(Editor's note: A friend sent the following letter to me. What you read below contains some of the most encouraging news in music education that I have heard in years. So as not to detract from the significance and impact of Michael Schofield's letter, I will save my commentary until after you have had an opportunity to read what he has to say. My hope is that educators and colleagues having similar feelings regarding their own music programs might take heart and be encouraged to attempt similar steps. And if any of you reading this article have had related experiences you would like to share, you are welcome to write me, and I will be happy to post them in Cadenzas.)

In the words of the friend who sent this letter to me:

“This is an actual letter from a fellow music educator that is going out to his band parents, students, colleagues and administrators. It is a tale of tremendous courage, and he has the full backing of the students, administration and school board. I am hoping that others in our area will be encouraged by this and will start to undo the reckless path of the trophy hunters and begin to make a dent in the 180° so many programs have taken.”

Michael Schofield is the director of bands at Kingsburg High School in the Fresno area of California. He directs the Wind Ensemble, Symphonic Band, Jazz Band and Marching Band. He has studied trumpet with Ritchie Clendenin, Paul Shaghoian, and Michael Caldwell. Proir to his position at Kingsburg High School Mr. Schofield taught in the Kingsburg Elementary School District, where he began his career teaching instrumental music in grades five through eight. He maintains an active schedule as a performer and private teacher. Here is his letter:

Our High School Band Program is dramatically restructuring its priorities.  In an effort to teach more about music and the emotional and intellectual rewards that are included in learning music, we have decided to take a few steps in identifying what gets in the way of music making and reduce, if not remove it from our curriculum.

It is our opinion that many high school band programs have become focused on an over-emphasis on competition and have dedicated a highly unnecessary amount of resources towards field show perfection.  We are supposed to be music educators, not marching educators.  The result of this is that many high school students are being asked to pay hideous amounts of money to participate in marching bands, spend upwards of 15 hours per week outside of class time in field show rehearsals, football games, and competitions.  If it takes 15 hours a week to learn a seven-minute field show, then the instruction being demonstrated is hardly effective.  Directors are spending $5000.00 for field show music and another $3000.00 on the marching drill to accompany it.  Think of how many guest clinicians a band program could bring in for $8,000.00.  Think of how much music students could learn if they weren’t out on a grass field marching for 15 hours a week.  They could be at home practicing their instruments, learning to improvise, taking private lessons, the list goes on and on.

As if this isn’t enough, programs have now continued their marching seasons into the spring semester.  Winter Drumline competition has taken precedence over concert band in many band programs.  Honor bands are short percussionists because students are unable to try out due to their winter drumline schedules.  Students are marching in gymnasiums to metronomes, spending countless hours outside of school learning a three-minute show.  Should this be the focus of music education?  What are the students learning from this?

I held a meeting at lunch, inviting everyone in the band program who wanted to attend.  I wanted to find out how kids felt about this marching band thing.  The kids all expressed that they preferred Wind Ensemble, Symphonic Band and Jazz Band far over Marching Band.  Many students expressed how they wished we could start our concert bands at the beginning of the year, increasing the amount of repertoire learned in a year.  Many students also expressed the drudgery felt by many over the repetition and monotony associated with marching band.  We also began to notice that students who possessed a high level of musicianship were quitting band because of marching band.  Students were willing to throw out a unique and emotional musical experience in a concert setting just to be released from the obligations of marching band.  So, we explored our options.  At first, we considered not doing a field show at all.  The students did not want this.  They said that marching band is fun. It should just be down-scaled a bit.  So, after about an hour and a half of discussion, this is what we came up with.

Marching band is now optional.  The students who like performing in a field show can still do it.  However, our school band periods will no longer be dedicated to marching band in any way.  We will begin rehearsing the Wind Ensemble and Symphonic Band at the very beginning of the school year.  Marching Band will only rehearse one night per week, for two and a half hours.  We will only perform at home football games.  We will play pep tunes (also learned during our night rehearsal) for the first half of the game, perform our half time show, then leave.

My rationale for this is:  If it takes me longer than two and a half hours a week to teach a seven minute field show, then I need to find another job.

So, what will this do for our students?

- We will perform in a fall band concert in October, with both concert groups and our Jazz Band.

- Students will have time to practice for all-state honor band auditions, take lessons, practice, do their homework, etc.

- We can cover many basics of music making at the beginning of the year, without the pressure of performance, solidifying a true musical skill in each student.

- In the Spring, when winter drumlines are spending hours and hours trying to perfect a three minute show, our percussion students will be learning how to play in a percussion ensemble, read music, play Adagio for Strings for mallet ensemble, participate in honor bands, etc.

KIDS WILL HAVE TIME TO GAIN LIFE EXPERIENCES TO RELATE TO THEIR MUSIC AND THEREFORE MAKE THEIR MUSIC MORE EMOTIONAL AND MEANINGFUL.

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Thoughts on Michael Schofield’s Letter

I believe that Michael Schofield’s letter very clearly makes its points, spelling out the reasons for wanting to change the priorities of his program and outlining the actions he has taken to implement those changes. To me, the most important point is that the students want this kind of music program. The students, supported by Michael, the parents, the administration, and school board, are the ones desiring a more meaningful music experience. And the fashion in which Michael is structuring his program to respond to those desires makes perfect sense in every way. It satisfies the students while making the teaching and learning of music deeper and more meaningful for all. It will also allow the students more time for other obligations and responsibilities they bear, both as band members - practicing, private lessons, and honor bands - and as pupils - homework and studies. I am sure it will also allow for more personal time, something that everyone can use these days.

I cannot overemphasize just how encouraging and significant I find this community’s actions. Being ever the optimist, I dearly hope Michael’s approach might be a turning point in our music programs today. Yes, I know - it all depends on the quality, the inspiration, the ability to instigate change, and strength of conviction that our teachers and educators possess. But could this be the beginning of the turnaround? I sincerely hope it is!

While hesitating to hark back to the past (my wife says this is a sign of growing old), it is a fact that those of us over the age of maybe forty or forty-five years came up playing under and studying with band directors and teachers steeped in the concert band programs of the 30s, 40s, and 50s. The younger members of this age group might also have had a Jazz band in their schools, but, in my case, none of the schools in Memphis had an organization like this during the 50s. Our teachers at that time were of a different ilk than those of today. They were studied musicians, most of whom still practiced a good bit and continued to play in local dance bands, concert bands or symphony orchestras. They taught us a great variety of music in our programs, most of it rooted in classical music, but all directing us toward becoming excellent musicians and players of our instruments. They didn’t consider the earning of a teaching certificate as the end of their learning, but rather the beginning. Competition was a relatively unimportant thing. When we did compete, it was usually against ourselves - ratings to indicate the skills or lack of skills we might have possessed. It wasn’t a trophy that was important, but the level of musicianship that we had attained. I point this out to exemplify the kind of teachers we grew up under.

Many of us in this age group have seen tremendous changes in school music programs over the past twenty years. What Michael’s letter so graphically exhibits about today’s music education is the emphasis that has been placed on winning trophies rather than teaching the basics of the language and art of music. The vehicles that have primarily facilitated this “180° so many programs have taken” are the marching bands and/or drum and bugle corps. That said, I don’t intend to write a diatribe against these two entities; instead, I would rather comment on the benefits of taking a path such as Michael, his students, and his support system have decided upon.

Learning how to play an instrument and make music should, in every facet, be an adventure - one that inspires a work ethic through the joy of playing and one that gives fulfillment just through the act of doing. Every day should be a journey, an act of exploration that excites the player to always seek more - to be a better musician - because the better player one becomes, the more fun it is to make music.

In the program that Michael and his people envisioned and put into place, teaching and learning are the focus, rather than having to spend countless hours to become a “robotic machine” of sorts. I believe a program such as Michael’s energizes students and feeds their intellectual and emotional interests and capacities. Instead of performing one kind of activity, students direct their efforts toward a larger, much broader array of musical adventures, allowing for a greater variety of both musical and life experiences. The students don’t become bored or frustrated repeating the same thing over and over, but instead find themselves excited by the diversity of musical experiences in which they are involved. I believe this motivates students to work harder and become more caught up in a program. It is difficult for me to believe that these measures will not produce excellent results while providing fulfillment and pleasure for both the student and the teacher.

I believe the key to everything in any program is the director and what he or she envisions the school’s program to be. I realize that, unlike many of you, I am not a teacher serving in the trenches every day; neither am I ignorant of the differences between your role compared to mine as a guest artist/clinician. Certainly, it is easy to be critical and make comments as someone “on the outside.” Making changes to a situation as one “on the inside,” swimming against the current so to speak, is much more difficult. That is why I feel Michael Schofield’s letter can be encouraging to all of us. Like some of you - Michael is a teacher, one who has found a way to make the changes he feels necessary to be of most benefit to his students, to the school and to the community, while also remaining true to the principles and reasons he became a teacher. As noted in his short bio, he had the guidance and encouragement of his teachers and mentors, all whom I am acquainted with, all excellent teachers and educators. But the implementation of the changes he envisioned for the benefit of all are his alone. So are the risks he took in putting his plan in action.

In my years working as a clinician and guest artist, I have been in frequent touch with many music teachers, and I pay a great deal of attention to what they have to say. Because I have very little contact with those whose emphasis is on marching band, I am not as personally familiar with their thoughts as I am with those who maintain a more diversified and balanced approach to music education. But one thing is for certain: The differences in the students regarding both performing and learning music - and in other areas as well - is enormous. They seem to have more fun and are encouraged to think and learn for themselves rather than be taught a single activity by rote. They also seem to have time for a greater variety of experiences in their day-to-day life, something I believe is extremely important toward developing a well-rounded person. Many of those who experience a program such as the one Michael is instituting come away with a more extensive musical knowledge and are inspired to continue playing after high school more so than their opposite numbers. A portion of these people enjoy playing so much that they continue their involvement with music into the years following school - in community groups and in local bands.

Though these are my feelings about what Michael’s actions and program convey to me, I’m sure a number of teachers will be thinking, “Oh yeah! Easy to say, but you just don’t know my situation and what I am up against!” Yes, this is true in many cases, and I don’t mean to pontificate or be judgmental as if doing so from some ivory tower. I know it can be very difficult to change an unfavorable situation such as this, but I’m sure it was also a stretch for Michael. Two significant questions come to mind: If a teacher truly wants to alter his program, to restructure his type of teaching and learning situation, how does he go about doing so? And how does one change community attitudes toward a goal of enabling and fostering enrichment in school music programs?

I believe one way to begin might be to use Michael’s example of going initially to the students to ascertain their feelings about such a program. This would certainly be the first step to take, since the students are the main participants in the program. This doesn’t mean that others in the community - the faculty, administration, and parents - should not also be sounded out, but the ones most directly affected are the students. How to proceed from this point depends upon the reactions one gets from among the students as well as from these other factions.

But rather than take advice from me - not being a teacher - why not consult with someone who is? Michael has offered to share his “know-how” with anyone who is interested. It seems to me that his experiences and success could help anyone else interested in changing the focus of his or her music program. Michael Schofield can be reached by email at: mschofield@kjuhsd.k12.ca.us. Again, I invite anyone wanting to share his or her views and/or experiences with others regarding this subject to please do so through comments to me. I will post them either in another edition of this newsletter or in the In Response area of my web site.

Once again, I must congratulate Michael, not only on his success directing the focus of his program toward the teaching and learning of music, but also for giving the rest of us hope that we might turn around the present situation which focuses mostly and much too heavily on competition and winning plastic prizes.

Michael, I cannot speak for others, but to me, you have become a great source of encouragement. I appreciate the risks you took and applaud the successful results of your actions. Thank you, Michael!

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Alisa Horn - Young Blood

I have been working with young musicians for years and every once in a while I hear that special person who just reaches out and touches me. Every time I hear young trumpeter Sean Jones, I feel that way. But as focused as I am on Jazz musicians, I sometimes forget the young classical musicians I run into. There is someone I have known and listened to since she was a child, and it did not occur to me to write about her until recently.

The young lady I am speaking of is Alisa Horn. She is a marvelous cellist, twenty-one years of age, and I have been hearing her play since she was a very young person, at the time too small to perform on anything more than a half-cello. No! -  most, if not all of you, have never met or heard of her. But you will. I assure you that you will!

I am very close with the Horn family of Memphis, having known Alisa’s father, Howard, since we met when I was on tour with the Memphis Central High School Concert Band. I was sixteen and Howard was fifteen. Gil Halpern - another of my dearest friends since age twelve - and I stayed with Howard’s family when we performed at Oak Ridge High School in Oak Ridge, Tennessee. We have all remained friends since that time, and I am close with all of Howard’s family. I am almost a family member, and his son Meyer and daughter Alisa are practically my adopted children.

Alisa comes from a very musical family. Her mother, Jan, is an excellent pianist and violinist, and Howard, a nationally known cardiac diagnostician and distinguished professor on the medical faculty of the University of Tennessee, was at one time a very fine trombonist. Alisa’s sister Helen, also a doctor, was once a superb young violinist; maybe she will one day return to playing again.  And brother Meyer, a third family member who is a doctor, is a fine fusion and rock drummer, so one can see that Alisa inherited her talent naturally.

Alisa studied for years with Peter Spurbeck, principal cellist of the Memphis Symphony. She also attended various summer camps, having a thrust towards orchestral and chamber music. Several years ago, she was chosen to attend the Tanglewood Summer School, where she received coaching from Boston Symphony string players. Alisa recently graduated from the University of Michigan (in three years, no less!) where she studied with Anthony Elliott and is looking forward to enrolling this fall at Northwestern University in Evanston, Illinois where she will work on her graduate degree , studying with Hans Jorgenjensen. She has also been invited to join the Chicago Civic Orchestra, considered a training group for the Chicago Symphony.

Even as a child, Alisa played with great musicality and passion. In the beginning, she was more of an “ear” player than a reader, one of the reasons I believe she plays with such passion. She always concentrated on the music, not the written notes. (And this is also why I expect her eventually to become an accomplished improviser.) Of course, as she matured, Mr. Spurbeck ensured that she become a proficient reader as well. But the quality of Alisa’s playing that has always impressed me more than any other is her passion!

Whenever I am in Memphis to visit or perform, Howard and Jan, Gil and Beverly Halpern, and I always have dinner at Saigon Li, our special Vietnamese restaurant. Before Alisa went to college and when she was pretty much at home, she joined us. After dinner, we would go back to the Horn home for coffee and listen to Alisa give us a recital, accompanied by her mom. This was a special occasion to which we all looked forward.

When Bill Mays and I played for the University of Memphis Jazz Week this past February, Howard and Jan invited us to have Sunday brunch with them. Alisa was home from having studied with a very fine cellist in Florida, and Meyer and his wife Keren were also in town visiting. So this was a good opportunity for all of us to be together, and I really wanted Bill to hear Alisa play. It has been in my mind for several years to propose that Bill compose something for the three of us - cello, piano and flugelhorn. I think it would be an amazing piece. But I couldn’t propose such a project without Bill’s having an opportunity to hear Alisa play; I knew when he did that he would be excited by her musicianship.

Jan, though a wonderful pianist, was a bit embarrassed to play for Bill, so Alisa played an unaccompanied Bach cello suite. I then asked her to play Ernest Bloch’s “Schelomo,” a marvelous piece that she performed on her senior recital. Well … that was it for Bill! He asked what else she knew, and Alisa told him she had done the Rachmaninoff Sonata for cello. Alisa asked Bill to play with her, though the accompaniment is very difficult - as difficult as the solo cello part. Bill is fearless - never afraid to try anything; music is great fun to him, so he agreed with no trepidation whatsoever. As they waded through the Rachmaninoff, everyone there could feel their musical “coming together,” and it was a beautiful moment.

Alisa, of course, was very taken with Bill’s “gutsy” sight-reading of the sonata. They talked a bit about the beauty of Rachmaninoff’s compositions, and Bill asked if Alisa knew his “Vocalise.” (Some time ago, Bill adapted “Vocalise” for our duo; we have recorded it and hope one day to release a CD of classical chestnuts melded with jazz improvisations.) She said she knew the piece and got out the music. They played it beautifully, just as Rachmaninoff wrote it, and we were all taken away by their music.

Bill then asked Alisa to play it again, but to expect something different this time. As they proceeded through the piece, Bill began to improvise and, little by little, he moved away from the written part of the piece while staying true to its harmonic structure. At the repeat of the middle section, he improvised entirely, and Alisa could not keep from grinning from ear-to-ear, though she didn’t let Bill’s improvisation throw her. It was a charming moment for all of us, something very special. We were thrilled, and Bill and Alisa were really captivated by each other.

Bill loves the idea of composing a piece for the three of us, and I am committed to finding a venue at which to play the premiere. We would present a full concert by the three of us, performing other pieces as well as premiering the trio composition. Bill and I are hoping to get a grant or a sponsor so Bill can take the time to compose. This is very exciting for the three of us. It is especially so for me because this young lady is family, and I love her soul that she so beautifully projects into her music. This is so special; this is what it should all be about.

Alisa Horn - Young Blood!

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Bootlegs!

Though I rarely subscribe to Internet Newsgroups and seldom make posts to those few lists I do occasionally read from time to time, I am sometimes moved by the discussions taking place to make my thoughts known. Postings that I have seen over the past few years - specifically those regarding the many bootleg recordings discussed among a number of subscribers on one of these lists - have given me pause to think and write on this and related subjects.

People at these Internet sites write quite often about some new CD they have just purchased, many times by an artist who has passed on, whose music was surreptitiously recorded by someone at one of his concerts. These many “fans” speak proudly of their illegal acquisitions, none of which were approved or sanctioned by the artist. They are not at all bothered that neither the artist nor any of the musicians working with him at the time were compensated for the recording.

I can accept, however reluctantly, that these fans do not view these recordings as illegal. I can understand the desire on their part to acquire as much recorded material by their favorite artists as they are able. But isn’t there also an obligation on their part as it applies to the issue of fairness and morality due the artists and sidemen whose work is being stolen?

Many of these “fans” try to justify their need to acquire these illegal materials on grounds of their being important for archival or historical reasons. Others rationalize to sanction their illegal purchases because they are so enamored of an artist and his sidemen that they must have in their possession any and all products by these professionals, regardless of who may have been - or may be - hurt by it. What most “fans” don’t want to admit is that someone took these peoples’ labors, neglected or refused to pay for them, and then received profit from their work.

How many people would care to go to work only to discover that they were not going to be paid for their labor? What a ludicrous thought! Yet, many of these fans feel it is not really a matter of consequence if musicians aren’t paid fairly. If musicians are ripped off for a CD or two, it’s no big deal because “they love what they do, and they have so much fun doing it”! But as a musician whose work appears on many bootleg recordings - and knowing many other musicians whose work has been taken without remuneration - I can tell you that we all resent the hell out of it! And while many artists and musicians might hesitate to declare this quite so strongly I surely have no problem doing it!

Anyway you cut it, it is just plain wrong! People who buy bootleg CDs support the thieves who steal musicians' work and, in essence, are thumbing their noses at those same musicians they claim to revere so highly! These recordings were done without the permission of the artists; therefore they were neither approved nor sanctioned by them, and it would not be their intention that these recordings be distributed and heard. Also this act would probably be in violation of their contracts and, almost surely, their musical standards. Most artists would certainly not want to see their music or their sidemen treated in this way for either artistic or contractual reasons, or in the case of their sidemen, for humanitarian reasons, regarding their not being paid for their work.

The persons who suffer and lose the most in this scenario are the players, the ladies and gentlemen who make the music. Because most of these musicians don’t have the legal resources to protect themselves, they are at the mercy of anyone recording their performances without their knowledge. Though we have the Musicians’ Union - the AFM - that provides protection when union-contracted work is done, the Union has no legal standing when someone records performances surreptitiously. The artists’ only recourse then is going to court, hiring a lawyer, and spending a great deal of money from which they will gain little. Most musicians do not have that kind of financial resource; so, in the final analysis, they are just “flat out of luck.” And the bootleggers know it! These people who commit such acts have no feeling for those they are robbing of their art and livelihood. Their thoughts are best summed up in the phrase, “Who cares about the musicians anyway!”

Most musicians are like other members of society - people with families to provide for and kids to put through school, people trying to be productive for their families and in their communities. They are self-sufficient persons who continue to practice an art that that the aforementioned “collectors” loudly applaud. But these collectors forget or refuse to honor the fact that, for us professional musicians, our art - our music - is all we possess; it is our only source of livelihood. We are not people of wealth and, like everyone else, we need to make a living. Why do these people - these so-called “fans” - not see us as they see themselves? Why do they not recognize their selfishness for what it is and realize that what they do hurts us - the people they claim to so admire?

The only real power we have is our fans, but only if they join us in feeling strongly enough about this issue to refuse to support bootleggers. How can the musicians be expected to maintain their integrity if their fans are not willing to exhibit this same integrity through their actions? That bears some heavy thought. We musicians have dedicated our lives to an art that so many of you say you deeply love and support. Our only real power is your willingness to say, “No!” to bootleg recordings.

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Distinguished Alumnus Award

                                                                                                            By Dr. Robert Morgan

(*Editor's Note: Though I rarely hesitate to speak out or to express myself strongly on most issues, I do find myself somewhat embarrassed to mention or report things like the recent award with which the University of North Texas honored me. Contrary to my feelings on the matter, my dear friend Bob Morgan told me it was wrong not to let people know of this award, so when I said I didn’t feel comfortable doing so, he insisted he be allowed to write the article. As a matter of fact, Bob was the person who nominated me for this honor, seconded by my mentor and teacher, John Haynie. Here, in Bob’s words …)

 As a long-time friend and admirer of Marvin Stamm, I am very happy to have this occasion to insist that he give me some column inches in Cadenzas to inform readers as follows:

Marvin Stamm has been chosen one of three 2004 “Distinguished Alumni” from his alma mater, The University of North Texas in Denton.  Marvin (class of 1961) and the other honorees were fêted at a formal banquet in Denton the evening of April 16, 2004, with UNT president Dr. Norval F. Pohl presiding.

 This award is especially significant in that it is a university-wide award, and Marvin represents the first “horn player” of any genre to be so honored.  Given that UNT now boasts almost 175,000 living alumni and only approx. 135 have been accorded this honor since its inception in 1965, this is a landmark achievement indeed.

 Among Marvin’s guests on the evening of April 16 were wife Nancy, daughters Robyn, Marisa and Teal, and son-in-law Ian Gifford.  Also, Ms. Marjorie Lynn Hall (wife of the late Dr. M. E. “Gene” Hall), Leon Breeden, the majority of the current UNT jazz faculty, and of course Marvin’s long-time mentor, UNT professor emeritus of trumpet, John Haynie.  Also, fellow North Texas ex-student trumpet colleagues Don Owen, Dale Olson, Mike Steinel, Pat Deemer Kimbell, Rex Perrin, Melvin Gordy and yours truly, Bob Morgan.

 The other honorees included Jerry Durant, prominent North Texas-area automobile dealer, real estate developer and rancher, and Robert Onstead, founder of Randall’s Food Markets, Houston.  Each received a handsome neck medallion and attractive framed certificate.

 Past recipients of this award include Dr. M. E. “Gene” Hall (in 1987), Bob Dorough (2002), writer Larry McMurtry (1986), political commentator Bill Moyers (1977), architect O’Neil Ford (1977) and golfer Don January (1976).

 Marvin’s complete acceptance remarks follow:

 I would like to thank the committee for awarding me this great honor. I would also like to offer my deep appreciation to Dr. Robert Morgan for nominating me and to Professor Emeritus John Haynie for his letter, seconding my nomination - and to Dale and Diane Olson for writing supporting letters. For me, the greatest honor is having friends like these who think so much of me that they would do such a thing. I feel that others - especially Bob and John - deserve an honor like this more than I because they have touched the lives of so many young people during their years of teaching.

So, in all honesty, I cannot accept this great honor for only myself; no one does it alone. Therefore, I do so in the names of Bob Morgan and John Haynie and in the names of all the students who, like me, have passed through the great UNT trumpet studio established by Professor Haynie. I see a number of John’s students who have honored me by coming here tonight; I thank them all for doing so. John Haynie has given all of us so much, and - how wonderful it is that so many of his students have repaid him in kind. They - we - are a truly good bunch!

I also pay homage by accepting in the names of the late Dr. Gene Hall and Mr. Leon Breeden and all my colleagues of the great Lab Band Program. The years I spent as a member of the Lab Band provided invaluable experience that, like my studies with John Haynie, contributed immensely to the foundation of my career in music. My peers as well as my teachers contributed much to me. Today, Neil Slater, the jazz faculty and the students continue in this great tradition.

I am especially thankful for my “public school” education - from grade one through my graduating from UNT. I grew up during a time when the word, “expectations” was an essential one in everyone’s vocabulary. And “expectations” generated another equally essential word, “responsibilities.”

My parents had expectations that I would study and work hard, obtaining the education they never had the opportunity to acquire. They also expected my behavior to be socially acceptable to the world-at-large; if it was not, that word, “responsibility” kicked in - LITERALLY!

My teachers had those same expectations, so the thread continued to be woven through the fabric of my growing up. As I got into music and started to progress, my own expectations became my dream, and the expectations from my teachers that engendered responsibility on my part grew exponentially. When I came to UNT to continue following that dream, John Haynie and my other teachers increased the intensity, increasing mine as well. This process continues throughout my professional life.
"As the years have passed and success has come to me in the way of fulfillment of my dream - my own expectations and my sense of responsibility to everyone - my family, my teachers AND my audiences has grown as well.

Most important - I don’t believe I can ever adequately measure how great are the contributions to my life and my career made by my family - my wife Nancy and my daughters Marisa, Teal and Robyn - you are the greatest! And my friends, Bob and Helen Morgan, Ed and Carol Soph, the Olsons and so many others; and my teachers like John Haynie and his wonderful wife, Marilyn Haynie. I pay tribute and give homage to you all.

Expectations and responsibilities - two very important words in my life - are words you don’t hear much today - in society, in families, or in school. But for me, they were a source from which so much emanated. If these words were again invoked into the family lives and the schools in our great country - in fact all of society today - what could we not accomplish? And maybe solutions to so much that we find of great concern to all of us might appear.

So - to my parents, my family, my friends and my teachers, I thank you all; and I love you for holding me to those two words.

CONGRATULATIONS, MARVIN!!

 Bob Morgan
 Houston, TX
(If any readers want further info, feel free to contact me at 713/664-9244 or docjass@yahoo.com.)

Guest contributor, Bob Morgan is a long-time musical associate and close personal friend going back to our North Texas days. He recently retired from a  very successful 23-year career as Director of Jazz Studies at Houston's High School for Performing and Visual Arts. Bob holds BM and MM degrees from North Texas and a DMA in composition from the Univ. of Illinois. Beginning his career as director of the jazz program at Sam Houston State University in Huntsville, TX, moving to HSPVA in 1976 where he remained until retirement. Under his direction, the HSPVA jazz program became internationally known as a stimulating model for the successful training of young jazz aspirants.

Bob was selected by National Foundation for Advancement in the Arts as one of two "1997 NFAA Distinguished Teachers in the Arts," the first and only jazz instructor to be so honored. In 1998, he was selected for the "Presidential Scholars Teacher Recognition Award" by the White House Commission on Presidential Scholars at a ceremony at the White House. In 1999, Berklee School bestowed an honorary doctorate upon him in addition to the one he earlier had earned from the University of Illinois. A former trumpeter, he now continues an active career as a pianist and as a composer/arranger, also is in great demand as a clinician. In June, 2000, Bob was invited by Wynton Marsalis to be the Director of the first annual "Essentially Ellington Band Director Academy," held in Aspen, CO, under the auspices of Jazz at Lincoln Center, and in August, 2000, Bob was one of three keynote speakers at Berklee's annual Music Education Institute. In 2003, Bob was awarded the Distiguished Alumnus Award from the University of Illinois. You may want to read Bob's wonderful historical perspective on our Jazz Education that appears elsewhere on the Cadenzas page: The Sandkofa Tradition.