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

A TOAST! .... to your good taste University Of Notre Dame

and

,. Down Beat Magazine Qua lity, univers ity-styled apporel for men ~.-. __ ~c---..:=::

Present

the ninth annual ON THE CAMPUS ... NOTRE DAME NOTRE DAME COLLEGIATE FESTIVAL

March 3 and 4

uI~r Glz: z: O'-l rt Gl&sico.l Por J C t? CI 1967

FtJ \~I Roll Cartr d,e T:.res

'.Irl~ I~IA\\I~ I 1 Program Editor 1"""I",i",/T"/""-I,',. John E. Noel ~, Till' ,!!".,.",.",,,,,.,,'t:::!rf"f JUDGES Cover Stefanie Stanitz Don DeMicheal William Russo S. MIC H I GAN SOU1H BEND, IND. Robert Share -3­ Archives of the University of Notre Dame The Life Perspectives e Of The New Jazz

By Nat Hentoff

Letters come to Down Beat, I get letters, and musicians are sometimes asked by listeners: "Why mix politics and Jacquet Lalo Schifrin * Gil Evans* black nationalism and rage and hate with music? Let music * J. J. Johnson be music, and keep the rest outside of jazz!" * Wynton Kelly Curtis Amy And in September of 1966, Ralph Gleason reported that the * * Monterey Festival had "refused to let SNCC and other civil Chet Baker Joao Gilberto* Herbie Mann rights groups have booths on the grounds in order to 'make * the weekend one of fun, relaxation, and the enjoyment of good music.''' Luiz Bonfa Eddie Gomez Gary McFarland Jack Teagarden Bob Grant Green * As if jazz can somehow be insulated from life. As if Brown* Ed Thigpen* had been jiving when he said: "Music is your own experience, your thoughts, your wisdom. you don't * * If live it, it won't come out of your horn." Bill Henderson Anita O'Day Mel Torme And in the new jazz, the key innovators, with few excep­ Charlie Parker Charlie Ventura Osca r Pete rson * Walter Wanderley* tions, are black. Therefore, their music comes from their ex­ Paul Desmond Earl "Fatha" Hines periences as black men in the . The effect of Harry "Sweets" Edison Arthur Prysock* those experiences on their music differs. But they are linked Joe Williams by the consciousness of being black in a white-powered society. * Jackie & Roy As obvious as this is, large sections of the white jazz com­ munity have yet to understand the inevitability of the height­ ened black consciousness in much of the new music during a he added, in explanation of the need to organize and political­ period when, throughout the country, much of the pietistic ize as blacks, "You can no longer afford the luxury of being rhetoric of recent years has shriveled before the mounting an individual. You must see yourselves as a people." reaffirmation that Malcom X right, that this is a funda­ This is difficult advice for an artist, for obviously the base e mentally racist society. of the artistic drive is individuality. And yet, within that in­ The United States need not continue to be racist, as is dividuality, more and more younger musicians regard their evidenced by the attitudes of many of the white young. But music as also the expression of a people. we are speaking of now, and of jazzmen in this country now. Speaking of those in the ghetto, Albert Ayler has empha­ wh(~I·c When Sen. James Eastland of Mississippi said with satisfac­ sized: "I'm playing their suffering whether they know it or tion in September, of 1966, "The sentiment of the entire coun­ not. I've lived that suffering." And Cecil Taylor said: "Every­

it~s at, try now stands with the southern people," he was not engag­ thing I've lived, I am. I am not afraid of European influences. ing in much hyperbole. Read the papers, read the polls, look The point is to use them - as Ellington did - as part of my at the statistics showing that in the North and West residen­ life as an American Negro Music to me was in a way tial and school segregation is increasing. holding on to Negro culture " Consider further the status of his life's work, jazz, in that Archie Shepp has written a composition, Malcom, Malcolm­ society. The unprecedent1y comprehensive Rbckefeller Report Semper Malcolm, explaining: "Malcolm knew what it is to on the Performing Arts, which tried to explore the entire be faceless in America and to be sick and tired of that feel­ situation of the performing artist in the United States while ing. And he knew the pride of black, that negritude which was proposing ways of improving it, made no mention whatsoever bigger than Malcolm, himself. There'll be other Malco1ms." of jazz. The initial subsidies by the new federal commission But hasn't this thrust to reflect the black experience al­ on the arts ignored jazz entirely. Alienated because he is ways been endemic to jazz? Implicitly, yes. From the black, the Negro jazzman is doubly alienated because he is a on, a black jazzman played how he felt, and how he felt de­ jazz musician. How on earth is he to keep that feeling out of pended in large part on how he coped with his blackness in a his music? racist society. Explicitly, too, there were statements - in some of the blues, in Ellington's Deep South Suite and other Among some black jazzmen, black consciousness becomes compositions, in the rising use of African titles for pieces in an explicit desire to reflect, to distill the black experience in the . music. Stokely Carmichael, addressing Tuskegee Institute Jimmy Smith, Wes Montgom­ But the consciousness of being black, the pride in black, Ella Fitzgerald Duke Ellington Bill Evans, Shelly Manne, Eddie Johnny Hodges V/V6-8680 students this past October, told them: "We can never be & ery, Count Basie, Earl "Fatha" V/V6-4072-2* Gomez V/V6-8675 equal under a system that forgets our blackness. We must has never been more acute than now because jazz could not Hines, many others V/V6-8677 'Also Available on Ampex Tape accept our blackness and make white people respect us." And, (Continued on Page 30) is a division of Metro-Goldwyn-Mayer Inc.

-4- -5­ i ~ Archives of the University of Notre Dame

IN JAZZ • • •

the nameof the gameis and then are subjected to (and ex­ ther with stock arrangements of pop pected to like - for a variety of rea­ tunes designed to hit the lowest com­ sons - all specious) bad stock arrange­ mon denominator and turn the stage ments of pop tunes. band into a miniscule pop band. The Jazz is, and must be, the saving factor dealers are concerned because much of Are Stage Bands in the stage-band program, and, unfor. this stuff is not selling, and yet there tunately, very little of it is being taught. are far too many directors who are sell­ Dying? If we don't progress to the jazz style of ing out the approach to jazz for the pop­ CREATIVITY! arrangement, with space for improvisa­ pep-pap approach. By George Wi,kirch.n. C.S.C. tion, we are failing. If we don't help the If the publishers would give us edu­ students learn to express themselves on cators good, jazz-oriented arrangements Is the stage-band movement or educa­ their instruments extemporaneously and with plenty of solo space, they would tional jazz in trouble? After several correctly, we are failing. If we don't put sell. years of rather phenomenal growth, is some opportunity for viable communica_ Even so, there certainly has been an the movement unhealthy, perhaps atro­ tion and personal expression of emo­ appreciable improvement in style and phying and dying? tions into the big-band experience, we interpretation in some areas and in many In expressing creativity with brasswinds (e.g. - 'Doc' Severinsen, Lloyd Statistics indicate that more school are failing, and the stage-band move­ schools. But the sorry fact is that too bands are in existence now than ever be. ment is sick - or worse. many are still headed in the wrong di­ Ulyate, , Charlie Teagarden, Bobby Hackett, Shorty Sherock, fore. There are more college festivals The publishers haven't helped much, rection. With the whole of school music and contests now, with several new ones and now many are disenchanted with being challenged and subjected to criti­ Billy Butterfield, , , , Warren Kime, Louis Va­ gestating for next spring, stage-bands. cism, we can't at this time afford the Yet, there is an uncomfortable feeling In the first rush of expansion they luxury of a questionable and unjustifi­ lizan, Yank Lawson, Jim Cullum, Jr.,Frank Assunto, Don Ingle, Joe New­ in the air. Many have been maintaining trampled each other and the music, try­ able program. that the stage band, or, more specifically, ing to carve out a sizable chunk of the Now would be a good time to reevalu­ man, , , Kenny Ball, and Doc DeHa­ jazz, is educationally valid, I feel that new market for themselves. As a tribute ate our stage-band program and start to this is where the problem emerges. Most to the good taste of many directors, deepen our commitment to educational stage-band programs are not education­ much of the bad is still on the store jazz - with the emphasis on jazz. ven, to name only a few!) ... ally valid because they simply do not shelves. So publishers tapered off. tend toward jazz. They have become The ones who are still grinding it out (Reprinted with permission of Fr. Wis­ stagnant in the plethora of bad arrange. are not in any way aiming at jazz but kirchen and Down Beat from Sept. 22, ments that are still flooding an already seek to debauch the stage band still fur­ 1966 issue) garbage-laid en market. Recently, I had an opportunity to ex­ amine the stage-band library in a public high school music department in the Midwest. The concert band and orches­ tra in this school are excellent. The stu­ .. . the nameis ... dents, most of superior caliber, read and perform the finest in the literature, both traditional and modern. Much of what SCTZCR they do is college level. But out of the better than 100 arrangements in the stage-band "book" scarcely a half dozen were musically good. The director com­ plained that his students fluff off work­ ing in the stage band - that he has dif­ ficulty getting and holding interest. THE GETZEN COMPANY, INC. - elKHORN, WIS. 53121 I don't think this is surprising in view of the fact that they are challenged and stimulated by good music in the concert -6­ Archives of the University of Notre Dame JUDGES LALO SCHIFRIN is a young com­ HERBIE HANCOCK has been a DON DEMICHAEL is the Editor­ JUDGES ROBERT SHARE is the Administra­ poser-arranger from Los Angele~. At member of the Quintet in-Chief of Down Beat Magazine, yet WILLIAM RUSSO is the Director of DONALD BYRD is a trumpeter-com_ since June, 1963. The 26-year-old pia­ School in the Center for New Music at Columbia poser-teacher, using New York as his the moment, he is working on the scores still finds extra time to be an occasional tor of the Berklee of Music nist was discovered by Donald Byrd in College in . Between 1950 and base of operation. He was first heard in of a three hour television special on the Boston, Massachusetts. He has served musician, jazz teacher, author and con­ 1954, Russo was a solo trombonist with New York in 1955 and has since shown "Rise and Fall of the Third Reich." He Chicago in 1960 and, since then, his gen­ ius has been widely recognized. He has test judge. He has been a drummer and as a judge at almost every Notre Dame the Orchestra and was a himself to be a very serious-minded mu­ was nominated for an Emmy Award for sician. In 1962, Byrd went to Europe to been a regular member of rhythm sec­ vibraharpist since 1944. Between 1950 Collegiate Jazz Festival, as well as maj or composer-arranger for the band his work on another T.V. special "The study composition under Nadia Bou­ tions recording for and 1960, DeMichael led his own com­ in '53 and '54. He has conducted the Making of a President," and has re_ other festivals across the nation. and has filled in with such notables as London Jazz Orchestra many times langer at Fountainbleau. There, he felt bos in Louisville, Kentucky. Besides his progress as an artist and as a human ceived two Grammy Awards. Schifrin's the Clark Terry- Quin­ Through his position at Berklee, Share since 1962 and has been a guest cong: writing record reviews and occasional being was greatly aided by peace and compositions may also be heard on T.V. tet, Jackie McLean and J. J. Johnson. tor for major symphonies across the 'na­ shows a continued interest in the young quiet as opposed to the hustle of Ameri­ as the backdrop to "Mission Impossi­ features for Down Beat, he has co-auth­ tion. Since 1955, much of his time has His facility as a pianist is attested to by can living. He also accepted an invita­ ored with the Manual for jazzman and the expansion of the jazz been devoted to composing jazz sym­ ble." Several motion picture scores are his third place finish among jazz pianist tion to compose and arrange for the phonies. ballets and operas. His Sym­ the result of Schifrin's genius; among in the 1966 Down Beat readers' poll. As Modern Drummers (Berklee Press). In curricula in higher education. Thorleif Ostereng Band in Oslo. In ad­ phoney No.2 in C, Opus 32 (Titans) was them are "The Cincinnati Kid" and a composer, Hancock has also shown 1950, he moved to Chicago and joined dition to his great preoccupation with considerable ability. His most popular performed by and "Murderers Row." One of his more seri­ the Down Beat staff, becoming editor in Berklee is one of the foremost mod­ composition and study, Byrd has record­ chart was a simple melody based on the , and his ed several albums for Blue Note. ous compositions, was commissioned and the nearly extinct breed of fruit ped­ 1961. At Columbia College in 1961 and ern music schools in the nation and has English Concerto was performed at the premiered last month by the American Bath Festival in 1963 in London. Born in Detroit, Byrd received a dlers - Watermelon Man. However, he 1963, he taught a course in Jazz Appre­ contributed much to the progress of Wind Symphony in Pittsburgh. His "Jazz has experimented with rhythmically, ciation. He acted as assistant producer Bachelor of Music at Wayne University Suite on the Mass Texts" will be per­ harmonically and metrically complex young jazzmen. and Gary Russo was born in Chicago and re­ in Detroit. Later he earned a Masters for the 1965 Down Beat Jazz Festival in ceived a B.A. in English at Roosevelt at the Manhattan School of Music and formed in November in the Berlin Ca­ compositions. Hancock's latest effort is McFarland are among its most respected the scoring of the movie Blow . His Chicago. DeMichael has been a CJF University. He studied composition and is presently working on a Ph.D. at Co­ thedral. LP record, Maiden Voyage, ranked judge in 1962 and 1966 and this year was graduates -- both have been judges at conducting under Dr. John Becker and lumbia University. He believes that the Dr. Karel Jirak. In addition to his duties individual musician, as well as the field With his father being the Concert­ fourth in the latest readers' poll. chairman for the CJF Symposium prior the CJF. Over the years, Berklee School at the Center for New Music, he is a to the Festival. He is also acting as of jazz in general, should "keep moving." Master in , Schifrin grew Born and raised in Chicago, Hancock of Music has been one of the -CJF's big­ member of the faculty and Board of Thus, he holds such people as Quincy up in a very classical atmosphere. He chairman of the judges this year. began his piano training with the usual gest supporters. Trustees of the ,School of Jazz in Lenox, Jones, Lalo Schlifrin, Oliver Nelson and went to Europe and studied at the Paris classical fare when he was 7. He first Massachusetts. He is the author of Com­ Gil Evans in high esteem for their con­ Conservatory of Music in the day while became interested in jazz when in high posing for the Jazz Orchestra (Univer­ tributions to broadening the jazz spec­ playing with various jazz groups at night. school, even though he really didn't un­ sity of Chicago Press), an authoritative trum. However, Byrd is also naturally derstand it. Hancock graduated from work on jazz composition. This past Back in South America, he formed his concerned with the depth of music. Clas­ Grinnell College in Iowa with a Bache­ winter, Russo has performed three jazz_ sical and jazz forms must, he believes, own band. While on a State Department lor of Art degree. Musical influences on influenced operas on the :South Side of have a certain amount of mutual bor­ tour, Dizzy Gillespie heard the band and Hancock include Shearing, Garner, Bru­ Chicago. As leader of the Chicago Jazz rowing and exploring to reach fulfill­ invited Schifrin to come to the U.S. beck, Jolly, Peterson, Jamal and his Ensemble, he hopes to be performing at ment. One of his major interests is edu­ where his talents might be developed present leader, Miles Davis. Chicago's North Side Ravinia Festival cational manuals in brass which he feels more easily. Shifrin did eventually make in the near future. are greatly in need of revision and im­ provement. his way to New York where he com­ posed and arranged for such people as Donald Byrd's latest project is the Gillespie, Basie and Brookmeyer. Since scoring of a show, "The Songs of Louis," the Canadian Expo '67. theme then. he moved to and has for The

~. of the show deals with the history of been a most prolific composer, finishing the Canadian Negro and is the result of fourth in Down Beat's 1967 Reader's Poll much research with historians from

composer category. ;~ Toronto, Colgate and Brown Universi­ ~~- ties . ...

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... Archives of the University of Notre Dame

Bird lives!

Charlie Parker, the man, is dead. But his spirit lives on as a dominant force in jazz. He gave form and direction to the music of his generation, capturing something of ROOSEVELT U. LAB BAND the loneliness, the discord, the romance The twenty members of the Roosevelt of his time and shaped it into a haunting University Lab Band are part of the formal jazz program at the Chicago art. His innovations-the bases for themes Musical College of Roosevelt U. Assist­ that have become jazz standards-have ant Professor S. Lane Emery, who con­ affected the work of all who followed him. ducts the band, teaches one of the few courses in jazz offered in this country Bird lives. Jazz remains indebted to Charlie for credit. The Lab Band's concert Parker. BMI is proud to license the public schedule for this semester includes ap­ performance of his music as well as that pearances at Roosevelt U., U. of Illinois (Chicago), and five Chicago high schools. of many on whom his influence is indelible. This is Roosevelt University's fourth ALL THE WORLDS OF MUSIC appearance at Notre Dame's Collegiate FOR ALL OF TODAY'S AUDIENCE Jazz Festival. The Band was a finalist in the 1963 CJF.

')

U.M.K.C. JAZZ WORKSHOP I"I The University of Missouri (Kansas City) Jazz Workshop has recently com­ pleted a tour of Eastern and Central Missouri, playing at high schools and colleges in the area. Its eighteen piece stage band and vocalist have won first

place for two consecutive years at the Joplin Jazz Festival with individual members being recognized for contribu­ tions in both playing and arranging; most of the arrangements heard in their performanc'es are· done by the members

themselves. The director, Mr. Irving Miller, is an Assistant Professor of Mu. sic, director of Brass and Jazz ensem­ bles and instructor at the of Music at the U. of Conservatory

~~ Missouri.

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-10­ -11­ Archives of the University of Notre Dame

W.U. CONCERT JAZZ ORCH. The W.U. Concert Jazz Orchestra is NORTHWESTERN U. STAGE BAND a relatively new organization, formed The Northwestern University Stage last fall at University in St. Band grew out of a group formerly Louis. The group is composed of stu­ known as the Jazz Workshop, which ap­ dents from colleges surrounding the St. peared at Notre Dame in five festivals Louis area. Most of the members en­ and was a finalist in '60, '64, and '65. The rolled in the Workshop of last summer band functions primarily as an outlet given by Oliver Nelson, a former W.U. for experimental composition and ar­ student. He taught courses in improvi­ ranging. In addition, it provides training sation, arrangement and composition, and in the playing techniques of stage band stage band. The Concert Jazz Orchestra music and opportunities for improvisa­ acquired a fine book of arrangements tion. The eighteen members, drawn from with additions coming from students of various schools within the University, Nelson's course. So far this year the gave a concert last November and ap­ band has performed at the Webster Col­ peared on television in Spring 1966, per­ lege Music Festival and the Washington forming the "Mass in C," a jazz Mass University Graham Chapel Assembly written by Theodore Ashford, director Series. of the group.

INDIANA U. JAZZ ENSEMBLE I The Jazz Ensemble I was the winning OHIO STATE U. JAZZ WORKSHOP at the 1965 Collegiate Jazz The Ohio State U. Jazz Workshop this Festival. As a result of its appearance year has consolidated its two band pro­ the band was chosen for a State Depart­ gram into a single band. With arrange­ ment tour of the Middle East. The Jazz ments geared to the feel Ensemble II won the top prize at CJF and an orchestra the size of some of '66 while the first band was on its for­ Kenton's groups, the Workshop is a eign tour. This year's appearance rep­ tightly-knit, swinging band. Ladd Mc­ resents Indiana University's attempt to Intosh, leader of the group and at pres­ be the first three-time winner in the Big ent a graduate student in music at Ohio Band Division. The Ensemble is under State, has won the Best Arranger-Com­ the direction of Dave Baker, a promi­ poser award at both Villanova and Notre nent jazz musician in his own right and Dame Festivals. a CJF Alumnus. He led a big band from LU. in 1959, a combo in 1960, and played jazz cello with the Jamey Aebersold Septet at CJF '64.

M.S.U. JAZZ ENSEMBLE Organized in 1960 'by Dr. Gene Hall, U. OF ILLINOIS the Jazz Ensemble has gained wide­ The University of Illinois Jazz Band spread recognition. A first-place winner is making its fourth appearance at the at CJF '62, a finalist other times at both Notre Dame Collegiate Jazz Festival. Villanova and Notre Dame, and several The first appearance in 1964 resulted in soloist awards are its competition credo winning the trophy for Best Big Band. its. The band uses many original ar· At the last two festivals the Jazz Band rangements and compositions by mem­ was one of the finalist groups. Gaining bers of the band, and tries to grasp all official sponsorship in 1960, it is the first forms of big band jazz with a wide range of three university bands which, along of compositions by such musicians as with various combos, perform at jazz Quincy Jones, , Hefti, concerts throughout Illinois. The Band Kenton, Schuller and . The is led by Professor John Garvey, violist director, Robert Curnow, is a graduate of the Walden String Quartet. assistant at Michigan State and was for­ merly a staff arranger and trombonist for the Stan Kenton Orchestra.

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Archives of the University of Notre Dame

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.. PHI MU ALPHA JAZZ ENSEMBLE ~ McDonald'S I The present Duquesne University Phi

A,ches~-whe,e Mu Alpha Jazz Ensemble was formed Look for the Golden quality starts fresh...every day c: McDon.:d's Corp. 19E5 in the fall of this year in an attempt to rejuvenate jazz enthusiasm at the Uni­ versity. Their predecessor appeared at the 1962 CJF. The eleven undergraduate students who comprise the group strive SOUTH BEND - MISHAWAKA for a combination sound of big band and chamber ensemble in both its composi­ tions and instrumentation. It has given performances in and around the Pitts­ ELKHART burgh area.

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N,ttl1 o~·~ HansHaus )i/' .~...... M.I.T. CONCERT JAZZ BAND ~~~- 8ound~~ 2803 So. Michigan 51. The Massachusetts Institute of Tech­ nology Concert Jazz Band is composed Phone 282-1991 Arrangements by SAMMYNESTleD entirely of men majoring in science and engineering, since the Institute has no Full 17 piece Stage Band Instrumentation plus music school. They have competed for the past three years at Villanova where German Food 7 Woodwinds, Horn, Tuba and Extra Percussion. they have won second prize as well as Our Specialty individual awards. Last year the band ANITRA'S DANCE (Grieg) traveled to the Notre Dame Collegiate BORODIN-BONGOS-BRASS Jazz Festival for the first time. 's leader is Herb DANCE OF- THE SUGAR PLUM FAIRY Pomeroy, a faculty member of Berklee LOCH LOMOND School of Music and a nationally recog• nized educator and musician. LONDON BRIDGE LONDONDERRY AIR IGOR REVERIE (Debussy) Price $7.00 each arrangement Serving Business Men's luncheons See Your Dealer or Send for FREEmini scores.

Open 10:30 a.m, to 10:30 p.m. KENDOR MUSIC, INC. DELEVAN, NEW YORK 14042 Closed Sundays and Holidays

-14­ -15­ Archives of the University of Notre Dame Friday Afternoon Friday Evening March 3rd, 1:30 p. m. March 3rd, 7:30 p. m.

1 :30 -1/1 = ONE - Santa Rosa Junior College, Santa Rosa, . 7:30-0HIO STATE UNIVERSITY JAZZ WORKSHOP - Ohio State University, Columbus, Ohio. Personnel: Piano - Jack M. Tolson. Drums - Michael Brandenburg. Personnel: Leader - Ladd McIntosh. Alto Sax - Tom Ryan, Stu Best. Tenor Sax - Jon Crosse, Delbert Gittinger. Baritone Sax - Byron Rooker. - David Haldeman, Steve Livingston, Earl Cheno­ weth, John Johannsen, Bill Bendler. - Wes Orr, Tony Greenwald, Jack Munthe, John Ed­ 1 :55 - ROOSEVELT UNIVERSITY JAZZ LAB BAND - Roosevelt University, Chicago, Illinois. wards, Steve Berry. Piano - Dave Chase. - Dick Edison. Bass - Craig Wiester. Percussion ­ Personnel: Leader - S. Lane Emery. Alto Sax - Kenneth Bender, Robert Knop. Tenor Sax - Richard Dan Ruddick. Rudolph, Richard Plettau. Baritone Sax - James Neiburger. Thombones - Ian Lilly, Stephen Galloway, Willie Wood, John Nies. Trumpets - Russell Iverson, Oscar Brashear, Marro Prosperi, Timothy Wel­ 7 :55 - UNIVERSITY OF ILLINOIS JAZZ SEPTET - University of Illinois, Champaign-Urbana, Illinois. don Slater, Robert Griffin. Piano - Larry Luckowski. Guitar - Robert Krosel. Bass - Thomas Paupads. Personnel: Leader, Trombone - Larry Dwyer. Alto Sax - Howie Smith. Tenor Sax - Jim Cuomo. P Drums - Shelley Plotkin. : Tom Connely. Piano - Bill Isom. Bass - Ed Marzuk. Drums - Chuck Braugham. 8 :20 - DUQUESNE UNIVERSITY PHI MU ALPHA JAZZ ENSEMBLE - Duquesne University, Pitts­ P 2 :20 - KEN RHODES TRIO - Chicago Area Colleges. burgh, Pennsylvania. Personnel: Leader, Piano - Ken Rhodes. Bass - Dave Arch. Percussion - Harry Giovanoni. R Personnel: Alto Sax - Tim Eyerman, co-leader. Tenor Sax - David Streeter, co-leader. Baritone Sax ­ Paul McCandless. Trumpets - Ed Smarsh, Charles Sachko, Vince Monteleone. French Horn - Dwight R o Hackett. Thombone - Dave Wiser. Piano - Joe Koricich. Bass - Pete Markis. Drums - Steve Mitchell. o INTERMISSION G INTERMISSION G

R2 :55 - UMKC JAZZ WORKSHOP - University of Missouri at Kansas City, Kansas City, Missouri. R Personnel: Leader - Irving Miller. Alto Sax -Jerry Titus, Errol Jackson. Tenor Sax - Sy Gopman, 9 :00 - UMW ENSEMBLE - University of Wisconsin, , Wisconsin. A Ron Williams. Baritone Sax - David Warner. Trombones - Marvin Hart, Russ Russell, Harold Pettit, Personnel: Leader - Thomas Wright. Alto Sax, Flute, - Stanley DeRusha. Tenor Sax, Bari­ John Eager. Trumpets - Ray Rabon, Dick Wilson, Tony Swischer, Kit Kubis, Doug Cushing. Piano ­ tone Sax, - Tom Jambor. Trombone - William Schaefgen. , Fluegelhorn - Rob­ A Bill Thomson. Guitar - Dave Prickett. Bass - John Hatton. Drums - Tom Cummings. ert Henry. Trumpet - Wayne Gorder. Piano - Santo Maglio. Bass - Michael Valentine. Drums ­ M Stephen Liljegren. M 3 :20 - THE LEON SCHIPPER QUINTET - Univerrsity of California, Berkeley, California. 9 :25 - UNIVERSITY OF ILLINOIS JAZZ BAND - University of Illinois, Champaign-Urbana, Illinois. Personnel: Leader, Vibes, Piano - Lee Schipper. Sax, Flute - Bob Claire. Guitar - Bob Strizich. Bass Personnel: Leader - Dr. John Garvey. Alto Sax - Howie Smith, Bill Feldman. Tenor Sax - Jim - Peter Marshall. Drums - Tom Aubreg. Cuomo, Ross Schneider. Baritone Sax - Jim Wilcox. Trombones - Roger Cunningham, Paul Vander Gheynst, Larry Dwyer, Frank Harmantos. Tuba - Mike Russell. French Horn - John Glover. Trumpets - Al Moore, Tom Connely, Ken Ferrantino, Jerry Tessin, Don Owens. Pian.o - Bill Isom. Bass - Ed 3 :45 - WASHINGTON UNIVERSITY CONCERT JAZZ ORCHESTRA - Washington University, St. ~ Marzuk. Drums - Chuck Braugham. Louis, Missouri. Personnel: Leader - Don Bearman. Alto Sax - Les Scott, John Brooks. Tenor Sax - Fred Washington, 9 :50 - INDIANA UNIVERSITY JAZZ QUINTET - Indiana University, Bloomington, Indiana. J. D. Parran. Baritone Sax - Nick Scarna. Trombones - Mike Canis, Eugene Elliot, Mike Hunt, Bob Personnel: Leader, Alto Sax - Jerry Greene, Trumpet - Randy Sandke. Piano - Jack Pericone. Bass • Edwards. Trumpets - Al Estes, Bob Ceccarini, Dennis Winkler, Guy Lemloe. Tuba - Jerry Kay. Piano Brent McKesson. Drums - Kent Williams. - Lee Scott. Bass - Bill Meisch. Drums - Bob Bealmear. 10 :15 - THE MELODONS - Notre Dame High School for Boys, Niles, Illinois. 4 :10 - THE JOHN CASCELLA TRIO AND ONE - Ball State University, Muncie, Indiana. Personnel: Leader - Rev. George Wiskirchen, C.S.C. Alto Sax - James Fesl, Jeff Pilarski. Tenor Sax - James Blanchard, James Feldman. Baritone Sax - Gregory Kaplar. Trombones - Nick Talarico, Al Personnel: Piano - John Cascella. Bass - Paul Robinson. Drums - Tom Osborne. Trombone - Dave Sindelar, Ed Nieminski, Tom Stagl. Tuba - Andrew Paul. Mellophonium - Michael Feehan, Ronald Pavolka. Sindelar. Trumpets - Vic LoVerdi, Tom Devitt, William Grubbe, Gregory Oehm, Daniel Piller. Piano ­ James McNeely. Guitar - Ron Levin. Bass - Cal Drake. Vibes - Mark West. Drums - William Kanzer. -16­ -17­ Archives of the University of Notre Dame The Birth of the College BANDS COMBOS Jazz Festival Concept 1959 1959 Indiana U. The Octets, Marquette U. By John E. Noel Southern Illinois U. UJW Quintet, U. of Minnesota Miami U. The Trio, U. of Cincinnati In 1958, a small but militant group of order to foster the musical education of Ohio State U. Chuck Lewis Sextet, Michigan Notre Dame undergraduates sat listen­ the winners, is offering large cash prizes U. of Illinois State U. ing to some jazz and drinking beer. Sud­ and trophies. De Paul U. The Yeomen, Oberlin College denly, someone slammed down his mug Af ter the 1959 CJF, other colleges U. The Duke's Men, Purdue U. ], of Notre Dame and advanced the idea of having a jazz made attempts at festivals, but none Bob Pierson Quartet, U. of Detroit festival. Deciding to call it the Midwest were as great a success as Notre Dame's. 1960 Johnny Jazz Quartet, St. John's U. Collegiate Jazz Festival, they squeezed Some folded, others faltered, and all North Texas State College it on the student calendar for Saturday, maintained a regional image. Northwestern U. 1960 Central Michigan U. UJW Quartet, U. of Minnesota April 11, 1959, in the Fieldhouse. The From the time of the 1961 CJF, the Dave's Combo, Indiana U. The Modern Men, Dartmouth College prologue to the tiny four page program national character of the Notre Dame Ohio State U. Omar Clay Trio, U. of Michigan of sixteen college groups began with the Festival was undeniably established. U. of Notre Dame Behm-Martin Sextet, State U. of Iowa Al Beutler Sextet, Michigan State U. visionary statement of "From an em­ The State Department began sending U. of Dayton Varsity Five, U. of Nebraska Don Miller Quartet, U. of Cincinnati bryonic idea has grown what may well observers searching for representative Chicago Area , Bard College The Jazz Envoys, Purdue U. become, within the span of a few short talent for foreign tours. Time maga­ 1961 Brian Hardy Trio, Purdue U. Bob Pierson Quartet, U. of Detroit years, the ultimate in collegiate jazz zine reviewed the Festival as the Northwestern U. The Free Forms, Catholic U. competition." Four judges, four spon­ "biggest college bash of them all." The 1962 State U. of New York Wayne Ramblers, Wayne State U. sors - Down Beat, The Blue Note number of applications soared and au­ Gil Kelly Quartet, Illinois Institute Oberlin College The Jays, Kansas U. nightclub in Chicago, Selmer Music In­ thoritative judges became easier to se­ of Technology Sam Houston State Teachers College Jim Mathews Quintet, Randolph. strument Co., and Conn Music Instru­ cure. CJF '67 has embellished this na­ The Belmont Five, Franklin & Indiana U. Macon College ment Co. - and four small cash prizes tional character by initiating projects Marshall College North Texas State College The Modern Men, Dartmouth College introduced the nation to a new perspec­ concerned with the fostering of jazz Andrews-Dempsey Quartet, North­ Four Axemen, U. of Cincinnati tive of college music. (see page 29). 1962 west Missouri State College Dots Trio, Fairmont State College Since these somewhat meager begin­ Ripon College Bob James Trio, U. of Michigan In short, the Notre Dame Collegiate Bob Pierson Quartet, U. of Detroit nings, "Midwest" has been dropped from Denver U. David Lahn & John Brasher, Jazz Festival has fulfilled the prophecy Allan Beutler Quartet, Michigan the title and the initial letters CJF have Duquesne U. Amherst College of greatness on the national college State U. become a recognized trademark across North Texas State College Queen's College Quintet, Queen's scene in its first eight ye·ars; perhaps Lettermen, U. of Notre Dame the nation. Simply by taking a quick Northwestern U. College in the next eight it will establish an Stan Cowell Trio, Oberlin College glance at the list of past participants, even broader base for the exploration New Mexico State U. The Jeanne Lee-Ran Blake Duo, past judges, and advertisers in this pro­ and promotion of jazz. Michigan State U. 1961 Columbia U. gram one can gain a general idea vf the Indiana U. Pete Hutchens Quartet, Oberlin The Belcastro Trio, West Virginia U. growth of the CJF in the past eight Henderson State Teachers College College Indiana U. Jazz Combo, Indiana U. years. Down Beat and Selmer have been West Virginia U. Steve Paul Trio, U. of Cincinnati The Blue Men, U.S. Air Force "- the major supporters of the endeavor, CJF J. Hall Four, Iowa State U. Academy 1963 although the generosity of many musi­ The Colleagues, Miami U. of Ohio U. of Notre Dame Quintet, U. of Denver U. cal instrument companies made it pos­ JUDGES Chip McClelland Quartet, Depauw U. Notre Dame sible to award instruments as prizes Roosevelt U. The Indigos, Ripon College 1959-Art Van Damme, Charles Suber, Dot's Trio, Fairmont College from 1960 to 1966. This year the CJF Michigan State U. Robert TrendIer, Frank Holzfeind. Amherst College Five, Amherst '" , was forced to discontinue its instrument Wright Junior College 1963 College The Jazz Merchants, Illinois prizes policy because of the difficulty 1960-Frank Holzfeind, Robert Share, Indiana U. Jazztet, North Texas State College Institute of Technology in securing the proper variety of instru­ Charles Suber, Willis Conover, Stan U. of Michigan Kenton. Tom Preble Trio, Ball State U. Pieces of Four, Central Michigan U. ments for prizes. However, CJF '67, in Phil Thrasher Sextet, Indiana U. 1961- Johnny Richards, George Russell, 1964 Peabody Jazz Sextet, Peabody Henderson State Teachers College UJW Trio, U. of Minnesota Robert Share, Charles Suber. Conservatory of Music U. of Notre Dame Paul Winter Sextet, U. of Chicago The Jazz Ensemble, NYC College 1962-Don DeMicheal, Quincy Jones, Ohio State U. (two bands) Uncalled Four Plus One, Illinois of Music , Robert Share, Charles Denver U. Institute of Technology Bob Pozar Trio, U. of Michigan Suber. Northwestern U. Indiana U. Jazz Sextet, Indiana U. 1963-, , Indiana U. Modern Sounds Sextet, U. of Florida , Robert Share, Charles U. of Michigan 1966 Three, U. of Notre Dame Suber. Michigan State U. Ouachita Baptist U. I Roosevelt U. 1964 1964- Julian Adderley, Gary McFarland, Wright Junior College Notre Dame Jazz Quartet, U. of Oliver Nelson, George Russell, Rob­ U. of Notre Dame Notre Dame ert Share, Charles Suber. 1965 Westchester State College U. of Notre Dame Foothill College Ed Fritz Trio, St. Louis U. 1965-Clark Terry, , Robert Westchester State College Case Institute of Technology Peabody Jazz Quintet, Peabody Share, Charles Suber, Arif Mardin. Ohio State U. U. of Illinois Conservatory of Music 1966-Don DeMicheal, Quincy Jones, U. of Illinois U. of Iowa Dick Sisto Quartet, North Texas Robert Share, Charles Suber, Billy Northwestern U. Massachusetts Institute of State U. Taylor. Roosevelt U. Technology Mitch Farber Sextet, Depauw U. Indiana U. Indiana U. (Continued on Page 32)

-19­ Archives of the University of Notre Dame Saturday Afternoon Saturday Evening March 4th, 1:15 p. m. March 4th, 7:30 p. m.

1 :15 ­ NORTHWESTERN UNIVERSITY STAGE BAND - Northwestern University, Evanston, Illinois. CJF '67 PRIZES 7 :30 FINALIST BIG BAND Personnel: Leader - Theodore Ashford. Alto Sax - William Horn, Gerald Sanders. Tenor Sax ­ 7 :55 FINALIST COMBO Charles Hawes, William Funk. Baritone Sax - James Williams. Trombones - James Schanilec, George Down Beat Trophy Best Overall Jazz Group Broussard, Thomas Deffiey, James Trambla. Trumpets - Benton Darda, Keith Williams, Dennis Brandt, William Von Gillem, Ed Gornik. Piano - Vicki DeLissovoy. Bass - Byron Yasui. Drums ­ $500 Cash Prize 8:20 FINALIST BIG BAND Julio Coronado. Best Big Band Selmer Trophy Selmer Porta Desks 1 :40 ­ MIT JAZZ SEXTET - Massachusetts Institute of Technology, Cambridge, Massachusetts. Best Big Band INTERMISSION Personnel: Cornet - Sam Alongi. Trombone - Richy Orr. Tenor Sax - Dick Carter. Piano - Brage $300 Cash Prize Golding. Bass - Stu Schulman. Drums - Dave Kettner. Best Combo P P Selmer Benny Goodman Trophy 2 :05 ­ MICHIGAN STATE UNIVERSITY JAZZ ENSEMBLE - Michigan State University, East Lansing, Best Combo Michigan. ClF Soloist Trophies 9:00 FINALIST COMBO R R Trumpeter Guitarist Personnel: Leader - Robert Curnow. Alto Sax - James DeCamp, William Sachs. Tenor Sax - Mark Trombonist Bassist 9:25 FINALIST BIG BAND Gridley, John Gradowski. Baritone Sax - Dennis Urick. Trombones - Leon Bradley, Allan Kaplan, John Alto Sax Drummer o Lower, Richard Borden, Joel Van Roekel. Trumpets - Scott Durbin, Greg Hopkins, Al Gazlay, John Tenor Sax Arranger o Link, Tom Pierson. Piano - Glen Stevenson. Guitar - Keith Warnick. Bass - Martin Erickson. Drums Bari tone Sax Composer 9:50 FINALIST COMBO - Michael Johnson. Pianist Misc. Instrument Outstanding Instrumentalist G 10: 15 High School Contest Winner G Most Promising Brass Player 2 :30 ­ JIM ROBERTS TRIO - Muskingan College, New Concord, Ohio. Most Promising Reed Player Most Promising Rhythm Player 10:40 Presentation of Awards R Personnel: Leader - Leader, Piano - Jim Roberts. Bass - Buff Yount. Drums - John Ackerman. R

A INTERMISSION A M M 3 :05 ­ JAZZ ENSEMBLE I - Indiana University, Bloomington, Indiana. MASTER OF CEREMONIES Personnel: Leader - Dave Baker. Alto Sax - James Greene, Harry Miedema. Tenor Sax - Tom Meyer, Bruce Nifong. Baritone Sax - David Luell. Trombones - Gary Potter, Richard Fecteau, Tom Streeter. The CJF is pleased to have DICK an exposure to grade and high school in Decatur, Indiana. Trumpets - Larry Wiseman, Larry Hall, Wayne Markworth, Craig Andrews, Randy Sandke. Tuba • BUCKLEY as its deep-voiced M.e. for the Friday night, Saturday afternoon and "Musical training amounted to piano Don Harry. Piano - David Lahm. Bass - Brent McKesson. Drums - Kent Williams, James Nelson. evening sessions. Presently, Mr. Buck­ lessons as a child, and a trombone which ley does several shows on W AAF radio bore the brunt of my frustrated assaults fall 1946 I - Chicago's only real jazz station. He until the of when decided to 3 :30 ­ JUILLIARD JAZZ QUINTET - of Music, New York, New York. leave that jazz to Teagarden, Higgen­ adequately and modestly describes his botham, Harris and JJ. Personnel: Leader, Piano - Don York. Alto Sax - Bob Maksymko. Trumpet - Gerry Weiss. Bass • background as follows: "I've been "Sensitive listeners in Ft. Wayne, In­ Rick Nanista. Drums - Bill McCullough. hooked on music since infancy, a Jazz dianapolis, and even Springfield, M is­ fan since adolescence, and a record col­ souri. can tell you of my struggles to lector since my early teens. At age 42 play jazz on the air. In Chicago since 3 :55 ­ MIT CONCERT JAZZ BAND - Massachusetts Institute of Technology, Cambridge, Massachusetts. (I don't feel middle-aged and kid myself 1955, I can boast of a lO-and-a-half-year Personnel: Leader - . Alto Sax - Randy Warniers, Gary Tripoli. Tenor Sax - Dick that I don't look it), I've spent 19 years run with an FM Jazz Show that wheezed Carter, Walt Shedd. Baritone Sax - Bill Ioup. Trumpets - John Halberstadt, Sam Alongi, Nate Seely, in radio, preceded by a youth mis-spent through crisis after crisis until it just with such trivia as World War II. a cou­ a Mike Throckmorton, Greg Olson. Trombones - Richy Orr (lead), Glenn Reyer, Chuck Thorn, Bill Har• rolled over and died without whimper DJoCK BUCKLEY ple of years at Indiana University, and last July." man. Piano - Brage Golding. Bass - Stu Schulman. Drums - Dave Kettner. -21­ -20­ Archives of the University of Notre Dame "

LEON SCHIPPER QUINTET The present instrumentation of the Leon Schipper Quintet was drawn up in May of 1966, During the preceding years the group had worked to promote inter­ est in jazz at the University of Cali­ fornia by playing often in public. They feel that they are in a large way respon­ sible for the present popularity of jazz in that area, which is evidenced by a proposed student organization-sponsored jazz festival. They played at the first outdoor "Terrace" jazz concert at the University and in the only two jazz con­ certs in the University's Hearty Hall. Members of the group have studied with and played under jazz musicians Sonny Stitt, John Handy and .

Take it from Diz­ "I l'S the \'ah'e anion,

Only ~Ianin has the action that lets me playas freely ane! accurately as I can! "

THE JOHN CASCELLA TRIO + ONE For the past year the John Cascella Trio has played in various clubs and ap­ Clll,utin peared over television stations through­ out the State of Indiana. It was only re­ cently that the group added its fourth member, and thus the group changed its byWuRLflZER name to the John Cascella Trio + One, P. O. Box 807, Elkhart, Indiana 46514 The new addition is Dave Pavolka, the trombonist. He has just completed four years as a musician in the Navy. Ball State University of Muncie, Indiana, was represented once before by a combo at CJF 1961.

Oizzy Gillespie at the Plugged Nickel-Chicago. The instrument-a Martin Committee trumpet with tilted bell.

-22­ -23­ Archives of the University of Notre Dame

U.M.W. JAZZ ENSEMBLE U. OF ILLINOIS JAZZ SEPTET The University of Wisconsin (Mil­ The University of Illinois Jazz Septet waukee) Jazz Ensemble was organized was formed in December by members of in 1962 as a university course in the mu­ the University Jazz Band. Concerts last sic department. It is still valued at one fall featured combo groupings of four to credit and meets once a week, but it eight pieces, and the septet size finally has taken on a wider scope of educa­ emerged as most interesting. Members tional influence as it has developed. The Larry Dwyer and Jim Cuomo write for group usually begins a two-hour con­ the group, which will play all original cert with a talk by their leader, Thomas compositions at CJF. The septet has Wright, on musical forms in which he appeared in several concerts at the I1lini illustrates various musical harmonies by student union and a nearby supper club, playing one song in different arrange­ and was featured on a Jazz Band trip to ments. Most of their performances have Northern Illinois University in January been in and around the Wisconsin area. of this year. The group hopes to make a tour of Eastern colleges and universities in early April.

JIM ROBERT'S TRIO 1/1 = ONE The Jim Robert's Trio was formed This Santa Rosa Junior College com­ three years ago at Muskingum College bo was formed in October, 1966, and has been "in the rehearsal stage" ever since. in Ohio. Roberts, the pianist and ar­ The Duo, plus an occasional tape re­ ranger, and drummer, John Ackerman, corder, has given one live performance are music majors, while bassist Buff at Santa Rosa Junior College and also Yount is a chemistry major. The trio has been providing the sound tracks has appeared for various organizations for short experimental movies. Drum­ and shows in the New Concord, Ohio mer Michael Brandenburg and pianist area as well as in college functions. Jack Tolson are both music majors at They have performed on local radio, and Santa Rosa. They plan to continue their on TV's NBC affiliated station in Zanes­ education in California at ville. In mid-February, they produced a State and Sonoma State College, respec­ half-hour show for the same -::'.V. sta­ tively. tion.

JUILLARD JAZZ QUINTET The Juillard Jazz Quintet is a newly­ organized jazz group composed of five M.I.T. JAZZ SEXTET undergraduates of the Juillard School of Music in New York. While the quintet The M.LT. Jazz Sextet was formed is fresh enough to have presented only last fall and is composed of six members one concert under the present name, of the M.LT. Concert Jazz Band. All each of its members has had vast ex­ six are also featured soloists with the perience alone or together in other Band. The sextet played a major part of groups. The style of the group is in the the Jazz Band's fall concert and has had mainstream of modern jazz, their reper­ a couple of smaller engagements around toire of and jazz M.LT. Trombonist Ricky Orr does the consisting popular arranging for the group. standards, along with many originals by pianist Don York and trumpeter Gerry Weiss.

-25­ Archives of the University of Notre Dame

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-26­ -27­ Archives of the University of Notre Dame ACADEMIC A Taste PORTABLETAPE RECORDER • 2-SPfEDCAPSAN DRIVE JAZZ of • DYNAMICMIKE • DUALTRACK • TONECONTROl(remot. switch) The Real Thing Current State of Jazz • UnlRY OPERATED$2 ft95 &1l~'N~ ACadaptor optional ., ~ ­ In an effort to contribute to the un­ The history of jazz from to Michiana's largest Selection 416 SOllTH WILLLUI 5ftUT derstanding of the educational and cul­ Avant-Garde was the topic of a concert of Phonograph Records SoUTH BEJnl. brnlAJfA 46625 PHONE 287-6563 tural impact of jazz on the musical given by the Jamey Aebersold Sextet in scene in America, CJF '67 has initiated Washington Hall on February 12. Co­ the Notre Dame Symposium on Modern AL SMITH'S RECORD BAR sponsored by the Notre Dame Music Music. Department and the CJF, the concert 128 W. Washington Ph. 232-3344 Hopefully, this will blossom into a caught the sextet in an inventive mood offs.t ....d yearly discussion on pertinent develop­ before a relatively large and enthusias­ JAMEY AEBERSOLD leUerpr ••• ments and components of modern trends tic audience. The visible interplay printing CJF in music. It was primarily brought about among the members of the group, as CJF High School Dlulligraphing by CJF's concern to help bridge the un­ well as Aebersold's explanations in the mimoographing necessary and misunderstood gap be­ second half of the concert, allowed the Band Contest addr ... lag tween jazz and academics. For too long audience to better understand the funda­ In order to aid the expanding high a time have the majority of educators jazz. disect;-:Jn school stage band movement, CJF is co­ Dlalllag mental mechanics of The and cultural-minded people entertained of "Sweet Georgia Brown" into harmony sponsoring the High School Stage Band Contest with H. & A. Selmer, Inc. of erroneous concepts about the legitima~ and melody lines within the framework Christ the King Hall Elkhart. Nineteen Indiana high school cy and value of jazz as a powerful art North on U.S. 31 of the choruses, along with a superim~ bands are competing all day Saturday, form. By establishing the symposium, following FRIDAY EVENING session posed version of Jackie McLean's "Dig," March 4, before judges George Wiskir­ the CJF hopes to do its part in foster­ $1.00 admission ASK FOR "A-I" QUOTESI was particularly instructive. chen, C.S.C., Leonard Druss and Kenneth ing understanding, open~mindedness,and Bartosz. Each band also receives advice development in modern music. Aebersold's alto sax and Allen Kiger's from the. judges in a short clinic follow­ trumpet took most of the solos and ing its performance. Father Wiskirchen This year's effort explored "The Cur­ turned in excellent interpretations of is giving a general clinic for all the par­ rent State of Jazz" in three sessions on compositions by ,Charlie Parker, Miles ticipants following the contest. specific topics. Davis, Horace ISilver and Thelonious The prizes for the contest are donated THE II·WEEKLY MUSIC MAGAZINE March 2­ Monk. All the members of the group by H. & A. Selmer. First Division win­ down On Newsstands Throughout the World 2:00-Jazz: Art or Commerce ners receive plaques and the Best Band beat made substantial contributions to a free 7 :30-The Impact and Meaning of Every Other Thursday form ballad which flowed and died logi­ is presented the Selmer Benny Goodman Avant-Garde Trophy and a set of Selmer Porta Desks. READERS IN 142 COUNTRIES March 3­ cally to the enjoyment of almost every­ one. Aebersold was especially sensitive The Best Band also has the privilege of JAZZ' 9:15 A.M.-Education of Jazz performing at the Final Session of the that evening and finished the perform­ The MAGAZINE CJF. No.1 All three sessions were held in Notre ance with a forceful but sweet rendition Dame's new Kellogg Center for Con­ of Coltrane's "Impressions." tinuing Education. Symposium Chair­ Participants are: Co-Sponsors man, Don DeMicheal, Editor of Down The sextet's average age couldn't have Lincoln H.S. of Vincennes Jimtown H.S. near Elkhart Beat, introduced each topic with some been over twenty-four, yet all were tech­ Gavit H.S. of Hammond general remarks and then asked each nically competent musicians with excel­ COLLEGIATE Mentone H.S., Mentone The member of the panel to make a few lent feeling for their material. Aeber­ No.1 JAZZ sold himself is a veteran of several Noblesville H.S., Noblesville comments. Finally the audience, com­ New Carlisle H.S., New Carlisle FESTIVAL CJF's and was awarded an alto sax for posed mostly of music critics, band di­ University H.S., Bloomington rectors and educators, posed questions his efforts in 1964. He has earned both Wolf Lake H.S., Wolf Lake to the various panel members. his Bachelor and Master's degrees in Tolleston H.S., Gary FREE ALBUMwith one year music at Indiana University. Pianist Crawfordsville H..s., Crawfordsville Down Beat Subscription The panel consisted of Chairman Don David Lahm and bassist Brent McKes­ Bishop Luers H.S., Fort Wayne - only $5.00 at CJ F DeMicheal, Carl Hager, C.S.C., head of son are also past individual winners at Elmhurst H.S., Fort Wayne the Notre Dame Music Department, the CJF. Trumpeter Kiger, who has re­ North Side H.'S., Fort Wayne Herbie Hancock, ,Robert Share, William corded with , George Rus­ Warren Central H.S., Indianapolis Russo, and Donald Byrd. All of these sell and J. J. Johnson, and drummer Ben Davis H.S., Indianapolis North Central H.S., Indianapolis are well schooled musicians and pro­ Stan Gage have also appeared in past West Lafayette H.S., vided an ex cell e n 0 r Not r e 388-1 teo ref CJF's. Keith Spring, the young tenor West Lafayette Dame's First Symposium on Modern sax player, has attended Indiana U. and LaVille H.S., Lakeville Music. played under . North Judson H.S., North Judson

-28­ -29­ Archives of the University of Notre Dame

LIFE PERSPECTIVES (Continued from Page 5) Don Cherry, for instance, insists that the openness of feel­ LIFE PERSPECTIVES (Continued from Page 30) mass their potential, economic as well as expressive, and en­ ing at the core of jazz can bring people of widely different be isolated from the resumption in the 1960s of the unfinished able them to hire and control their own middle men when backgrounds together. "Nowadays," Cherry says, "you can revolution that began with the first slave revolts. A few, to be sure, are getting work; but most are scuffling, middle men are needed. bring the whole world into one room, and this capacity for and it is a wonder that they still have so much energy to pour It is a great deal to ask, but a great deal is always asked What, however, is the function of the music emerging from unity is an element that jazz has always had for me." into their music. this black consciousness? In this respect, many of those in of revolutionaries. If they really believe their music can And that reaching for universality characterizes those in Except for a few, the jazz industry, as writer A. B. Spell­ the new jazz - though otherwise disparate in their philoso­ change men and thereby society, they have to become less in­ the new jazz whose social commitment ranges beyond color man calls it, is simply not geared for the new music. I mean phies and in their music - are convinced that music can be sular themselves, less suspicious of each other. They have - even though the initial and basic impetus of their music nearly all its entrepreneurs, bookers, and clubowners. When a unifying and liberating force. to be better than we are, we who have lost a sense of com­ comes from the experience of being black in the United States. one sees, for example, some of the contracts the new jazzmen munity, we who hold on fiercely to whatever niche we've For Shepp, it seems to me, the music has two imperatives. "My goal," says , "is to uplift people· as are signing, it is impossible to contradict 's found in the society, in the economy, and to hell with every­ One is to confront those in the white society who will listen much as I can. To inspire them to realize more and more of point that: "in jazz, the Negro is the product. The way they one else. with as full and deep a spectrum as possible of black feelings, their capacities for living meaningful lives." handle their publicity on me, about how far out I am and They are caught in a paradox. "Jazz," Ornette Coleman from rage to pride, so that there can be much less misunder­ everything, it gets to be that I'm the product myself. So if has said, "has taken on a tribal concept. Music that is called standing of black convictions, black needs, and black strength. For this to happen, Coltrane says, the musician can never it's me they're selling - if I'm the product - then the profits stop exploring and clarifying his own needs and motivations. jazz should be expressed more personally, with fewer tribal The other imperative is to reach into and invigorate as many couldn't come back to me, you dig?" restrictions. The one essential quality is the right to be an of the masses as possible with the sustenance of a music that, "There is the need," Coltrane adds, "to keep purifying these "You see this piano?" Cecil Taylor asks Spellman. "Not individual." after all, is an essential element in their heritage and in their feelings and sounds so that we can really see what we've dis­ more than half of it works. In a way, this piano is me: it half That quality of insistent individuality has been attained way of opposing total conquest by the white society through covered in its pure state. So that we can see more and more works, I get to work half the year. Everything's that wrong by John Coltrane, , Cecil Taylor, Albert Ayler, and its destruction of their culture (see LeRoi Jones's book, clearly what we are. In that way, we can give to those who Blues People). listen the essence, the best of what we are. But to do that at with it, I did to it. I knocked those keys out. I can look at others. And it is essential. But for effective counterpower to each stage, we have to keep on cleaning the mirror." that piano and see my work from the last few years. But you be assembled against the life-deadening and homogenizing im­ But here a triple alienation sets in. So far it has not been know, a cat playing who had come this far pact of the society as a whole, there will have to be a unity of In similar language, Albert Ayler proclaims: the easy, or without peril, to try to make the new jazz an integral "Weare would be getting free pianos, because it's good for the indus­ certain kinds of individuals. That's Stokely Carmichael's mes­ music we play. And our commitment is to peace, to under­ part of the black ghetto, to make jazz an element that can help try. Not me, baby. The pianos I get to play on are never more sage to the black community. And it is a message implicit in standing of life, And we keep trying to purify our music, to unify for black power, political, social, and economic. There than 60 percent in, have most of the ivory off the keys, and what many of the new jazzmen say about the goals of their purify ourselves so that we can move ourselves - and those are a number of intersecting reasons for this third dimension they are never in tune." music. who hear us - to higher levels of peace and understanding. of alienation. In Four Lives in the Bebop Business, A. B. I'm convinced, you see, that through music life can be given I would think that the new jazzmen, if they are to liberate If the new jazzmen can achieve an organic, growing sense Spellman writes: "By the arbitrary determination of the jazz more meaning. And every kind of music has an influence _ others, must first liberate themselves. And that is exceedingly of community among themselves, they will then be able to industry, the music has been available only to serious students either direct or indirect - on the world around it so that, difficult, because they have learned from being in this society reach many more people and discover whether their music (many of the white) in neutral zones never produced in ... after a while, the sounds of different types of music go around to distrust others' motives and often to distrust themselves. can indeed make a difference in how their listeners feel, think, black night clubs or concert palls unless the names were very and bring about psychological changes. And we're trying to That's why the Jazz Composers Guild disintegrated. But those and ultimately act. If they do not create a community, they big. What jazz jobs there are 'in the Harlems of America go bring about peace." who speak of unifying blacks or the world have to unify them­ will remain singular - and isolated - avatars of an other­ invariably to the safest performers. And the young musicians selves into some kind of co-operative organization that will wise largely disappearing life force. These men, then, are contemporary converts to Shelley's who are interested in the new music almost always have to For, as it is going now, society in the not-too-distant are, should be, real take their music 'downtown' in order to find a receptive conviction that artists or the legislators future will, as John Wilkinson of the Center for the Study of atmosphere." of mankind. And the psychiatrists of mankind, too. Democratic Institutions predicts, be immune in its mass to "In this way," Spellman continues, "the black jazz musi­ Marion Brown says: "There are people who have told me the quality of change in human beings of which Coltrane, cian has had to take his alienation alongside the black poet that they no longer go to their psychiatrists since they've Ayler, Shepp, Sun Ra, and others speak. That complex, per­ and painter, and on the occasions when this prodigal music heard Sun Ra, Ayler, or Shepp. This is a music that can re­ vasively rationalized society, Wilkinson says, "will be able has returned home, the reception has been anything but pre­ generate people, cure them. It has a cathartic power." to tolerate groups living at different paces and styles, if they dictable. The mobile avant-garde jazz performances that Le­ For myself, I doubt that in this society, as it is, music can show no deliberate intent to alter significantly the drive or Roi Jones' Black Arts group put on in the streets of Harlem significantly either help accelerate social change or raise peo­ direction of the prevailing social processes .... isolated and during the summer of 1965 received a generally favorable ple to new plateaus of understanding of themselves and others. insulated from major and majority preoccupations of the so­ audience response, but eggs were thrown at one group. And But I am trying to describe the new degrees of social com­ ciety, and thereby offering no threat to the status quo, these Archie Shepp, who plays a more gut-bucket style of tenor mitment that help define much of the new jazz. enclaves will provide opportunities for more whimsical, per­ than most of the new modern sonally paced styles of life." players, received a better welcome at a down-home-style bar In an increasingly rationalized society, in which sponta­ "We ought perhaps," Wilkinson goes on, "to establish in Baltimore than he had on most occasions in New York." neity and directness of emotion are constricted from kinder­ RE'NT-ALLCOMPANY human sanctuaries as we establish refuges for condors and garten on to assure the maximum manipulative effectiveness whooping cranes." There is, then, a distinct possibility that an audience does of the directors of society, jazz has become one of the rela­ It may be that by 2000, if there is much of a world at all, exist for the new jazz in the black ghetto, particularly among tively few reservoirs of human warmth, human unpredicta­ DIAL I I there will be such sanctuaries for poets, painters, writers, and the young, whose own consciousness of black as a force for bility, rawly human sounds, and faith in the perfectability of unity is accelerating. man as controller of his own life. 232-1444 the Aylers and Coltranes of that time - unless somehow there is a unification of them and others who recognize the But for his music to stay and grow in ghetto communities It is an intriguing evolution, in terms of purpose, for a "ONECALL RENTS IT ALL" need to change social values, to change the way we educate will require bypassing the traditional middle men - the club­ music that began as field hollers by slaves. And whether these FEATURING our young, to place priorities on human needs. owners and the booking agencies. A musicians' co-op, with claims for jazz as a unifying and liberating force, either for EVERYTHINGYOU NEEDFOR ANY OCCASION There are signs of such attempts at organization - black roots in community-action groups in the ghetto, may be one ghettos or for men at large, are fulfilled, this quality of intent • TOOLS OF ALL KINDS • YARD EQUIP. power, Students for a Democratic Society, the National Con­ way. If jazz can become an organic part of various indigenous is, for me, seizingly and often exhilaratingly evident in a • PARTY SUPPLIES • BABY NEEDS ference for a New Politics. But the new jazzmen so far are • TelEVISION SETS • TAPE RECORDERS units based on leadership from within the community, it may great deal of the new jazz. And its presence makes all the • SIC!( ROOM EQUIPMENT • TRUCKS - ONE WAY lagging far behind. They have kept their individuality, but be able to function in this sense as a unifier and as a catalyst more absurd the contentions of those who dismiss the new • TRAILERS • TRAILERS - ONE WAY they may eventually be exercising it in a vacuum. However, of energy. music as hokum, as antijazz, as removed from life. "WE DELIVER" they need not lose individuality to join communally for cer­ tain basic goals. There are others in the new jazz who, while conscious <.nd In any case, jazzmen who feel this way will not be able 302 LINCOLNWAY EAST fully to prove their thesis as long as they are forced to ex­ How to start and how to sustain such a unity of individ­ proud of their roots in the black experience, s~e music as a force that can change all kinds of lives, within and oUcfide of pend so much of their energies on simple physical survival. ualists? Only they can answer that question. the ghetto. (Reprinted with permission of Nat Hentoff and Down Beat (Continued on Page 31) from Music '67.) -30­ -31­ Archives of the University of Notre Dame

COMBOS (Continued from page 19) Modern Jazz Interpreters, West eJF? MELODONS REVISITED Virginia State College NOTHING TO IT! Billy Harper Sextet, North Texas One might well ask just how much For the eighth consecutive year, the Named as one of the ten outstanding State U. work is involved in producing the Col­ MELODONS of Notre Dame High band directors for 1966 by the School Jazz Interpreters, Crane Junior legiate Jazz Festival. Briefly, it takes School in Niles, Illinois, are special Musician Magazine and winner of the College an inordinate amount of dedication, or­ guests at CJF. The 22-piece big band, Benny Goodman Trophy for the best Belcastro Trio, West Virginia U. ganization, stamina, letter writing, shoe under the direction of Reverend George band director at Oak Lawn, Father Wis­ Dave Lewitz Quartet, U. of leather, phone calls to the "right" peo­ Wiskirchen, C.S.C., follows the last com­ kirchen is Director of Instrumental Mu­ Michigan ple, taste, and that illusive character, peting group at the Friday Evening sic at NDHS and also for the Arch­ The James Kaye Quintet, Michigan time. It allows for all too little class Session. Diocese of Chicago. He is recognized as State U. one the leading in the attendance, reading, writing personal of authorities The Met-Tet, U. of Michigan Paul Schlaver, General Chairman, Donna Felicello, Dick Riley,]ohn Noel, Assistant Chairman, A consistent winner at the Oak Lawn country in stage band work. He has been The Jamey Aebersold Septet, letters, and sleep. But these latter items minor considerations when compared Suzi Glerum, John Tschetter, Ruth Fischer, Stefanie Stanitz, John Simna, Irene Sullivan, Chicago land Stage Band Festival, the a member of the summer faculty of the Indiana U. are with the life-and-death necessities of Charlie Neuhauser, Greg Mullen, Mel Bachmeier, SueHoevel, Leigh Malone, Marybeth Bradfish, Melodons are the top performing group Eastman School of Music in Rochester, Dave Larson Quintet, Purdue U. switching seven groups' performance Dave Buckley, Not shown, Sue Szita, Earl Catron, and Molly Morell. in the Jazz Lab at the high school and N.Y.; directed the Northwestern U. Jazz 1965 amply demonstrate the well-developed Workshop, 1963-1965; and has written The Bob Kolb Quintet, times, phoning halfway across the na­ tion a month after deadlines to request jazz program there. three books about stage band develop­ Northwestern U. ment. Two regular Down Beat columns, Modern Jazz Interpreters, West a picture or publicity on a group, giving Father Wiskirchen guides over forty every advertiser the "best" position in lectures and clinics throughout the coun­ Virginia State U. We wish to extend special thanks to: students in this extensive extra-curricu­ 36 pages, waiting for letter replies that After several traumas, catatonic fits, try also add to his credentials. The Criterions, Westchester State Mr. John Maher lar activity, which gives them an oppor­ never come, receiving unexpected can­ and nervous breakdowns, the individual The enthusiasm and excellence of Greene Sextet, Indiana U. Mr. Don DeMicheal tunity to study and perform jazz ar­ cellations of judges, groups, ads, etc., members of the staff are relieved to see Father Wiskirchen and the Melodons The Belcastro Trio, U. of West Fr. Carl Hager, C.S.C. rangements, dance arrangements and spending a week's time and a month's their efforts become the reality of CJF has made their appearance at CJF a Virginia Fr. Charles McCarragher, C.S.C. show music. In the Jazz Lab the stu­ energies in collecting a "few" ads, and '67. Actually, though, even the non-be­ perennial highlight. Their performance Southern Ohio Trio, Wittenberg Fr. George Wiskirchen, C.S.C. dents not only advance their abilities on wondering when the snow will stop so at CJF '67 should prove that after eight College lievers among us felt that somehow, Mr. James Herendeen you can go out without becoming a per­ their instruments, but also study theory years they have not worn out the wel­ The Brian Trentham Quartet, someway, someone would get everything Mr. Robert O'Brien manent part of the landscape. But the and compose and arrange music. come extended to them. Columbia U. done. Often there seemed to be too Mr. Edward Jarrett truly dedicated CJF worker looked past The Notre Dame Jazz Quartet, much to do for too few people, but all Fr. Arthur Harvey, C.S.C. all of these minor trials, somehow know­ U. of Notre Dame Mr. Thomas Bergin ing that ultimately something good would things considered, we had an adequate The Dave Oehler Trio, State U. number of willing workers. Mr. 'James Polk of Iowa come of it all. The Dave Austin Quartet, U. of Illinois

The Ed Sheftel Quintet, Hammes Northwestern U. 1966 Kansas U. Jazz Quintet, Kansas U. NOTRE DAME Notre Dame Jazz Sextet, U. of Notre Dame BOOKSTORE Jazz Quintette, Roosevelt U.

Westchester State Jazz Quintet, Westchester State College Bruce Cameron Quintet, Bucknell U. Campus Record Center Ed Sheftel Combo, Northwestern U. -Jazz The Jazz Spokesmen, Penn State U. - Classical John Gilmore Trio, Indiana U. U. of Illinois Jazz Quintet, U. of - Folk Illinois - Rock 'n Roll

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-32­ -33­ , I 1 Archives of the University of Notre Dame r

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-34­ l Archives of the University of Notre Dame