mus, the UFPE hand-chime ensemble under the direction of Dr. Flavio Medeiros. Students people and places also had the opportunity to participate in a va- riety of community-based workshops including pandeiro lessons with Claudio Santana, ma- AUSTRALIA April 11–21 in the Academic Hall, which was racatu workshops with Corpos Percussivos di- ptimum Percussion (Carolyn Watson, also the host location of the Universal Marimba rected by Jorge Martin, and samba classes with Eisteddfod Coordinator) presented the Competition in July. This Academy was open Monobloco under the direction of Celso Alvim. O12th Annual Australian Percussion Eisteddfod for intermediate, advanced, and professional The exchange was the concluding project of on August 27–28 in Sydney. Adjudicators and marimba players and provided a great oppor- the five-year Music Alive! FIPSE-CAPES clinicians included James Campbell (University tunity to take private lessons with marimba grant for student exchanges and collaborative of Kentucky), Gray France (Australian Na- virtuoso Ludwig Albert and assistant Lin Chin projects between West Virginia University, tional University, PAS Australia Chapter Presi- Cheng. The Academy hosted students from East Carolina University, Universidade Federal dent), Sergei Golovko (Melbourne Percussion Poland, Uruguay, Hong Kong, Bulgaria, South do Pernambuco, and Universidade Federal do Ensemble School and Marimba Academy), and Korea, Taiwan, Mexico, Japan, Thailand, Spain, Rio de Janeiro. Supplemental funding for this Allan Watson (Australian Opera and Ballet Tenerife, Serbia, and Belgium, who shared the exchange was generously provided by the West ). Each year, Optimum Percussion closing concerts with the lecturers. Adams, In- Virginia University College of Creative Arts holds the Australian Percussion Eisteddfod in novative Percussion, Concorde, and Pustjens and East Carolina University. Sydney, Brisbane, or Melbourne, where primary Percussion Products co-sponsored this event. CANADA and high school students can compete in solo The next edition will take place in July 2012; for or ensemble events. Schools and percussionists information visit www.ludwigalbert.com. n celebration of the 40th anniversary season of from all over Australia have attended this event Nexus, two back-to-back performances were BRAZIL since its inception. Igiven by the Toronto-based quartet on July 31 embers of the West Virginia University as part of the Ottawa International Chamber alactic drummer Stanton Moore recently African Music and Dance Ensemble Music Festival Chamberfest at St. Brigid’s completed a clinic/performance tour of (MZane Cupec, John Lofink, John Posey) under Centre for the Arts. The first performance was GAustralia, where he delighted drummers with the direction of Dr. Michael B. Vercelli par- a full Nexus solo concert featuring works by his New Orleans-flavored funky style. Stanton’s ticipated in a three-week cultural exchange to Steve Reich, John Cage, and Nexus member appearances were part of the Drumscene Live Recife and Rio de Janeiro May 19–June 9. Col- Bill Cahn, as well as several of the group’s sig- Australia Tour 2011, sponsored by Drum- laborating on the exchange were Dr. Christine nature novelty ragtime xylophone arrangements tek, the country’s largest percussion retailer. Gustafson (flute, East Carolina University), Dr. featuring Bob Becker. Also joining Nexus for From Aug. 14–21 Stanton and his tour mates Michael Sammons (percussion, University of this event was the Canadian percussion group crossed the continent, entertaining drummers South Alabama), Dr. Sergio Alvares (ethno- Torq. in Brisbane, Sydney, Canberra, Newcastle, and musicology, Universidade Federal do Rio de CHINA Adelaide. They finished up at the 2011 edition Janeiro), and Dr. Mauro Maibrada (guitar, Uni- of Australia’s Ultimate Drummers Weekend & versidade Federal do Pernambuco). Workshops r. Michael B. Vercelli (West Virginia Drum Expo in Melbourne, where Stanton con- and master classes were presented at the UFPE University) was in residency at the Central ducted master classes on Aug. 20 and closed the and UFRJ on African percussion (Vercelli/ ConservatoryD of Music, Beijing China from show on Aug. 21. WVU African Music and Dance Ensemble), June 25–29 (Prof. Zhang Boyu, host). The resi- snare drum (Sammons), flute (Gustafson), gui- dency concluded a two-year project centered on BELGIUM tar (Maibrada), the Brazilian Choro (Alvares), Internet-based instruction of the gyil (Ghana- he fifth edition of the Ludwig Albert In- maracatu with UFPE Professor of Percussion ian xylophone). Workshops and lessons focused Tternational Marimba Academy took place Antonio Barreto, and a performance by Txai- on gyil repertoire and hand drumming tech-

Stanton Moore Ludwig Albert, Lin Ching Cheng and students at the Ludwig Albert International Marimba Academy

OCTOBER 2011 4 percussion newS www.pas.org nique and performances by individual CCOM to soloing while demonstrating the classic way students. of playing danzón. Drumset was taught by Juan Carlos Rojas “El Peje” (Chucho Valdez CUBA drummer) and session drummer Oliver Valdes, oSA Cuba held its annual workshop and each exemplifying his own creative approach to festival March 6–13. The week started with Cuban rhythms on the drumset. Assisting with Ka conference and an introduction to Cuban translation and “hands on” instruction were music by ethnomusicologist Dr. Olavo Alen, Aldo Mazza and Memo Acevedo. followed by a personalized introduction tour Highlights of the workshop were a special to Old Havana and other historic sites. Conga class with Cuban percussion group Percuba drum classes were conducted by Tomas Ramos Ensemble teaching rumba and traditional con- “El Panga” Julio Lopez from Klimax, Yaroldi cepts in performance, and seeing Amadito Val- Abreu from Irakere and Chucho Valdes. Tim- dés, Oliver Valdes, Jesus and Yuliet Abreu from bale classes were conducted by Jean Roberto Los Papines and Enrique Pla do an impromptu Figueroa from Klimax with his personal jam/descarga. KoSA participants were also “timba rhythm” approach to that instrument. given the opportunity to see live performances Special guest Roberto Smith, the inventor of with top Cuban artists and dance troupes the new foot maraca shaker manufactured by throughout the week. The winners of the na- LP, demonstrated the ultimate independence tional percussionist contest performed live and in performance as a solo percussionist covering received prizes of drums, congas, timbales, bon- all the percussion parts. Legendary timbalero gos, and cymbals offered graciously by sponsors Amadito Valdes of Buena Vista Social Club LP, Sabian, Evans, and Mapex. fame spoke about his philosophy and approach In Memoriam David Searcy By Michael Quinn

avid Searcy, timpanist of the La Scala Opera Dorchestra for more than three decades, died on August 2, 2011, after a long illness. David was a singular authority among col- leagues all over the world, and for many young timpanists and percussionists an inspiring teacher and fatherly friend. His playing career, both lyric and symphonic, and his innate musical curiosity made the scope of his knowledge of the repertoire probably the broadest, and his interpretation of that repertoire the deepest, of any timpanist ever. His never-flagging interest in music history fueled his conviction of the worth of tradition in an ever more unsettled world, and he looked always to pass on the cultural heritage of his instrument and its practice to those who sought his pres- ence. Born in Richmond, California, on January 21, 1946, David first studied in his home city of Oakland, and in his teens was a student of Roland Kohloff. In 1964 he went to Tanglewood, then remained on the East Coast to study with Vic Firth, and in 1965 gave in to a long-held wish to play in Europe when a timpani opening in the Musikselskabet Harmonien in Bergen, Norway, made the move possible. Two years later he was looking for new challenges, other concepts, and a new artistic orientation. In Vienna he studied with Richard Hochrainer, and then found his true mentor and guide in Robert Hinze in Hamburg, Germany. In 1968 he became solo timpanist of the Bavarian State Opera in Munich, where he re- mained until 1972 when Claudio Abbado invited him to join the orchestra at La Scala. Later, when Abbado founded the European Youth Orchestra and the Gustav Mahler Youth Or- chestra, David was his first choice for a percussion tutor. From 1980 until his death, David guided the percussion class at Milan’s Civic Music School. Here, he formed a whole new generation of timpanists for Italy and Europe, and a few more distant parts of the world as well. He was also visiting Professor at the Royal Acad- emy of Music in London. David brought a wholesome fantasy into the world and no one, not even his peers, ever left his company without taking away some bit of knowledge that made music, or playing, or even life, a bit clearer and more meaningful. For that we’ll be ever grateful to him. www.pas.org percussiON nEWS 5 OCTOBER 2011 ITALY fort. Festival Creative Director and internation- USA n April 2–3, KoSA held its first official ally known French/Algerian drummer Karim Alabama workshop in Turin in collaboration with Ziad shared drumset duties on this second he 5th Annual JSU Grey Drummers Othe GM Drum School in Torino, directed by concert. Between Worlds included Broto Roy Summer Gig was held June 23–25 at Gigi Morello. Aldo Mazza (Repercussion, on tablas. TJacksonville State University. The Grey Drum- KoSA Founder and Artistic Director) and mers are part of the band alumni organization SERBIA drumset artist Sergio Bellotti (Berklee College known as the Grey Echelon. The Marching of Music) were invited to lead and instruct a he Stankovic Percussion Ensemble has Southerners of JSU is entering its 55th year in two-day intensive workshop covering the topic been very active this year, playing over 60 2011. Spearheaded and organized by Daniel “it is about the groove.” Covering a broad range Tconcerts in Serbia and Montenegro. In Febru- Hammond, the Summer Gig has grown every of topics, from drumset to hand and world per- ary Jeff Queen presented a clinic and two con- year since its inception. Clinics were presented cussion, the classes included both performing certs with the SPE Drumline in Belgrade and by Richard McLendon (I.P. Educator Artist and interactive sessions. Novi Sad. In July the group had guests from and JSU graduate), Hammond ( JSU graduate), At the end of the first day, the 50 partici- Southern Missouri University and Illinois State Jim Dinkins (DCI percussion judge 1977–97), pants in Torino were treated to a live video University for a five-day workshop, clinic, and Clint Gillespie ( JSU Assistant Band Direc- connection to New York where KoSA artist two performances with the ensemble. Clini- tor and JSU graduate), special guest speakers alumnus and digital media expert Allan Mol- cians were Matt Brusca, Josh Zimmer, Gregg John C. Smith (Hawthorne Caballeros Alumni nar facilitated a live interactive video discussion Walker, Arthur Johnson, and Kevin Ranney. Drum and Bugle Corps, Hawthorne, NJ) and with KoSA alumni faculty artists Mike Main- The clinic was supported by the U.S. Embassy Bob Peterson (Hawthorne Caballeros and the ieri, Marcus Santos, Michael Wimberley and in Belgrade. Two Serbian graduate students World Drum Corps Hall of Fame), Dr. David Jim Royle. will continue their studies in the U.S. Milos L. Walters ( JSU Band Director Emeritus), and The two-day intensive workshop culminated Branisavljevic received a full scholarship to the Daisy Cordona ( JSU graduate). in a public jam session at a local club in the Berklee College of Music, and Igor Stojanovic The three-day event included music section- famous Piazza Immanuele. Bellotti and Mazza received a full scholarship to Benedict College. als, full ensemble music rehearsals of the drum were joined by local musicians in an evening of music played by JSU drum lines over the years, SOUTH KOREA jamming and hanging with many students and clinics, and social activities. JSU percussionists local musicians. he Taiwan International Percussion from 1956 to the present were in attendance KoSA Italy sponsors were LP, Sabian, Pro- Convention (formerly the Taipei Inter- and came from Texas, Kentucky, Tennessee, Mark, Evans, Zildjian, Vic Firth, Ringo Music, Tnational Percussion Convention) was held in Alabama, and Georgia. Percussion instruments, and Vibe Drums. May, sponsored by the Ju Percussion Group. provided by Hammond, were rebuilt and used The event featured 13 groups from 10 nations to provide instruments that were used during MOROCCO performing 26 concerts in eight cities. Guest each time period of the drum line’s history. es Crawford performed twice on drum- artists included Nebojsa Zivkovic (Germany), set with Between Worlds at the Gnaoua Svet Stoyanov (Bulgaria), TaCTuS (France), Alaska FestivalW in Essaouira this summer. The first PercaDu (Israel), the Amsterdam Percussion rom July 17–23, nine advanced-level show was for an estimated audience of 25,000 Group (Holland), the Seoul Percussion En- percussionists participated in the Alaska on June 23. The June 24 show was a collabora- semble and Hannuri Yeon-Hee Dan (South MidnightF Sun Chamber Percussion Intensive. tive concert with Gnaouan superstar musician Korea), Okada ( Japan), Azaguno (USA), and This program was part of the annual Fairbanks Hamid Kesri, held on top of an old Potuguese Strike Percussion (New Zealand). Summer Arts Festival and was held at the Uni- versity of Alaska Fairbanks. Morris Palter was the program director and Bob Becker was the guest faculty member. Participants performed two dedicated concerts including a complete performance of Steve Reich’s “Drumming” and a series of smaller chamber works including “Away Without Leave,” “Unseen Child,” and “Turning Point” by Becker, as well as works by Toru Takemitsu, John Cage, and Edgard Varèse. This event was sponsored in part by Yamaha, Sabian, and Black Swamp. California im Greiner recently conducted a drum circle at the 39th Annual Santa Cruz Wharf to JWharf Race. The 10K race attracts 15,000 run- ners from all 50 states and over 20 countries, including elite African runners, and has raised over $300,000 for area school athletic programs. Jim’s drum circle helps motivate the runners at the starting line and has become a Wharf to Wharf Race tradition. His drum circle was one of 50 musical groups that lined the race course along the scenic coast from the Santa Cruz Wharf to the Capitola Wharf in the Monterey Jeff Queen with the Stankovic Percussion Ensemble Drumline Bay area.

OCTOBER 2011 6 percussion newS www.pas.org www.pas.org percussiON nEWS 7 OCTOBER 2011 rumChannel.com and Los Angeles Music artists Jonathan Haas, David Herbert, Doug mini festival an unprecedented performance Academy College of Music hosted the Howard, and Tom Stubbs were joined by 19 of Harrison Birstwhistle’s “For o, for o, the SecondD Annual Drummer’s Reality Camp June percussion students from around the world hobby horse is forgot,” which included actors 29–July 2. Guest artists included Alex Acuña, along with guest artists Collin Currie, Keith from the AMFS Opera program. Other works Kenny Aronoff, Terry Bozzio, Jim Keltner, Aleo, and Michael Udow. Currie performed on the program included “Omphalo Centric Cobus Potgieter, Gil Sharone, Thomas the Rouse percussion , “Der Gerettete Lecture” by Nigel Westlake, “Tak-Nara” for Pridgen, and L.A. Music Academy’s Ralph Alberich,” with the Festival Orchestra and percussion quartet by Nebojsa Jovan Zivkovic, Humphrey, Dave Beyer, Aaron Serfaty, Tony presented a master class. Aleo and Udow of- “20 Minutes off the Pavement” by David Fried- Inzalaco, and Joe Porcaro. The four-day event fered their expertise to the percussion class man with Matthew Lau, vibraphone soloist, took place at L.A. Music Academy in Pasadena. along with the weekly master classes given by and “First Concerto for Flute and Percussion” Campers were treated to workshops, lessons, the faculty. Elliot Beck served as the Aspen by Lou Harrison with Nadine Asin, flute solo- master classes, special performances, meet & Conductors Academy fellowship principal tim- ist. Charles Rosmarin was the winner of the greets/autograph sessions, a DW Drums factory panist, Simon Gomez Gallego was the winner Messian Exotic Birds audition, which resulted tour, and an in-studio, live clinic by Bozzio at of the Charles Owen Memorial Fellowship, in a performance with acclaimed pianist David DrumChannel.com studios. and Ryan Nestor served as the percussionist for Friend and members of the AMFS percussion the Aspen Contemporary ensemble under the department. Colorado direction of Sidney Hodgkinson. he Aspen Music Festival and School The percussion ensemble, under the direction Connecticut Percussion Department featuring faculty of Haas, presented as a part of the Shakespeare rammy Award-winning percussionist, T composer, and songwriter Ralph Mac- GDonald was honored with a day all to himself on the final evening of the Jazz-up July music festival in Stamford. MacDonald, a 35-year Stamford resident, was emotionally overcome by the surprise honor, which came in the form of a proclamation by Mayor Michael Pavia: “We have the greatest resources in the world, and we are about to see one of them, live and in person,” Pavia said. “Ralph MacDonald, today is your day on behalf of the citizens of Stamford.” He and fellow Stamford resident Dennis Col- lins performed a set of songs at the start of the concert, paving the way for the evening’s head- liner, Roberta Flack. Kentucky had Floyd, Director of Percussion Studies at Campbellsville University, presented a Cvariety of percussion clinics and master classes to several high schools and middle schools throughout Kentucky during a one-week tour in May. The schools included Old Kentucky Jim Greiner in front of the world-famous Giant Dipper roller coaster at the Santa Cruz Beach Boardwalk. Home Middle School, Shelby County High School, Spencer County Middle School, South Warren Schools, Bullitt Lick Middle School, and Lebanon Middle School. The clinics fo- cused on a number of topics including snare drum, keyboard percussion, timpani, and drum- set. The clinics were sponsored by Innovative Percussion. Maryland he Drumset and Percussion Camp, part of the Goucher Summer Arts Institute, Twas held at Goucher College in Baltimore July 10–23 for percussionists ages 13–18. Teaching and performing faculty members consisted of Wes Crawford (camp director, Goucher Col- lege), Kwame Ansah-Brew (Goucher College), Phil Bronson (drummer for Jonathan Scales Fourchestra), Greg Clark (Raheem Devaughn, Greyson Chance), Orlando Cotto (Darin Atwater, Andy Gonzalez, Michael Spiro), Je- rome Herskovitz (Goucher College), Jeremy Aspen Music Festival and School percussion department at 12,500 feet Hummel (formerly with Breaking Benjamin),

OCTOBER 2011 8 percussion newS www.pas.org www.pas.org percussiON nEWS 9 OCTOBER 2011 Dr. Michelle Humphreys (Towson University, as from Italy, Brazil, Canada, and Japan to study Ja Music, KMC Music, Mountain Rythym, Shepherd University), Keith Larsen (Baltimore and perform at the two-week seminar. Pearl PAS, Classic Drummer magazine, the LIDC, Drum Company), John Locke (Goucher Col- Drums and Adams Musical instruments pro- NARAS, and LARAS. lege, Baltimore Symphony), Marshall Maley vided a full array of keyboard percussion, drums, (VA/DC PAS Chapter President), Joe Mc- and hardware to be used at Chosen Vale. n March 29, KoSA held its KoSA NYC Carthy (AfroBop Alliance), Mike Miller (Old Chosen Vale offered a truly unique experi- one-day workshop including clinics Mill High School), John Parsons (drummer ence to all of the attendees. Not only did na- Oand concerts at Lehman College. Clinicians with Navy Commodores), K. S. Resmi (S. tionally and internationally recognized faculty were Arnie Lang, Aldo Mazza, Johanthan Indian vocalist), N. Scott Robinson (Goucher teach at the event, including Matthew Duvall Haas, Allan Molnar, Scott Kettner, Mike College), Jonathan Scales ( Jonathan Scales and Tom Freer, but prominent composers were Clark, and Victor Rendón joined by his group Fourchestra), Scott Tiemann (Avec), and Cody also in attendance to discuss and work with Co-Tim-Bó (Victor, Chembo Corniel, Guill- Wright (bassist for Jonathan Scales Fourches- students. As part of a collaborative process, ermo “Memo” Acevedo, Cascadu, and Yasuyo tra). Offerings included jazz combos, concert composers Steve Reich, Steven Mackey, Larry Kimura). The event started with Lang (NY percussion ensemble, Brazilian drumming Polansky, David Rosenboom, Christian Wolff, Philharmonic), Haas (NYU) and Mazza (Re- ensemble, drumline, steel pan ensemble, West and Joseph Schwantner all visited Chosen Vale percussion), who engaged in a workshop on African ensemble, world percussion ensemble, to give lectures or coaching sessions on their “The Percussion Section in the .” and dance accompaniment, as well as numer- works. Participants included Penelope Jacono direct- ous clinics, workshops, and concerts. Sponsors Students prepared four concerts of chamber ing the Celia Cruz High School Percussion included Baltimore Drum Company, Chuck music over the two-week period. Over the Section performing “American Faces” by David Levin’s Washington Music Center, Cooperman course of the seminar, members of the guest Holsinger. The clinicians then gave valuable Drums, Dream Cymbals, Evans, Goucher Col- faculty gave lectures, lessons, and master classes suggestions for improving performance such as lege Music Dept., Innovative Percussion, Locke for the students. With almost all events at the stick selection, playing position in relation to Percussion, Maley’s McLean Music, Mid- seminar held in a group setting, all attendees the conductor, attack and articulation of specific Atlantic Drum, MusicAndGames4U.com, My- were able to benefit from the constructive criti- note values, and dynamics. DrumLesson.com, Pearl, ProLogix Percussion, cism, encouragement, and support offered by Kettner took the audience on a musical jour- Pro-Mark, Remo, Sabian, Vic Firth, Yamaha, the faculty. ney to Brazil covering the Northeast rhythm and Zildjian. Visit www.DrumsetAndPercus- known as Maracatu and demonstrated and sionCamp.org for further info. New York discussed some of the similarities between Bra- arry S. Levine was one of the featured zilian and New Orleans drumming. Clark, who New Hampshire clinicians at the Woodstock Music Trade is known for his work with Herbie Hancock, eld from July 4–16 at the Enfield Shaker LShow in May. Promoting his acclaimed, award- covered the topic “From Swing to Linear Funk” Museum in Enfield, the inaugural Chosen winning instructional series, “Drumistix—from and performed and demonstrated with special HVale International Percussion Seminar was a Pad to Performance,” he played to a capacity guest Jerry Z on organ. The final clinician of the resounding success. As part of the Center for crowd. Levine’s interactive class demonstrated day was Rendón joined by his group, Co-Tim- Advanced Musical Studies, the percussion sem- and covered such topics as rudimental applica- Bó. The group started with a performance fea- inar was hosted by Pearl/Adams artist Doug tions, stylistic development, and drumming/ turing batá drums and segued into a traditional Perkins and CAMS director Edward Carroll. musical awareness. The event was supported Cuban bembé. A discussion of the different The seminar was attended by 30 talented, young by Yamaha, Sabian, Regal Tip/Calato, Aquar- rumba styles then followed, which included musicians, coming from across the U.S. as well ian, LT Lug Locks, SKB Cases, HHot Hat, yambú, rumba columbia, guaguancó, and the relatively new style of guarapachangueo. The clinic ended with the performance of a percus- sion arrangement of “Manteca,” which featured the group and guests Mazza, Molnar, and Kettner. The event culminated with a performance by the 80-piece Lehman College Concert Band (led by Alan Hollander) performing “Mambo #5” arranged by Armando Rodriguez and Vic- tor Rendón. Lang joined the group on timpani, along with Mazza, Molnar and others. Many thanks to the KoSA NYC sponsors: Sabian, Evans, LP Music, Vic Firth, Remo, Lang Percussion, Pro-Mark, Toca, Istanbul Agop, Tama, and DW.

exus joined forces with the Canadian Brass in an Independence Day weekend performanceN at the historic Maverick Hall in Woodstock, hosted by Nexus member Garry Kvistad. The concert was titled “Stars and Stripes” and featured traditional American songs and marches. Much of the music was Drumset and Percussion Camp Faculty Concert performers (L–R): K.S. Resmi, Orlando Cotto, Jeremy Hummel, arranged by former Nexus member Robin N. Scott Robinson, Wes Crawford (host), Jonathan Scales, and Jonathan Scales Fourchestra members Phil Engelman for the recently released CD, Stars Bronson and Cody Wright. and Stripes: Canadian Brass Salute America.

OCTOBER 2011 10 percussion newS www.pas.org www.pas.org percussiON nEWS 11 OCTOBER 2011 The CD features members of Nexus with the Smallcomb (percussion). On July 31, the duo ten-day run from June 1–10. The event was Canadian Brass, and for weeks it was on the presented a special program entitled “Medita- generously hosted by Furman University in Billboard Classical Chart peaking at Number tion and Imagery,” which featured new and Greenville and allowed participants from Two. Among the highlights in the Woodstock standard works for percussion including George around the U.S. to participate in the perfor- concert were Bill Cahn’s arrangement of Cop- Crumb’s “Quest” for guitar, soprano sax, harp, mance and study of some of the most promi- land’s “Fanfare for the Common Man” followed double bass, and two percussion, performed by nent pieces from the percussion repertoire. by Peter Schickele (aka “P.D.Q. Bach”) person- Performing Arts Institute faculty members. The Utilizing a selection of generously borrowed ally introducing his own “Fanfare for the Com- festival was generously sponsored by Sabian, instruments from Yamaha and Pearl/Adams, mon Cold.” Remo, Innovative Percussion, and Korogi Ma- nief-norf ’s offering included six concerts in ten rimbas. days, all free and open to the general public. ill Cahn, a member of Nexus and Profes- The festival began with an evening concert sor of Percussion at the Eastman School uly 10–16 marked the annual Summer Music by the faculty group the nief-norf Project, ofB Music, facilitated a Creative Music Making Camp (Grant Moore, director) held at Eliza- who performed Christopher Adler’s compel- workshop for 14 participants as part of the Jbethtown College. James Armstrong, Instruc- ling work “Pines Long Slept in Sunshine,” as week-long summer percussion institute directed tor of Percussion at Elizabethtown College and well as works by Mark Applebaum and Steve by Eastman Professor Michael Burritt. The Millersville University, oversaw all percussion Reich. Days later, the participants headed workshop focused on freeform improvisation activities and was assisted by students Katelyn downtown to Falls Park and presented Terry based on Bill’s book, Creative Music Making, Santee (Etown College) and Forrest Black Riley’s “In C” and John Zorn’s “Cobra” to a published by Routledge Books. Each partici- (Millersville University). The week-long camp vibrant and enthusiastic audience of all ages. pant had the opportunity to perform and record catered to over 150 young musicians grades The festival also included a first-rate evening an improvised piece for immediate playback, 7–12 in all disciplines of music. Percussion performance by emerging solo artist Ryan listening, analysis, and discussion. Earlier in activities included daily master classes pre- Nestor, which included a rendition of Roger the week, Bill performed in an improvised duet sented by Armstrong in all areas of percussion, Reynolds’ “Watershed,” and a more informal titled “Ready to Hatch” on Burritt’s solo faculty percussion ensemble rehearsals, as well as sec- Cabaret Concert made-up of solo performances recital in the Eastman School’s new Hatch Re- tion rehearsals with large ensembles. Evening by the participants, which was highlighted by cital Hall. In addition to Burritt’s daily sessions, concerts featured faculty and student chamber Caleb Herron’s closing performance of Vinko additional workshops were presented by Lee ensembles, including the Music Camp Percus- Globokar’s “Corporel.” Additionally, composers Vinson, Jacob Nissly, and John Beck. sion Ensemble, Latin Jazz Percussion Ensem- Caroline Mallonee and Steven Snowden visited ble, and the Faculty Percussion Trio. The camp campus, presented master classes and coachings, Pennsylvania closed with a finale concert that highlighted and then heard their pieces presented in concert uey Percussion Duo (Gene Koshinski students performing within the large ensemble next to works by Alexandre Lunsqui, Stuart and Tim Broscious) completed a six- setting. Armstrong was sponsored in part by Saunders Smith, and the vintage sounds of Ma- Qweek residency at the International Perform- Yamaha, Sabian, and Vic Firth. rio Davidovsky’s “Synchronisms No. 5.” ing Arts Institute Summer Music Festival in After more than a week of discussion, Kingston from June 26 to Aug. 6. The duo filled am Ruttenberg and his student Justin rehearing, and hang-time, the participants the festival with performances, master classes, Faulkner (Branford Marsalis) shared the presented a final concert on June 9 as part of clinics, workshops, private lessons, and side- Sbill with singer Jo Thompson at the Philadel- Furman’s Music by the Lake concert series, at- by-side experiences in large ensembles. One phia Jazz Clef Club. It was a tribute to the late tended by over 500 people. The performers gave highlight was a performance of Koshinski’s Lena Horne whom Sam played with years ago. a performance of John Luther Adams’ “Qily- “Concerto for Marimba and Choir,” presented aun,” which was surrounded by David Crowell’s on July 2 with the Performing Artist Insti- South Carolina “The Day After...,” Christopher Adler’s “Signals tute Choir with Koshinski (marimba soloist), he 1st annual nief-norf Summer Festi- Intelligence,” and masterworks by Steve Reich Tim Broscious, Mike Dobson, and Matt Tval enjoyed enormous success during its and Iannis Xenakis.

OCTOBER 2011 12 percussion newS www.pas.org www.pas.org percussiON nEWS 13 OCTOBER 2011 The festival was directed by Andrew Bliss the University of South Carolina campus on event also included a “Rumba Anatomy” clinic and staffed by faculty members Omar Car- April 16. This year’s event included the second by Michael Spiro and Jesse Willis as well as menates (host), Mike Truesdell (Assistant annual High School Solo Competition and All a concert presented by the Blythewood High Director), and Bill Sallak (Technical Director) Collegiate Percussion Ensemble. Sympatico School Percussion Ensemble under the direc- as well as Christopher Adler (composer-in- Percussion Group headlined the day through tion of Jonathan Burbank. residence) and Megan Arns (intern). The fes- their participation in directing the All Col- tival wishes to thank Black Swamp, Innovative legiate Ensemble, giving individual clinics, and Tennessee Percussion, Vic Firth, Zildjian, and Sabian for closing the day with a performance. The group’s n Aug. 27, guest artist Julie Davila their support. clinics included Kristopher Keeton’s “Be- worked hands-on with six regional march- yond Boundaries,” Susan Powell and Joseph Oing percussion sections at the University of he 2011 South Carolina Day of Percus- Krygier’s “Improving Ensemble Skills,” and a Tennessee at Martin’s 7th Annual Drum Line sion was hosted by Dr. Scott Herring at marimba clinic by Christopher Norton. The Tune Up Day. Davila worked on technique, T musicality, and a variety of percussive subjects within the marching percussion genre. Julie also gave a clinic for all participating students and band directors using the UTM Marching Percussion Section (Hill, Coordinator, and Nola Jones, Director of Bands) as the demonstration group. The event hosted over 300 high school students and band directors. This event was sponsored by Zildjian, Pearl/Adams, Innovative Percussion, and Evans. Texas ighteen Texas libraries hosted percussion programs by Mark Shelton during June andE July. The performances of Mark’s “Strike, Scrape, & Shake Show” were part of the librar- ies’ summer reading series.

Participants of the University of Tennessee at Martin’s 7th Annual Drum Line Tune Up Day

OCTOBER 2011 14 percussion newS www.pas.org he University of North Texas College of Cadeson, Cooperman, Canadian Musician, News items for the “People and Places,” “Industry News” Music presented the 5th Annual UNT ddrum, Dream Cymbals, Evans, Factory Metal, and “On the Road” sections of Percussion News must TMarimba Workshop with faculty members Hudson Music, Istanbul Mehmet, KAT Per- be received at the PAS office within three months Professor She-e Wu from Northwestern cussion, LP, Ludwig/Musser, Mapex, Mike Bal- of the date of the event. University, Dr. Brian Zator from Texas A&M ter, Modern Drummer, PAS, Pro-Mark, Remo, Please send materials to PAS: University–Commerce, Dr. Scott Herring from Sabian, Shure, Sticks ‘n Skins, Taye, Toca, Vibe w 110 W. Washington Street, Suite A, Indianapolis, IN 46204 the University of South Carolina, and UNT Drum, Vic Firth, Yamaha, and Zildjian. Fax: (317) 974-4499 . E-mail: [email protected] Percussion Coordinator and workshop host Professor Mark Ford. Guest clinicians for the week-long workshop were composer/percus- sionist Michael Colgrass and UNT Percussion Professor Christopher Deane. Students came from across the country to participate in master classes, technique sessions, keyboard ensembles, private lessons, and much more. In addition to instruction, there were three student recitals and a faculty recital. Sponsors for the workshop were the UNT College of Music, Dynasty, In- novative Percussion, and Zildjian. Vermont he 16th Annual KoSA International Percussion Workshop, Drum Camp and TFestival wrapped its annual week of intensive, intimate living and learning with international drum and percussion masters and a very special surprise guest. Participants and faculty alike were stunned and reacted quite emotionally when Neil Peart of the legendary Canadian rock group Rush took center stage at the camp’s Jolan Kovacs Mazza, Neil Peart and Aldo Mazza with the KoSA Lifetime Achievement award, given to Neil at the closing session. 16th Annual KoSA International Percussion Workshop It was an honor for KoSA Founder Aldo Mazza to have Neil accept an invitation to come to KoSA and join Aldo for a publicly candid interview on various topics. Neil also took a few questions from KoSA participants. For a postscript, Aldo and KoSA Artist Faculty members Marcus Santos, Michael Wimberly, and Memo Acevedo joined Neil on a drumkit and djembe ensemble improvisation, with Neil moving to djembe for the finale of a once-in-a- lifetime, spontaneous percussion performance. Registered participants came from Mexico, the U.K., and all over the U.S and Canada to study with KoSA’s faculty, which included Acevedo (Tito Puente), Carmine Appice (Vanilla Fudge, Rod Stewart), Sergio Bellotti (Spajazzy, Berklee), Jimmy Cobb (Miles Da- vis), Dominick Cuccia (Company of Fifers & Drummers), Mario DeCiutiis (KAT Drums & Mallets, Radio City), Dom Famularo (drum- ming’s global ambassador), Aiyun Huang (McGill University), Aldo Mazza (Repercus- sion), Allan Molnar (Nelly Furtado), Jim Ro- yle (steel drum master), Jeff Salisbury (Albert King, James Harvey), Marcus Santos (Paquito DíRivera), Glen Velez (Grammy-winning frame drum master), Michael Wimberly (P- Funk, African drum specialist) with dancer Alexis Johnson, Zoro (Lenny Kravitz) and the KoSA rhythm section: Bob Quaranta (piano) and Francesco Beccaro (bass). KoSA Lifetime Achievement Awards were given to Jimmy Cobb and Neil Peart. KoSA 16 was sponsored in part by Beatnik, www.pas.org percussiON nEWS 15 OCTOBER 2011