JazzEd 2014 PDF

JANUARY/FEBRUARY 2014
THE OFFICIAL
PUBLICATION OF
Focus Session
Thad Jones:
A Forgotten Giant?
Basic Training
Using Tone Rows in

Composition Part III
FOR ALL INSTRUMENTS!

NEW FROM
AEBERSOLD
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MOTIVES
A METHOD
O FOR
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For all
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t
t Motives
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also
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f
d to
t as motifs,
tif licks,
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li h
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motives may be developed using fve note major, minor, and diminished
scales and how to apply chromatic embellishment to those scales. The
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Firmly rooted in contemporary theory and tradition, the emphasis is on
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The things that we enjoy the

most are the things that we
discover for ourselves.
contents
16
JA N UA RY/ F E B R UA RY 2 0 1 4
departments
BASIC TRAINING:
TONE ROWS IN JAZZ (Part 3) 12

Discovering the many harmonic paths opened up by
composing with 12-tone systems explored by 20th century
composers like Schoenberg and Webern. Follow in the
footsteps of Bill Evans, Leonard Feather, and Gunther
Schuller!
SPOTLIGHT:
JOHN CLAYTON 16
The widely respected jazz educator and legendary bassist
talks about a lifetime of lessons learned. By Bryan Reesman.
PUBLISHERS LETTER 4
NOTEWORTHY 6
CONNIE CROTHERS: Whats On Your Playlist? 10
JAZZ EDUCATION NETWORK SECTION 30
JAZZ FORUM 41
GEARCHECK 42
CLASSIFIEDS 43
FOCUS SESSION:
BACKBEAT: Foreststorn Chico Hamilton 44
Mike Cumbria takes a close look at this classic though

sometimes overlooked jazz composer.
Cover photograph courtesy John Clayton.
THAD JONES FORGOTTON GIANT 38
JAZZed Volume 8, Number 7, January/February 2014, is published six times annually by Timeless Communications Corp., 6000 South Eastern Ave., Suite 14J, Las Vegas, NV 89119, (702)
479-1879, publisher of Musical Merchandise Review, School Band & Orchestra and Choral Director. Standard Mail Postage Paid at Las Vegas, NV and additional mailing offices. JAZZed is
distributed free to qualified individuals and is directed to jazz educators, music dealers and retailers, and others allied to the field. POSTMASTER: Send all UAA to CFS. NON-POSTAL AND
MILITARY FACILITIES: send address corrections to JAZZed, PO Box 16655, North Hollywood, CA 91615-6655. The publishers of this magazine do not accept responsibility for statements made
by their advertisers in business competition. No portion of this issue may be reproduced without the written permission of the publisher. Copyright 2014 by Timeless Communications Corp., all
rights reserved. Printed in USA.
JAZZed January/February 2014
publishers letter
Rick kessel
JEN Reaches a Turning Point
ive years typically represents a milestone in the

growth of any organization, company, or association. Its a turning point at which progress may
accelerate, stagnate, or worse, turn downwards. Its
a time when the initial excitement of the launch may
have passed, and theres a need to look carefully to the
future with more serious plans for the long haul. Its
certainly a time for the Jazz Education Network (JEN)
of which JAZZed is the official publication to step
back and consider the tremendous successes in its short history and
take a look towards the years to come. From the devastating hole in the
market that was left by the previous organization, this new group has
grown to establish itself as a leader in the field of jazz education. JEN
has made a difference in the lives of thousands of students, educators,
musicians, and other friends of jazz. In this case, the five-year mark
certainly represents a positive history and the promise of even greater
heights in the future.
From the first
convention effort
JEN has made a difference in the
in St. Louis, which
lives of thousands of students,
was an extraordinary feat considereducators, musicians, and other
ing the extremely
friends of jazz.
short planning period, through all of
the wonderful cities that have been hosts to the conference New Orleans, Louisville, Atlanta, and now Dallas the feedback has mostly been
positive. Although there have been growing pains, when you consider
all of the incredible musicians who have performed at the conferences,
from middle school students all the way through the top college ensembles and professional groups, the results have been encouraging.
JENs outreach efforts have helped to bring jazz to students who may
have never had any exposure to this quintessential American music,
and the recently launched festival component has made the conference more inclusive to all levels of school programs. Most importantly,
the fact that the organization has no full-time employees and that most
of the work has been done by dedicated teams of volunteers, unpaid
board members, friends, and others, makes the existence of this network a special accomplishment. More and more people have realized
the critical mission of JEN and have given generously to help see that
this group continues to thrive in the future.
Were proud to feature John Clayton on this months cover, as he not
only is one of the finest bassists and educators in jazz today, but hes
also given generously of his time, intellect, and guidance to the JEN
board. John has been a key part of the JEN organization from the early
days and his ever-present calm and thoughtful ability to break down a
difficult situation and consider the best way to move forward has been
essential in the leadership and growth of the network.
January/February 2014
Volume 8, Number 7
PRESIDENT Terry Lowe
tlowe@timelesscom.com
PUBLISHER Richard E. Kessel
rkessel@timelesscom.com
Editorial
EDITORIAL DIRECTOR Kevin Mitchell
kmitchell@timelesscom.com
EXECUTIVE EDITOR Christian Wissmuller
cwissmuller@timelesscom.com
ASSOCIATE EDITOR Eliahu Sussman
esussman@timelesscom.com
ASSOCIATE EDITOR Matt Parish
mparish@timelesscom.com
Art
ART DIRECTOR Garret Petrov
gpetrov@timelesscom.com
PRODUCTION MANAGER Mike Street
mstreet@timelesscom.com
GRAPHIC DESIGNER Tony Calvert
tcalvert@timelesscom.com
GRAPHIC DESIGNER Joseph Montesa
jmontesa@timelesscom.com
Advertising
ACCOUNT MANAGER Matt King
mking@timelesscom.com
CLASSIFIED SALES Erin Schroeder
erin@timelesscom.com
Business
VICE PRESIDENT William Hamilton Vanyo
wvanyo@timelesscom.com
CIRCULATION MANAGER Erin Schroeder
6000 South Eastern Ave., #14-J

Las Vegas, NV 89119
702-479-1879
Fax: 702-554-5340
JAZZ EDUCATION NETWORK
The Official Publication of JEN
RPMDA
JAZZ EDUCATION NETWORK
Artists believe in Yamaha.

I have been performing on the Yamaha Silent Bass for over 10
years and love everything about it...the sound, the touch, the feel
and the compactness of the bass, which makes it convenient for
travel. It produces the sound of a high end acoustic bass but it is
actually more even from top to bottom. I have always treasured my
relationship with Yamaha. The company is totally dedicated to music
education and to their artists.
- Jim Widner
Jazz Camp Organizer for 25 Years,
Jazz Bassist, Educator
noteworthy
NEA Statement on the Death of Jim Hall

Upon the passing of the great jazz guitarist Jim Hall last month, the NEA issued
the following statement:
It is with great sadness that the
National Endowment for the Arts acknowledges the passing of 2004 NEA
Jazz Master Jim Hall, whose prowess
playing jazz guitar puts him in the company of Charlie Christian, Wes Montgomery, and Django Reinhardt.
Jim Halls technique has been called
subtle, his sound mellow, and his compositions understated; yet his recording and playing history is anything but
modest. He recorded with artists ranging from Bill Evans to Itzhak Perlman
and performed alongside most of the

jazz greats of the 20th century. He was
the frst of the modern jazz guitarists to
receive an NEA Jazz Masters award.
Hall was an original member of the
Chico Hamilton Quintet in 1955 and

continued to hone his craft on Ella Fitzgeralds South American tour in 1960,
later joining Sonny Rollins quartet.
His extensive ensemble experience
produced a control of rhythm and
harmony so that Halls playing, while
grounded in scholarly technique and
science, sounded both rich and free. His
infuence on jazz guitarists, including
such disparate ones as Bill Frisell and
Pat Metheny, is immense. In addition to
numerous Grammy nominations, Hall
was awarded the New York Jazz Critics
Circle Award for Best Jazz Composer/
Arranger.
JAZZ
DOES NOT BELONG
TO ONE RACE OR CULTURE
BUT IS A GIFT
THAT AMERICA HAS GIVEN THE WORLD
THIS IS OUR GIFT BACK
P. Mauriat Saxophones and Trumpets are available through the fnest instrument
retailers. To fnd one near you visit www.pmauriatmusic.com.
St. Louis Music is the exclusive distributor of P. Mauriat in North America. To fnd out more visit www.stlouismusic.com
noteworthy
Juilliard Names Marsalis
Director of Jazz Studies
The Juilliard School and Jazz
at Lincoln Center recently announced that Wynton Marsalis,
Jazz at Lincoln Centers managing
& artistic director and a Juilliard
alumnus, will become director
of Jazz Studies at Juilliard beginning July 1, 2014. Mr. Marsalis will
actively oversee the Spring 2014
auditions and admissions cycle to
select the entering class for Fall
2014, while immediately beginning to plan for how the program
and curriculum will evolve under his leadership to meet the
needs of gifted young jazz musicians.
In addition, the two organizations announced a substantial
new initiative to give Juilliard Jazz students increased access to
Jazz at Lincoln Centers education programs, concert opportunities, and audience development projects that will augment
their academic work and career. Adding to the Schools existing practical teaching experiences for its jazz students, JaLC
will provide additional opportunities to perform, and develop
practical insights into managing their own careers by participating in JALCs innovative social media, digital marketing, and
webcasting initiatives. This new collaboration revitalizes the relationship between the two organizations, which began when
jazz education was introduced at Juilliard with the frst class of
jazz instrumentalists arriving in September 2001.
www.juilliard.ede
Masekela Headlines New

Nigerian Jazz Festival
South African trumpeter and Grammy Nominee Hugh Masekela
headlined the inaugural International Jazz Festival in Bayelsa, Nigeria in December. For Mr. Masekela, the concerts African-American mix was familiar: having returned to
apartheid-era South Africa from the Manhattan School of Music during the 1970s,
he has not lost touch with African varieties of jazz, or with African instruments.
Speaking during a performance in
the U.K. earlier this November, Masekela touched on his enthusiasm for mixing
New York jazz with African variations, retelling a line spoken to him by Miles Davis:
If you take some of that sh*t from home, and put it together with
the sh*t from here sh*t!
Director general of Bayelsas Tourism Development Agency, Mrs
Ebizi Ndiomu-Brown, said the Festival would showcase the regions
rich and vibrant cultural heritage. The concert follows Bayelsas
November CAAN (Caribbean, African, American Nations) Musical
Awards, which saw Sean Kingston, the rapper, and Tuface Idibia perform live to a television audience across West Africa.
www.bayelsajazz.com
Finalists Announced for

Grammy Educator Award
A total of 10 music teachers from 10 cities across eight states
have been announced as fnalists for the frst annual Music Educator Award presented by The Recording Academy and the
Grammy Foundation. In total,
more than 30,000 initial nominations were submitted from all
50 states. Nominees include: Lisa
Bianconi (Vt.), Charles Cushinery
(Nev.), Andrew DeNicola (N.J),
Vivian Gonzalez (Fla.), Kent Knappenberger (N.Y.), Kathrine Kouns (Ariz.), Glen McCarthy (Va.), Steve
Vutsinas (Va.), Jo Wallace-Abbie (Texas), Mary Jo West (Va.).
The Music Educator Award was established to recognize current educators (kindergarten through college, public and private
schools) who have made a signifcant and lasting contribution
to the feld of music education and who demonstrate a commitment to the broader cause of maintaining music education in the
schools. A joint partnership and presentation of The Recording
Academy and the Grammy Foundation, this special award will have
its inaugural presentation at the Special Merit Awards Ceremony &
Nominees Reception honoring recipients of the Lifetime Achievement Award, Trustees Award and Technical Grammy Award during
Grammy Week 2014.
One recipient will be selected from 10 fnalists each year, and
will be recognized for his/her remarkable impact on students lives.
The winner will be fown to Los Angeles to accept the award, attend the 56th Annual GRAMMY Awards ceremony, and receive a
$10,000 honorarium. The nine fnalists will receive a $1,000 honorarium, and the schools of all 10 fnalists also will receive matching
grants. The honorariums and grants provided to the fnalists and
schools are made possible by the generosity and support of the
GRAMMY Foundations Education Champions Box Tops For Education, Converse, Ford Motor Company Fund, Journeys, and Microsoft Surface, with additional support from Universal Music Group.
GRAMMYMusicTeacher.com
Berklee Presents First-Ever Spanish

Language Program
Berklee College of Music presents Berklee
Latino, the colleges frst-ever program
to be taught in Spanish. The program, a
series of lectures and master classes, will
be held January 13-18, 2014, at the Mexico
City campus of Tec de Monterrey. Berklee
Latino will be led by Grammy and Latin Grammy Award-winning
producer Javier Limn (Diego El Cigala and Bebo Valds, Paco de
Lucia, and Andrs Calamaro, among others); and Grammy Awardwinner Oscar Stagnaro, who has worked with performers including
Paquito DRivera, Jorge Drexler, Rosa Passos, Ivan Lins, and Isaac
Delgado.
www.berklee.edu/latino
CoRReCTion: The frst two lines of the sonnet in last
issues Jazz Forum should have read:
When I comedown to sleep deaths endless night,
The threshold of the unknown dark to cross
January/February 2014 JAZZed
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82. Frank Sinatra Standards

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1. Duke Ellington 00841644 ................$16.95
2. Miles Davis 00841645 .....................$16.95
3. The Blues 00841646 ......................$16.99
129. Vocal Standards (High Voice)

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45. George Gershwin 00103643 ............$24.99
88. Duke Ellington Favorites

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130. Vocal Jazz (Low Voice) 00843191 ....$15.99
89. Irving Berlin Favorites

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132. Stan Getz Essentials 00843193 ......$15.99
6. Jazz Classics with Easy Changes

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128. Vocal Standards (Low Voice)

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87. Dixieland 00843111 ........................$16.99
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127. Chuck Mangione 00843188 ............$15.99
44. Oliver Nelson 00843040 ..................$16.95
5. Best of Bebop 00841689 .................$16.95
9. Dizzy Gillespie 00843002 ................$16.99
126. Count Basie Classics 00843157 .....$15.99
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91. Thelonious Monk Favorites

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135. Jeff Beck 00843197 ........................$15.99
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92. Leonard Bernstein 00450134..........$15.99
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139. Julian Cannonball Adderley

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96. Latin Jazz Standards 00843145 ......$15.99
140. Joe Zawinul 00843202 ....................$15.99
97. Maybe Im Amazed 00843148.........$15.99
141. Bill Evans Standards 00843156 ......$15.99
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142. Charlie Parker Gems 00843222 ......$15.99
49. Miles Davis Standards 00843045 ...$16.95
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134. Nursery Rhymes 00843196 .............$17.99

136. Nat Adderley 00843198...................$15.99
137. Wes Montgomery 00843199 ...........$15.99
138. Freddie Hubbard 00843200 ............$15.99
14. Irving Berlin 00843007....................$15.99
56. Georgia on My Mind & Other Songs by

Hoagy Carmichael 00843056 ..........$15.99
15. Rodgers & Hammerstein

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57. Vince Guaraldi 00843057 ...............$16.99
99. Swinging Standards 00843150 .......$14.99
143. Just the Blues 00843223 ................$15.99
16. Cole Porter 00843009 .....................$15.95
58. More Lennon and McCartney

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100. Louis Armstrong 00740423 .............$16.99
144. Lee Morgan 00843229 ....................$15.99
101. Bud Powell 00843152 .....................$14.99
145. Country Standards 00843230 .........$15.99
59. Soul Jazz 00843060.........................$16.99
102. Jazz Pop 00843153 .........................$15.99
146. Ramsey Lewis 00843231.................$15.99
60. Dexter Gordon 00843061 ................$15.95
147. Samba 00843232 .............................$15.99
61. Mongo Santamaria 00843062.........$15.95
103. On Green Dolphin Street &

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62. Jazz-Rock Fusion 00843063 ...........$16.99
104. Elton John 00843155 ......................$14.99
63. Classical Jazz 00843064.................$14.95
105. Soulful Jazz 00843151 ....................$15.99
151. Modern Jazz Quartet Classics

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64. TV Tunes 00843065 .........................$14.95
106. Slo Jazz 00843117..........................$14.99
152. J.J. Johnson 00843210 ...................$15.99
65. Smooth Jazz 00843066 ...................$16.99
107. Motown Classics 00843116............$14.99
154. Henry Mancini 00843213 ................$14.99
66. A Charlie Brown Christmas

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108. Jazz Waltz 00843159.......................$15.99
155. Smooth Jazz Classics 00843215 ....$15.99
109. Oscar Peterson 00843160...............$16.99
67. Chick Corea 00843068....................$15.95
110. Just Standards 00843161 ...............$15.99
156. Thelonious Monk Early Gems

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68. Charles Mingus 00843069 ..............$16.95
111. Cool Christmas 00843162 ...............$15.99
157. Hymns 00843217 .............................$15.99
69. Classic Jazz 00843071....................$15.99
112. Paquito DRivera Latin Jazz

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158. Jazz Covers Rock 00843219 ...........$15.99
113. Paquito DRivera Brazilian Jazz

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160. George Shearing 14041531 ............$16.99
17. Count Basie 00843010 ....................$16.95

18. Harold Arlen 00843011 ...................$15.95
19. Cool Jazz 00843012.........................$15.95
20. Christmas Carols 00843080 ............$14.95
21. Rodgers & Hart Classics
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22. Wayne Shorter 00843015................$16.95
23. Latin Jazz 00843016 ........................$16.95
24. Early Jazz Standards 00843017 ......$14.95
25. Christmas Jazz 00843018 ...............$16.95
26. Charlie Parker 00843019 ................$16.95
27. Great Jazz Standards 00843020 ....$16.99
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29. Lennon and McCartney 00843022..$16.95
30. Blues Best 00843023 .....................$15.99
31. Jazz in Three Second Edition
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34. All Time Standards 00843030.........$15.99
35. Bluesy Jazz 00843031 .....................$16.99
36. Horace Silver 00843032..................$16.99
37. Bill Evans: 10 Original Compositions
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38. Yuletide Jazz 00843034 ..................$16.95
39. All the Things You Are & More:
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114. Modern Jazz Quartet Favorites

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74. Best Jazz Classics 00843076 .........$15.99
115. The Sound of Music 00843164 .....$15.99
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116. Jaco Pastorius 00843165 ...............$15.99
76. Broadway Jazz Ballads 00843078 ..$15.99

77. Jazz on Broadway 00843079 ..........$15.99
78. Steely Dan 00843070 ......................$15.99
79. Miles Davis Classics 00843081......$15.99
80. Jimi Hendrix 00843083 ...................$16.99
81. Frank Sinatra Classics
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117. Antonio Carlos Jobim More Hits

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118. Big Jazz Standards Collection
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150. Jazz Improv Basics 00843195 ........$19.99
159. Mozart 00843220 ............................$15.99

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162. Big Christmas Collection
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by Christian Wissmuller
Pianist Connie Crothers, a player championed by jazz giants such as Lennie Tristano, Max Roach,
and Jemeel Moondoc, has long fown under the radar, but in recent years shes become a prolifc
force.
Crothers made her recording debut as a leader with 1974s Perception (SteepleChase) and hasnt
looked back. Max Roach sought her out for a collaboration as part of his duo series, and they ended
up recording Swish (1982, New Artists). Shes moved into creative overdrive in recent years, releasing
four albums in 2011 and fve in 2012. Her latest in a food of recent releases is Live at the Freight, a
duo session with adventurous tenor saxophonist Jessica Jones.
1. Wes Montgomery Echoes of Indiana

Avenue
I have always loved Wes Montgomery. I
had the great privilege of hearing him perform at the Half Note. I had heard that his
playing was extraordinary before he left
his hometown, Indianapolis, to become
the renowned jazz musician that we know.
This recording is from that time in his life.
I bought it as soon as I found out it was
available. Hearing it, I was just stunned. This
is required listening for anyone who loves
Wes, or anyone who loves jazz.
2. Lester Young Pres Box
Through the years, I have listened to Lester
Young a lot. Repeated listening is always
new; the surprises go deeper. This box set
presents live performances. His energy, always loose and open, could be even more
expansive when the music was captured
live. In these recordings, his presence is
uncanny. You are there with the great master while he creates, instant by instant, his
timeless masterpieces.
3. Roy Eldridge Stardust
One of the ways I listen is to sing with records.
Ive sung with this solo before, years ago. I
was drawn recently to sing with it again. Roy,
to me, is like a conduit toan incredibleother
location in the universe. This solo exemplifes
this beautifully. Every note reaches the saturation point for feeling. The difering sounds
that happen with each note express a feeling
that goes beyond what might seem possible.
(I recommend singing with records. Doing
this magnifes hearing awareness and causes
the listening experience to be deeply personal.)
4. Richard Tabnik Symphony for Jazz Trio,
A Prayer for Peace
Richard Tabnik, alto saxophone player, is
to say it simply incredible. I am fortunate
enough to be in a working quartet with
him. This two-CD trio record gives me a
chance to sit there and concentrate on his
great artistry. One CD is a studio recording,
10
the other is a performance at The Stone.

Both feature his composition, the title of
which is the title of this CD. It is enlightening to have the two versions, very diferent.
There are other tracks, all of them on the
high level of spontaneous improvisation
that characterizes his playing. I have it repeatedly playing on my sound system since
it came out about a year ago.
5. Lennie Tristano Live at Birdland, 1949
This is a recording of the very frst set of the
opening night of Birdland. Lennie, who seldom talked about his own recordings, appreciated his playing on this one. I have sung
with his solos. Recently, I have been listening
repeatedly to the amazing solo Warne Marsh
plays on the frst track, Remember. Its 1949,
and Warne was very young. His melody is so
extremely advanced, not only for that time,
but also for today. Besides being way ahead
of the times, this solo is astonishingly beautiful, every note. Also, there are breakthrough
levels of tenor saxophone playing; for example, he takes his melody down to the lowest
part of the horn and plays it like it is purely
lyrical, fowing, natural utterance.
6. William Parker Centering
This box set is a monumental record of an
era and the great musician who expressed
so much, musically and conceptually. William Parker was a founder and central fgure of an artistic movement, documented
extensively in this release. He has a tremendous range of sound and concept, both as a
composer and an improviser. His associates
recorded here include some of the most
important musicians playing today Roy
Campbell, Jemeel Moondoc, Charles Gayle,
Daniel Carter plus musicians who are not
with us but who are still with us in spirit
Billy Bang, Denis Charles, David S. Ware, and
many others. It is a compendium of music
of great intensity. This is my most current
listening experience. I am immersed.
7. Jimmy Reed Im Jimmy Reed
We need blues. I love to listen to the older
photo by cheryl richards
Whats on Your PlaYlist?
generation of blues musicians John Lee

Hooker, Son House. Lately, I cant stop listening to Jimmy Reed. I frst heard his records
when I was a teenager. I used to dance to
them. I still do. His time and something about
the feeling of his singing remind me a bit of
Billie Holiday, but, of course, his singing is all
his own. His harmonica playing is just thrilling
to me. I do think that hearing Going to New
York was an early infuence on the course of
my life.
8. Jay Clayton The Peace of Wild Things
I have all of Jay Claytons CDs. I have to listen
to her in special moments. Jay is equally at
home singing standards and improvising
free. This CD is free improvisation, her way. It
combines innovation with intrinsic beauty. I
just now listened to the frst track once again.
She sings, I wanna sing like birds sing. She
does.
9. Max Roach Solos
When this LP was released, it was nearly impossible to get, so it was very rare then, and
it is even more rare now. This recording is a
breakthrough, only drum solos. It wasnt too
long before it came out that it was thought
that people couldnt handle any more than
four bars of a drum solo. Max makes an entire solo performance riveting. Every track has
a unique musical logic. Each piece is entirely
compelling. This is fascinating to me. Max
was a master of the infnite permutations of
sound.
10. Louis Armstrong West End Blues
There is a special reason why I am listening
to this track lately. I think the famous, often-quoted intro is free improvisation. Yes,
there are two chords, but I dont think that
Louis had anything in his mind as a reference
for his improvisation no tune, no format, no
tempo he was just freely improvising.
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basic training
| tone rows
by Paul j. musso
Using Tone Rows in Jazz Composition Part III

It is intriguing to realize that from a somewhat random tone
row, several options that contain harmonic order are present.
Consider that the previous progressions that we have examined have only focused on dominant seventh chords, without
delving into other sonorities. The harmonic palette is vast
when all chord types and intervallic relationships are explored.
If Lydian chords were used exclusively as harmonic material,
the following progression could be used as a possibility:
Ex.28
If more than one chord per measure is used the following ii

V and ii V I progressions are possible.
Ex.34
Using multiple chords per measure also creates a common

jazz harmonic possibility: a i iv H6 V progression in D minor with
the A7 acting as a V pivot chord to the parallel major (DMaj7)
followed by a dominant IV(H5) chord.
Ex.35
Here is another possibility utilizing all major seventh chords

with elements of parallel equidistant relationships.
Ex.29
Even the Coltrane Matrix (major chords descending in major thirds) is a harmonic possibility in this tone row, but only in
the last two measures.
Another progression that maintains similar harmonic
sonority throughout all four measures is:
Ex.36
Ex.30
Simple functional harmony also occurs in a few places

among the harmonic possibilities. A V7 to I progression could
be found from D7 to G and E7 to A.
Ex.31
With a simple chord substitution one of the most common

progressions in tonal music and jazz can be found. If a G13, or
G13(H9) is backward-substituted for the Fdim7 chord, a ii V I VI
progression is possible.
Ex.32
A ii V I progression is also present in the second third and

fourth measures, in the key of B major.
Ex.33
12
At this point we have just scratched the surface of exploring the chord progression possibilities that could be
extracted from this tone row. There are a multitude of other chord progressions that could occur depending on the
composers choices. More formal serial music techniques
could be applied to the tone row as well, like inversion and
retrograde inversion, which would create new pitches within the cells and an entirely new set of harmonic possibilities.
This process is an excellent teaching tool, theoretical exercise, and compositional device. Its a great way to explore
new melodic and harmonic content and it creates a backdrop that facilitates fresh musical ideas.
Paul Musso is an assistant
professor and area head of
Music Performance in the
Music and Entertainment
Industry Studies Department
at the University of Colorado
Denver. He is the author of
three Mel Bay publications
for jazz guitar: Fingerstyle
Jazz Guitar/Teaching Your
Guitar to Walk, Graded
Fingerstyle Jazz Guitar
Solos, and Fingerstyle Jazz
Chord Soloing. His recent
CD release, Tonescapes, is
available for download on
iTunes.
Works Cited
basic training |
tone rows
Bach, Johann Sebastian, and Saul Novack. The Well-Tempered Clavier:

Books I and II, Complete. New York City: Courier Dover Publications,
1983.
Campbell, G., J. Casale, J. Coker, and J. Greene. Patterns for Jazz -- A Theory
Text for Jazz Composition and Improvisation. Van Nuys: Alfred Publishing
Company, 1982.
Evans, Lee. Another Color for Your Musical Palette: Principles of TwelveTone Writing. JAZZed:The Jazz Educators Magazine. 6.2 (2011): 50-53.
Print.
The magic of thirteen. Clavier Companion. 2.4 (2010): 28-29. Print.
Gourse, Leslie. In the Heyday of the Studio Musician, Thad Jones and
Mel Lewis Start a Big Band at the Village Vanguard. Massachusetts Review. 39.4 (1999): 585-595. Print.
Hansen, Liane , dir. Discovery Reveals Bachs Postmodern Side. Weekend Edition Sunday. National Public Radio: 06/September/2009. Radio.
http://www.npr.org/templates/transcript/transcrip
(1996): 1-17. Print.

McFarland, Mark. Dave Brubeck and Polytonal Jazz. Jazz Perspectives.
3.2 (2009): 153-176. Print.
Perle, George. Serial Composition and Atonality: An Introduction to the Music of Schoenberg, Berg and Webern. Berkeley:
Reilly, Jack. The Harmony of Bill Evans. 1. 1. Milwaukee: Hal Leonard, 1994.
64. Print.
Russo, William. Jazz Composition and Orchestration. Chicago: University
of Chicago Press, 1997.
Serialism, Serial Technique, Serial Music. The Oxford Dictionary of Music,
2nd ed. rev. Ed. Michael Kennedy. Oxford Music Online. 19 Jun. 2012
Schenkius, Patrick. Slash Chords: Triads With Wrong Bass Notes?. Tijdschrift Voor Muzektheorie. 16.1 (2011): 47-52. Print.
Schoenberg, Arnold. Theory of Harmony. Berkeley: University of California Press, 1983.
Larson, Steve. Composition Versus Improvisation? Journal of Music Theory. 49.2 (2005): 241-275. Print.
Schuller, Gunther. Musings: The Musical Words of Gunther Schuller. Oxford

University Press, 1986. Print.
Laverne, Andy. Augment Your Diminished Usage, Part 1. Keyboard.

29.11 (2003): 42-47. Print.
Straus, Joesph N. Twelve-Tone Music in America (Music in the Twentieth

Century). 1. Cambridge: Cambridge University Press, 2009. Print.
Augment Your Diminished Usage, Part 2. Keyboard. 30.2 (2004): 40-46.

Print.
Strunk, Steven. Notes On Harmony In Wayne Shorters Compositions,

196467. Journal of Music Theory. 49.2 (2005): 301-332. Print.
Levine, Mark. The Jazz Theory Book. Petaluma: Sher Music, 1995.
Waters, Keith. Modes, Scales, Functional Harmony, And Nonfunctional

Harmony In The Compositions Of Herbie Hancock. Journal of Music Theory. 49.2 (2005): 333-357. Print.
Martin, Henery. Jazz theory: An overview. Annual Review of Jazz Studies.
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JOHN CLAYTON
Synergy, Artistry, and Authenticity
by bryAn reeSmAn
16
rammy Award-winning jazz composer, performer, and educator John

Clayton believes in honesty and sincerity in music, and his artistic
passion has lead him across the world, working with stars like Diana
Krall, Paul McCartney, and Queen Latifah, among many others. For over three
decades he has collaborated with his brother Jef in the Clayton Brothers,
Clayton-Hamilton Jazz Orchestra, and other musical endeavors its sibling
synergy rather than rivalry and in recent years, his son Gerald has joined the
Clayton Brothers ranks as well. Clayton thrives on collaboration and believes
that healthy competition is an oxymoron.
Beyond his recording and touring, Clayton has devoted himself to teaching
and furthering jazz through several diferent venues. He conducts workshops
and clinics around the country. He serves as the artistic director of the Lionel
Hampton Jazz Festival in Idaho, the artistic director of Jazz Programs for the
Centrum Festival in Port Townsend, Washington, and on the Board of Directors
for the Vail Jazz Foundation, which holds an annual festival. The man lives and
breathes music.
When he spoke to JAZZed, Clayton answered queries on a wide range of topics,
from his teaching techniques to playing with family to fnding the connections
between diferent genres of music. One thing is very clear: Hes always learning.
do what You do wIth honestY.
The Clayton Brothers

(John at far right).
I embrace many forms of music, and for

me its as easy as switching between CDs.
I hope that the world is turning in your
direction, that more and more listeners are
reflective of your model. Who cares about a
pigeonhole.
It seems like the kids growing up now are

listening to a wider range of music than we did growing up simply because they have more access to it. When
we were growing up, you heard music on the radio, at
a friends house or a record store, or you bought it. You
couldnt download things at the speed of light and dive
into ten genres of music in an hour. Do you think that
kids are getting into more stuff these days?
I guess Id be a fool if I would counter that because its
too obvious. We have easier access, but I dont know if
thats necessarily steering the ship in a different [direction].
I think the ship may be turning very slowly. For instance, as
youre talking and explaining what your thought is here, Im
thinking back on my youth. We were fanatic about turning
guys onto different stuff. I heard stuff because my friends
would do exactly what you said they would play a record
for me or walk me to the Venice library to hear this amazing
record that this kid had found in high school of this piano player named Oscar Peterson with this bass player Ray
Brown. I had never heard the bass played like that. We were
always turning each other onto different stuff. That hasnt
changed.
I think whats changed is obvious its global, its faster
but people still have kind of a herd mentality, and we go
with the flow of what our peers are into. Of course we get
to choose our groups within those peers, so some guys my
age might be into white rock n roll and other guys might
be more into Motown/R&B. Theyre all still my age, Im still
friendly with all of them, and were still hearing each others music. Then I might be into Miles and Trane. I think that
part of it hasnt changed. Everything is bigger, and theres
more. There are more people on the planet, there are more
kinds of music. When you were 17 years old, there werent
as many styles of music and fewer still when I was 17 years
old. So now a kid that is 17 years old has more extra options,
more choices to make than we did. That part of it has a way
of balancing out the fact that its easier to access. In the big
band era, if you turned on the radio, how many different
styles of music would you here? You wouldnt hear any Latin
jazz, you wouldnt hear any rock n roll. Now here we are,
however many years later 60, 70, 80 years later and its a
whole different scene.
When youre teaching younger students privately or at
clinics or workshops, do you learn what their interests
are? What kind of balance do you try to strike musically
do you focus more on what the kids want to learn or
what you think they should be learning?
I focus on what it is they want to learn because that inspiration sparked that fire. Its the key, its not so much the
material. Sometimes its hard for just a one-day clinic, but
if I spend some time with them and discover what theyre
really interested in, I can mirror their excitement and help
them to expand what it is theyre excited about. Its the
same concept. Im one of these people who, even though
I dont own any Kenny G records, I totally support people
that are into Kenny G because deep down in my soul Im
hoping that that person that buys that Kenny G record and
goes to those concerts will eventually discover John Coltrane. Then Im a happy guy.
You reap what You sow. If

You sow medIocrItY, what are
You goIng to get?
JAZZed: You have a jazz and classical

background and have also played R&B.
Have you been finding new connections
between the different genres of music after all these years?
John Clayton: Yes. I think in fact the borders are becoming more blurred, which is
what I love. The connections are more obvious because youve got more and more people who studied both [jazz and classical] and
are making their profession doing both and
playing both. But its more than two. You get
an Edgar Meyer, for instance, who can play
Stella By Starlight and then do the Bach
cello suite and then turn around and play
some bluegrass, and thats becoming more
and more normal. Hes a freak of nature anyway, but you look at a Victor Wooten and its
the same kind of thing. And those are the
names you might know. There are more and
more people that are kind of hiding away
and flying under the radar. I love it.
Whenever youre teaching somebody something by Kenny G, do you then offer them something else to learn?
You know what? I dont believe in that way. Instead, I allow them to discover it. To me, thats so much more natural and works a lot better and feels less manipulative. The
things that we enjoy the most are the things that we discover for ourselves. We dont mind if somebody shows us
something, but when we find something on our own, thats
it. Somebody might play us the latest Stevie Wonder and
this track that they are so incredibly impressed by, but then
buried on that same CD is a track that nobodys listening to
17
spotlight
JOHN CLAYTON
that we discover and go, how could

you have missed this?
Do you see the film Quartet?
There is a really interesting scene
where an opera teacher is explaining to some high school students
that opera is about tragedy, and
during a horrible moment like
someone being stabbed, they are
singing about their pain. Then a kid
in the room talks about how rap is

the same thing, except theyre rapping instead of singing.
I do that, too. One of the things I
do at home when its Christmas is I always ask [my son] Gerald to give me
a Christmas gift of things that I need
to be checking out, so I can learn and
discover that way. What Im discovering about myself is when I hear this
stuff and am really impressed by it,
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Has playing with your son Gerald

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I think at this point I feel Im learning a lot more from him than the other way around. Thats okay, it should
be that way.
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Im loving it, Im checking it out, but I

dont feel the urgent need to be have
to be able to do that. Thats something new for me because when I was
growing up, Id hear something like
a new Chick Corea tune, and it was
awesome and I had to learn it. But
now, Im hearing stuff and impressed
by it and moved by it and really like
it, or not sometimes, but I never feel
like I have to learn that. If I want to, of
course I do, but I dont feel an obligation to anymore.
As far as your clinics and workshops versus private lessons, is

there a difference in the approach
and instructing people based on
the student numbers?
The material may be the same, but
the approach is different. I can get
very personal with a one-on-one lesson and find out how that persons
schedule and personal life affects the
music that theyre learning. It could
be that somebody has a high school
schedule or a college schedule that
is really screwing up the amount of
time to practice. So I know I need to
sit down with that person and really
help them with time management
and figure out how much music we
can really get together rather than
overload them with a bunch of music that they can never get together
within the timeframe that we have
and it becomes a frustrating goal for
them. I can do that one-on-one, but
when Im in a room full of 40 students
that doesnt work, so I have to focus
on different things. There are always
a few things that I try to remind people of or inspire them about, and the
top of the list is following your heart.
It has to do with everything following your heart in terms of the people
you want to study with, the music
you want to play, the groups you
want to play in, the people you want
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JOHN CLAYTON
spotlight
The Things ThaT we enjoy The mosT are The Things ThaT
we discover for ourselves.
Jef and John Clayton.
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to play with. Follow your heart. Dont

think, Im only good enough to play
with so-and-so or, It sure would be
nice, but it aint going to happen. By
following your heart you clarify stuff,
and then your path is much more focused.
Arturo Sandoval told me that at
the outset hes less concerned
about musical style than teaching
people the basics. He feels that
students have to learn the rudimentary stuff first, then develop
a technique before they can determine what kind of style they really
like or can play. Do you approach
teaching the same way?
Some of those elements I absolutely embrace and do. Like he does,
I dont focus as much on style. I think
its more about helping them to find
a procedure to absorb music and to
learn music. I talk a lot lately about
learning sound motion. Instead of really thinking theoretically or trying to
find a scale or a modal approach when
youre learning music, think about
sound motion. If you sing a tone,
and you pick anybody off the street
to sing that tone with you and say,
Follow me and start singing Happy
Birthday, they can sing it with you.
How can they do that? Theyre not a
musician like you. They dont know
what key youre in or what time signature you have or what degree of the
scale it starts on. They dont know any
of that stuff, yet theyre able to sing
that. How can they sing that? Because
theyve learned sound motion. Basically what were doing as musicians is
that, only on a larger scale and on a
higher level. If youre learning Donna
Lee or whatever, its sound motion.
Its this note followed by that sound
followed by that sound followed by
that sound and so on. When you do
that, you internalize music and allow
it to flow in your veins.
Then when its time to play in a
spotlight
JOHN CLAYTON
different key, youre not transposing

mentally. Along with the sound that
you learn, you also learn the accompanying sound. So if you learn the
melody note, the melody sound, you
learn the bass note, the bass sound.
That way when you transpose or do
anything, youre not having to do a
mental process. Thats kind of my
way of teaching, and then the way
people get to that is that I encourage
them to transcribe. Transcribe does

not mean writing it out, it means
just learning it note for note from
the record and playing it along with
the record. If you transcribe 25 solos,
your ear will be bigger than a Cadillac. Thats the ticket, and this is along
with everything else. Obviously were
working on our reading skills and our
theory and all that stuff, but I think it
all needs balance. I find that too of-
ten theres an imbalance, theres too

much focus on all the other stuff; the
theoretical stuff and all the left brain
stuff.
It sounds like youre teaching people to use their ears as much as
their eyes when learning music.
That its not just about whats on
the staff in front of them.
Yes, and understanding that those
notes on the paper are important
and have their place. I do that every
day, but its about balance. If you
dont have the right balance, then
youre going to be a person who cant
make as many choices. So if you can
only play by ear, you cant make that
choice of reading and vice versa.
Youve been playing with your
brother Jeff for over three decades. When did you two decide
to play music and to support each
others musical formats, and how
did that evolve?
We didnt play a lot together as
kids. We played in church. I played
bass, and my brother was playing
clarinet and moved to saxophone.
My mom wouldnt let him play saxophone in church because it was like
this heathen instrument. She eventually changed her tune, but at that
time he was singing in the choir and
I was playing bass. Along that same
period, I was playing in a high school
jazz big band. Thats how it all happened. In our college days, after a
year or two in L.A., I transferred to
Indiana University, so I wasnt really with him for three years. Id come
back and wed play a gig here or
there, but we really didnt have an
established Clayton Brothers group.
When I went with [the Count] Basie
[Orchestra], thats when we decided
to make our first Clayton Brothers
record. We were enjoying playing together when we could and thought it
might be fun to do a record together,
and Ray Brown, who of course was
my mentor, was very close to Carl
Jefferson and Concord Records. He
told him about us and helped organize that record session. Thats really
how it started.
22
spotlight
JOHN CLAYTON
Over the years, you guys have done

a lot of different stuff together.
Over the years weve played more
and more and had more and more
fun together actually.
instrument how to phrase, how to

breathe, what they have to do to make
a sound, to extend a phrase, whats their
natural way of tapering at the end of a
phrase. I learned all that stuf from him.
What have you learned from Jeff

over the years?
I really learned about melody from
him and what goes into playing a wind
What do you think he has learned

from you?
Nothing. [Laughs] Nothing hell
admit to.
When did your son Gerald start

playing with the Clayton Brothers
quintet?
He did a couple of gigs with us
while he was in college, and after he
left I told him, I dont want to force
you or push you or motivate you in
this direction at all, but we would
love to have you play in the Clayton
Brothers if youre interested. He said,
Are you kidding? Thats been one of
my goals in life. Which I never knew
until that time. So that was very cool.
Thats something every father wants
to hear.
It sounds like you have a family
synergy.
Its true. People talk about that,
and the more I thought about it, the
more I realized that that is definitely
real. There are things that I can do on
my instrument that Gerald has heard
all of his life, and he knows my tendencies. He knows if I play a certain
line that I may have a tendency to
rush that line. The same thing with
my brother. If my brother plays something, the audience hears it as a musical statement. I hear that as, when
we were kids we used to hear that in
church. There is something about the
whole family thing.
Ray Brown was a big influence on
you and was your mentor. How did
his approach to teaching and playing influence you, and how important was that for you?
It was super important because he
was the guy who told me that first
of all I had to learn how to play the
bass from here to here he touched
the top of the bass and touched the
bottom of the bass and then said,
Get your butt out there and make
some music. He was telling me this
because at that time I was dreaming about being a studio musician,
and he just went crazy. Are you out
of your mind? You dont even know
how to play the bass. Thats when he
said I first have to learn how to play
from here to here and get out, make
some music. He was a mentor in that
way, in terms of helping me and in-
24
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spotlight
JOHN CLAYTON
sisting that I learn how to play the instrument, but he is also the guy that
introduced me to the understanding
of what I say is the credo that we musicians live by. I was thanking him
profusely for all he was doing for me,
and he said, Dont worry about it.
Im doing this for you because somebody did it for me, and you are going
to do it for somebody else down the
line. Thats the rule. You dont do it
out of necessity to follow the rules,

you do it out of a humble sincerity.
Is there certain advice that you
give to students about this business and what they need to do?
Sure, its easy. Its so easy that a
lot of people dont get it, and thats
fine because those that do will. That
is that the doors of opportunity will
open to you based on the level of
your art. Period. The end. We want to

so easily blame the scene, the lack of
jobs, and all the statistics.
We might look to ourselves and
go, Okay, I auditioned, that other person got the gig, and theyre
actually not even better than I am.
No, no, no. Instead youve got to go,
What do I need to add to my music
to allow that door of opportunity to
open for me, as well? If everybody
does it, it keeps you focused on the
right stuff instead of networking and
dissing the business and saying it
sucks. No man, its on you. You dont
have what it takes in terms of your
artistry to allow doors to open for
you, so get busy. Shut up.
I think theres an element of networking involved.

No, no, no, I still disagree because
you can get your foot in the door
based on who you know and who
you hang out with the first time, but if
you aint playing s*** theyre not going to call you back. If you focus on
your music and get that to a high level, you end up creating a buzz about
yourself, and you dont have to network. Itll happen naturally. You cant
hide away in some log cabin Im not
talking about that but assuming
youre playing your music and youre
just sharing it at every opportunity,
26
spotlight
JOHN CLAYTON
I dont want people to be doIng a gIg that theIr heart

and soul are not Into because theyre not honest wIth
themselves. then you dIe.
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I promise you that people talk about

you. Theres just no way around it. You
reap what you sow. If you sow mediocrity, what are you going to get? Its
really about looking in a mirror and
going, Okay, you know you dont really know that melody. You know you
dont really know the chord changes.
You know youre actually rushing or
dragging that tempo. We should be
honest with ourselves.
What are the biggest life lessons
that youve learned?
The big lessons that Ive learned
sound like clichs, and thats unfortunate because then people dont
feel that theyre profound. Thats fine
I dont care whether they find it profound or not, but its not going to be
something that they havent heard
before. Do what you do with honesty. I want to go and hear an honest
concert. I dont want to hear somebody playing music that they think
is going to get the audience riled up.
I dont want to see a movie that the
producers and director think will win
the audience over by doing certain
things. I dont want to eat food that is
prepared by somebody whos throwing stuff in that they think people will
love. I want honesty. I think focusing
on that, playing music from an honest
place and that has to be defined by
the individual is something that always wins. I dont want people to be
doing a gig that their heart and soul
are not into because theyre not honest with themselves. Then you die.
PRESIDENTS LETTER
A Message from Jazz Education Network President Andrew Surmani
Dear Friends of Jazz,
This month, we are presenting our 5th Annual JEN Conference in Dallas January 8-11,
2014 at the Hyatt Dallas at Reunion. This involved over a year of planning starting from the
JEN Site Review Committees trips to various cities, including Dallas, to scout out potential locations for our conferences. At the this recent conference, we hosted 5 performance
venues, 6 clinic venues, an exhibit hall with over 100 exhibitors, and the JENerations Jazz
Festival, all in one location. We have also booked conference sites for the next 3 years: 2015
in San Diego, 2016 in Louisville, and 2017 in New Orleans.
As a fairly new organization that has only been existence for five years, we couldnt function without the incredible level of volunteerism from so many people. This starts with your
dedicated volunteer board that works very hard throughout the year at nearly two weeks of in-person meetings,
countless emails back and forth, conference calls and Skype calls, and tremendous ongoing committee work that
pushes our organization forward into the future. JEN is an organization with over 1,500 members in 23 counties,
every USA state and 7 Canadian provinces, yet it still does not have one single full time employee. Only three
dedicated part-time independent contractors, plus a lot of volunteers. Were trying to spend our members money
wisely, so until we can afford to hire full-time staff, we will get by with a strong volunteer army.
Id like to especially thank our Conference Coordinator, JEN Co-Founder and Immediate Past President
Dr. Lou Fischer, who works tirelessly every single day on a volunteer basis for our organization, and particularly
for the annual conference, which involves ongoing negotiations with hotels, A/V companies, rigging companies,
caterers, performers, manufacturers, and countless others to make this event a great success. Dr. Fischer has built
an incredible volunteer conference coordination team consisting of stage managers, sound engineers, production
coordinators, exhibitor liaisons, food and beverage coordinators, local outreach coordinators and others.
You will see that one of our dedicated volunteers, Jerry Tolson, is being recognized this year as our Presidential Service Award winner. In addition to being a world-class jazz pianist, Jerry has been heavily involved in
our helping to produce our conference.
We are also honoring Dan Gregerman as the esteemed John LaPorta Educator of the Year award winner.
Named after the legendary jazz educator from the Berklee College of Music, this award honors one great high
school level educator each year for their contributions to the field of jazz education.
This past year JEN launched a new program entitled JAZZ2U where we bring speakers, clinicians and
performers to educator classrooms all over. This was made possible from a generous grant from the Herb Alpert
Foundation. More than 15,000 students and teachers were served in 2013. Thanks to another generous grant from
this benevolent foundation, we are able to fund it for another year. Applications are available on the JEN website
beginning February 2014.
In 2013, the JEN Board completed and posted our Strategic Plan on our website. This detailed plan will
guide the organization for the next several years into the future. We are also working on a District Rep program to
increase awareness for JEN throughout the world. If you are interested in serving as a local rep, please contact our
Membership Manager Larry Green at jazzerlg@aol.com.
I hope you enjoy the conference and have a wonderful year ahead.
Warm Regards,
Andrew Surmani | JEN President

JEN Board of Directors (201314): Rubn Alvarez, Paul Bangser, Bob Breithaupt, Cheryl Carr, Caleb Chapman (Vice President),
John Clayton, Jos Diaz, Dr. Lou Fischer (Immediate Past President), Dr. Darla Hanley, Dr. Monika Herzig (Secretary),
Judy Humenick, Rick Kessel (Treasurer), Mary Jo Papich (Past President), Bob Sinicrope (President-Elect),
Andrew Surmani (President). Office Manager: Larry Green; Webmaster: Gene Perla; Marketing & Communications:
Marina Terteryan; Web Hosting: Holistic Solutions HotDrupal (hotdrupal.com); Bookkeeper: Lynda Chavez
30
JAZZed Jaunary/February 2014
2014 SCHOLARSHIP & AWARD WINNERS

DANIEL GREGERMAN
John La Porta Jazz Educator of the Year Award (Sponsored by Berklee)
Daniel Gregerman, Choral Director at Niles North High School in Skokie, IL has
spent 23 years building an award-winning vocal program which he started and built with
his deep passion for jazz and education. He directs 5 concert choirs, teaches piano class and
directs the top vocal jazz ensemble of three in the program. His groups have earned national recognition, performing at regional and national conferences, winning multiple Down
Beat awards, and performing at festivals both nationally and internationally. Gregermans
ensembles have shared the stage with such names as Diane Schuur, The New York Voices,
The Real Group, Take Six, and Janis Segal of The Manhattan Transfer. Known composers
such as Jennifer Barnes, Michele Weir, Kirby Shaw, Greg Jaspers, and Gary Fry continue
to create musical arrangements and compositions for his ensembles.
Gregerman has served in a variety of leadership roles within the education community. He is a founding member of JEN, where he has volunteered in many different roles
including his current role as the Conference Office Coordinator for the Annual JEN Conference. Gregerman has held positions
as State and District Chairman of Vocal Jazz for ILMEA, and has been Guest Director for several ILMEA District Jazz Festivals
as well as acting as a clinician for vocal groups both locally and around the Midwest. He also founded and hosts the Niles North
High School Vocal Jazz Festival, now in its 14th year. Gregerman earned his Bachelor of Music Education from Northwestern
University in Evanston, IL and a Master of Music Degree with an emphasis in Choral Conducting and Jazz Studies from Western Michigan University in Kalamazoo, MI. In addition to his educational commitments, Gregerman resides in the North Shore
of Chicago and shares two beautiful children with his wife Sandra.
JERRY TOLSON
Presidents Service Award (Sponsored by JEN)
Jerry Tolson has been a member of the music faculty at the University of Louisville since 1993. As professor of jazz studies and music education, he directs instrumental and vocal jazz ensembles and teaches jazz pedagogy, jazz style, jazz history, and
African American Music classes.
A graduate of Drake University and the University of North Texas, Tolson is active as a clinician, adjudicator, guest conductor, and jazz camp instructor throughout the
country. He has been active as an organizer, administrator, and presenter of jazz through
festivals and educational activities. Mr. Tolson has made presentations at the National
MENC conference, the International Association of Jazz Educators (IAJE) Conference,
the International Academy of Law and Mental Health, the Midwest Band and Orchestra Clinic, the Jazz Education Network Conference, and numerous state music conferences, including Barbados, Brazil, and
Trinidad as well as numerous universities around the country.
He co-founded the Kentuckiana Jazz Style Summer Workshop at Bellarmine University in Louisville. He also
co-founded and is the director of U of Ls African American Music Heritage Institute, and a co-founder of a series of teacher
training institutes sponsored by the International Association for Jazz Education. As a composer/arranger Tolson writes for
both large and small instrumental and vocal jazz ensembles. His vocal jazz works are published by UNC Jazz Press, and he is
an author, clinician, and consultant for the Alfred Music Company. He is also a content consultant for Pearson/Prentice Hall
Educational Publications. In addition, Tolson has published articles in The Instrumentalist, Jazz Educators Journal, and Music
Educators Journal, and was a contributing author to the publications Teaching Music Through Performance in Jazz (GIA) and
The Jazz Directors Handbook and Resource Guide (Alfred).
As a performer on keyboards, woodwinds, and vocals, Tolson leads three of his own groups and has worked with such
popular artists as the Temptations, and Manhattan Transfer, and with jazz artists Delfeayo Marsalis. Tolsons jazz group has appeared at the prestigious Montreux Jazz Festival in Switzerland as well as the Umbria Jazz Festival in Perugia, Italy and has also
completed a performing tour in Barbados where among other concerts, they performed for the Prime Minister.
Tolson has been named to Whos Who Among Americas Teachers, and has received the Kentucky Music Educators College Teacher of the Year award, the University of Louisville Exemplary Multicultural Teaching Award, and has
twice been recognized with the University of Louisville Distinguished Faculty Service Award, and Tolson is a board member
of the University of Louisville Athletic Association, the University Club of Louisville, and a former member of the IAJE
executive board. His other professional memberships include the American Federation of Musicians, ASCAP, College Music
Society, National Band Association, Kentucky Association for Jazz Education, Jazz Education Network, and Music Educators
National Conference.
31

Congratulations to the 2014 Scholarship Winners
BRIAN CLAXTON
David Baker Scholarship (sponsored by Jamey Aebersold)
Brian Claxton is a drummer, educator, and a recent graduate of the University of Northern Colorado, having earned a Masters Degree in jazz studies. He has
been playing the drums since he was 4 years old and started his private lessons and
undergraduate studies at the University of Wisconsin Eau Claire for his B.M. in
music performance. At University of Wisconsin Eau Claire He played in the schools
best ensembles and performed with great musicians on a regular basis including
the downbeat award winning (Best Undergraduate Large Jazz Ensemble) UW-Eau
Claire Jazz Ensemble 1. While at UNC, he has performed and recorded with the
Vanguard Combo, and UNC Jazz Lab Band 1 throughout Colorado and across the
country, and in 2013 they won a Downbeat Award for Best College Big Band at the
Graduate Level.
He has played music around the world and has met and made music with
many of his idols, including: Chris Potter, Donny McCaslin, Dave Douglas, Jiggs
Whigham,Terrell Stafford, Wayne Bergeron, Nicholas Payton, Jeff Coffn, Greg Gisbert, Paul McKee, Mike Rodriguez, Jeff
Coffn, Bobby Sanabria, Dave Weckl, Cyrus Chestnut, Eric Marienthal, Tom Giampietro, John Fedchock, John Faddis, Tony
Monaco, and Ron Miles. He also frequently performs with a network of local musicians both in the Greeley/Ft. Collins area
and the Eau Claire/Twin Cities area. He has studied with Jeff Crowell, Jim White and has had lessons with Jeff Hamilton,
Peter Erskine, Ed Soph, Carl Allen, Ari Hoenig, Gregg Lohman, Joe Pulice, and Rich MacDonald. Claxton plans to pursue a
PH.D. at UNC.
ALEXA TARANTINO
Mary Jo Papich JEN Co-Founder Women in Jazz Scholarship (Sponsored by JEN)
Already an accomplished jazz saxophonist, woodwind doubler, composer, and educator, Alexa Tarantino is currently a senior at the Eastman School of
Music. She will be graduating with degrees in Jazz Saxophone Performance and
Music Education, as well as a certificate in Arts Leadership. A graduate of the
award-winning Hall High School music program in West Hartford, Connecticut,
Alexa has achieved recognition in several competitions such as Jazz at Lincoln
Centers Essentially Ellington Competition and Music for Alls Honor Jazz Band
of America.
A student of New York City-based saxophonist/woodwind doubler
Charles Pillow, Alexa performs regularly as a leader and sideman in the Rochester area in ensembles and genres that range from traditional jazz to R&B/Soul,
Dixieland, and more contemporary and original music. Performance highlights
include the Umbria Jazz Festival with Ryan Truesdells Gil Evans Project, the Xerox Rochester International Jazz Festival on several occasions, and attending the
Banff International Workshop for Jazz and Creative Music. She has been fortunate
to share the stage with artists such as Phil Woods, Curtis Fuller, Peter Erskine,
Andy Bey, Steve Wilson, John Legend, David Paich, and more. In addition to
performing and teaching, Alexa was recently appointed the position of Production Manager for the Eastman Schools
upcoming weekly radio show titled Jazz@Eastman: Past, Present, and Future to be broadcasted on Rochesters WGMC
Jazz90.1.
Appreciative of having grown up in a community that fostered jazz education, Alexa hopes to share the skills she
is learning at Eastman to create a similar experience and nurturing environment for the next generation of aspiring
jazz musicians.
32
GIBRAN KHAN
Hal Leonard Collegiate Scholarship (Sponsored by Hal Leonard)
Gibran Braun Khans musical journey began in high school when he started
playing electric bass for his band. He immediately took to the bass and started learning
on his own, eventually playing bass with several college groups and volunteering as
Music Director at his church. During his undergraduate study, he played both classical
and jazz, and participated in a couple of big bands. After graduating in 2005, he began
working full-time as a Music Director at his church and continued to practice and perform.
Khan also began organizing jam sessions and concerts for the community that
featured local music students. This eventually developed into an organization that he
founded and directed called The Jazz Project, which aims to promote the development
of jazz musicianship and appreciation among students and community members of
all ages in central Michigan through jam sessions, master classes, and public performances. When the University found out about the program, they offered Kahn an assistantship to continue organizing the events and to develop their community outreach
program.
In 2008, he began his Masters and continued working to develop the concert
series and the community outreach program. The concert series grew to incorporate guest artist clinics and performances,
including artists such as Billy Hart, Vincent Herring, Peter Zak, Phil Palombi, and others. As part of the outreach program,
he coordinated jazz groups to go play at local schools and senior homes, reaching to more than 60 performances a year.
As a Masters student, Khan also began working to develop the jazz program within the university. He developed
and taught a course in jazz theory and functional jazz piano, and also organized jam sessions, combos, and additional performance opportunities. After graduating, he was hired by the University to continue the courses and programs that he had
begun as a graduate assistant, as well as to developed a Jazz Repertoire course and initiate the creation of an
Undergraduate Certificate in Jazz.
CHRISTOPHER PARKER
Dr. Lou Fischer JEN Co-Founder Scholarship (Sponsored by JEN)
Christopher Cooper Parker is a multi-faceted musician who plays several
instruments including the drums, tenor sax, soprano sax, clarinet, euphonium, guitar,
baritone, vibes, reeds, and upright bass. He is currently 16 years old and attends the
Bloomington High School North in Indiana.
He enjoys volunteering for music events and is a junior board member of
Jazz from Bloomington, a non-profit organization whose primary mission is to promote and preserve jazz as Americas unique art form. His time is mostly spent doing
gigs, jamming, and attending concerts, clinics, and master classes. Parkers studies
include private lessons with Mitch Shiner and Steve Houghton, Tom Walsh, Ed Soph,
and Peter Kniele, and has attended the Jamey Aebersold Jazz camp.
Parker has played in numerous All Star combos and groups and has won the
outstanding musician honor in several jazz festivals. Groups he has participated in have won superior ratings in festivals,
and he has won the Outstanding Soloist honor of the festival on both drums and tenor in the Lionel Hampton Jazz Festival.
He has been in a Jazz Trio for about five years and has been in several gigs and has recorded three albums. As a professional drummer, he has appeared with the Monika Herzig Trio, Ralph Bowen, Jamey Aebersold, Keith Karns Quartet,
Marlin McKay Quartet, Dennis Riggins Swing Thing, and Sarahs Swingset.
When his school district was faced with losing all extra-curricular programs due to budget cuts, Parker spent his
summer busking for funds so that his school would continue to have band and theater. He has assisted with the sectionals
for the Tri-North Middle School Jazz Band, has been an assistant to the director for Star Band, which is a beginning band
program for 5h and 6th graders, and has led sectionals for the jazz bands at Bloomington High School North. Parker has
performed free concerts with his jazz combo for numerous non-profit agencies such as Red Cross, UNICEF, and
Homeward Bound.
33
2014 STUDENT COMPOSITION SHOWCASE WINNERS

Congratulations to the 2014 Student Composition Showcase Winners
LUCAS APOSTOLERIS
Lucas Apostoleris is a 20-year-old junior studying music performance at
the University of Massachusetts Amherst. A jazz drummer, composer, and classically trained guitarist, Lucas is a two-time winner (2008, 2009) of and one-time
finalist (2013) for the ASCAP Young Jazz Composer Awards. In April of 2013, he
was awarded the Howard Lebow Memorial Scholarship by the music department at
UMass Amherst.
Apostoleris is the drummer for the group City of Four, a jazz ensemble
based in Amherst, MA that recently debuted at Symphony Hall in Boston. He is
also performing at the Jazz Education Network Conference this year with the Jeff
Schneider Nonet.
WINNING COMPOSITION: September Again
C. TYLER DENIS
Composer-pianist C. Tyler Denis has a wide range of musical interests, which he
uses to fuel his own passions and affect the lives of those around him. His arrangements
have been recorded and performed by a number of artists, including Kevin Mahogany,
Bruce Hornsby, Steve Miller, and a host of others. Outside of the jazz realm, he has also
been active as a theatre orchestrator, contributing to a number of local and regional shows,
including Maryann Kyles one-woman off-Broadway debut, Sondheim in the City.
As a pianist, Denis has received outstanding soloist awards at the University
of North Texas and Alcorn State University jazz festivals, and can be heard performing
across the Southeast in a wide range of settings. In 2012, he completed his B.M. in jazz
piano at the University of Southern Mississippi, and is currently working towards an M.M.
in Studio/Jazz Writing at the University of Miami under the mentorship of Gary Lindsay.
WINNING COMPOSITION: WWTD (What Would Thad Do?)
RAFAEL PICCOLOTTO DE LIMA

Born in Brazil, Rafael is a Latin Grammy nominated composer who had his
music performed and recorded by artists such as Terence Blanchard, Chick Corea,
Steve Miller, Jon Secada, Bruce Hornsby, and ensembles such as the Costa Rica
National Orchestra, Campinas Symphony Orchestra, and the Henry Mancini Jazz
Philharmonic. Graduated in Classical Composition and Brazilian Jazz Studies at UNICAMP (So Paulo, Brazil), Rafael has a Master degree in Studio Jazz Writing from
the Frost School of Music (University of Miami), where he is now a Doctoral candidate
in Jazz Composition. Sponsored by ASCAP through the Henry Mancini Fellowship he
works at UM as a composer and arranger.
Other awards include 3 student Downbeat awards as a composer and conductor, the ARS BRASILIS Arranger Competition award in tribute to Milton Nascimento
and first place in the Ricardo Rizek Latinamerican Composers Competition for young
musicians.
WINNING COMPOSITION: Quebra-Cabeas
34
2014 STUDENT COMPOSITION SHOWCASE WINNERS
ENRICO BERGAMINI
Enrico Bergamini is an Italian saxophone player, composer and
arranger. While he spent his youth studying classical music he was later infuenced by other genres of music such as Jazz, Fusion, Funk and Progressive
Rock which helped him to develop a peculiar and characteristic musical style.
After completing his studies in Classical Performance at the Luca Marenzio
Conservatory in Brescia he auditioned and was accepted at the Berklee College
Of Music where hes currently majoring in Jazz Composition.
WINNING COMPOSITION: Convergence
AARON HEDENSTROM
Aaron Hedenstrom is an upcoming young saxophonist and composer who has
had the fortune of playing with a variety of wonderful musicians in his life. Whether
it is performing original compositions with his big band, the Aaron Hedenstrom
Orchestra, playing clarinet and bass clarinet with indie rock groups such as S. Carey,
or playing small-group jazz with top-notch jazz artists like Quamon Fowler, Aaron
brings a unique and personal sound to every situation.
Currently living in Denton, TX, Aaron maintains a large teaching studio and
performs regularly at Dallas/Fort Worths premiere venues. Aaron holds a Masters in
Jazz Arranging from the University of North Texas and a Bachelors in Music Composition from the University of Wisconsin-Eau Claire. Aaron is the recipient of multiple
awards including the 2012 Detroit Jazz Festival Arranging Contest, the 2013 Herb
Alpert ASCAP Young Composer Award, and the 2013 DownBeat Award for Blues/
Pop/Rock Soloist.
WINNING COMPOSITION: Honeybee
Selections by the student composition winners will be

performed at the 2014 JEN Conference at 2:00pm on
Saturday, January 11, 2014 in the Pegasus Ballroom.
Selections will be performed by the University of North
Texas One OClock Lab Band under the direction
of Steve Wiest.
35
5TH ANNIVERSARY CONGRATULATIONS

JEN Members Celebrate 5 Years of Our Annual Conference
JEN is an amazingly multifaceted organization that, in its five years of
existence, has enhanced my world in 4 ways.
As an Educator, I have re-established relationships with my mentors and
colleagues as well as done some very effective recruiting for our bass department.
As a Professional Musician, my Jen concerts, clinics, and networking have
resulted in some great opportunities as in very cool gigs and clinics for
Bass Extremes that would otherwise have never happened.
As a Perpetual Student of Music, I always leave JEN inspired by the
myriad techniques and concepts learned at artist clinics and concerts.
As a Human Being, JEN reaffirms and solidifies my belief that building
and maintaining relationships, more than anything else, is where personal
and career contentment is derived.
Steve Bailey
Congratulations to everyone who has made JEN possible for the
last 5 years! There are so many people around the world who
appreciate this tremendous effort. Having just been on tour in
South Africa, there is a buzz going on even there about what is
happening here! Thats incredibly inspiring to me. I hope that
through the efforts of so many dedicated students, educators and
players that JEN will continue to make a global educational
impact for many years to come.
Jeff Coffin
I am extremely proud to be a
founding member of JEN. The Jazz
Education Network continues to
grow in so many areas and
waysincrease in membership (both
numbers and areas) makes its own
statement. Hurray for Jazz, and for
JEN!
Paris Rutherford
36
Thank you, JEN, for continuing to give us a place to gather,

grow, and share in the best
interest of Jazz musicians and
Jazz music. Hopefully, five
years is just the beginning.
Victor L. Wooten
JEN NEWS
2015 Conference in San Diego, CA
Our 6th Annual Conference will be on January 7-10,
2015 at the Manchester Grand Hyatt in San Diego,
CA. Following in the great tradition of JEN conferences, the 2015 conference will host concerts, clinics,
research presentations, industry exhibits, scholarships
and awards, and tons of networking opportunities for
everyone in the jazz community. The elegant Manchester Grand Hyatt hotel will serve as our conference
location and host hotel in beautiful San Diego (Sun
Diego), CA. Applications for performing and presenting a clinic will be open starting February 2014. To
receive up-to-date notifications on when the applications will be live, visit JazzEdNet.org and sign up for
our email list or follow our social media pages.
JAZZ2U Resumes in 2014

Our popular JAZZ2U initiative will be open for applications again in 2014. Though the grant can be used
at any time in the year, we encourage applicants to
consider creating or participating in an event during
Jazz Appreciation Month in April and/or on International Jazz Day on April 30. Learn more at
JazzEdNet.org/JAZZ2U.
JEN Members Featured in

The Jazzers Cookbook
JEN members contributed their ideas to the newlyreleased book, The Jazzers Cookbook: Creative
Recipes for Players and Teachers. This exciting
collection features favorite tips from 57 of todays
most outstanding educators, performers, and industry
pros including: Dr. Lou Fischer, John Clayton, Diane
Downs, Jamey Aebersold, Dave Liebman, and more!
The book is published by Meredith Music (distributed
by Hal Leonard) and is available online and at music
stores. A portion of proceeds go to JEN programs.
Share Your 2014 (#JEN14) Conference Experience!

Connect with us online to share photos, videos, and your thoughts about the 2014 conference. Be sure to tag
#JEN14 to include your posts in our trend stream!
facebook.com/JazzEdNet
facebook.com/groups/jazzeducators
youtube.com/JazzEdNet
twitter.com/JazzEdNet
LinkedIN Group:
Jazz Education Network
37
focus session
THAD JONES
Thad Jones A Forgotten Giant?

Let Us Not Forget His Place In Jazz!
by Mike Carubia
he passage of time gives us the proper historical

perspective of the works of great poets, painters,
musicians, composers, and artists in felds too numerous
to mention. Thad Jones (1918 1986) is one whose rank in
the world of jazz is rarely lauded and perhaps overlooked too
often. Musicians and composers who were fortunate enough
to have played with him, worked with him, or who simply
showed up to hear Thad play trumpet, cornet, or lead his trailblazing big band know how important a fgure Jones was. Let
us not forget the hundreds and thousands of musicians, jazz
fans, celebrities, and writers who made their way to the Village
Vanguard on a Monday night just to hear an astounding group
of New Yorks fnest musicians perform a style of big band jazz
never heard before. They watched Thad lead this ensemble in
directions even the band didnt know they were capable of
going.
I was one of the fortunate ones who were there on many of
those Monday nights watching and listening in complete awe
of what I was witnessing. I always left more wide-awake than
when I arrived, even though it was 1:15 a.m. on Tuesday, work
looming a few hours later. On that next day, I couldnt wait until school was over to get my manuscript paper and pencil out
to try and capture some of the sounds I heard the previous
night. Of course I was always bugging the record stores for
when the next Thad Jones-Mel Lewis Big Band album (No CDs
or downloads in 1967) would be available. My searches today
are on the Web Im still looking for the album with Catarina
Valente recorded in Europe in 1976 when Thad was leading
the Basie band with his arrangements containing classic Thad
lines and voicings does anyone out there have it?
(Byron Stripling you were on that album help! )
Is it any wonder that many of this countrys fnest writers
have taken the time to capture what it was that Thad exuded
in all of his charts? Bill Finnegan, Manny Albam, Mike Abene,
Bob Brookmeyer, Jim Mc Neely , John Clayton, Dave LaLama,
John Fedchock, John La Barbera, Mike Holober, Pete McGuinness, Anita Brown, and thousands of writers around the world
have incorporated a piece of Thad into their own writing
styles. (My apologies if Ive failed to mention the many other
prominent names out there.) And what about Rayburn Wright
at the Eastman School of Music, who produced the frst defnitive analysis of Thads writing with Inside The Score (Kendor
Music Co.), along with analysis of charts by Bob Brookmeyer
and Sammy Nestico.
38
Thad
Jones
dRecordings
J
on
nes
Presenting Thad Jones,
Mel Lewis & The Jazz Orchestra
Solid State - 18003
Live At The Village Vanguard

Solid State - 18016
Monday Night!
Solid State - 18048
Central Park North

Solid State - 18058
Consummation
Blue Note - BST 84346
Ruth Brown with the Thad Jones,

Mel Lewis & The Jazz Orchestra
Blue Note - BN-LA392-H2
THAD JONES
What is it that separates Jones from his predecessors and
contemporaries from a writing standpoint? I met Bill Finnegan
when I was teaching at the University of Bridgeport in Connecticut, having replaced Neil Slater, who went to North Texas
State in 1980. Bill would come to most all of the rehearsals we
had just to hang out one year, in particular, because his son
Jamie was in the band. I was surprised one night when sitting
focus session
next to Bill at my rehearsal was Jim Hall. After the rehearsal we

were talking about a chart I had written and he said to me, I
liked that ensemble section you wrote, it sounded like one of
those non-melody ensembles that Thad likes to write. I knew
exactly what he meant but never gave it a second thought
until I decided to write this article. This provides me with the
perfect place to start: the melody.
Thads Melodies
Who would doubt that Thad Jones would write so much
non-melody in a chart when you listen to the beautifully
melodies he was capable of writing A Child Is Born,It Only
Happens Every Time, Mean What You Say, WalkinAbout,
Three and One, and Two As One, to name only a few. Im
not really sure if I am qualifed to answer such a question, but

I will attempt to ofer a few thoughts on how Thad used his
quirky melodic lines as primary melodies, countermelodies,
backgrounds for solos and particularly in his ensemble
passages.
Trumpets: Unison Cup & Harmons The Second Race Comp. by Thad Jones (Concert Pitch)
F Blues First 8 measures

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THAD JONES
focus session
Certainly this is not the kind of melody found in the Count Basie library, such as
Moten Swing, One OClock Jump, Splanky, et cetera and you wouldnt fnd too
many people whistling this melody after the performance. What Thad did to provide
balance to these quirky melodies was to bring you home with this down home,
straightforward shout chorus, which provided the balance to the less melodic passages.
F Blues First 8 measures
When it came to harmony and particularly his voicings for the ensemble, sax solis
and brass solis were all knocked out with his new approach. All you used to hear from
players and writers was, Man, what tight voicings, which wasnt always true. Most of
his sax soli voicings were quite spread over 10s and wider at times in open fashion. I
found that out when I tore apart his sax soli from Dont Get Sassy and saw that his
voicing were rich and most of the time contained fve separate voices, but were wide
open particularly as the lead Alto or Soprano went into the higher register. I didnt let
on to my musician friends that knew they were more open than not and accepted the
local terminology that they were tight voicings because it ft. I hadnt seen enough
of Thads scores to argue the point with much conviction. His brass voicings were in
fact tight, particularly in the range a 4th or 5th above or below middle C where
Thad provides the grinds that Manny Albam described to me. Those were Minor 2nd
rubs that naturally occur between Major 7ths and roots, Minor 9ths and 3rds, # 9s
and 3rds, Manny Albam, a great arranger and teacher whom I met at the Eastman
School in the summer of 1970, hipped me to some of Thads voicing and harmonic
tendencies when I began private studies with him soon after that summer.
Dont Get Sassy Comp by Thad Jones, 1967 (Pick ups to second 8 measures of the
Sax Soli
Basic Chords:
All Thad Jones excerpts used by permission D Accord Music & Publishers Licensing Corp.
Manny Albam was in the booth for many of the Solid State recordings in the late
60s and was privy to Thads scores during those sessions and after. He gave me copies
of two scores for the Joe Williams songs, Keep Your Hand In Your Heart and Evil Man
Blues which was written by Bob Brookmeyer. Evil ManBlues sounded so much like
Thads writing that, until I saw Brookmeyers name on the score, I thought that it was
Thads hand that produced the chart.
40
Mike Carubia played as a

regular sub with the Mel Lewis
Orchestra and the Vanguard
Orchestra for 22 years, and
spent fve years with the Gerry
Mulligan Concert Jazz Band.
He maintained a teaching
schedule on Long Island N.Y.
for 27 years in high school and
adjunct positions in several
LI colleges and universities.
Carubia was also director of
Jazz Studies at the University
of Bridgeport, Conn., from
1990 -1992. He started a
publishing company, Smart
Chart Music, primarily to
provide re-orchestrated
versions of Thads music for
high school andcollege jazz
programs in 2005. Smart
Chart Music has joined the
C.L. Barnhouse family and
continues spreading the word
about Thad and other fne jazz
composers on his staf through
his re-scored Thad Jones
compositions.
Mike may be contacted at:
smartchartmusic@optonline.
net or (631) 724-6098.
jazzforum
Dr. Larry Ridley, Executive Director, and Bill Myers, President
www.aajc.us
Thelonius Monk
T
he piano aint got no wrong notes!
So ranted Thelonious Sphere Monk,
who proved his point every time
he sat down at the keyboard. His angular melodies and dissonant harmonies
shook the jazz world to its foundations,
ushering in the birth of bebop and
establishing Monk as one of Americas
greatest composers. Yet throughout
much of his life, his musical contributions
took a backseat to tales of his reputed
behavior. Writers tended to obsess over
Monks hats or his proclivity to dance on
stage. To his fans, he was the ultimate
hipster; to his detractors, he was temperamental, eccentric, taciturn, and childlike.
But these labels tell us little about the
man or his music.
In the frst book on Thelonious Monk
based on exclusive access to the Monk
family papers and private recordings,
as well as on a decade of prodigious research, prize-winning historian Robin
D. G. Kelley brings to light a startlingly
diferent Thelonious Monk witty, intelligent, generous, politically engaged,
brutally honest, and a devoted father
and husband. Indeed, Thelonious Monk
is essentially a love story. It is a story of
familial love, beginning with Monks enslaved ancestors from whom Thelonious
inherited an appreciation for community,
freedom, and black traditions of sacred
and secular song. It is about a doting
mother who scrubbed foors to pay for
piano lessons and encouraged her son
to follow his dream. It is the story of romance, from Monks initial heartbreaks to
his lifelong commitment to his muse, the
extraordinary Nellie Monk. And it is about
his unique friendship with the Baroness
Nicade Koenigswarter, a scion of the famous Rothschild family whose relationship with Monk and other jazz musicians
has long been the subject of speculation and rumor. Nellie, Nica and various
friends and family sustained Monk during
the long periods of joblessness, bipolar
episodes, incarceration, health crises, and
other tragic and difcult moments.
Above all, Thelonious Monk is the gripping saga of an artists struggle to make
ThroughouT much of his life, his musical

conTribuTions Took a backseaT To Tales of
his repuTed behavior.
it without compromising
his
musical vision.
It is a story that,
like its subject, refects the tidal ebbs and
fows of American history in the Twentieth Century. Elegantly written and rich
with humor and pathos, Thelonious Monk
is the defnitive work on modern jazzs
most original composer.
Audio and Ebook Editions are also
available: SimonandSchuster.com
Robin D. G. Kelley is Professor of History and American Studies at the University of Southern California. His books
include Race Rebels: Culture, Politics, and
the Black Working Class and Freedom
Dreams: The Black Radical Imagination.
He has written on music for The New
York Times, The Village Voice, Jazz Times,

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publications. He lives with his family
and his Baldwin baby grand piano in
Los Angeles.
Larry Ridley footnote: My thanks to
my great friendand colleague Professor
Robin Kelley for his astute scholarship
and asking me to participate in this most
defnitive book on the genius life and
times of Thelonious Monk. My travels,
family friendships, performance experiences as a member of the Thelonious
Monk Quartet are major in my life and
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PHOTO: Hamilton & Horn
Backbeat
Foreststorn Chico Hamilton (1921-2013)
egendary drummer and NEA Jazz Master Foreststorn Chico Hamilton died on Monday, November 25 in New York City at the age of 92. Born September 20th, 1921 in
Los Angeles, Hamilton had a fast-track musical education in a band with his high
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Dexter Gordon, Buddy Collette and Jack Kelso. Engagements with Lionel Hampton, Slim
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ensembles were a breeding ground for talent, with Paul Horn, Eric Dolphy, Ron Carter, Gabor Szabo, Charles Lloyd, Larry Coryell,
Arthur Blythe, and more among his members.
Saluted by the Kennedy Center as a Living Jazz Legend, and appointed to the Presidents Council on the Arts, this recipient
of a NEA Jazz Master fellowship was considered one of the most important jazz artists and composers of his time.
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JANUARY/FEBRUARY 2014

Using Tone Rows in

FOR ALL INSTRUMENTS!

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MOVING QUARTAL VOICINGS & RELATED STRUCTURES

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The things that we enjoy the

TONE ROWS IN JAZZ (Part 3) 12

BACKBEAT: Foreststorn Chico Hamilton 44

Mike Cumbria takes a close look at this classic though

Cover photograph courtesy John Clayton.

THAD JONES FORGOTTON GIANT 38

JAZZed January/February 2014

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ive years typically represents a milestone in the

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JAZZed January/February 2014

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and performed alongside most of the

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