchanan, Michigan 49107

20 hi gh fidelity systems and spea kers • tu ners, am phliers, receivers. public address loudspeakers' microphones. phonograph needles and carlridges • organs. space and defense electronics 21 Archives of the University of Notre Dame

A DECADE OF '-'AZZ PRIZES

~ohn by Noel Collegiate ~azz Festival 1968 The Notre Dame Collegiate Jazz Festival, the oldest festival of its kind, celebrates its tenth anniver­ .. sary this year. Accepting only the ". • I' most qualified college jazz groups Best Overall Jazz Group - Trip to 1968 sponsored by Jos. Schlitz Brewing Co. from across the nation, selecting '" Down Beat Trophy. judges with knowledgeable critical ability, and awarding the most ., worthwhile prizes available, the CJF has established a tradition of .I excellence which is nationally re­ - $500.00 Cash Award. cognized. . Best Big Band ",.~ Selmer Benny Goodman Trophy. The success of the Festival can .~. Selmer Porta-desks. be traced to two factors. First, the CJF is committed to the belief that

the future of jazz, the one truly .,~\ American art form, will be influ­ enced by educated American art­ ists. The collegiate jazz scene of ~ today will have a great impact on the whole future development of Best Combo - $300.00 Cash Award. jazz. The CJF strives to foster this r. ~ .. Selmer Benny Goodman Trophy. development by presenting the fu­ ;. " I ture jazzmen of America and their " Outstanding Instrumentalist Full scholarship to National Stage Band Camp donated by Henry Mancini music to a large audience and by and the CJF. giving them the critical evaluation CJF Plaque. Brewing Co. and George Wein of ful to all of these people and hopes of the most respected jazz authori­ Outstanding Composer-Arranger - Full scholarship to Berklee School of Music, Summer Session, donated by the Newport Jazz Festival. It is ties. Of course, because the CJF is that their interest in the Festival Berklee. a competition, the college musi­ grateful to Down Beat Editor Dan will continue. CJF Plaque. cians learn from each other as well. Morgenstern for his invaluable as­ Because of its commitment to the The second factor contributing sistance. And, of course, the Festi­ Best Trumpet Player Getzen Flugelhorn donated by Getzen. to the success of the CJF is the vi­ future of jazz and because of its CJF Plaque. val would not be possible without tal support it has received from many supporters, the CJF has been Ray Brown, Oliver Nelson, Robert Best Trombone Player - Reynolds Trombone donated by Reynolds. many sources. The CJF is proud to able to achieve at least three educa­ be associated with the J os. Schlitz Share, and Gerald Wilson who took CJF Plaque. tional goals. The primary benefi­ time out from their very busy Best Flute Player - Artley Piccolo donated by Artley. ciaries of the Festival, of course, schedules to judge the CJF. CJF CJF Plaque. '68 has the largest prize purse in are the participants. They learn from the constructive criticism of Best Alto Sax Player - LeBlanc Alto Sax donated by Willard Alexander. the history of any collegiate jazz CJF Plaque. the judges as well as from the other festival because of the generosity participants. Moreover, to the best Best Tenor-Baritone Sax Player - King Tenor Sax donated by King. of the following donors: Willard CJF Plaque. Alexander, Artley, The Berklee groups and individual musicians the CJF generously awards prizes, Best Piano Player Compositions and donated by Bill Evans and The School of Music, Conn, Down Beat, as well as personal recognition Richmond Organization. Bill Evans, Getzen, Gibson, Goya, CJF Plaque. Kay, King, Ludwig, Henry Mancini, through exposure to a large audi­ ence. Secondly, the judges and pro­ Best Guitar Player Gibson Guitar donated by Gibson. Reynolds, The Richmond Organiza­ CJF Plaque. tion (ASCAP), Selmer, and Zildji­ fessional musicians who attend the an. Finally, CJF '68 wishes to thank Festival are given the opportunity Best Bass Player Kay Bass donated by Kay. CJF Plaque. the following people for their time to hear what is currently happen­ and advice: Rev. Carl Hager, C.s.C., ing in collegiate jazz. Finally, the Best Big Band Drummer - Ludwig Drum Set and Paiste Cymbals donated by Ludwig. Rev. Charles McCarragher, C.S.C., CJF audience benefits by hearing, CJF Plaque. Rev. George Wiskirchen, C.S.C., within the space of two days, nine­ Best Combo Drummer - Zildjian Cymbals donated by Zildjian. Mr. Robert O'Brien, Mr. Ken Mor­ teen top college groups perform CJF Plaque. ris, Mr. Mark Meyerson, Mr. Thom­ what is indicative of the future di­ Best Misc. Instrumentalist Playing date at a Chicago nightclub. as Bergin, Mrs. Joyce Bizot, Mr. rection of jazz. Participants, judges, Conn Plaque. Thomas Nelson, and Mr. Buck and audience alike find the CJF a CJF Plaque. Walmsley. The CJF is deeply grate­ most rewarding experience. Other Noteworthy Soloists - CJF Trophies.

22 23 Archives of the University of Notre Dame

SATURDA Y AFTERNOON SATURDA Y EVENING

March 9th, 1:00 p.m. March 9th, 7:30 p.m.

1: 00 - TUFTS UNIVERSITY CONCERT JAZZ BAND - Tufts University, Medford, Massachusetts. Personnel: Leader - Charlie Mariano. Alto Sax - Jonathan Charry, Michael Dubkin. Alto Sax, Bari­ 7: 30 - FINALIST COMBO tone Sax, Flute - Donald Pender. Tenor Sax - Dein Shapiro. Tenor Sax, - Elliot Childs. Baritone Sax - Michael Starr. Trombones - David Westphalen, Robert Niedbalski, Joseph Israel, Eric 7: 55 - FINALIST COMBO Pearson. Bass Trombones - Harry Altshuler, Gary Gordon. Bass Trombone, Tuba - John Doucette. Trumpets - Paul Collins, James Vinal, Martin Poole, John Klingman, Richard Latham. - Sam 8: 30 - FINALIST COMBO Alongi. Piano - Donald Grolnick. Bass - Claudia Hickling, Peter Salerno. Drums - William Graves.

1: 25 -- MEMPHIS STATE STATESMEN - Memphis State University, Memphis. Tennessee. INTERMISSION Personnel: Leader - Thomas Ferguson. Alto Sax, Clarinet, Flute - Buddy Skipper. Alto Sax - Kevin Gallagher. Tenor Sax - Steve Morrow, Jim Mahannah. Baritone Sax - Duvid Kelley. French Horns - Tony Cason, George Pokorski, Gene Williams. Trombones - Tom Salagaj, Phil Morgan, Dick Max­ P well, Martin Kamar, Danny Hollis. Trumpets - Reid McCoy, Mark Blumberg, Andy Woodard, Tom 9: 00 - FINALIST BIG BAND Swayzee. Piano, French Horn - Bob Westbrook. Bass - Fred Hester. Guitar - David Reilly. Drums R - Harry Beadle. 9: 25 - FI ALIST BIG BAND R

1.50 - MICHIGAN STATE UNIVERSITY JAZZ ENSEMBLE - Michigan State University. East Lansing. Mich. 9: 50 - FINALIST BIG BAND Personnel: Leader - George A. West. Alto Sax - Andy Goodrich, Ed Polhamus. Tenor Sax - Jerry o Kalber, James DeCamp. Baritone Sax - Mark Gridley. Trombones - Bill McDonald, Robert Berube, 10: 15 - CJF High School Contest Winner. G Jan Moorhead. Bass Trombone - Roger Smeltekop. Trumpets - Greg Hopkins, Eddie Meadow, Dan­ G iel Jacobs, Al Gazlay, Mike O'Sullivan. Piano - Glenn Stevenson. Bass - Dale Ehli. Vibes - Cary 10: 40 - Presentation of Awards. Kilner. Drums - Mike Johnson . R 2: 15 ­ M.I.T. CONCERT JAZZ BAND - Massachusetts Institute of Technology, Cambridge, Massachusetts. Personnel: Leader, Alto Sax - Randy Warniers. Alto Sax - Gary Tripoli. Tenor Sax - Dick Carter, MASTER OF CEREMO ES A A Chuck Fee. Baritone Sax - Nick Lawrence. Trombones - Richy Orr, Glenn Reyer, Churck Thorn. Trumpets - Greg Olson, Mike Throckmorton, Fred Jacobs, Tom Gibson, Nate Seely. Piano, French WILLIS CONOVER is perhaps the big band in Washin.gton, D. C. Horn - Bill Grossman. Bass - Larry Cohen. Piano, Bass, Violin - Stuart Shulman. Guitar - Fred best known jazz radio personality which was led by Joe Timer. For M M . For the past thirteen the past several years, he has been Milder. Drums - Ken Madell. years, his voice has been beamed a member of the Board of Director<=; all over the world as part of a most of the Newport Jazz Festival and INTERMISSION successful jazz show over the Voice has often handled the emcee chores. of America. The show has been so Conover was a judge at the 1960 well received by the people of oth­ CJF. 2: 45 - MARK GRIDLEY QUARTET - Michigan State University, East Lansing, Michigan. er countries that Conover has sev­ Recently, Conover has attempted eral fan clubs and is always given to become a performing artist. He Personnel: Leader, Flute - Mark Gridley. Piano - Glen Stevenson. Bass - Jim Kaye. Drums - Cam a diplomatic reception on his for­ quips, "I've heard so much music Phillips. eign tours. In addition to his Voice thatit acted as a sort of pllm p­ of America work. Conover presides priming, and brought my own mu­ 3: 10 ­ FARBER-GREENE QUINTET ­ University of Miami, Miami, Florida. over Voices of VISTA, a program sic out of me." On a Columbia sin­ Personnel: Tenor Sax-James Greene. Piano-Mitch Farber. Guitar-Rick Whitehead. Bass-Don heard weekly over 2000 U.S. radio gle. he is featured first as a whistler stations. He has also had regular in Far Off, Close B1/. and then as a Kaufman. Drums-Mike Stephans. radio shows on CBS and is a much narrator in The Empty Street'>. sought-after emcee, lecturer, and Guitarist Charlie Byrd <;lnd a strin.g 3: 35 ­ M.I.T. CONCERT JAZZ QUARTET ­ Massachusetts Institute of Technology, Cambridge, Massachusetts. jazz critic. He has written many section supply the accompaniment. Personnel: Leader, Trombone - Richy Orr. Tenor Sax ­ Dick Carter. Bass ­ Stu Shulman. Drums­ articles on jazz and liner notes for CJF '68 is very pleased to have .j azz . such a knowledgeable and experi­ Ken Madell. In 1951, Conover was involved enced personality present its colle­ with The Orchestra, a cooperative giate jazz groups to the audience. 4: 30 ­ Announcement of Finalist Big Bands and Combos.

24 25 Archives of the University of Notre Dame

The NOTRE DAME Ontario Suite COLLEGIATE JAZZ FESTIVAL BLUE Be GOLD Judges Sheet by Gordon Delomont Big Bands MOTOR LODGE orr. by Rusty Dedrick Appearance Time _ No. of playing musicians _ THREE PART Concerto Grosso for Jazz Ensemble with Name of Band _ Director _ Concert Band (13: 20 in length). Th is work was School _ City _ Slate _ commissioned for use at the Ontario Pavilion at the Air Conditioned Motreal EXPO '67. Exclusive worldwide selling Selections (1) _ (3) _ TV - Large Swimming Pool rights awarded to KENDOR by theCanadian Government. Room Phones (2) _ (4) . _

CLIP and SEND for your F R E E Complete (Judges chee evaluation in each category. Number one is highest) complimentary Condensed Score ..... STANDARDS 1 2 3 4 5 GENERAL REMARKS School Name : _ Phone 272-6010 204 Dixie Highway South Street: _ South Bend, Indiana BLEND AND BALANCE (Quality of ensemble sound or tone) City: _

State: Zip Code _ INTERPRETATION (Phrasing of the I "Closest to the Campus" music in proper style) KENDOR MUSIC, .NC. PRECISION (Do sections and band DELEVAN. NEW YORK U042 play together precisely?)

"QUICKIE CHICKIE" SOLOISTS (How imaginative and original?) 254 Dixie Highway North BIRTZ RINT-ALL OOg[g)(QJ[gJfQQJ[gj[g)[g}g]P'[Q]~ RHYTHM (Does band maintain Restaurant & Carry Out A COMPLETELY accurate rhythmic pulsation?) We Deliver . ~- .~ .. ~~~46"'.~.aS-t6 ENSEMBLE (How weU does it achieve 272-7616 NEW KIND or what it intends to?) ~~'i"\'.l ~"l"~~ §( 'i ~ 'l,1( Chicken - Pizza .bU~",l.c..:.~.02..o.:.!!:: ~ .!!:: & .!!::~ DYNAMIC (Does the band make most of Complete Breakfast STORI RAT dynamic contrasts and shadings?) = .\•.\.... '", '';? b 'b\". \".';( Coffee Shop Open 6 AM-1 PM ,\ -'~ u,"!'\', "'.J\. 1'\ A " MUSIC (Are the arrangements and !!!!!!!! RINTS !!!!!!!! compositions of a creative quality?) ~~n\;' Ctl~ n~1 ,':-.1 C"f~ .. ~ ...... """';.'1 -:;.11:'~1.J ·""1.?lr_ .• ~.. ,fjo!YH

(AlM~T) IVIRl'T ING INTONATION (Are the instruments ..~I. I~. ~I C J F '69 1~ .i.~~'~ ~ in tune with each other) V'.r1 I rJ

Needs YOU NEED rOR TOTAL POINTS

Jazz Enthusiasts Tools of all kinds, yard equipment, television, party IUp­ Comments: _ Living in the Midwest pll". side room tqujpm~nl. baby ond guest need" heollh ond redudng oid$. Interested in Helping with Area Publicity HERTZ RENT-ALL ,oh.. , ore surpri,ingly low. Stop _ In or phone for who lever you nee-d Ask for Information Prompt Oeliv.ry 30'2 Lincoln Way hut, South Bend. Ind. at the Program Table. Phont 232·1444, After 6 p.m .. 272-2672

26 27 III Archives of the University of Notre Dame

NOTRE DAME COMBOS COLLEGIATE JAZZ FESTIVAL

Judges Sheet BALL STATE UNIVERSITY Combos JAZZ QUINTET Trombonist Dave Pavolka makes Appearance Time _ his second appearance at the CJF, 10. oC playing musicians _ this time with a group of his own. Name of Band _ Last year, after four years as a mu­ Director ------sician in the Navy, he appeared as School _ City _ State the "Plus One" in the John Cascel1a ------Trio + One, and won the Best Selections (1) _ (3) _ Trombonist Award. Eight months (2) _ (4) _ ago, these five music majors reor­ ganized to form the third different group to represent Ball State Uni­ (Iu dgcs check evaluation in each category. Number one is highc8t) versity at the CJF.

TANDARDS 1 2 3 4 5 GENERAL REMARKS

GENERAL MUSICIA SHIP

OVER-ALL CREATIVITY (Originality and imagination) MARK GRIDLEY QUAR"rET The Mark Gridley Quartet is the SOLOISTS fourth different combo to represent Michigan State University at the CJF. The group is a recent brain­ RHYTHM SECTION storm of psychology maior Gridley, who plays the flute and writes for the group. None of the members ENSEMBLE (How weU does it are music majors, but all have had achieve what it intends to'!) playing experience with other groups in the MSU area. TOTAL POINTS

Comments:

THE HIPPS·EVERMAN GROUP WITH STRINGS The "Strings" in this trio are played by bassist Dennis Gardino. Already a familiar face at the CJF, Mr. Gardino played here with the Melodons in '63, '64, and '65, and in 1966 he played with the Ed Sheftel Combo which won the CJF Best Combo Award. The group has been together about a year. After ex­ perimenting with several drum­ mers, they decided that they could best express themselves without one. Pianist Jon Hipps writes for the group, and they also play com­ positions by Miles Davis, Henri Bergson, Wayne Shorter, Charles Lloyd, and Ornette Coleman.

28 29 • Archives of the University of Notre Dame

MIKE PEDICIN, JR. QUINTET The Mike Pedicin, Jr. Quintet, composed of five students from the Philadelphia Musical Academy has been together for two years. In that PAUL ZIPKIN TRIO time, they have become quite well Paul Zipkin, a music major at known in their home state, per­ Reed College, Portland Oregon, forming in numerous concerts and formed this trio 7 months ago. They television shows. In February, play compositions by saxophonist 1967, they won the Villanova Jazz Zipkin, and by pianist and psychol­ Festival, and at that event Steve ogy major Larry Karush, who won Weiner was voted Best Trumpet. a Rockefeller Foundation Award This is their first appearance at the for Composition in 1967. The new­ CJF. Composition major Pedicin est member of the group is their and piano major Steve Friedkey electric bass player, Miss Laura write for the group, and they also Fisher, an English major. play compositions by Herbie Han­ cock, , and Thelonius Monk.

M.I. T. CONCERT JAZZ BAND The Massachusetts Institute of Technology Concert Jazz Band makes its third straight appearance JAC MURPHY TRIO at the CJF this year. The average age of the musicians is 19, and they Another school is added to the are mostly students of science, CJF's list of participants with the math, and engineering, since the Jac Murphy Trio representing school has no music department. Southern Methodist University. Organized in 1961, the band plays The three music majors got to­ several concerts each year at MIT gether six months ago, and since and in the Boston area, and they then have played dates at "The Vil­ have appeared on Boston educa­ lager" club in Dallas, Texas. Mur­ tional television. Their director is phy, a piano major at SMU, is re­ Mr. Herb Pomeroy, nationally re­ sponsible for the group's arrange­ cognized music educator and a ments and compositions. member of the faculty of the Berk­ lee School of Music in Boston.

DOMINIC JAMES QUARTET The appearance of the Dominic James Quartet marks the third BOB LAH SEXTETTE FARBER-GREENE QUINTET straight year that a combo has rep­ The Bob Lah Sextette, composed Both Mitch Farber and James resented the University of Illinois of six music majors from Roosevelt Greene, the co-leaders of the group, at the CJF. Leader James Cuomo University in Chicago, has been to­ have appeared at several previous appeared last year with the group gether 11/2 years. An unusual fea­ CJF's with groups from Indiana led by Larry Dwyer. The group, ture of the group is the use of two University. Now, they are both do­ consisting of five music majors, was amplified . Pianist Lah and ing graduate work in music at the formed nine months ago and write for the group, U. of Miami under the instruction achieved some notoriety at the Mu­ the second combo to represent of another Indiana U. graduate, sicircus organized by John Cage at Roosevelt University at the CJF. Jerry Coker. Greene has won the U. of I earlier this year. Their com­ Best Tenor Sax award at CJF '65 positions are done by Cuomo, trum­ and CJF '67 as well as the Best peter James Knapp, and pianist Arranger award at CJF '67. All Mitch Hennes. Cuomo and Knapp, members of the group are music both composition majors, have re­ majors except bassist Don Kauf­ ceived numerous awards and com­ man who is doing graduate work missions at U. of I., both for jazz in chemistry. and serious composition.

30 31 Archives of the University of Notre Dame

TH BIG BAND FROM NOTRE DAME THE

For the 'ninth straight year, the and Oak Lawn and Mundelein, Il­ National Catholic Bandmasters' As­ CHICAGO FIRE CJF is proud to present the MELO­ linois, Their recent accomplish­ sociation, Coordinator of Instru­ The "Chicago Fire" came to DONS of Notre Dame High School ments include a clinic for a con­ mental Music for schools in the Notre Dame's Stepan Center on for Boys, Niles, Illinois, These 23 vention of Army Bandmasters at Archdiocese of Chicago, and a reg­ March 3. The eight-piece "blues­ musicians form the top jazz group the Sheraton Hotel in Chicago last ular columnist for Down Beat rock-jazz aleatory band" consists in an extensive instrumental pro­ January, and a concert with Sonny Magazine. of an electric flute, two guitars, a gram involving over 200 students Stitt in Niles, IlL on February 10, bass guitar, an electric cello, per­ from the fourth grade through high The Director of the MELODONS Some of Father Wiskirchen's past cussion, an electric organ, a vocal­ school. Since their establishment is Rev. George Wiskirchen, C,S.C. accomplishments include a faculty ist, and a tape recorder. The group in 1958, the MELODONS have been Father Wiskirchen is Di:rector of position at the Eastman School of played compositions representing one of the outstanding high school Instrumental Music and Head of Music, direction of the Northwest­ almost every musical idiom from jazz bands in the Midwest, winning Public Relations at the High ern University Jazz Ensemble, be­ classical to rock, lending support to contests in Milwaukee, Wisconsin School, and is also President of the ing named Outstanding Band Di­ and illustrating a lecture on im­ rector at the Chicagoland Stage provisation by the leader of the Band Festival of 1967 and one of "Chicago Fire," William Russo. The the 10 outstanding band directors major work performed was "The in the nation by The School Musi­ Civil War," a composition by Rus­ cian magazine, the authorship of 3 so. books on stage band development As the December 29 Time article and co-authorship of a trumpet pointed out, Russo's recent interest method manuaL He has also served in rock and blues completes his as a judge at CJF '65. His educa­ very broad musical background. tional abilities, evidenced in the Between 1950 and 1954, Russo was countless clinics he has given and a solo trombonist with the Stan band contests which he has judged, Kenton Orchestra and was a major plus the talents of his youthful mu­ composer-arranger for the band in sicians, are reflected in the out­ '53 and '54. Since 1955, much of his standing performance of the MEL­ time has been devoted to compos­ ODONS. The warm reception giv­ ing jazz symphonies, ballets, and en them at past Collegiate Jazz WHAT IS AZZ? operas. In the past few years, Rus­ Festivals makes them a welcome so has been a guest conductor of addition to CJF '68. In an effort to contribute to the grounds, personalities, and aims of the London Jazz Orchestra several understanding of the educational pop and jazz musicians? times. On the classical side, his HIGH SCHOOL CONTEST and cultural impact of jazz on the The second session of this year's Symphony No.2 in C, Opus 32 musical scene in America, CJF '67 symposium will tend to be more (Titans) has been performed by WINNER PLAYS AT C,",F initiated the Notre Dame Sympo­ technical than the first. How much Leonard Bernstein and the New The success of last year's CJF the privilege of performing at the sium on Modern Music. CJF '68 freedom should the jazz composer­ York Philharmonic and his English High School Stage Band Contest Saturday night finals. explores "The Current State of arranger allow his soloists? Are Concerto was performed at the 1963 has moved the event into its second This year's participating schools Jazz, Part II" in two sessions on supporting lines from the group Bath Festival in London. Present­ year. Eighteen Indiana high school are: specific topics. being replaced by near silence, al­ ly, in addition to his work with the bands will compete on Saturday, John Adams H.S. of South Bend lowing the soloist total freedom? "Chicago Fire," Russo leads the March 9, from 9: 00 a.m. to 4: 00 New Carlisle H.S. of New Thursday, March 7 What elements is the jazz com­ "Chicago Jazz Ensemble" which p.m. before judges Rev. George Carlisle 7:30 p.m.-Pop and Jazz: poser-arranger borrowing from has to its credit performances on Wiskirchen, C.S.C., Mr. Paul Tolos­ LaVille H.S. of Lakeville Fission or Fusion? other musical forms? How will new television and at Chicago's North ko, and Mr. Robert O'Brien at Mar­ North Liberty H.S. of North Saturday, March 9 instrumentation and rhythms and Side Ravina Festival. Russo is also ian High School in Mishawaka. Liberty 10:00 a.m.-The Role of the Jazz quarter tones be incorporated into Director of the Center for New Mu­ Each band will be rehearsed by one Plymouth H.S. of Plymouth Composer-Arranger jazz composing-arranging? sic at Columbia College in Chicago. of the judges following its perform­ Mentone H.S. of Mentone Both sessions are being held in ance. Father Wiskirchen will give North Judson H.S. of North The Thursday evening session Notre Dame's new Kellogg Center a clinic on stage band techniques Judson dealt with several important ques­ for Continuing Education. Sympo­ for all participants following the Crown Point H.S. of Crown Point tions. Are pop and jazz coming to­ sium Chairman Dan Morgenstern, contest. Elmhurst H.S. of Fort Wayne gether to form one music? If so, Editor of Down Beat, will intro­ The prizes for the contest have Donald E. Gavit H.S. of to what extent? What would be duce each topic with some general * * * been donated by H. & A. Selmer, Hammond the ingredients of such a music? Or, remarks and then ask each mem­ AFTER Inc. First Division winners receive Tolleston H.S. of Gary are the aims and forms of pop and ber of the panel to make comments. FRIDAY EVENING plaques, and the Best Band will be North Side H.S. of Fort Wayne jazz so far apart that any real fu­ At the end of each session, the audi­ presented with the Selmer Benny Marion H.S. of Marion sion is impossible? Will pop and ence will be allowed to ask ques­ CJF SEMI-FINALS Goodman Trophy and a set of Sel­ Muncie Central H.S. of Muncie jazz form a continuous spectrum, tions. The symposium is free and mer Porta Desks. Last year's Best Warren Central H.S. of Indi­ with extreme elements of each open to the public. * * * Band was from Lincoln High anapolis broadening the spectrum, and with The discussion panel consists of Adm ission $2.50 School of Vincennes. They were Crawfordsville H.S. of other elements merging in a "gray" the CJF judges-Dan Morgenstern. guest performers at the Saturday Crawfordsville area where it is impossible to de­ Ray Borwn, Oliver Nelson, Robert Free Sch Iitz Beer night finals of the CJF and were Lawrence Central H.S. of fine one or the other? What are the Share, Gerald Wilson - and Carl very well received by the audience. Indianapolis differences and similarities be­ Hager, C.S.C., Head of the Notre Once again, the winning band has Lincoln H.S. of Vincennes tween the e due a t ion a I back­ Dame Music Department.

32 Archives of the University of Notre Dame

LOOKING AHEAD makeup, jazz should be urged back (Cont'd from Page 10) into the popular arena. jazz can offer vastly more. It is here that the question of To return to my original ques­ rapprochement between jazz and tion, a rapprochement between jazz pop music reaches its critical phase. and pop music could provide a It seems to me enormously more number of interesting results. Let's important that jazzmen continue in consider the more positive ones the directions they have been mov­ first: Obviously it could provide an ing for the last few years. Specifi­ ~lWD'V AM-FM enormously broadened tonal pal­ cally, in the directions suggested by ABC R.A.DZO ette for the jazz composer. Most of such as John Coltrane, Cecil Tay­ the younger (and older) pop ar­ lor, Albert Ayler, Ornette Coleman, rangers have been willing to try et al. From those directions it may just about any combination of well be that a meaningful, as op­ sounds, from quasi-Baroque to elec­ posed to a popular, aesthetic will Listen to tronic and musique concrete. Ima­ emerge. Hopefully it will be one gine what a good jazz writer could that extends the jazz tradition THE FRAI\IK SAULlI\IE JAZZ SHOW do if he had a similar artistic lati­ without being restricted by the Serving Business & Industry tude! A jazz and pop rapproche­ more rudimentary forms and pro­ Since 1946 ment could also provide new har­ cedures of early jazz, one that has Every Sunday Nite monic material for improvisation. within it a point of reference clear The special relevance of such mate­ enough so that audiences can un­ 8 - 9 p.m. rial would be in the way it might derstand and respond to the process ----DIAL---­ exceed the usual limits of popular of improvisational creativity, and, 288-8386 song form, with uneven meters, finally, one that is lasting enough non-cadential harmony, and even so that jazz will become less sub­ WNDU-Radio Dial 1 490 520 S. MICHIGAN occasional modality thrown it. ject to the damaging internal ex­ The most potentially beneficial plosions that always seem to rouse result, of course, doesn't have much cries of protest from its most fer­ to do with the music. It is, as a vent supporters. number of jazzmen have already To pass up this possibility for the discovered, that a wider audience transitory glories of popular ac­ becomes accessible. ceptance would be to misunder­ At the other end of the scale are stand the nature of jazz. But it isn't equally important considerations: going to happen. For every player it seems to me self-evident that who accepts the bait, makes the re­ what is truly useful in the ideas quired adaptations for his new pop discussed above will in some form audience, and arrests his own cre­ nns become a part of the basic jazz vo­ ative drive, there will continue to Haus be musicians who will progress to­ cabulary (and, in fact, recent re­ cordings suggest that this is already ward the creation of an improvisa­ 2803 So. Michigan St. true). Certainly anything which tional art music. widens the potential area of ex­ I do not mean to deprecate what Phone 291-5522 pression for an improvisatory mu­ is happening on the current pop sician is all to the good. scene. (Although distinctions are What is not so good is the possi­ made there, too. I suspect that the German Food bility that the use of pop materials Mothers of Invention are not sell­ will be limiting rather than ex­ ing as well as, say, Paul Revere and Our Specialty panding, and that it may easily be­ The Raiders or The Beach Boys.) come an end in itself. Jazz is at a But I can recall similarly adventur­ particularly crucial point in its his­ ous periods in which television was torical development, and the idea going to initiate a new era in dra­ German of popular acceptance is especially ma, or the arrival of a new Pinter DII\IE IN OR CARRY OUT appealing; but it is also especially play meant that the theatre had be­ 130 Dixie Way North threatening to the deeper aesthetic come rejuvenated. Alas, the thea­ tre, locked into its own inexorable Next to Holly's that jazz has been reaching toward THE HARMONY COMPANY in the last few years. economic bind, is still a long way 46GB Soulh Kohn Avenue- Chicago. III. 60632 The recent "popularity" of Indi­ from any of those happy develop­ Pizza - Sandwiches - Sa/ads ments. an classical music has demonstra­ NAME AC£ ted that there is another improvisa­ Pop music, as vital and alive as Monday-Thursday 4-12 p.m. tional/rhythmic music in the world it may be today, is subject to the '" boWEEI same potentially bitter disappoint­ Friday-Saturday 4-1: 30 a.m. - one that possesses the kind of CITY tradition and aesthetic purpose that ments. Fortunately jazz has other Sunday 4-11 p.m. Serving Business Men's Luncheons jazz is only now beginning to un­ options available, options which In.... tlf cover for itself. It is, therefore, will continue to be taken by adven­ Phone: 272-6017 turous, creative musicians. Open 10:30 a.m. to 10:30 p.m. ironic that at the very time it at­ tempts to make a decisive break - (Reprinted from STORE ADCRESS "NO CITY NOf.' Closed Sundays and Holidays with the kitsch elements in its Down Beat's MUSIC '68)

34 35 Archives of the University of Notre Dame

RISE AND FALL OF THE TENTH REICH LOOKING BACKWARD

If the faces on this picture look In 1959, Notre Dame introduced Pennsylvania a little weary, bear in mind that the nation to a new facet of music. Tennessee for everything that went well for For the first time, college jazz Texas CJF '68, at least four things ended groups competed against each other Virginia in disaster. And the "windfalls" in front of authoritative judges and West Virginia that did occur, wouldn't have come a large audience. That first CJF Wisconsin about without a great deal of pub­ consisted of fifteen groups from In the last two years the CJF has lic relating and academic soul-sell­ four states, competing for four initiated several major innovations. ing. On the bright side, ten years' small cash prizes. Within the span The Notre Dame Symposium on experience has set some precedents of a few years, however, the CJF Modern Music was established last and established some contacts that became a major national music year in an effort to supplement the make it easier for the next year's event. With nineteen groups from educational value of the Festival. staff to work the minor miracle ten states and a most impressive CJF '67 and H. & A. Selmer, Inc. that is CJF. Front Row: John Noel, Chairman (seated); Ed Huck. Business Manager; Robert Spaulding, Prizes Chairman; Irene list of judges and special guests, also co-sponsored the first CJF Sullivan. Production; Charles Neuhauser, Production Chairman. Back Row: Gregory Mullen, Assistant Chairman; CJF '68 certainly presents the most The 1968 edition of the CJF be­ Dr. Richard BilOt, Faculty Advisor; Jack Evans, Applications Chairman; Mike Schoo, Applications; Mark Simpson, High School Band Contest in order gan, of course, on March 5, 1967, Applications; Curt DeClue, Publicity; John Simna, Publicity; Paul O'Mara, Advertising Chairman; Sue Szita, national character of any of the to encourage the expanding high as soon as CJF '67 was history. The Publicity; Thomas Schetter, High School Contest Chairman. Not Shown: Sue Hoeval, Secretary; Dennis Reeder, collegiate competitions. After ten school stage band movement. Fi­ sophomores and juniors who were Publicity Chairman; Stephanie Stanitz, Art; Molly Morell, Secretarial Assistant. Festivals, the CJF has hosted al­ nally, the Jamey Aebersold Sextet left holding the bag began simul­ most two hundred groups from the introduced the Notre Dame student There were hundreds of phone comes up with an irreconcilable following states: body to a new CJF policy designed most broadly representative panel taneously to fight for a Festival possible. This year's panel includes date at the calendar office, and to calls to make, thousands of mail­ conflict, the group that loses its fi­ Arkansas to demonstrate the elements of jazz ings, and gas mileage and shoe nancial backing, the program lay­ California by a pre-Festival concert-lecture. a brass player, a rhythm player, try to fill the holes in the staff left two composer-arrangers, an educa­ by departing seniors. Then came leather beyond any measuring. out that comes out a half-page off Colorado CJF '68 has continued last year's There were meals missed, classes -things like these occur with in­ District of Columbia innovations and added some of its tor, and a critic. the year-long battle to secure judg­ The following is a list of jazz au­ es, prizes, and an m.c., and to han­ missed, exams missed, and a sched­ creasing frequency up to and in­ Florida own. This year's prize list, worth ule that left no place for sack time. cluding the weekend of the Festi­ Illinois over $7000, represents the largest thorities who have judged the CJF: dle applications, production, publi­ Musicians and Composers city, the program, the symposium, But all of these things are taken in val. But somehow, some way, it Indiana prize purse in the history of any stride by the seasoned CJF staffer. comes off every time. And the sat­ Iowa collegiate jazz festival. It is also Cannonball Adderley the jam session, the high school Manny Albam contest, and the millions of details There's just one thing that will isfaction of seeing the Festival Kansas the first time the Best Overall Jazz never be palatable: the ever re­ really happen, after all, is ample Maryland Group will receive a sponsored trip Ray Brown that stand in the way of all of Donald Byrd these. curring Disaster. The judge who payment to the staff of CJF '68. Massachusetts to the Newport Jazz Festival. In Michigan regard to the actual competition, Terry Gibbs Minnesota the CJF has established a new poli­ Herbie Hancock Missouri cy allowing electronic devices to Paul Horn Nebraska augment the instrumentation of Quincy Jones New Hampshire the groups. Over the years, the CJF Stan Kenton New Mexico has increased the size of its judging Henry Mancini New York panel to include six jazz authori­ Gary McFarland Ohio ties. This was done in order to give Oliver Nelson Oregon the participants the advice of the Johnny Richards William Russo George Russell Lalo Schifrin GOYA MUSIC Billy Taylor "the World's Finest Guitar" Art Van Damme Gerald Wilson Critics and Educators Willis Conover Don DeMicheal Leonard Feather Frank Holzfeind Arif Mardin Write for Catalogue Dan Morgenstern Robert Share 53 West 23rd Street Charles Suber New York, New York 10010 Robert TrendIer George Wiskirchen, C.S.C. In short, the Notre Dame Collegi­ ate Jazz Festival has achieved prominence on the national college scene in its first decade; perhaps in the next decade it will establish an even broader base for the explora­ tion and promotion of jazz.

36 3'1 Archives of the University of Notre Dame

There's a way to wear a suit most of Welcome to the the year. Instead of having it spend Restful Comfort of half its time in a garment bag. Our way. The Worsted-Tex way. To be specific: The Ten-Monther by Worsted-Tex. The most versatile suit you'll ever wear. Light enough for warm days, comforting for cool days. ~OWARDJONnson'S Tailored with all the extra quality that only Worsted­ Tex can provide. Custom fitted by our expert fitters, MOTOR LODGE these Worsted-Tex masterpieces start at only 52939 U.S. 31, No., South Bend, Indiana 46637 Telephone: 272-1500 Selmer Presents the Coveted Benny Goodman Stage Band Award

Thousands of musicians eagerly vie for the highly coveted Benny Goodman trophy at school stage band competitions and collegiate jazz festivals throughout the country. They know that winning this award, which is identified with two of the greatest names in music Len Davis, Manager making - Benny Goodman and H. & A. Selmer, Inc.­ is a true mark of superior performance. In recognition of the importance of the Notre Dame Collegiate Jazz Festival, Selmer is proud to again participate in the event by awarding this trophy. The handsome prestige-building trophy, specially designed for presentation to outstanding school mu­ sicians, stands nearly 15 inches high and has a mir­ WSND ror polished silver finish. Its free-flowing sculptured form represents a modernistic treble clef sign mount­ ed on a walnut base with a plaque that can be suitably AM FM engraved. 640 k. c. 88.9 m. c. Nocturne Ma in st ream $tlmtr The Sound of Music, in this case ELKHART, INDIANA Jazz, at Notre Dame

l-lJ=SNC:>C:~~ Westinghouse Broadcasting

38 39 Archives of the University of Notre Dame

GATES CHEVROLET CORP.

Camara SS Sporl Coupe with 396 VB

CAMARO SS Think we're putting you on? Come see the Camara SS Sport Coupe "Hugger" in our Chevrolet Sports Department. the SPORT COUPE! wide grille accented with new sport striping ... the red-stripe The cost of Iiving-it-up wide-oval tires. Settle back in vinyl clad buckets. Take a 350- or 396-cubic-inch VB "Hugger" on a demon- is a lot less than stration drive. Tryout the beefed-up Camara SS suspension. That's living in the you think "Hugger," SS version. And we've got it at a price you can snuggle up to.

GATES ~ CHEVROLET CORP.

333 WESTERN AVENUE SOUTH BEND, INDIANA 46601

Telephone 288-1421