Jazz Showcase

Coordinating a university jazz program is no small task; but it is especially challenging at the onset of a semester. In addition to teaching related duties (like planning course work and writing syllabi), there are ensemble placement auditions and the formation and scheduling of groups. It took lots of time, energy and organization, but I’m pleased to say that all the UConn jazz groups are up and running once again, like a well-oiled machine.

Our fall semester Jazz Showcase Concert is tomorrow night, Thursday, Sept. 24th, from 7 – 9 p.m. at the UConn Co-Op Bookstore in Storrs Center. All the UCONN jazz groups perform an evening of music spanning a wide range of eras, styles and instrumentations - from bebop-infused quintets to big band swing. C’mon down!

Here’s the program:

University of Connecticut Jazz Showcase Concert – Fall 2015

UConn Co-Op Bookstore at Storrs Center

Thursday, Sept. 27th, 2015

7 – 9 p.m.

Jazz Lab Band
Directed by John Mastroianni

Minor Matter..........Lennie Niehaus
Festival..........Rick Stitzel

Alto Sax 1: David Jardim
Alto Sax 2: Rebecca Demaio
Tenor Sax 1: Rich Sadlon
Tenor Sax 2: Sally Kurdziel
Bari Sax: Nick Oliveira
Flute: Haley Hanenbaum
Trumpet 1:Kameryn Larkins
Trumpet 2: Sarah Falkenstine
Trumpet 3: Jeremy Cruz
Trumpet 4: Nathan Kwak
Trombone 1: Liam Evans
Trombone 2: Matt DeNegre
Trombone 3: Akua Frimpong
Bass Tbn: Gregory Bicknell
Piano: Alec McCandless
Bass: Nick Monllos
Drums: Steven McArdle


Combo #2:
Doug Maher, director

I Mean You..........Thelonious Monk
Stella By Starlight..........Victor Young

Grant Eagleson - trumpet
Kevin Duffy – tenor sax
David Caffrey - guitar
James Duffy – bass
Michael O’Callaghan - drums


E-Bop:
Earl MacDonald, director

No Moe..........Sonny Rollins
St. Thomas..........Sonny Rollins

Michael O’Callaghan – trumpet
Andrew Wynsen – piano
Nate Giordano – string bass
Earl MacDonald - drums


Combo #3:
Doug Maher, director

Darn That Dream..........Jimmy Van Heusen and lyrics by Eddie DeLange
Au Privave..........Charlie Parker

Jeremy Cruz - trumpet
Patrick Pierce – alto sax
Danny Cioffari - guitar
Alexandria Bodick – string bass
Steven McArdle - drums


UConn Jazz 10tet
Earl MacDonald, director

Sordid Sort of Fellow..........Earl MacDonald
Miles Apart..........Earl MacDonald
Smoke and Mirrors..........Earl MacDonald

Adam Harris – alto saxophone
Charles Salley – tenor sax
Kevin Duffy – bari sax
Grant Eagleson – trumpet 1
Michael O’Callaghan – trumpet 2
Alex Gertner – French horn
Liam Reynolds – trombone
Andrew Wynsen – piano


Combo #1:
Gregg August, director

Moose the Mooche..........Charlie Parker
Cheryl..........Charlie Parker
Lover Man..........Jimmy Davis, Roger Ramirez & James Sherman.
Confirmation..........Charlie Parker

Michael O’Callaghan - trumpet
Adam Harris – alto saxophone
Patrick Adams - guitar
Andrew Wynsen - piano
Nathan Giordano – string bass
William Trautmann – drum set


--- jam session to follow ---

Birth of the Cool

This semester, the UCONN Jazz Ensemble and I prepared the music from Miles Davis' "Birth of the Cool" album.  It was a thoroughly enjoyable undertaking. I witnessed considerable growth in the individual band members as they carefully studied the album and worked to replicate the stylistic nuances of the original players.

Miles Davis, Lee Konitz and Gerry Mulligan in rehearsal (circa 1948)

Here we are performing at the Co-Op Bookstore in Storrs Center on November 13th.

Boplicity, by Miles Davis and Gil Evans.  Arranged by Gil Evans.

On his own initiative, the bari sax player learned Gerry Mulligan's recorded solo.

Moon Dreams, by Chummy MacGregor and Johnny Mercer.  Arranged by Gil Evans.

"Moon Dreams" may be my favorite of the album's twelve charts.  It is not surprising that a critic who heard Davis' nonet perform in 1948 said "the music sounds more like that of Maurice Ravel than it does like jazz... it is not really jazz."

I love how this music stemmed from musicians' discussions about the future of jazz and drew from contemporary classical music they had heard on recordings.

Move, by Dezil Best. Arranged by John Lewis.

This performance took place earlier on Nov. 13th for the high school students at Norwich Free Academy. As a teacher, I am encouraged by the trumpet player's solo.  He is starting to incorporate some solid jazz vocabulary into his playing.  This wasn't happening a year ago. He's still working on execution at this tempo, but a year from now, if he continues on his current path, I believe he will be "a force to be reckoned with".

Deception, by Miles Davis.  Arranged by Gerry Mulligan.

This is my second time preparing music from "the Birth of the Cool".  The first time (back in 2002,) I acquired the music directly from Gerry Mulligan's widow, Franca.  The charts were a mess and full of inconsistencies, which made rehearsals difficult.  This time around I bought the published, edited music from ejazzlines.com, which made for a much more pleasant experience.

Rouge, by John Lewis.


Our final performance of the year will take place on Monday, December 1st at Black-eyed Sally's in Hartford.  The club is hosting a "College Night" where bands from UCONN, the Hartt School, WestConn and the Berklee College of Music will each play a set.  The evening will culminate with a collective jam session.

UConn Jazz Combo Concert

The UConn Jazz Combos perform tomorrow night, April 11th.  We have moved the venue to Lu's Cafe, a much more intimate and relaxed space than the formal, 500-seat recital hall.  Lu's is located on the basement level of the Family Studies building.  The music starts at 8 p.m.  There is no cover charge, but donations are accepted towards our guest artist fund.

Here's the program:

Dolphin Dance by Herbie Hancock

Red Clay by Freddie Hubbard

Combo #3:

John Mastroianni, director

Michael O’Callaghan - trumpet

Mike Marsters – trombone

Keith Chasin – piano

Nik Hutnik – string bass

Andy O’Sullivan – drums

Prince of Darkness by Wayne Shorter

Iris by Wayne Shorterf

Combo #2:

Gregg August, director

Matt Baum – saxophone

Kim-An Do – piano

Nick Trautmann – string bass

Steven Jack – drums

Ping Pong by Wayne Shorter

Dear Sir by Wayne Shorter

Combo #1

Gregg August, director

Tom Lee – trumpet

Colin Walters – saxophone

Andrew Wysen – piano

Lexi Bodick – string bass

Mike Allegue – drums

Edda

Combo #1

Combo #2

A jam session will follow the formal program

Jazz Ensemble

During winter recess I wrote a series of articles about jazz ensemble direction and rehearsal practices.  Topics included the incorporation of sight-reading, improvisation instruction, and structured listening into rehearsals, as well as ideas pertaining to concerts and audience development.  To wrap things up, I am posting excerpts from this semester's revised course outline.  It summarizes and includes many of the ideas touched upon in my previous posts.  In addition to describing the ensemble and my instructional goals, the outline includes a breakdown of how rehearsals are structured, and a new grading plan.

UConn Jazz Ensemble

Spring Semester, 2013

    Course #: MUSI 1115, 5305, section 1 (one credit)

Rehearsal schedule:  Tuesdays and Thursdays, 3 – 5.

     Room:  von der Mehden recital hall

 

In keeping with the selective nature of the UConn jazz studies program and the music department as a whole, the UConn Jazz Ensemble, unlike the typical 17-piece big band seen at most academic institutions, ranges from nine to twelve instrumentalists. The comparatively small size of the ensemble makes off-campus performances practical and facilitates instruction in improvisation and musical interaction within rehearsals. Each semester the Jazz Ensemble focuses on the music of a specific composer, arranger or professional band. Past composers include Michael Abene, Phil Allen, Bill Cunliffe, Miles Davis, Gil Evans, Earl MacDonald, Rob McConnell, Jim McNeely, John Mills, Gerry Mulligan, Dave Rivello and Nathan Parker-Smith.

This semester, the ensemble will prepare the arrangements of Marty Paich, as recorded on the Art Pepper + Eleven album (1959).  Marty Paich's bio can be read at:  http://www.martypaich.com.  New music, composed and arranged Earl MacDonald will be a secondary focus. Professor MacDonald also encourages and welcomes student arrangements.

The instructor’s goals in directing this ensemble remain the same as in past semesters:

• nuture and develop skills in jazz improvisation, musicianship and interaction. 
• prepare the students for professional performance situations. 
• acquaint students with the stylistic nuances of swing, through instruction, demonstration, and the study of recordings. 
• elevate the sight-reading abilities of the individual ensemble members. 
• expose the Music Education majors (future band teachers!) to jazz literature and rehearsal techniques. 
• inspire the students by inviting guest artists to campus or organizing off-campus field trips to see live jazz performances. 
• present exciting, well-programmed concerts of the highest caliber. 
• create a “buzz” of excitement both on and off campus about the exciting, swingin’ jazz ensemble at UConn! 
• have fun, playing great music!

On-campus performances:

02/25/13 (Monday), 7:30 pm      UConn Jazz Showcase, Spring 2013
04/08/13 (Thursday), 7:30 pm    UConn Jazz Ensemble concert

Off-campus performances:

02/14/13             Manchester High School Jazz Festival.   4 p.m. arrival.  4:50 – 5:40 performance.

04/04/13            Benrimon Gallery, New York, NY (Chelsea)
04/29/13            Black-eyed Sally’s, Hartford, CT.  7:30 p.m. (w/ Hartt and WestConn jazz ensembles)

Professor MacDonald is currently investigating additional off-campus performance opportunities.

Grading will be based upon the quality and consistency of preparation (20%), “spot tests” (10%), improvisation and listening assignments (15%), transcription projects (15%), successful concert presentations (40%), attendance, punctuality/tardiness, and conduct in rehearsals.

Three transcription projects (worth 5% each) will be assigned over the semester, consisting of two choruses (minimum) from any recording of B^b rhythm changes, F blues, Donna Lee or Airegin --- all of which are found on the selected Art Pepper album.  You will notate, learn and perform these solos by memory.  You will be taught how to extract licks from these solos to learn in 12 keys and apply to other tunes.  Additional choruses/solos will count towards extra credit. 

Should you be assigned a solo on another piece from the Art Pepper + 11 repertoire, you may substitute a transcribed solo from that piece, to help in your preparations for the concerts.

Due dates:  Feb. 21, March 28, April 11.

Rehearsal Structure:

Tuesdays	Thursdays
3:00 – 3:20:      Group A: newbie improvisation instruction      Group B: drum set and amplifier transfer and set-up 3:20 – 4:20:      concert repertoire 4:20 – 4:50:      sight-reading	3:00 – 3:20:      Group A: newbie improvisation instruction      Group B: drum set and amplifier transfer and set-up 3:20 – 4:20:      concert repertoire 4:20 – 4:35:      testing – improvisation and jazz skills 4:35 – 4:50:      improv/jazz skills lesson

Rethinking Concerts: One Idea

In response to my last blog post, "Rethinking Concerts", I have received some terrific ideas and suggestions for boosting concert attendance.  Please keep the ideas coming.

The following letter came from Shari Baum, the mother of my lead tenor sax player.  I think her ideas make a lot of sense, especially in light of the tragedy in Newtown.  Coincidentally, I had similar thoughts while leading some caroling at a senior's home last week with a group of friends.

I'm a social worker spending much of my time with senior adults....vibrant, engaged and brilliant people.....some still in their own homes, many living in independent living facilities, some in assisted living.  Research tells us that the healthiest way for people to age is to be involved with others of all ages.....unfortunately this isn't always possible. So we have older people living together or isolated and they see our youth as wild, out of touch texting zombies. I am constantly the voice of optimism defending our youth.

Just this week I attended my niece's holiday concert at the _______ Academy. I brought my 88 year Mom and the music and the sight of all those bright young faces with their futures ahead of them brought pure joy to us all....I saw my Mom's face light up when the kids opened their mouths to sing. 

In challenging times there is nothing more hopeful than seeing young people full of life and joy and hope. This is why I think the Newtown horror has really hit a nerve with everyone.....little babies gone in an instance at the hands of a 20 year old sick young man.....The seniors I work with are devastated......they feel powerless....what kind of future is there?

How can we ease some of the pain??? With music and the fresh faces of our young people. 

I am sure, near Storrs there are senior living apartments or assisted living facilities. They usually have some kind of van or bus available to them, or if the school has a bus maybe we can pick them up. They are a receptive audience, always looking for activities that are reasonably priced and local. Von der Mehden is fully accessible if some have trouble walking......I think it's a win-win. You have an audience and the seniors have a reason to feel good about the future, while also listening to great music!

Sorry for the length of this....I got carried away, but I feel very passionate and think it could be a model for the entire fine arts department....especially music.

I would be happy to do some research on senior housing near the school, unless you already know some places, and invite them to the next concert. There's usually an activities director so I would start there and see what the response is.  Let me know what you think.

Warm regards,
Shari Baum

I have already taken Shari up on her offer and am thankful to have band members with supportive, thoughtful parents such the Baums.

Rethinking Concerts

Besides modifying my university jazz ensemble's curriculum (to include improvisation, sight-reading and listening), I have been questioning the way in which we do concerts.  I have been asking myself questions like:  Who are we trying to reach, and how can we better reach them?  Should we change venues?  What are we doing right, that needs to stay intact?  What can we improve?  What are we doing wrong?

Poor concert attendance is one of my greatest frustrations as an ensemble director.  After having spent hours in concert preparation, how can students not feel demoralized when they look out and see 20 or so people in a concert hall that seats 300?  I am curious, is this problem unique to Storrs, CT or is it experienced by other university jazz ensemble directors across the country?

In an April, 2011 post entitled "Where Did the Audience Go?", I outlined my plans to have high school bands perform as opening acts at my concerts.  My intention was to launch a new recruitment initiative, which would also expand our audience.  Because it brought prospective students to campus and reinforced existing relationships with band directors, I consider it successful.  But, as far as audience generation goes --- not so much.  One or two parent chaperones typically accompanied the groups. Unfortunately, this plan was also limited to the winter/spring months, as most high school band directors switch their focus from marching band to jazz band during the winter months.

I need a new plan.  One that works year-round, yields consistently larger audiences, increases our visibility, and helps recruit quality students.  On-campus performances, for a handful of people, simply aren't cutting it.

Before delving into some speculation as to why my ensemble concerts are poorly attended, I will state that I doubt it's for lack of promotional efforts.  Here's a list of the marketing activities in which I typically engage:

• Music Department web page: http://www.music.uconn.edu/
• FaceBook pages:  https://www.facebook.com/UConnMusic, https://www.facebook.com/UConnJazz
• personal FaceBook posts and event invitations
• encouraging students to link/share FB listings
• YouTube videos
• physical posters, for on-campus distribution
• blog posts
• UConn Daily Digest (LISTSERV)
• Hartford Jazz Society's Live Jazz Calendar

Sure, there are additional ways to get the word out, and I would love to hear your ideas.  What aspects of promotion am I neglecting, that are proven winners in spreading the news and enticing people to leave the comfort of their homes and attend artistic events?

I am also curious to hear from my professional peers if they have designated marketing personnel at their teaching institutions, to promote concert events.  Unfortunately, I currently do not.  Much to my chagrin, marketing is becoming a bigger and bigger part of my job each year.

My guesses as to why concert attendance is abysmal for my ensemble's shows include the following:

• In size, the ensemble ranges between 9 and 12 players.  Obviously a group of 12 ensemble members has less supportive friends and family than an orchestra or choir of over 50.
• People are venturing out less and less these days.  Maybe concerts are obsolete.  Live streaming and YouTube videos are perhaps more important today.  Do we even need formalized concerts?
• We are possibly over-saturating our community with jazz.  Within a semester we have a weekly jam session, a showcase concert featuring all the groups, a combo concert, a jazz lab band show and a jazz ensemble concert.  The jazz lab band and jazz ensemble concerts have often been slated during the same week.
• Maybe the programming needs to be more inventive and appealing to the general public.  ("Yule Be Swinging" seems to work while there aren't exactly line ups for "the Music of Jim McNeely".)
• We might need to rethink concert times.  Most of my concerts are on Monday and Tuesday nights.  Maybe afternoon, weekend times would be better.
• I hate the thought of mandating concert attendance, but when Jazz Lab Band members don't attend the Jazz Ensemble's concert (and vice versa), there is an issue which must be addressed.
• Jazz may just not be popular in Storrs, CT.

If you have an opinion or idea, I would love to hear from you.  I do have some schemes of redesign in mind, but it would be nice to collect the thoughts of concert goers, musicians, and educators before I formally chart my course.

Active Listening

Today's post is more of a questionnaire than an opinion piece.

I want to include a structured listening component into the syllabus of the university jazz ensemble I direct.  In rehearsals I often play recordings of the pieces we are preparing, so that we can discuss musical details we notice, but have not yet mastered.  The students are also issued recordings of the pieces related to our current repertoire project.  Over and above listening to the music we are preparing, I want my students to listen to a broad variety of big band music --- both historic and modern, so that they learn the expected stylistic nuances which aren't always fully notated.  So here are my questions for fellow jazz educators:

• Do you assign listening homework?
• Do you play recordings during rehearsal time? If so, how frequently?
• What discussions ensue?
• How do you assess listening?
• How do you determine that the assigned listening has been completed?

Some years I have assigned written reports (or blogging) where I have asked students to address aspects of specific recordings.  Although I continue to do this with my arranging students, I would prefer to encourage personal instrumental practice, rather than writing for this class.

I'm leaning towards implementing monthly "drop the needle" listening tests.  What do you think?  How else might I be successful in encouraging my students to engage in active listening.

For those who might be interested, here is a list of noteworthy big band albums, posted on my web site.

Sight Reading - the oft ignored, yet requisite skill

Perhaps the greatest disparity between school ensembles and the professional music world is the amount of rehearsal time.  It is not uncommon for high school and college bands to spend an entire semester (20+ rehearsals) preparing material for a single concert.  This weekend I played a commercial big band show, "The Rat Pack Is Back" at the Shubert Theater in New Haven.  We had a one hour rehearsal prior to the show, and nailed it.  Everyone in the band was obviously a great sight-reader.

If you can't read, you can't work in this business.  If we are truly preparing and equipping our students to become competent, capable musicians, reading must be taught.  It doesn't just happen on its own.  For this reason, I spend the last half hour of each rehearsal sight reading.

For some unknown reason, the UConn jazz ensemble library has hundreds of dated (horrible!) disco, jazz-rock, and swing charts.  We are working our way through them at a rate of about five charts per rehearsal.  My rule is:  even if the chart is "corny" and poorly written, it must be played with as much integrity and accuracy as possible.

Questions for my fellow jazz educators:

1. How many rehearsals do you allot to prepare your ensemble's concert set?
2. Is sight reading a regular part of your rehearsals?
3. How much rehearsal time do you devote to sight-reading?
4. What do you have them read?
5. Do you think sight-reading should be done in rehearsals, or practiced on one's own?
6. Would you ever consider having your band read a (simple) piece in a concert?

I will leave you with an anecdote.  A couple of years ago I had the pleasure of adjudicating an educational jazz festival with Canadian jazz education guru, Gordon Foote.  I learned a lot from watching his post-performance critiques.  After a nearly flawless student ensemble performance, he reached into his satchel and pulled out a piece of music for them to sight read.  The band crashed and burned.  Although this band placed well in a prestigious competition that same year, by not addressing their reading deficiency, I think their director did them a great disservice.  What do you think?

Teaching Improvisation Within Jazz Ensemble Rehearsals

How many student big bands have you heard where the ensemble playing was acceptable but where the soloing was downright atrocious? Based on the adjudications and visitations I have done, I'd go so far as to say that this is the norm in most schools across North America.  I admit that over the years, to varying degrees, my bands too could be described in this way.  Despite typically having one or two star improvisers, improvisation remains a common area of weakness.

If improvisation is jazz's defining characteristic, why as ensemble directors are we prioritizing accurate mass ensemble playing over the development of soloing skills in our rehearsals?  My rationale has been: in improv class, I teach improv, while in jazz ensemble I emphasize ensemble playing and exposing students to big band literature.  The problem is, only a small portion of my band takes my improv class.  In fact, some of them are not receiving any guidance in learning improvisation.  This simply has to change.  To quote Popeye,

"That's all I can stands, I can't stands no more."

Teaching a new lick to the UConn Jazz Ensemble.

My band rehearses from 3 - 5 on Tuesdays and Thursdays.  Starting in January, half an hour every Thursday will be devoted to developing improv skills.  There will be 15 minutes of instruction and 15 minutes of testing, based on the material assigned from the previous week.

As stated in my last post, we will be working on repertoire from the Art Pepper Plus Eleven album.  Almost every tune is a commonly played jazz standard, thereby functioning as excellent vehicles for teaching improvisation.  Learning these 12 pieces (sans arrangements) will be reinforced by assigning them as the performance repertoire for our weekly, Thursday night jam session at Lu's Cafe.

Students will be expected to play and sing the melodies, bass motion and arpeggiate the harmonic progression.  A variety of directly applicable licks, patterns and scales will be taught and correctly inserted into the pieces.

Four transcription projects will be assigned over the semester, consisting of two choruses (minimum) from any recording of Bb rhythm changes, F blues, Donna Lee and Airegin --- all of which are found on the selected Art Pepper album.  Students will notate, learn and perform these solos by memory.  They will be taught how to extract licks from these solos to learn in 12 keys and apply to other tunes.  Additional choruses/solos will count towards extra credit.

I would love to hear from my my fellow jazz educators in the comments below.  Is teaching improvisation a regular part of your large ensemble rehearsals?  Why/why not?  If so, how much time do you devote to it?  What do you require and assign?  How do you assess it?  Have you seen substantial improvement when improv instruction has been a regular component of your rehearsals? What do you think of my plan?  In your opinion, am I asking for/expecting too much?  Should valuable rehearsal time be devoted to teaching improv?

In the next few posts I will continue to share some thoughts about how I am planning to transform my rehearsals in the spring.  Sight reading and listening will be the next two topics.  Again, I would love to receive some feedback.  Feel free to throw questions back at me too.

Every Ending Is A New Beginning

As the fall semester wraps up, I have been considering what musical project I will undertake in the spring with the UConn Jazz Ensemble.  I have also been giving some thought to how I might change my teaching approach next semester --- but I will expound on that in my next post.

For now, here is a taste from the 1959 "Art Pepper Plus Eleven" album --- Groovin' High.

I plan to prepare all twelve selections from this recording with the UConn Jazz Ensemble next semester.   Almost every tune is commonly played at jam sessions: Move, Groovin' High, Opus De Funk, 'Round Midnight, Four Brothers, Shaw Nuff, Bernie's Tune, Walkin' Shoes, Anthropology, Airegin, Walkin', Donna Lee. 

Because these tunes are perfect vehicles for teaching improvisation, this will be a strong focus in addition to ensemble playing. Plenty of rehearsal time will be devoted to "getting inside" these pieces and learning the changes (harmonies).  It should make for a fun project.

'Tis The Season ...almost

Tonight marks my first holiday season gig of the year.  I'm playing with my Jazz for Joy Quintet at Hartford's Wadsworth Atheneum for the annual Festival of Trees and Traditions event from 6 - 9 p.m.  Tickets are $85 or $75 for Members, and can be reserved at (860) 838-4100.  All profits from this event help fund the museum’s special exhibitions, educational programs, and operating expenses.

Then on Saturday, I'm giving a concert at UConn's von der Mehden Recital Hall at 3 p.m.  Billed as "Yule Be Swingin", the show will feature five of my top students, joined by me.  Admission is free but a collection will be taken for W.A.I.M. (the Windham Area Interfaith Mission) to help local individuals and families in dire circumstances.

There are also a couple of private parties on my calendar, so I will get plenty of use from my collection of seasonal jazz music this year.  As I have often done in previous years, I am including one outstanding UConn jazz student on each of these professional outings, to give them the experience of working with a professional band.  Saxophonist Colin Walters and bassist Nick Trautmann have been given the music in advance and through their demonstrated hard work for me, and the progress they have made, I believe they truly deserve this opportunity.

I hope to see you at the Yule Be Swingin' concert on Saturday.  It will be fun for the whole family --- and even Santa has committed to being there! Happy Holidays everyone.

Monday Night: Live Jazz at UConn

UConn Jazz Showcase. Monday, Sept. 24

All of the UConn jazz groups will perform a sampling of the music they are preparing this semester.  Expect plenty of variety; from bebop to big band swing!  Gregg August, Earl MacDonald, & John Mastroianni, directors.The concert begins at 7:30p.m. and will be held at the von der Mehden Recital Hall, which is located at 875 Coventry Road, across from Mirror Lake on the UConn campus in Storrs. General Admission is $10, free for UConn students and for children. There will be plenty of free, well-lit parking across the street. For more information please call 860-486-2969 or visit us on the web at music.uconn.edu.

Jazz Night at Lu's Cafe

This Thursday, September 6th, marks the return of jazz to Lu’s Café in UConn’s Family Studies building. Each Thursday throughout the Fall 2012 semester, live music will be performed in the form of a jazz jam session. Music begins at 8:00pm; it ends at 11:00pm. Coffee, espresso and pastries will be available.

 

I see this weekly jam session as crucial for the musical development of my students. It will give them the opportunity to apply to the bandstand what they have learned in the classroom. They can try out their skills, as well as challenge and push one another.

Students are required to memorize the standard jazz repertoire, as I am stipulating that reading of music in this setting is not allowed. To play a song, it must be memorized. For starters we will draw upon the list of 12 required tunes for the sophomore jazz jury:

· All The Things You Are

· Alone Together

· Anthropology

· Billie’s Bounce

· Body and Soul

· Maiden Voyage

· Out of Nowhere

· Recordamé 

· Solar

· Someday My Prince Will Come

· Stella By Starlight

· What Is This Thing Called Love

Each week I will be adding one new tune to the list which will be played regularly thereafter. Here’s the schedule:

Sept 6: Four
Sept. 13: Pent-Up House
Sept. 20: Broadway
Sept. 27: Corcovado (Quiet Nights of Quiet Stars)
Oct. 4: 26-2 and Countdown
Oct. 11: Darn That Dream
Oct. 18: What’s New
Oct. 25: Chelsea Bridge
Nov. 1: Moment’s Notice
Nov. 8: Milestones (bebop head)
Nov. 15: Unit Seven
Nov. 29: UMMG (Upper Manhattan Medical Group)
Dec. 6: Windows

I will lead the sessions from either the piano or drum set. In addition to benefiting my students, this jam session will certainly assist me in keeping my chops sharp. There is a nice Yamaha upright piano and a drum set at the venue, so schlepping will be kept to a minimum. Plus, it will be nice to play on my home turf, rather than having to drive 40 minutes to Hartford.

Another favorable outcome to this weekly jam session is the social aspect. For students and faculty, it will be nice to have a place to hang out on Thursday evenings, where we can all interact on a more casual level. This should help in building a sense of community. I hope you will join us!

Writer's Block

"Have you ever had writer's block?"
"Who here has written four measures and then found themselves stuck?"

Jazz musician, Dave Douglas began his composition master class with these two questions.  Every hand in the room went up, and he immediately had a captive and engaged audience.

Dave shared the following points during his one hour composition lecture to the UConn music students.  Although intended for novice composers of music, much of what he presented could easily be applied to other creative disciplines.

1) Revision:

Approach writing with the mindset that everything can be revised and rewritten.  Don't begin with the notion that what you initially write down has to be perfect.  Tell yourself, “I am writing a draft; not a finished piece.”  It is liberating to think of everything as a first draft which can be fixed.  This takes the pressure off.

2) Community:


You don't have to be alone in confronting a blank page. Consider for whom you are writing.  Write for the people around you --- your friends, musical peers.  Talk to the individual for whom you are writing.  Ask him/her questions.  Find out what excites them.

3) Essence of Elements:

Boil down enormous ideas into "a simple essence".  Find elements that are transcribable.  Identify tangible aspects of musical information, such as:  form, time signature, instruments, melody, harmony, rhythm, density, bass lines, etc.  Ask questions.  Is the piece programmatic?  Will there be aspects of improvisation?

Remember that form is flexible.  Your first idea can end up being the middle of the piece.


4) Theme:

What are you writing about?  Perhaps it is something to challenge yourself, like an etude.  It could be about or in response to something as simple as an animal.  Characters from a movie or play can provide inspiration.  Try writing in the style of __________.

5) Deadlines:

Deadlines can be your friend.  They keep you moving.  They bring finality/conclusion to a project, rather than it being just an elusive, vague thought which floats around.   Create your own deadlines.  Schedule a rehearsal with friends to play your new music, even before it is written.

6) Environment:Consider where you write.  Sometimes a change of environment can spark your imagination.  Try writing music on a park bench or in the public library. Develop dictation and ear training skills so that you can write down your musical ideas away from your instrument.

[How do you get your work heard?  Enter competitions.  Book local gigs and gradually expand your radius, beginning with the next neighboring town.]

7) Distillation:

Fifteen page pieces aren't always effective.  Simple, distilled, suggestive works allow for maximum freedom and expression.  Aim to write pieces so clear, that they could be played well on the first reading.  Don't be bound to your initial ideas.  Pruning can be beneficial.

8) Graphic / Notation / Communication:

How effectively are you communicating your thoughts on paper?  Is standard notation the best way to express your musical ideas?  How else could you convey your ideas?  Research graphic scores and aleatoric composition.  Strive for clarity and ease of reading.  Reduced scores allow everyone to see the big picture of what is going on.

9) Ask Questions:

How could this piece be different?  Can more than one person solo / improvise at same time?  Does it have to stay at the same tempo?  Could the horns accompanying a bass solo? What if...?

10) Technical:

Study books about 12-tone composition.  Familiarize yourself with the work of modern, post-war composers.  Bartok and Stravinsky represent a wealth of inspiration.  When you are "stuck", try copying some Bartok string quartets by hand.  Read "the Technique of My Musical Language" by Olivier Messiaen.




Assignment:
Write for 15 minutes without a piano (away from your instrument), then play it.  One page limit.

At the end of the master class, Dave encouraged the students to form a composition club which meets weekly to read their pieces.  He even offered to visit at some point in the future to listen to their new pieces!  I understand that this club is now underway.  The students have asked me to provide them with a list of composition assignments, which I will be happy to do.  I plan to post these in my next blog entry.

You can read a detailed description of Dave Douglas' residency at UConn, in a blog written by UConn jazz saxophone student, Matt Baum.  Here is a link:  http://therightchanges.blogspot.com/2012/03/dave-douglas.html

Role-Play

The UConn jazz combos hit the von der Mehden stage tonight at 7:30 p.m.  This semester we have four groups, with each assigned to a theme.  Should you attend tonight's concert, you will hear groups playing the compositions of Thelonious Monk, John Coltrane, Wayne Shorter and bebop composers, Dizzy Gillespie and Charlie Parker.

The opening act will be the Brien McMahon High School Jazz Ensemble, directed by Ron Secchi.  They are coming all the way from Norwalk, CT.  Saxophonist Colin Walters, a current UConn jazz student, is a graduate from this school.

If you're still not sold on attending this concert, this should seal the deal: I am playing drums with the John Coltrane ensemble, attempting to play the role of Elvin Jones.  For farcical reasons alone, you won't want to miss this one!

UConn Jazz Showcase Concert

All six of UConn’s jazz ensembles will perform at the fall Jazz Showcase concert in von der Mehden Recital Hall at 7:30 pm on Monday, Sept. 26th. A wide variety of music will be presented, including new works by Earl MacDonald, the big band music of Jimmy Heath, classic standards by Mercer, Hammerstein and Kern, and even some avant-garde pieces by Grammy and Pulitzer prize winner, Ornette Coleman.

Earl MacDonald presents... trombonist, Jon Shelly

Monday, November 1st, 8 p.m.

von der Mehden Recital Hall,

University of Connecticut, Storrs

Jonathan Shelly - featured, student trombonist

Earl MacDonald - piano

Gregg August - bass

Bill Reynolds - drums

UConn Jazz Combos

Expect the upcoming UConn jazz combo concert to be a fun filled show with plenty of variety.  On the evening of Monday, Oct. 25th, six different groups will perform ---  the UConn Jazz Septet, the Savoy Syncopaters, the Mysterious Jazz Mystics, the Herbie Hancock Tribute Ensemble, the Modern Jazz Quintet, and the Jazz Prophets.

I direct the Herbie Hancock Ensemble and the UConn Jazz Septet.  The Hancock group, comprised entirely of freshmen, will play two selections from Herbie's 1962 "Takin' Off" album.  The Septet has prepared arrangements by Grammy Award winner, Bill Cunliffe, from his album “Blues and the Abstract Truth, take 2” (a remake of Oliver Nelson’s classic album “Blues and the Abstract Truth”).

My students have impressed me with the strong work ethic they have demonstrated this semester.  They have been busy transcribing, memorizing and analyzing recorded solos.  They have eagerly devoured the improvisational concepts I have shared.  In just two months, I have witnessed tremendous growth in this dedicated bunch.  This is a concert you won't want to miss.