Cadenzas – Edition XXV
Things and Such
I know that I am way behind getting this issue of Cadenzas written and posted, but the summer has been really busy for me, and I’ve had little time to sit and put down my thoughts - even though this issue includes guest contributions. What looked at the outset to be a quiet year has, in fact, turned out to be a very busy one. While I am not going to go through all of what has taken place, I will hit the high spots because some very interesting things have transpired.
First, let me thank Marv “Doc” Holladay for his two articles - one posted in this edition and the second to come in the next - and Clem DeRosa for his letter in response to several articles I have written in the past. Both Clem and Marv are long-time friends, both excellent musicians and teachers.
New Projects
The three projects I mentioned in prior Cadenzas have become, or are becoming, a reality. Fantasy, the first CD by The Inventions Trio has been released on the Palmetto label to excellent critical reviews. You can check out this new release on my CD page , where you will find links to the reviews, the CD notes, and to the sound clips that I have put up. If you are interested, you can also purchase Fantasy directly from my CD page.
In October, I will be releasing on the Jazzed Media label, Alone Together, a two-disc set – a DVD and CD - of the live concert my quartet performed in Los Angeles following last year’s Jazz Cruise. This was videoed and recorded in the performance space of Rising Jazz Stars Foundation. The quartet, as always, features pianist Bill Mays, bassist Rufus Reid, and drummer Ed Soph. This set, too, will be available directly from this Web site upon its release.
A third project, The Nearness of Two, a “live” CD, performed in concert with singer/pianist Dena DeRose at the Ancona Jazz Festival in Italy, will be released later this year. While the initial release will be only in Italy and parts of Europe and Japan, it will also be available here in the U.S. exclusively from my Web site. I have written of this performance in Cadenzas - Edition XXII and count this as a very special concert with a very special musician. I will inform you when it becomes available.
The Inventions Trio on Tour
With the release of our new CD, Fantasy, The Inventions Trio - pianist Bill Mays, cellist Alisa Horn, and me - will take to the road to perform September 8 through October 6 in Pennsylvania, New York, New Jersey, California, and Washington. We will present twelve concerts as well as play a weekend at the Kitano Hotel in New York City and two evenings in Jazz Alley in Seattle. Please check my Schedule page for details of when and where we will be appearing. I hope we will see many of you at these concerts.
Besides the compositions and arrangements featured on our CD, we have now added a number of other pieces to our repertoire, including a new suite composed by Bill Mays entitled, “The Delaware River Suite.” There are other originals by Bill and me, as well as standard material from the Jazz repertoire, and several more arranged pieces taken from the classics, such as Villa-Lobos’ haunting “Bachanias No. 1.” Please feel welcome to join us on our first journey together.
George Gruntz’ 75th Birthday Celebrations
The year 2007 marks the seventy-fifth birthday year of pianist/composer George Gruntz. I have been a member of his Concert Jazz Band since 1987, and from that time he and I have become very close and dear friends.
George is a very prolific composer, arranger, and performer throughout Europe and beyond. He has probably composed for a greater and more varied palette of music and musicians than anyone I know – from rewriting Rolf Liberman’s “Symphony for Jazz Band and Symphony Orchestra” to composing a complete program of Bedouin music for Hamburg’s NDR Radio Station. He has also composed Jazz operas and oratorios as well as music from the classical vein performed by l'Orchestre de la Suisse Romande. He is highly respected in both the Jazz and classical music genres.
Born in Basel, Switzerland in 1932, George began his career as a member of the Newport International Youth Band at the Newport Jazz Festival in 1958. During the sixties, he toured throughout Europe as pianist for such as Dexter Gordon, Roland Kirk, Chet Baker, Johnny Griffin, and Art Farmer. In 1968 and 1969, he toured and recorded with Phil Woods’ European Rhythm Machine. From 1970 to 1984 George was the musical director of the Zurich State Theatre, and from 1972 to 1994 the artistic director of the Berlin Jazz Festival.
But most important to my musical participation has been the George Gruntz Concert Jazz Band (GGCJB). GGCJB was formed by George with his friends Flavio and Franco Ambrosetti, Daniel Humair and his long-time colleague and manager, Gérard Lüll, in 1972. Over thirty-five years, some of the best of modern American and European Jazz musicians have played in this unique orchestra. Just a few among these are Woody Shaw, Joe Henderson, Elvin Jones, Bennie Wallace, Lee Konitz, John Scofield, Manfred Schoof, Dave Liebman, Palle Mikkelbourg, Dino Saluzi, and so many more. The GGCJB was the first large Jazz orchestra to tour China in 1992, and over the years has played all over the world - Israel, Russia, Japan, Singapore, the Far East, the Near East, the U.S. and all of Europe.
The current band is made up from players such as Alexander Sipiagin, Kenny Rampton, Jack Walrath, Tatum Greenblatt, and me in the trumpet section; Dave Bargeron, Gary Valente, René Mosele, Earl McIntyre, and Dave Taylor among the trombones; Chris Hunter, Sal Giorgiani, Larry Schneider, Donny McCaslin, and Howard Johnson in the saxes; George on piano; bassist Ari Volinez; and drummers Danny Gottlieb or John Riley.
In celebration of George’s seventy-fifth birthday year, the GGCJB has performed two European tours this year with a third to take place in late October through early November. We will also be recording a new CD during this time. George’s career over these past fifty years or so has been unique - both in music and in many music-related fields. I can only wish to my dear friend and colleague - this most prolific of artists - a very Happy Birthday and many more great and productive years.
The North Sea Jazz Festival
Bill Mays was to perform a duo concert at the North Sea Jazz Festival with saxophonist Bud Shank on July 15 of this year. Unfortunately, Bud became ill with a serious bronchial infection and had to cancel his appearance. (Bud has recovered, is doing well, and should be back to work soon.) Bill suggested to Bud’s management that I take his place for this concert, for which I was available and more than happy to do as I was already in Europe with George Gruntz.
I flew into Amsterdam’s Schiphol Airport, where Bill and his wife, photographer Judy Kirtley Mays, gathered me from my flight for the drive to Rotterdam, the site of the festival. I had just spent the five days between George Gruntz’ second tour of 2007 and the North Sea concert with my daughter Marisa’s family, where I had the opportunity to be with my nineteen-month-old granddaughter Charlotte.
The North Sea Festival is huge, comprised of nine stage areas, half of which have concerts going on simultaneously. Bill and I played on the Madeira Stage, a room slated for smaller ensembles - solo pianists, duos and trios. The bigger stages at the festival had more extensive sound and light equipment, and the volume at these concerts could, to my ears, be a bit overwhelming; but the Madeira Stage, even seating 400-500 people, had a very nice, even intimate, feeling.
As we started the first tune, Bill and I were gratified to find that we were confronted with a full house. Also gratifying was the silence and attention given to our concert. One could hear the proverbial pin drop during the whole sixty-minute concert, taken mostly from the standard repertoire. The audience was very responsive and effusive in its show of appreciation. And this being the first time our duo had appeared at North Sea, Bill and I were ecstatic in their response, especially at the standing ovation we received at the end of our concert. But most pleasing for us was the music that emanated from the two of us; we knew something special was happening that evening - and so did our audience!
The Brubeck Institute
I was invited to participate on the faculty of the Dave Brubeck Institute Summer Jazz Colony this August at the University of the Pacific. This university, in Stockton, California, is the home of the Brubeck Institute. Eighteen outstanding high school students from all over the country were chosen by audition to attend the Summer Jazz Colony, all on scholarship.
To quote the Web site’s mission statement:
The Brubeck Institute was established by the University of the Pacific in 2000 to honor its distinguished alumni Dave and Iola Brubeck. The Institute is the realization of the Brubeck's lifelong dedication to music, education, and the advancement of important social issues. The mission of the Institute is to build on Dave Brubeck’s legacy – quintessentially American in origin, international in scope and unique in its breadth.To be more explicit for any of you who may be interested, the Web site also states:The Summer Jazz Colony is a one-week full scholarship educational program in jazz performance for seventeen [this year eighteen] extraordinarily talented students who are in their freshman through senior years in high school and come from throughout the United States and beyond. The Colonists study with Brubeck Institute faculty and guest artists and clinicians in individual lessons, master classes, rehearsals, and seminars, culminating in a gala concert.The week spent working with these talented young Jazz students was inspiring to say the least. The faculty was of a good size, so we could all give a great deal of individual attention to the students. As well, the faculty - including the resident musician/teachers from the Stockton/Sacramento area - all can play! There was no “dead wood” in this group! The complete faculty lineup was: Madeline Eastman, voice; Ed Soph and Brian McKendrick, drums; Essiet Essiet, bass; Joe Gilman, piano; Steve Homan, guitar; Frank Morgan and Patrick Langham, saxes; Paul McKee, trombone; Bart Marantz and me, trumpets.Pianist Joe Gilman and saxophonist Patrick Langham, along with Executive Director Steve Anderson and his executive assistant Pat Eckert, organized the schedule and put everything together. Every aspect of the Summer Jazz Colony was handled in a most professional way, so that all we had to do was arrange our flights to California with Pat Eckert and make sure we got on the plane. Everything else was taken care of. I can’t convey how great it is to have the business side of an endeavor such as this handled so well - and then upon arrival and during our time at the institute be treated in the most professional way possible. Lordy, Lordy!! What is this world coming to!
The rehearsal and class sessions were divided among us all, and, since only eighteen students were in attendance, our obligations were easily fulfilled. This allowed us a lot of time to voluntarily attend various classes led by other faculty members, all of whom welcomed “outside” participation. It was a true workshop setting put into “real” play. The faculty exhibited great cooperation and respect for one another as well as respect for the students - which was responded to in kind. I don’t often do summer teaching such as this, but this unique setting was one greatly enjoyed.
We taught during the day and had concerts or faculty and student jam sessions in the evening. On Friday evening we presented a faculty concert to the public and Saturday afternoon there was the public concert for the students.
This is an excellent summer program of the highest quality always with an outstanding faculty. If you go to the Brubeck Institute Web site,you can see a list of faculty invited in previous years. Also, should any of you know any outstanding high school Jazz students, contact the Institute through their Web site or call them at 209-946-3970. If a student qualifies, he or she will certainly not be disappointed.
Westchester Jazz Orchestra
The Westchester Jazz Orchestra (WJO) begins its fifth season in September, and with it celebrates the release of its first CD - All In. A non-profit organization administered by Executive Director Emily Tabin and under the artistic direction of Mike Holober, the group has really taken a great step forward and is musically “pushing the envelope.” But while the WJO’s principal charge is to present great music, our mission also includes building an audience for Jazz in our own backyard and working with young people in educational outreach endeavors.
The WJO is a group of which I am proud to be a member. These are some of New York’s finest Jazz musicians, most all of whom live in Westchester County, New York. After all my years performing in big bands, I primarily spend my time these days with small ensembles; but the invitation to join this group at its inception was too good to pass up. I love playing with and listening to all these wonderful musicians. The personnel of the WJO includes trumpeters Tony Kadlack, Craig Johnson, Jim Rotundi and me; trombonists Keith O'Quinn, Larry Farrell, Bruce Eidem, and George Flynn; saxophonists Jay Brandford, David Brandom, Ralph Lalama, Jason Rigby, and Eddie Xiques; pianist Ted Rosenthal; bassist Harvie S; and drummer Andy Watson.
Every season presents a great variety of music, most of which is commissioned by the orchestra except when saluting various artists whose music might be framed in the big band format. On those occasions, we might perform signature compositions with which these artists are identified. But a lot of the writing for the WJO comes from its members, Mike Holober, Tony Kadleck, Jay Brandford, and Eddie Xiques, while other contributors to the library are saxophonists Kenny Berger and Mark Lopeman; trombonists Mark Patterson, Pete McGinnis, and Jens Wendelboe; and arranger John Lissauer. The few times that small group arrangements are needed, trumpeter Jim Rotundi is asked to do the writing.
The WJO presents a season of five formal concerts a year; the number of educational workshops will vary from year to year. The five concert themes this year are:
September 29, 2007 - Happy Birthday WJO: CD Release Party
December 1, 2007 - Jazz Masters; The Music of Sonny Rollins and
Cannonball Adderley
January 26, 2008 - The Art of Arranging: Well-loved Standards with a Twist
April 12, 2008 - American Masters: The Music of Gershwin and Simon
with Special Guest Kate McGarry;
June 7, 2008 - JobimMore complete information is available on the WJO Web site:
The WJO is an exceptional and exciting musical ensemble. I enthusiastically urge anyone who might be in the vicinity of one of their performances to attend. You will not be disappointed.
A Letter from Clem
Clem DeRosa is a dear and long-time friend. He has known me since I was either 21 or 22 years of age when we both taught at some of the very first Stan Kenton Clinics. Clem has a distinguished career as an educator, a player, a conductor, the president of the then National Association of Jazz Educators (NAJE), but most important as an advocate for Jazz. Clem, his wife Shirley, and their children are people whom I hold dear to my heart. With Clem’s permission, I print his letter below along with my response; I find myself quite touched by his concern for me. He writes:
Hi Marv,
This is a response to what I perceive to be some serious cases of the “DDD’s” – disappointment, depression, disgust. Please allow me to suggest an approach to counter these “DDD’s” – HOPE. Combine HOPE with desire, determination, and direction, and you can create a defense to deal with the “DDD’s.”
I am now eighty-two years old and, believe me, have dealt with my share of the “DDD’s.”
My twenty-six years in public school education had its share of frustrations, but the desire and energy of the students to learn motivated me to deal with most of the other impediments.
The sixty years as a professional musician, bandleader, and conductor gave me many episodes of the “DDD’s,” but the professionalism, dedication, and support of most of my colleagues gave me the strength to cope.
In the late ‘50s, Jazz in the public schools and universities was scarce. Six of us “Jazzers” – John Roberts, Gene Hall, Matt Betton, Jack Wheaton, Bill Lee, and me – would meet at the Music Educators National Conference conventions and suffer our own “DDD’s” because there were no Jazz programs. We put our pennies together and organized the National Association of Jazz Educators (NAJE). Needless to say, we struggled, but HOPE, desire, determination, and direction helped us survive. NAJE became IAJE (International Association of Jazz Educators), and Jazz in the schools became a fixture.
In 1960, Stan Kenton called Gene Hall, Matt Betton, and me to meet at the University of Indiana to discuss the concept of the Stan Kenton Clinics. It was the first Jazz clinic of its type, and Stan put his money, time, and reputation into the project. It helped to reinforce NAJE’s program of Jazz education and created an environment of unprecedented professional instruction.
The two programs mentioned above helped shape the Jazz education program, created more venues for “name” band concerts at high schools and universities, and moved forward the study, respect, and dignity of our music. Have we reached perfection?? NO!! Do we need to make adjustments and have constant introspection?? YES!!
I know and feel your anger. I’ve been there. Your determination to speak out against injustice is progress. One additional observation on your emails in Cadenzas is the strength that lies in your ability and flexibility to cope with the frustrations which you encounter, move forward, and still maintain your integrity. Thank you for that.
In closing, I leave you with this request: Please don’t lose HOPE.
Marv, thanks for keeping the Cadenzas dialogue alive.
All our love from the De Rosa family,
ClemMy response:
Dear Clem,
You are, as always, a light to follow. Your letter means a great deal to me, so I write this response to reassure you of my optimism - as you say, a combination of HOPE, desire, determination, and direction. I have always been an optimist, and I am sure this is due both to my parental upbringing and to the guidance of the many mentors I have had over the years. I certainly put you firmly in that camp. No one has been more fortunate than I to have had such dedicated parents, teachers, friends and colleagues - such as you.
I know you perceive my anger and frustration over many of the things we experience today. For you and me, things have changed greatly since we were youngsters, but my anger and frustration are not really for us. I have lived and continue to live my dream, and you have led a life of success and fulfillment as well. No! Rather the anger and frustration is for my children and yours, and our grandchildren, who may never experience so many of the simple and subtle pleasures we knew growing up. I am sure this is because of the times in which we were brought up and our being raised by parents who lived through the Great Depression. Because of these factors, we grew up in a time when our choices were more limited than today. Success of the choices we made depended primarily upon our self-motivation and work ethic. And much of whatever we might achieve in work and play and the level to which we might succeed depended upon social contact and our interaction with other people – and, of course, our own efforts.
The speed with which things have changed and the development of much of our modern technology has accelerated life to a point where it seems our humanity can’t keep pace. Yes, we can think and work faster, but at the cost of things like our shorter attention spans and the tendency to become insular, more isolated from others. People today seem angry and frustrated by contemporary life. They have more, but they are not happier for it. They search in the wrong places for whatever might fill the void they feel. They look to the accumulation of more “things” instead of searching deep within themselves to find what might be missing. That inner search for answers too often does not seem an option they might consider.
Along with this, I believe that we as a people have been betrayed - by our government and by the mechanisms set up to guarantee a government by and for the people. I remember very well – as I am sure do you – our parents having trust in our president, our representatives, and other areas of government that were set up to serve and protect them. Today, we cannot say the same, and many people live in fear because of it.
And because our elected officials seem not to govern “by the people and for the people,” we find ourselves quagmired in what looks to be an endless war, dealing with a health care system in jeopardy, an education system in shambles, an infrastructure that is crumbling, homeland security anything but secure, an inability to function and respond to the needs of those caught up in natural disasters, such as Katrina, and an administration that manipulates the populace through fear rather than governing positively through proper policies. As one who travels abroad a great deal, I can tell you this: Once the envy of the world, the United States and its people are now looked down upon and feared because of our military power and the policies and actions of those who wield that power.
Our Congress - members of both parties – do only what it takes to be re-elected rather than govern for the good of the people and the good of the country. They don’t have the balls to stand up and do what is right! They are bought and paid for by corporations that are no longer regulated and kept in line by the mechanisms set up to oversee them. Our Justice Department has been politicized and most - if not all - of the other departments of government have been staffed with political cronies and captains of the various industries they are charged with overseeing. (Some joke that, huh!) Throughout a government whose only true mission should be to work for its citizenry, the rape and pillage by these people run rampant! Their only interest is enrichment for themselves and their “buddies. And it goes on and on, the worst part being that this has infected the general populace of our nation that once stood together, seeing itself as “WE,” but now seems to see only “ME!”
But my purpose in responding to your letter is not to go into depth about all these things. Rather it is to reassure you that I have not lost my HOPE and optimism. It is indeed angering and frustrating to experience what is happening, but not to recognize it is foolish. Not to try to better things is tragic - and not to attempt to instill common sense, honesty and civility, and caring for others back into our lives is giving in to all that brought us to this place. But letting all this destroy one’s life is foolish as well - and unthinkable.
So what can I do?
I CAN and WILL keep my positive attitude toward life, music, family, friends, and humanity. I WILL keep playing my music, hoping that the people who listen will take away from it something special. I will also continue to speak out, trying to make people aware of what is taking place around them, and hoping that through an awareness they will begin to speak out too, urging others to join us so we can rebuild what is broken and take back that which has been taken away - those things for which our forefathers so valiantly fought and died to keep sacred for us - freedom of speech and expression, the right to privacy in mind and body, freedom from being spied upon, the writ of habeas corpus, the right to a speedy trial, to face our accusers and make them answer for their charges - and the ability to make those who govern accountable for their actions.
So, Clem, have no fear. The DDD’s will not take hold of me and change who and what I am – what I have always been. That’s a promise to you and to all the others who have been my guiding lights.
Love to you and yours,
Marvin
TIME!
Marvin “Doc” Holladay was the baritone saxophonist on the Stan Kenton Orchestra during the two years I was with the band. Marv currently lives and works with young musicians in Cumbayá, Ecuador. After leaving Kenton' s band, Marv played with a number of great bands, including the Duke Ellington Alumni Band, as well as the bands of Quincy Jones, Dizzy Gillespie, and Woody Herman. He was the original baritone player with the Thad Jones/Mel Lewis Orchestra Jazz (1965-66). Marv did graduate studies at Yale and Wesleyan Universities and taught sixteen years at Oakland University in Rochester, Michigan, as an Associate Professor of Music, Director of Studies Jazz and resident Ethnomusicologist, and adjunct professor to the International Studies Department. He is now a Professor Emeritus of that institution.
He writes:In my opinion, one of the most glaring weaknesses regarding the teaching of jazz within academic institutions is that of teaching about TIME. Teaching about TIME is the most overlooked element of this music, and I believe the most important to its expression.
We had students in our program at Oakland University (OU) who felt that they needed to get another viewpoint on what this music is about, to which my faculty collectively agreed. [The faculty at that time was Marcus Belgrave, Herbie Williams, Sam Sanders, Ed Pickins, Harold McKinney, Jimmy & Johnny Allen - no relation.] When those students returned to OU after one or two semesters at other highly-touted institutions, their biggest complaint was that they never heard any mention of the word or the value of TIME, the very element of the Ray Charles band that had so captivated your sensibilities when we first met.
This element of the music is of paramount importance to these young minds – and most importantly, to their souls. The feeling of TIME, which flows through every aspect of the music, is not an analytical extraction of metrical comprehension to be presented pedagogically with all its various permutations, but rather the heart and soul of the music itself.
I recall asking Clark Terry at one of our rehearsals, or gigs why we play the way we do. His answer was simple, “That’s the way it goes, man.” In other words, that’s the way we do it, without any further explanation of his answer. Probably, his personal feeling of how the notes should be expressed was so culturally indigenous to his way of playing that it needed no further explanation. That instinct hasn’t been lost over the generations since his ancestors were removed from Africa. It is also the essence of why the Chick Webb band sounded or felt different from Benny Goodman or Duke Ellington from Stan Kenton.
Many young players have, at times, advanced a response to this position by stating, “That was the old fashioned way of playing; we want to play in a more modern way.” This response offers us the opportunity to let them know that when or if they seek to study with any of the “modern, more contemporary players,” the first thing this player might tell them is they must first learn the fundamentals and how to play with TIME.
Our drum teacher was Jimmy Allen, a Detroit native who was a contemporary of Elvin Jones, and their style of playing was very much out of the same vein. Jimmy’s students were confronted by a great deal of angst in their first lessons as Jimmy, after allowing them to show him what they could do, would then say, “OK, now do this for me; and he would play a straight ahead simple “ding, Ching a ding, Ching a ding” on the cymbal and demand the student follow his example. Before he would allow any further technical progress, each student would have to be able to lay down a reasonable “pocket” with the high-hat cymbal, “popping” per Jimmy’s example. It was the FEEL that had to be there for any further progress to be made. Once that sense of TIME is in place there is no limit to the development that can be realized.
The same concept of TIME would be instilled into every student - and into all the members of the big band as well. We would play through an arrangement and then go back and play each phrase until the feel was right before moving on to the next one. Before long, the time feel would become ingrained, and the students would all begin to play every chart with the TIME feel the music demanded. I’m happy to say that it was only a short time before they could do this even when sight-reading a new piece. This was amply demonstrated when Phil Woods came as our guest artist and was “blown away” as he didn’t expect that level of comprehension in such young players.
Today, it seems that things are so focused on “notes” with the result being that everything sounds the same as far as the TIME feel is concerned. I can’t fault the technical mastery nor the complexity of the metric sophistication that is being performed by the majority of the bands of various institutions, but the TIME feel is so mechanical that I feel there is NO “feel.” You remember playing “Ahunk, Ahunk,” which Thad wrote in 5/4. But when you played it, it felt like it was burning in 4/4 with the accents unusually placed. Sam Rivers writes everything in 4/4 but the diversity of accents gives it a feel of a more rhythmic complexity, however, the “Poquette” – or “pocket” - is ever present. Once that concept is there you can never lose it.
I frequently made this statement to the students about music, as well as other aspects of life, “Once you KNOW something you can never again, NOT KNOW it”. Think about it!!
Finally, because I have had the opportunity to study traditional West African drumming with Master Drummer Abraham Kobena Adzenyah from Ghana, I took advantage of the experience to insist that every jazz student in our program have at least two semesters of African drumming before they complete the program. Every student that came through that program acknowledged, sooner or later, the value to them of having had that experience.
THIS is where I found the answer to my question to Clark Terry of, “Why do we play the way we do?” After spending time with the discipline of a traditional African drum ensemble, there was no doubt in my mind - or my body - where the TIME feel came from. The sensation of that feel is in the solar-plexus of the body, and when that happens, you KNOW it’s happening. If it is not there, you can pretty well expect that it ain’t there at all.
TIME truly separates the Men from the Boys.