DB23 10

OCTOBER 2023
VOLUME 90 / NUMBER 10
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Jack Maher, President 1970-2003

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4 DOWNBEAT OCTOBER 2023

OCTOBER 2023
ON THE COVER
LUIS GODINHO
26 Joshua Redman
Finding Bridges
BY GARY FUKUSHIMA
When tenor saxophonist Joshua

Redman recorded “I Left My
Heart In San Francisco” for his
new album, where are we, he
had no idea Tony Bennett would
pass right before the album was
released. The album is Redman’s
32
16th as a leader, but a first in
several ways — his debut on
Blue Note Records and the first
time he’s included a vocalist.
FEATURES
32 Darcy James Argue’s “This double album, on such a major label for the first time, is an
opportunity for me to reintroduce the public to my work,” said Darcy James
Walk Through History Argue of his new recording, Dynamic Maximum Tension (Nonesuch).
BY SUZANNE LORGE Cover photo by Zack Smith
38 Aaron Parks
Back From the Edge vie
Re H
w
vie
Re H
w
tar H tar H
BY PHILLIP LUTZ 5-S HH 5-S HH
H H
44 Goodbye,
Tony Bennett
An Homage to the Legend
BY PHILLIP LUTZ
49 Ambrose Akinmusire 52 Matthew Halsall 58 John Coltrane 59 Aja Monet

64 Indie Life
64 Michael Blake
66 Gabriela Martina
DEPARTMENTS
68 Ryan Meagher
THE COLLEGE GUIDE 8 First Take 76 Transcription

Joe Lovano on “Portrait Of Jenny”
83 Where to Study Jazz 2024 10 Chords & Discords
13 The Beat 78 Toolshed
84 Tips on Using This Guide P. Mauriat PMB-185
49 Reviews
86 Career Options for Jazz Graduates Baritone Saxophone
70 Master Class
112 Selecting the Right School II–V Chord Progressions 80 Gear Box
128 The March Toward Equity 74 Pro Session 178 Blindfold Test
Two Songs in One Day Endea Owens

First Take BY FRANK ALKYER
MARC NORBERG
PETER MICHAEL DUFORE

Joshua Redman from a 1995 Warner Bros. publicity shot Redman in 1991
Redman Comes Full Circle

THERE IS SOMETHING TO BE SAID FOR THE The next morning, Shelby Fischer, the com-
generations of jazz and the multiple communi- petition’s producer at that time, asked this writ-
ties within each generation; the serendipitous er if I wanted to ride along with her and Joshua
associations jazz artists make through living for a bit as he was shuttled to meet the media for
in the same place, or playing on the same festi- interviews around Washington, D.C.
val or just showing up at the right place at the It was a great ride of small talk and an
right time. It’s a nomadic life for sure, one that after-competition high — Where are you from?
takes twists and turns that no one could imag- How’d you get here? What do you do next?
ine, and maybe that’s what makes chronicling And Redman said he was thinking about
these lives, reading about these lives and hear- deferring his admission to Yale to take a shot
ing this music so interesting. at jazz. “I’ve got a contract from Blue Note sit-
Our cover artist this month is Joshua ting on my dresser at home, but Warner Bros.
Redman, one of our greatest living tenor sax- approached, too,” he said.
ophonists. It’s ironic that he is on the cover of Blue Note was really just restarting with the
the same issue that features our annual College legendary Bruce Lundvall at the helm. Warner
Guide for Jazz Education, because he is, per- Bros. had recently hired a young, hungry exec-
haps, the only person featured in this issue utive named Matt Pierson to run its jazz divi-
who didn’t go to music school, instead opting sion. That’s the same Matt Pierson who just
for a degree in urban studies from Harvard. produced Samara Joy’s last recording — she
But as the son of the great saxophonist Dewey who won Grammys for New Artist and Jazz
Redman, Joshua practiced saxophone intense- Vocal Album last year.
ly on the side, and he had a date with destiny. “What would you do?” Redman asked me
He was on the radar of many in the jazz from the back seat of the car.
world, but Redman was considering going to law Employees for DownBeat are not supposed
school at Yale. Still, he kept one foot in the music to give career advice on what label to sign with.
world, wondering if he had what it takes, and in It’s bad for business. Between hems and haws,
1991, he entered the Thelonious Monk Institute of the best I could come up with was to tell him to
Jazz International Saxophone Competition. sign with whoever he thought would promote
Thoughout the semifinals and the finals, he him best. If they made a name for him, he could
proved that he could play with the best at break- at least tour for the rest of his life on some level.
neck speeds, but he melted the collective heart He signed with Warner Bros., and it worked
of the audience and judges when he played bal- out. But now it’s come full circle, as he finally
lads. He won in a year that saw Chris Potter, signed with Blue Note. It’s something that makes
Eric Alexander and Tim Warfield in the finals. Don Was, Blue Note’s president, smile. And
There was a definite buzz. somewhere Bruce Lundvall is smiling, too. DB

Chords Discords
Tyshawn’s Diversity
Thank you for the excellent and extensive
article on Tyshawn Sorey. I was amazed by
the diversity of projects he has done and has
upcoming. I have only caught Tyshawn live
several times with Vijay Iyer and a solo drum
concert. His drumming was excellent and
memorable.
I was also pleased to read the brief but
excellent article on Warren Wolf. I knew he
played the vibraphone and drums, but didn’t
realize he was fluent on more instruments. I
have seen him many times with his own group stated, “The 26-year-old Thompson has all the
and other bands. Always a great show and one heart, skill and swagger of a budding super-
of my favorite vibraphonists. star.” I couldn’t agree more based on the per-
Last night I caught Isaiah J. Thompson formance I witnessed last night.
performing with the John Pizzarelli Trio. In the
MARC NEBOZENKO
July DownBeat, Frank Alkyer’s review of Isaiah EVANSTON IL
All About Alice tice. Referring to the Tawhid as “a tedious

Frank Alkyer’s letter on the artistry of recent protest chant” is not only misleading for the
Hall of Fame inductee Alice Coltrane was readers who may not be familiar with Islam
marvelous. The piece surprisingly pointed but it is also offensive to Muslims.
out the fact that she had never appeared on I am convinced that Mr. McDonough
the cover nor discussed in any major feature neither read the liner notes nor the press re-
during her heyday speaks volumes. Often lease. I can understand when my music does
described by journalists of the era as being not “speak” to a critic and believe that a critic
“avant garde” (which could be a blessing or should be able to state their opinions freely.
otherwise depending on the perspective), However, a review nearly half of which con-
her music encompassed many elements, I’m tains false information is disrespectful both
not sure what it says about DownBeat in the to the artist and the readers.
’70s for her to be so ignored, but those who MEHMET SANLIKOL
have long appreciated her artistry are jubi- COMPOSER
lated that today she’s represented alongside

Editor’s Note: John McDonough responded
her husband.
to Mr. Sanlikol with a 2,500-word letter.
D. DAVENPORT He and DownBeat regret any errors. As to
RICHMOND,VIRGINIA
being offensive to Muslims, McDonough
responds: “I review music, not religion. I
never thought of Stan Getz or Denny Zeitlin
Mehmet Sanlikol Correction as Jewish musicians — although musicolo-
While I am grateful to DownBeat for includ- gists may usefully probe Gershwin’s ‘I Got
ing my new album, Turkish Hipster: Tales Rhythm,’ or, better still, Porter’s ‘My Heart
From Swing To Psychedelic, within the Sep- Belongs To Daddy,’ for their Jewish influ-
tember issue, I am also quite disappoint- ences. I am a product of a period when jazz
ed with the errors and misleading remarks converged with the American popular song
found in Mr. McDonough’s review. Here and a secularization of Jewish culture.
are some of the issues: My name is spelled That’s enough religion for me. Mid-Eastern
wrong; He wrote that Miguel Zenón plays on and Muslin influences had no comparable
“A Capoeira Turca,” but the soloist on that presence in U.S. life at that time. This is
track is Anat Cohen; He wrote that “Abraham why I know nothing of The Tawhid, only
Suite” was reduced to the big band format that the soft chant you referenced in one
but what happened was the exact opposite; of the pieces translated in my ear to the
He claimed that “A Capoeira Turca” is a five- simple rhythm Americans hear often in
part piece featuring Miguel Zenón. Neither news coverage of protest marches. No of-
“A Capoeira Turca” nor the piece that actu- fense need be taken of my ignorance and
ally features Mr. Zenón, “Times Of The Tur- a religious reference that failed to clear the
tledove,” is in five sections; He referred to no-man’s-land of translation. My apologies,
the Islamic Tawhid (oneness of God) as “a nevertheless, for my clumsiness.”
tedious protest chant.” The Tawhid is one of
the most sacred tenets of Islam, and I incor- Have a Chord or Discord? Email us at editor@downbeat.com
porated it into my music following Sufi prac- or find us on Facebook & Twitter.

The
Umbria @ 50, Wendell Brunious,
Samora Pinderhughes, Le Boeuf Brothers
GABRIELA GABRIELAA
“I wanted it to be a continuous celebration of life,” Rodriguez says of his new album, Coral Way.
Alfredo Rodriguez Taps

Miami’s Latin Lifeblood
I
n 2019, a decade after moving from Cuba an uplifting album at a very divisive and heavy ple [but] I always find myself looking for hope
to Los Angeles on Quincy Jone’s invita- time. And, like so many during the pandemic, with my music. And I knew that whenever I
tion, Havana-born jazz pianist Alfredo he felt a drive to get back to his roots. Quickly, had the opportunity to share this music with
Rodriguez moved to Miami to be closer to Rodriguez’s triumphant new record — Coral my audience, I wanted it to be a continuous
family living in Florida. In the process of set- Way (Mack Avenue), which weaves the fes- celebration of life.”
tling into his new home, the pandemic set in tivity, rhythmic syncopation and instrumen- As he approached the album, Rodriguez
and Rodriguez, who’d been on the road for tation of Latin styles with the harmony and also set out to do something that isn’t being
nearly a decade solid, came home to stay. spontaneity of jazz — began to come to life. done by many composers at the moment:
Though the pause in performing was “very “I remember composing the music [while] Bridging mainstream Latin sounds — like the
sad” for the pianist, it had its silver linings. walking the streets of Coral Way, which by the Latin pop, timba, salsa, bachata, tango, reg-
Along with being able to spend quality time way, is the street where I live in Miami. And gaeton and bolero he considers to be part of
with his new baby daughter, lockdown gave then everything was empty. You know, I didn’t the collective sound of Miami — with jazz.
him more time for composing than he’d had see people, I couldn’t see people. I couldn’t According to Rodriguez, he sees a bridge
in ages, and he found himself wanting to write play music; I couldn’t do much with other peo- between North American popular sounds and
OCTOBER 2023 DOWNBEAT 13

jazz, but not as much with mainstream Latin er was so impressed he invited Rodriguez to
Riffs music, a diverse and popular category that,
in the U.S. alone, grew 55.29% in album con-
move to the states to work with him.
“I said to my dad, my mom, everyone, I’m
sumption between 2020 and 2022, according going to go to the states and cross the border
to Billboard. from Mexico because Quincy Jones is tell-
“Robert Glasper is a good example,” said ing me that if I make it there, Quincy Jones
Rodriguez, referring to the jazz and pop Productions will help me with my career,” he
worlds. “Why? Because Robert is some- said. “So that was what I did.”
one who plays jazz music and then at some Since officially arriving in the U.S. in 2009,
point, he started mixing it with mainstream Rodriguez has been signed with Quincy Jones
hip-hop and R&B and all of that, and still is Productions and has released six albums,
someone who can be on both sides. So, I was including Coral Way. And all along, even as
thinking about this, we don’t really have any- he’s immersed himself in American culture
one in the Latin world … right now that [is], and the jazz industry, he’s infused Latin musi-
exploring that cross-pollination. It’s really an cal ideas into his rhythmically exploratory
empty spot.” and lyrical jazz approach.
Digging into Rodriguez’s past, it’s easy to But there is no album that combines his
see how he is uniquely equipped to fill this two musical worlds more completely and
Fine Art Trane: Blue Note Records vacancy. His father, Alfredo “Alfredito” ambitiously than Coral Way. The nine-song
launched a new series of limited-edition,
Rodriguez, is a famous Cuban pop singer — set, which Rodriguez wrote at home over a
fine-art photography celebrating the legacy
of Francis Wolff, the label’s founder and the Elvis Presley of Cuba, as Rodriguez said. three-year period, is the first that he’s self-pro-
photographer. The series began with iconic So, Rodriguez grew up attending his dad’s duced and the first of his records to feature
photos of John Coltrane from the 1957 rehearsals and concerts and playing drums major mainstream Latin acts — like Cuban
recording session for Blue Train. The prints or any items he could reach. By the age of 6, rock star Cimafunk and Spanish singer-song-
include a high-definition cradled metal Rodriguez’s parents put him in a school for writer Alana Sinkëy.
print with custom acrylic embossment, classical music in Havana, where he began The record begins with the light, airy
archival fine art prints and a framed Blue studying piano. “Coral Way,” which layers melodic piano and
Train Diptych as well as a Blue Train litho- “I was going to the classical school of guitar over punctuated brass and spacious bass
graph print set. bluenote.com
music in the mornings and the afternoon. And and drums. From there, the album proceeds to
then I was playing with my dad. I started play- draw from a diverse collection of Latin and jazz
COURTESY OF THE
HANCOCK INSTITUTE
ing with my dad professionally when I was 12 sounds — alto saxophone and guiro percus-
or 13 years old,” said Rodriguez. “The classi- sion, improvisation and mariachi brass, “Für
cal school is very rigorous … and then I had Elise” and piano montuno — melded togeth-
the popular music school with my dad player in a fresh way.
ing shows, big theaters and stadiums. It was a “This is not an album where I said, I’m
Ambrose Akinmusire
very positive situation for me because I could just going to go a little more pop,” Rodriguez
see music in many different ways.” explained. “This has been a natural process
Hancock Institute News: Ambrose At 13, he was first exposed to jazz when his for me. The way I’ve been arranging my music
Akinmusire has been named artistic direc-
uncle gave him a recording of The Köln for live shows for many years now, it’s been
tor of the Herbie Hancock Institute of Jazz
Performance at UCLA. A 2007 graduate of Concert, a historic 1975 performance by going into [the sound] of Coral Way. I’ve been
the program, the trumpeter and composer pianist Keith Jarret at the Opera House in exploring more and more with mainstream
will return to guide and encourage the next Cologne, Germany. It was a rare find in Cuba, [Latin] music styles and rhythms that I didn’t
generation of jazz artists. Akinmusire said, where recordings of American music have [find] that attractive maybe 10 years ago.”
“Having been a student and later a judge, been scarce since ties between the two nations Rodriguez says his voracious and wide lis-
mentor and teacher in this program, I look broke down during the Cuban Revolution in tening, as well as his social media presence,
forward to sharing my knowledge and the 1950s. played a part in his decision to soak Coral
continuing the legacy.” hancockinstitute.org “I can tell you that before the revolution in Way in Latin polyrhythms, handheld percus-
Collaborators in Praise: Jazz pianist the ’40s, we had a really good link with the sion, guitar, dance beats, brass and more. He
Kenny Werner and Rabbi states and … I remember my dad telling me finds that his audiences on Instagram really
Alon Michael have collab- that people like Nat ‘King’ Cole, even Quincy respond to his infusion of jazz with music like
orated on a trilogy of new [came to play],” said Rodriguez. “But after the timba, for example, a Cuban salsa style that
albums that fuse Hassidic revolution, everything fell apart. And then, people in North America are less exposed to.
music, jazz harmonies and you know, I was born in ’85. So, I didn’t grow But, most importantly, Rodriguez feels
lieder performance for voice up with any of those connections.” more emphatic than ever about showing the
and piano. The first album released in the Hearing that recording of an iconic intersections between all these styles and cul-
series is titled Fire And Praise.
American jazz pianist changed everything tures, to foster connection and hope.
Final Bar: Harriett Choice, the first jazz for Rodriguez; through that Jarret record, “That is always my goal,” he said. “I’ve
critic for the Chicago Tribune, died on July he discovered Thelonious Monk, Bill Evans always been trying to [collaborate] with [art-
13. She was 82 years old. Choice wrote a and many other artists that inspired him to ists] from different parts of the world because
weekly column for the Tribune called Jazz study jazz. It paid off. In 2006, when he was … I learn from those cultures that I am not a
By Choice that ran for 13 years. She was a 21, Rodriguez was invited to represent Cuba part of. For me, recording an album is some-
co-founder of the Jazz Institute of Chicago. at the Montreux Jazz Festival. Quincy Jones thing I enjoy so much because I [get to] bring
heard him there, and the legendary produc- people together.” —Alexa Peters

MARIAGRAZIA GIOVE
MARIAGRAZIA GIOVE
Mark Ribot drove two beautiful, wide-ranging solo Paolo Fresu on flugelhorn and Marco Bardoscia on bass perform the music
guitar sets at the intimate Galleria Nazionale Dell’Umbria. from Fresu’s Lawrence Fehrlingetti project at the beautiful Teatro Morlacchi.
MARIAGRAZIA GIOVE
MARIAGRAZIA GIOVE
Rhiannon Giddens turned in an inspired set with

Gianluca Petrella’s Cosmic Renaissance project proved “nimbly transfixing.” multi-instrumentalist Francesco Turrisi.
Umbria’s 50th Blow-out!

IN A SENSE, THE UMBRIA JAZZ FESTIVAL roster of acts from Italy, America and else- the Umbria fest as a ripe forum for the riches of
has been such a formidable and evolving part where to three main concert stages: by night, Italian jazz, sometimes overlooked in the inter-
of the international jazz festival landscape for the 1780-vintage Teatro Morlacchi, and by day, national community. Pianists were strong-
so long, it was almost surprising to find that the intimate Sala Podiani venue in the Galleria ly accounted for this year, including Stefano
this year marked only its 50th anniversary — Nazionale dell’Umbria. The Sala Podiani was the Bollani, Danilo Rea, Dado Maroni and the
despite the singularity of the milestone. Other site of many an engrossing solo set this year, from underrated veteran Rita Marcotulli (featured on
festivals in Europe have scaled the half-cen- numerous pianists (my favorite being inside-out- the immaculate Italian-crafted Fazioli instru-
tury mark, including this year’s edition of side adventurer Cuban-in-New-York David ments). Sometimes, these players’ abundant tech-
Norway’s Vossa Jazz festival, joining the elite Virelles) to Marc Ribot’s vibrant and rough- nical and extroverted expressive gifts seemed
50-plus club that includes Newport, Monterey, hewn solo guitar work — a decidedly inward/ overstated or diluted by crowd-baiting tenden-
the Molde Festival in Norway and the New outward-bound venture. Alice Coltrane acolyte cies, from the otherwise serious Bollani’s come-
Orleans Jazz & Heritage Festival. harpist Brandee Younger’s trio also enlivened dic clowning to the cheeky name-that-song gam-
What gives the Umbria festival’s 50th a spe- and enlightened the museum venue. ing in Rea’s wandering setlist of pop tunes and
cial distinction is the fact that it is still run by its Meanwhile, free stages around the old town standards.
stalwart founder, Carlo Pagnotta (with help from with roots going back to the Etruscan era B.C. Trumpeter Paulo Fresu is a regular here, and
an avid team, including the New York-based and buskers all along the main boulevard kept his Ferlinghetti program at the Morlacchi lav-
Enzo Capua). the town in a constant state of musical/sonic ished in his customary romantic and lyr-
For 10 days each July, the UJF takes over the action from roughly noon to midnight every day. ic-minded eloquence, while robust trumpeter
scenic hill town of Perugia, bringing its strong Over the years, Pagnotta has made sure to use Fabrizio Brosso aims a more mainstream path.

MARIAGRAZIA GIOVE
The Branford Marsalis Quartet tore it up on the Arena Santa Giuliana stage.
Mainstream ideas are of scant interest to the wily register artistic rewards: Kyle Eastwood’s ibly suited to this jazz festival setting — and just
and inventive trombonist Gianlucca Petrella, “Eastwood Symphonic” setting of music from a month after she headed up the respected clas-
whose acoustic-electric-elastic groove vehicle father Clint’s filmography scored few points, sical/contemporary music Ojai Music Festival in
Cosmic Renaissance proved nimbly transfixing. partly because the music that suited the films California.
Among the Italian contingent, some of the so neatly didn’t translate well to the expand- Surprise treats of UJF 2023 included Virelles’
most memorable music-making came from a ed orchestral/jazz band context. A funked-up fascinating hour-long solo piano adventure, from
group we can unofficially dub “the three Enricos.” arrangement of Ennio Morricone’s classic theme abstraction to structural focus to traditional
Pianist Enrico Pieranunzi’s noon solo set demon- to The Good, The Bad And The Ugly leaned most- Cuban melodic roots and back, and the startling-
strated his eminence as a lyrical soul-search- ly towards the latter two adjectives. ly fine and innately inventive German vocalist-pi-
er in the post-Bill Evans mode, a virtuoso with Drummer Stewart Copeland’s “Police anist Olivia Trummer, in duet with Italian drum-
no pressing need to show it. Trumpeter Enrico Deranged For Orchestra” — with orchestra mer Nicola Angelucci (also Bosso’s drummer).
Rava, the ever-young veteran, fashioned sub- mostly providing window dressing services — Some of the most memorable shows trans-
tle and compelling phrases on flugelhorn along- managed primarily to remind us of Sting’s bril- pired at the Morlacchi, including Bill Frisell’s
side pianist Fred Hersch. And drummer Enrico liance as a songwriter, and the notable lack of his engrossing and limber new Four band (with sup-
Morello’s Cyclic Signs quartet — sans choral signature voice on the Police songbook. ple saxophonist Greg Tardy), Kenny Barron’s
instrument — made one of the festival’s bold- Among the strongest arena fare on the menu trio and the innovative cross-stitchery of Danilo
est left-of-center impressions, with echoes of came from surefire artists such as Brad Mehldau Pérez’s trio with John Pattitucci and Adam Cruz.
Ornette Coleman, Henry Threadgill and a signa- (sounding supremely present and always in During that bracing set, the musicians’ late, great
ture sound and malleable probity all its own. search mode) and Branford Marsalis’ crack former “boss” Wayne Shorter’s spirit seemed to
Pop music makes its way regularly into the quartet, but also powerful, distinctive vocal- somehow lurk in the wings.
program, as a measure for bringing crowds ists with causes related to the African-American As a fortuitous, festival-related coup de grace,
into the 4,000-seat arena, but always with cura- experience. The gifted singer Somi is a young vocalist of the moment and Grammy-crowned
torial care in check. It can be safely report- up-and-comer deserving ever greater attention Samara Joy closed out the fest’s jazz portion
ed that the “pop” portion of this year’s festival for her refreshing blend of jazz, West African (before the Bonamassa blowout), having rightful-
slipped in the side door of jazz festival compat- leanings and R&B with a twist or three, her mis- ly elevated from smaller stages in previous years
ibility through their embrace of improvisation- sion effectively abetted by an ace band featuring to a prime valedictory spotlight. Her set’s high-
al tactics and genre-blurring instincts, opening guitarist Liberty Ellman. light was a sparklingly kinetic version of Charles
with Bob Dylan and closing with blues-rocker What to say about the national American Mingus’ “Reincarnation Of A Lovebird” with
Joe Bonamassa, with jazz-poppy Snarky Puppy treasure that is Rhiannon Giddens? She appeared new lyrics that she remembered starting to write
somewhere in its own special idiomatic midzone. in expansive duo format with her Italian life-part- a year earlier, in her room at the festival-central-
Also in the mix was Ben Harper, ever flexible in ner and musical collaborator Francisco Turissi in ized Hotel Rosetta. She nailed it — both on paper
terms of where he fits on the genre spectrum, as a striking arena set, winning new admirers while and onstage.
composer, soul-fueled singer and especially as a validating the already-devoted among us. To call Suffice to say, the UJF, at 50, is in a fine state of
natural wonder on lap steel. her a roots musician misses several other cultural health, with prospects for a bright future.”
Two orchestra-festooned projects failed to facets and creative avenues, which make her flex- —Joe Woodard

Wendell Brunious: It’s called the Library and it’s got
CAMILLE LENAIN
a lot of beautiful old things, like the largest collec-
tion of miniature tubas in the world. New Orleans
is a living library of music and rhythms, and just
being born here is a great advantage. Because you
grew up with the music.
McCree: You picked up the trumpet when you

were 11, right?
Brunious: That’s when I got serious. But before that
I would just take the mouthpiece and make these
little duck-call sounds. Sounds kind of like a
kazoo. [Grabs a mouthpiece and starts to blow.]
McCree: Wow! [laughs] That’s even better than a

kazoo.
Brunious: Then, when I was 10, Louis Armstrong
came to town and my dad took us all out to the
airport. About a hundred musicians had gone
there to meet him, and Louie was one of the last
ones off the plane. We thought maybe he missed
it [laughs]. Then, suddenly, there he was. The air
got thick enough you could cut it with a butter
knife, and the whole gang started playing “When
The Saints Go Marching In.”
That was magic. God put him here for a spe-
cific purpose to teach and influence all of us. If
you’re a guitar player, you think you don’t owe
something to Louis Armstrong, think again. He
revolutionized the whole art of music, especially
American music.
McCree: What a thrill that must have been for a

kid just starting out on the trumpet. Did your dad
give you any specific tips about the trumpet?
Brunious: Not really, because he was always work-
ing. He played on Bourbon Street at night, and
Wendell Brunious brings the joyful spirit of New Orleans
music to countries around the world.
during the day he worked as a truant officer at
Milne’s Boys Home. But on Sunday, when my
Wendell Brunious Named First dad was off, he’d tell everybody go get your horn.
There were eight brothers and sisters in our fami-
Preservation Hall Musical Director ly, and though just me and my older brother John
got to the level of playing professionally, every-
WHEN YOU ENTER PRESERVATION HALL, as he did for an interview on his home turf. body played. Dad would say you hit this note,
it’s like stepping back in time. The small no-frills Spiffy as ever, in a cream-colored suit and ele- you hit that note, and it’d be this real crazy chord.
room looks pretty much like it did when Allan gant brown-and-white spectator shoes, he was And he’d say, see, that’s the kind of stuff I like. It
and Sandra Jaffe first opened the now-legendary accompanied by Caroline Brunious, his Swedish was wonderful growing up with that.
French Quarter venue on St. Peter Street in 1961. wife of 23 years, who blows a sizzling hot clari-
Bare unvarnished floors serve as the stage, sur- net in the Preservation Hall All-Stars. The scion McCree: You were still pretty young when you
rounded by wooden chairs where the audience of legendary trumpeter John “Picky” Brunious — joined Preservation Hall.
sits — until, as often happens, they are moved to who, like his son, was educated at Juilliard as well Brunious: Yep, 23. I was the youngest person ever
get up and march around with a band that cele- as by the brass bands of New Orleans — he’s also to be on the payroll, and it was strange how I came
brates the living past of New Orleans jazz. the brother of the late John Brunious Jr., who pre- to play here. One night I was playing around the
At the center of all the action is master trum- ceded him as Pres Hall’s bandleader. corner on Bourbon Street, blowing my brains
peter Wendell Brunious, the band’s exuber- Our interview ranged from his boyhood off for $88, and my car was parked here. So as I
ant long-time leader, who’s just been named memories of Louis Armstrong to close encoun- came down the street, I passed right by the gate.
Preservation Hall’s first-ever musical director. ters with jazz masters like Dizzy Gillespie, as well I’d never been inside, but it wasn’t but $1 to get in,
A tall, sharply dressed gentleman, his domain as the vitality of the music he passes on to future and when I went inside there was nobody play-
extends far beyond the walls of this tiny “hall.” generations. ing trumpet. I said, “You need a trumpet play-
As Pres Hall’s ambassador to the world, he brings er?” [laughs] And the drummer said, “Man, we
the joyful spirit of New Orleans music to far-flung Cree McCree: I’ve been to Preservation Hall perfor- don’t let people sit in.” I said, “I’m not sitting in, I
countries around the world. He’s also a born sto- mances, but I’ve never been back to this room. It come to play, man.” And I took my horn out and
ryteller who lards his tales with pithy one-liners, feels like a sacred space. played a couple of songs. Allan Jaffe was there,

and Kid Thomas [Valentine], and they came up front to see who the
heck was playing that trumpet. Kid Thomas had this scowl on his face,
and I felt like, “Oh, my God, I had violated something.” But he wasn’t
angry, that’s just the way he looked. Then Kid put his hands together
and the whole audience started clapping. And I sat down next to him
and played the rest of the night.
But I was still playing on Bourbon and barely squeaking out a liv-
ing. Then one morning my phone rang. It was the great trumpet player
Wallace Davenport, who said, “I got a gig for you playing with Lionel
Hampton. They need an extra trumpet player tonight.” I must have
done OK because after that gig, I went up to New York and joined the
Lionel Hampton Band for a while.
McCree: Is that where you met Dizzy Gillespie?

Brunious: No, that was when Dizzy played the New Orleans Jazz Fest.
‘God put him

here for a specific
purpose to teach
and influence all
of us.’
—Wendell Brunious on Louis Armstrong
There’s a picture of Dizzy, Mahalia Jackson and Duke Ellington out-

side Municipal Auditorium. I wasn’t in the picture, but I was sitting
there, and Dizzy was holding court. He said, “Man, Charlie Parker told
me, keep one foot in the future and keep one foot in the blues.” And
I’ve continued to spread that message. Because the blues is not 1, 4 and
5 or 1, 4, 2, 5, 1. You could wake up with a flat tire or a headache this
morning, that’s the blues, man. When you hear Charlie Parker play-
ing “Laura,” that’s not a blues. But you hear the blues all through there,
that’s what makes your individual voice.
McCree: Circling back to Preservation Hall, I was very surprised to

learn you weren’t just the youngest musical director but the first musi-
cal director. Why was there never a musical director before?
Brunious: The world has gotten more complicated [laughs]. A lot of our
older people have passed on, so I’m gonna help channel the music in
the right direction. Kids have so many options today that we gotta
bring their focus back to where they need to be to play this kind of
music. Back in the 1990s, Ellis Marsalis called me up one day, said,
“Would you come teach ’em how to play?” So I made up a class, 40
forms of the blues. Hey, man, you really know how to play the saxo-
phone, but are you delivering the message I want to hear?
McCree: And what is the message you want to hear?

Brunious: You want to speak to someone’s heart, not just befuddle their
brain. ’Cause there are enough things that do that, anyway.
—Cree McCree

Jones: “Sweet,” your new collaborative track
RAY NEUTRON
with Keith LaMar, reminds me of
“Masculinity” from Grief, which features an
introspective yet emotive gesture from saxo-
phonist Immanuel Wilkins. How do the piec-
es relate to each other?
Pinderhughes: Those pieces share a lot in com-
mon. One of the things [the project tackles] is
exhibiting vulnerability, specifically in the con-
text of people that rarely are allowed to [express
it]. A big narrative component of The Healing
Project is that so many people, growing up,
are conditioned to be hard — for survival, but
also because that’s how you are taught to be a
man. “Sweet” came about from me asking Keith,
“One of my hopes is that we find new and different versions of and
“What’s one aspect of yourself no one’s ever asked
possibilities for community,” Pinderhughes says of The Healing Project. you about?” He said, “My sweetness. I’ve never
Samora Pinderhughes
talked about that.”
Part of why we did interviews with no visuals
is that audio-only forces people to release their
Project Fosters Healing

assumptions. A lot of that, for me, is about race.
We are trying to provide a counter-narrative to
the history of criminalizing people of color.
IN HIS HARLEM APARTMENT, SAMORA ated artists to receive support, partnership and We need to return to a context in which
Pinderhughes presides over his contradictions. seed funding to create their own artistic projects [we let someone be a] full, complex human
Handwritten pages splay across his Yamaha and healing infrastructures.” Its inaugural recip- being — both in terms of ourselves and those
piano as his face fixes on a thought. He smiles, ient, the artist, teacher and death row prisoner who we other. So “Masculinity” came from
then winces. Keith LaMar, recently received a reprieve of exe- me holding myself to task, and “Sweet” is
“Living is being inside of seven different cution from Ohio Governor Mike DeWine until the other side of it, me trying to bring that in
things at once,” says the pianist, singer and 2027. But Pinderhughes and his cohorts contin- through my interaction with another person
composer. “Society is built around [each of us] ue fighting for his exoneration and release, at the who, in other situations, would be otherized.
being one thing, having one emotion, relating same time deploying a national campaign for I do try to reflect these [concepts] in the son-
to another person in one way, and also — and freedom. ics. I believe in beauty as an entrance point
this is key — being a ‘type’ of person that pos- The following interview with Pinderhughes for people to move through emotions, and the
sesses certain qualities and could never possess has been edited for length and clarity. music tries to mirror that vulnerability.
other qualities.”
Pinderhughes has been living music and Stephanie Jones: The Healing Project takes a Jones: This project is an emotionally wrought
activism since before he can remember. A Bay one-person-at-a-time approach to an en masse undertaking. In the midst of sadness, anger,
Area native, he has collaborated with Common, issue. Can you discuss your strategies for pro- depression, anxiety and despair, what have
Lalah Hathaway, Robert Glasper, Emily King, moting institutional change one person, one sit- been your strategies to center healing?
Herbie Hancock and Sara Bareilles, always uation at a time? How does social media play Pinderhughes: Most of these experiences —
seeking inroads to effect change through his a role? prison, detention, deportation, certain kinds
artistry. Raised by social and environmen- Samora Pinderhughes: We’re an artistic project of loss — are not my experience. So [my
tal justice scholars whose work often engages and in our artistic mission, we’re an abolition- approach was to] take myself out of it. But
participatory-action research, the Harvard ist organization aimed at dismantling the pris- what I found, through the process, is that I
doctoral candidate can’t separate the music on industrial complex and providing tools for needed healing just as much as everybody else.
from the message. Nor can he separate himself people around the country to come together and I also needed community.
from the many calls to many actions. heal. We’re also building an infrastructure to be One of my hopes is that we find new and
“Building collective models, you have to a direct service organization that creates strate- different versions of and possibilities for com-
invent and reinvent,” says Pinderhughes. gic impact campaigns to get people out of pris- munity, that we’re able to build these frame-
“Oftentimes collectives have to choose between on. Just as we want to expand the reach of the art- works ourselves in the midst of these structures
[working to] dismantle the larger system of work and messaging, we have to be able to invent that are problematic. One of the privileges of
oppression, or materially helping out people that models in which the people that are participating being an artist is that you find so much com-
are actually being oppressed by those systems.” can be transformed. munity in other artists. But we’re so often doing
With $1 million in grant support from The Transformative work requires a consistent it inside these histories and spaces that are so
Mellon Foundation, The Healing Project — his level of engagement, which is hard to do with toxic and exploitative that we end up inheriting
ambitious research-driven gesture comprising a social media. So we’re trying to build an audience some of that stuff, and also creating it.
digital archive, an exhibition and the full-length community that wants to [invest] over time — The Healing Project [has allowed me] to
album Grief — attempts to tackle both missions both physical and digital versions. People get that participate in and benefit from the making of
at once. collective sense when they’re in the room togeth- new community. It is very difficult work, and
The grant supports, among other initiatives, er … but social media allows us to engage peo- there’s a sacrificial element to it [laughs], but it is
the project’s Transformative Impact Fund, which ple from other cities and countries. It’s also how I sustaining. There are so many ways to show up.
allows “selected formerly and currently incarcer- reach people who are participating. —Stephanie Jones

inations. Currently, they each hold academic
SHERVIN LAINEZ
posts, Pascal at the Vanderbilt University’s Blair

School of Music,in Nashville, and Remy as direc-
tor of jazz studies at the University of Denver.
Though best known for their collaborative
albums — House Without A Door (2009), In
Praise Of Shadows (2011), Remixed (2013) and
Imaginist (2016) — the brothers have produced
significant bodies of work as individuals.
Pascal recently finished his Ph.D. disserta-
tion after course work at Princeton University,
an experience that led to his 2023 release, Ritual
Being. The album creates a riveting intersection of
jagged contemporary classical and jazz rhythms,
featuring jazz band (with Remy) and three string
ensembles. Bristling with glissandos, tremolos,
pregnant pauses and jackhammering staccatos,
the piece also sports passages of breathtaking
Pascal and Remy LeBoeuf have been described as “impressive musically and, most
importantly, impressive as people,” by Tim Jackson of the Monterey Jazz Festival. beauty. One piece, “Wanderlust,” is a cinematic
Le Boeuf Brothers Find

homage to Dave Brubeck. Though “Ritual Being”
suggests the influence of 20th century composers
Edgar Varese and Igor Stravinsky, Pascal says his
a Quiet Place Together

major inspirations are actually living compos-
ers such as Elliot Cole, Gabriella Smith, Steven
Mackey, Donnacha Dennehy and Juri Seo.
PASCAL AND REMY LE BOEUF’S NEW QUIN- flapping saxes on “Revolving Doors.” Remy, for his part, has been exploring the
tet album, Hush, came out of a conversation “I’m also still impressed by aggressive, angu- modern jazz orchestra with his ensemble
about what to listen to in the car. lar, macho stuff,” says Remy, “but when every- Assembly of Shadows, most recently on the
“We realized we both just wanted to listen to thing is aggressive, angular and macho, you start Grammy-nominated Architecture Of Storms
some music that was relaxing,” explains Pascal looking for other things to explore. This is music.” (2021), which shows the influence of Charles
Le Boeuf, in a recent tandem Zoom call with The brothers have been looking for other Mingus, among others.
his brother. “Something that felt like Bill Evans, things to explore most of their lives. Growing “I never intended to be a jazz orchestra com-
that wasn’t so aggressive and in your face. So we up in the California redwoods, they eagerly poser; I wanted to be more modern,” Remy says.
decided to just make something like that.” took advantage of nearby jazz resources such as “But I was hearing these big, grand things, and I
It’s a surprising left turn for the 37-year-old Santa Cruz’s Kuumbwa Jazz Center (where their was trying to fit them into a quintet. Somebody
twins — Pascal, piano, and Remy, alto saxophone mother is a lifetime member and active volun- commissioned me to write music for their
— who since 2009 have released a striking string teer), Monterey Jazz Festival’s education pro- ensemble at Keio University (in Japan), and I had
of fiercely eclectic mashups of jazz, modern clas- gram (both played in the all-star youth band now so much fun writing it, it just became a more
sical and indie-rock. Recorded at exceptional- called the Next Generation Orchestra), Stanford comfortable place to be creative.”
ly low volume, with instruments pushed close Jazz Workshop and SFJAZZ. They also received Remy also currently serves as chief conductor
to microphones cranked high, the album cre- formative instruction from ex-Stan Kenton of the Nordkraft Big Band in Denmark, which
ates a space of hyper awareness, as brushes shush trumpeter and arranger Ray Brown, at Cabrillo will record an album of his compositions this fall.
a snare drum, air — or spit — rushes through a College, in Aptos, and the late classical guitarist, Next spring also sees the release of a peppy new
horn, or a finger taps a dampened piano key. Gene Lewis. rock- and dance-influenced project, Heartland
Several of Pascal’s short pieces, including the Both were stellar prodigies. Radio, spurred by listening to local stations on
opener, “Arrivals,” and the closer, “Departures,” “They used to set up downtown with a key- the cross-country trip that took him to his new
were inspired by performance artist Meredith board and a saxophone and pass the hat,” recalls job in Denver.
Monk, whose music he turned to for solace during Monterey Jazz Festival and Kuumbwa chief Though their paths have diverged, the broth-
the pandemic. Meditations of a sort, they dove- Tim Jackson, who watched the twins grow up. ers say their hard-won individuality has made it
tail nicely with Remy’s two “Vignettes,” part of a “They are outstanding young men on all levels even easier to work together.
series of elegantly virtuosic solo alto saxophone — impressive musically and most importantly, “It’s because we have different ideas that
compositions he has released in two books. The impressive as people.” we’ve become better collaborators,” says Remy.
delicately elegiac “Susie Song” celebrates an aunt Remy’s first instrument was oboe, and he “When we started out, we were more similar.
who recently died; “Gaia” conjures the childlike brings the severe focus of that double reed to We’ve found this understanding and respect.”
mood of the brothers’ 3-year-old niece. his clarion sound and crisp articulation on alto Adds Pascal, “When we first were making
Yet much of the album steps lively, too. On saxophone. Pascal’s keyboard turns on a dime records together, there was a lot more pressure
the spritely “Wedding Planning,” a reference to from athletic pyrotechnics to crystalline dream to make a statement that was representative of
Pascal’s marriage last year to fellow composer states, with a side dish of electronics. From Santa a broad, collective identity. Now we can kind of
Molly Herron, Dayna Stephens’ tenor saxophone Cruz, they relocated to New York, attending the explore a corner of our interests.”
dances counterpoint with Remy’s alto. “Apollo” Manhattan School of Music. Since then, awards, A follow-up to Hush is in the works for 2024,
swells with a two-saxophone melody as drum- commissions and grants have streamed their but with “a different concept,” says Remy, “more
mer Christian Euman’s brushes subtly swing. way, including, for Pascal, a 2023 Guggenheim exciting, showcasing the members of the group.”
Linda May Han Oh’s deep arco bass animates Fellowship, and, for Remy, four Grammy nom- —Paul de Barros

there. “I always listened to the horn players,” he
MICHAEL JACKSON
says, “And Charlie Parker changed everything.
Before him it was all swing, music for danc-
ing. But when Bird played, the dancing stopped.
The young people wanted to hear what Charlie
Parker was playing. They understood what he
was saying.”
Freeman understood, too. He’d been
immersed in music since birth. His father,
one of Chicago’s first Black police, befriended
Louis Armstrong, who lived with the Freemans
for a time. His mother was an amateur sing-
er; his older brothers (both now deceased) were
Eldridge “Bruz” Freeman, a drummer, who
eventually pursued jazz in California, and Earle
Lavon “Von” Freeman, tenor saxophonist, com-
munity mainstay and NEA Jazz Master.
One night in 1950 at Chicago’s Pershing
Hotel Lounge, George demonstrated directly to
Parker how he’d absorbed bebop’s fleet lyricism,
irregular phraseology and improvisational dar-
ing. The alto saxist led George, Bruz and Von
(long mis-identified), bassist Leroy Jackson and
pianist Chris Anderson through jams on “There’s
a Small Hotel,” “These Foolish Things” and “Fine
and Dandy” issued in 1970 as An Evening At
Home With The Bird (Savoy Records).
Parker seldom played with guitarists — few
were up to bop’s challenge. “Freddie Green and
the other guitarists in big bands were strictly
rhythm men,” Freeman says. “There was Tiny
Grimes, Oscar Moore, Les Paul, Barney Kessel,
Mary Osborne. But the best was Tal Farlow, who
played with the red-headed vibist, Red Norvo. He
“Charlie Christian with the Benny Goodman Sextet on record,
that was it!” said Freeman of his early influences. was a monster. And Wes Montgomery. He was a
George Freeman,
natural.”
When George Freeman joined that rarified
jazz guitar cadre, he’d already made a mark in the
other new genre of the 1940s: rhythm ’n’ blues.
Guitar Royalty, at 96
VISIT CHICAGO GUITARIST GEORGE proved to be his last studio date — and drummer
Let’s back up: The Freemans attended
Chicago’s DuSable High School, known for its
rigorous jazz program run by self-styled Captain
Walter Dyett — who wouldn’t accept George in
Freeman, whose new album The Good Life (High Lewis Nash. “I listen to it every day!” it. Undeterred, the guitarist teamed up with one
Note) featuring Joey DeFrancesco and Christian Freeman’s self-satisfaction is well-earned, as of Dyett’s most illustrious students, tenor saxo-
McBride, among others, dropped on his 96th he’s honed his unique style of jazz guitar for phonist Johnny Griffin, in a band led by trum-
birthday — April 10, 2023 — and be charmed. 70 years, essentially since the instrument first peter Joe Morris that was leaning on riff-tunes,
Comfortably ensconced on a couch in the plugged in. Its earliest adopters showed Freeman laying into the beat and going for the gusto. On
grand piano-dominated living room of his long- what his future could be. “Boogie Woogie Joe,” Morris’s hit of 1947, George
time South Side home, dapper in an open-col- “Charlie Christian with the Benny Goodman Freeman played explosive breaks and a hot cho-
lared, white shirt and tan suit, Freeman is a sextet on record, that was it!” he recalls, citing rus that has been called the first electric guitar
model of contentment. He gives a hearty wel- their classic cuts like “Flying Home” and “Seven solo in rock ’n’ roll.
come, directs attention to the photos of his fam- Come Eleven.” “And when I was a schoolboy, my Freeman wrote another song for Morris,
ily’s historic musical legacy crowding his walls, friends and I used to gather on the sidewalk out- “The Hulk” (heard on The Good Life, retitled
and leans into telling stories from back in the day side the Rhumboogie club to listen, since we were “Lowe Groovin’”), but was denied composer
as well as the present moment, in which he takes too young to go in. One night someone playing credit. Unhappy about the slight, George traveled
great pleasure. guitar knocked me out! ‘Who is that?’ I found out to New York City with Morris and Griffin, found
“My new album? I love it,” Freeman exults, as — T-Bone Walker!” Harlem disappointing, and the Apple unpleas-
well he should. The Good Life comprises seven Swing and blues, the soundtrack of the ’30s ant. He says he realized that “in New York you
tracks from two trio sessions recorded in 2022, and ’40s as embodied by Christian, Goodman, have to really want what they got there. You have
Freeman performing mostly his original tunes Walker, Count Basie, Ella Fitzgerald, Tommy to be ambitious, more than I am. I wasn’t raised
either with bassist McBride and drummer Carl Dorsey and others, became keystones of like that.”
Allen, or with organist DeFrancesco — in what Freeman’s personal vocabulary, but he didn’t stop Back in Chicago, Freeman established a low-

key local career, often with his brothers, work- their real leader happy. He composes at his piano, performs on either the
ing out of the Pershing. But by the end of the ’50s, At 96 he’s in decent health and lives inde- red Gibson ES 335 that Groove Holmes bought for
he’d become restless and took to the road with pendently, getting help when needed from fam- him in the late ’60s or an Ibanez Artcore, using a
saxophonist Sil Austin, soul-man Jackie Wilson, ily and fans. He’s been honored with a proclama- metal cabinet knob for a pick. “A pick is the most
organists Wild Bill Davis and Richard “Groove” tion by former Chicago Mayor Lori Lightfoot, important thing about your sound,” he advises.
Holmes and Jimmy McGriff. He anchored teno- appeared on the Chicago Jazz Festival main stage George Freeman has exemplified the
rist Gene Ammons’ band for five years, and and the Museum of Contemporary Art’s presti- good life. He’s played it his own way and it’s
released his debut as a leader, Birth Sign, helmed gious Tuesday on the Terrace concerts, and been gotten better over time. “Yes,” says the gui-
by then-fledgling record producer Michael a font of information on Chicago’s South Side jazz tarist, massaging his graceful hands one with
Cuscuna (whose liner notes grace The Good Life). for research conducted in pursuit of an advanced the other, a daily habit he says keeps his long
An underacknowledged soul-jazz classic, University of Chicago degree by guitarist Mike fingers spry. “I see everything opening up
Birth Sign introduced five of George’s tunes Allemana, who often backs up George on gigs. now!” —Howard Mandel
(including “Mama, Papa, Brother,” “Cough It
Up” and “My Scenery,” which is still in his book).
Von played tenor, two organists alternated duties,
little-known Billy Mitchell drummed perfect-
ly, AACM members Kalaparusha Maurice
McIntyre on tenor and Lester Lashley on trom-
bone sat in on a Robin Kenyatta blues, and the
program was rounded off by a tender read-
ing of Kurt Weill’s “My Ship.” Cuscuna spent
three years shopping the tape; finally Chicago’s
Delmark Records released it.
Since then, Freeman’s recordings have been
intermittent yet embraced by a coterie of con-
noisseurs. They’ve ranged from Man & Woman
and New Improved Funk from Groove Merchant
(both issued in 1974), to a run from Chicago’s
Southport Records that started with Rebellion
in 1995 and has continued with George Burns!
(1999), All In The Family with Chico Freeman
(George’s nephew, Von’s son, 2015), George The
Bomb (with blues harmonica avatar Billy Branch,
2019) and Everybody Say Yeah! (2022) Each
album is imbued with George’s slyly understated
personal touch, quirky open-ended lines, peerless
sense of dynamics and timing, and hints of dry
humor — as is The Good Life.
A celebratory project, The Good Life was initi-
ated by George’s circle of devoted fans, who
thought he rated a birthday treat. Jazz Museum of
Harlem founder Loren Schoenberg was producer,
supervising the sessions; bassist McBride brought
in Allen and invited DeFrancesco, who brought
Nash; Sirius XM jazz director Mark Ruffin con-
nected with High Note (whose sister label Savant
issued Freeman’s At Long Last George in 2001).
The players’ buy-in gratifies George. “I love
these musicians,” he asserts. “Those guys
played like it was their own date, like they were
the leaders.”
Well, not quite. The four accompanists do
indeed give their all to the tracks, Joey D. being
particularly creative and expressive. (An aside:
“George wanted to record with an organist, and
wanted the best,” says his friend Jeff Shaw. “Joey
usually visited Chicago in October, but changed
his Chicago booking to early August. He died
three weeks later”). However, everyone remains
deferential to George throughout, alert to the
hushed moods and simmering themes he sets,
responsive to his nuances and inflections. They
make music as a true group effort, which makes

“It just occurred to me just the other day,” said Joshua Redman, a bemused
expression forming over his face on the computer screen. “It’s actually some-
what ironic that it’s the iconic song about San Francisco, and it actually doesn’t
have a bridge. There’s no bridge to the song, you know? It’s ‘A/A-prime,’”
explaining the sections of a beloved tune. “And I guess the lyrics don’t actual-
ly ever mention the bridge.”

ZACK SMITH
For Redman’s first recording with a vocalist he called on Gabrielle Cavassa, and he pulled together the most
melodic band he could think of: from left, Aaron Parks, Redman, Cavassa, Brian Blade and Joe Sanders.
T
he song in question was, of course, “I a vocalist,” he recalled, nonetheless amused been on Nonesuch, had an amazing run there
Left My Heart In San Francisco,” intro- that his business manager was offering music … but I guess it’s just part of the journey. …
duced to the world by Tony Bennett. recommendations. He’s glad she did. Blue Note music has been such an integral
(See our tribute on page 44.) Despite their “She just draws you in,” said Redman of part of my musical and life experience for so
deep connection to jazz and to the City by the his new bandmate. “It’s kind of an intimacy long. … It’s surreal to be a part of this lineage.”
Bay, the two would never meet, for Bennett and a vulnerability that she has, in her expres- Another first for Redman is creating a
passed away in July at age 96, making pre- sion, in her sound, that is captivating and concept album. “I came up with this idea of
scient Redman’s decision to record that sing- unique.” The two spent months texting each songs about places in America … it’s a some-
er’s signature song. other during the COVID lockdown, laying what contrived concept,” he admitted. “We
“I had no idea when we were recording it the groundwork for the new album. needed something nonmusical to be what I
he would pass right before the album was “I was surprised and excited to discover thought was just a starting point.”
released,” said Redman, a truism that would that Joshua was very interested in collabo- Redman also thought to do what he calls
be shocking if it wasn’t. Rather, the tenor ration,” said Cavassa. “He could easily have “mashups,” fitting two distinct songs togeth-
saxophonist included the song in line with made all the decisions and just called me to er somehow, connected to each other only by
a theme of songs about places on his latest sing the tunes. But that was not at all our pro- the name of a locale. This is why Thelonious
album, where are we (Blue Note). cess — he empowered me to be involved in Monk’s “San Francisco Holiday” intermin-
It’s Redman’s 16th as a leader, but a first in every aspect of the creative journey.” gles with “I Left My Heart In San Francisco,”
numerous ways. It’s the first time he’s includ- Where are we is also Redman’s debut or why Charles Ives’ composition “Three
ed a vocalist, in the person of Gabrielle album as an artist for Blue Note Records. Places In New England” morphs into “New
Cavassa. The 29-year-old singer resides in “From day one, Joshua was high on our secret England,” an obscure standard made less so
New Orleans, but she went to college in San wish list,” said Don Was, Blue Note presi- by Betty Carter.
Francisco and began her career there. “She dent, in an email to DownBeat. “But he was in Perhaps the most successful is the unlike-
has a connection to the place, too, so it made the middle of a long and very successful rela- ly pairing of “Goin’ To Chicago Blues,” orig-
sense for us to do it,” said Redman. tionship with Nonesuch — a label that I have inally performed by Count Basie and Jimmy
Cavassa, a co-winner of the 2021 tremendous respect for. However, when his Rushing, with “Chicago,” the alt-rock anthem
International Sarah Vaughan Jazz Vocal management informed us that he was out of by indie musician Sufjan Stevens. Redman
Competition, was “discovered” by Redman contract and wanting to have a discussion, we figured out how to adapt the original triad-
through his manager, who heard Cavassa jumped at the opportunity and never looked ic sequence in the Stevens song to work har-
singing at a social gathering in New Orleans, back. It’s a great honor to finally be able to monically over a blues form. Cavassa was
and immediately texted him. “We had talked work with him.” then able to sing the original melody from the
about maybe someday doing something with Redman added, “I was blessed to have Basie/Rushing blues, while Redman coun-

tered on saxophone with Stevens’ melody. It’s representations of the American South,” “It made me think more than ever before
a clever blues reharmonization that simulta- Redman conceded, “and two very differ- about my own role as an artist, or lack of a
neously captures two very different Chicago ent kinds of, in a way, representations of role,” Redman said then. “I’ve always been
moods. America.” In every way, except where. someone with pretty strong political and
“It’s got a certain kind of poignancy and Redman contributed one original compo- moral, social convictions, but … I’ve never
melancholy that comes from that kind of folk- sition to this collection of emotionally charged really been a musician who has put those
rock, alternative thing,” offered Redman. songs. His composition “After Minneapolis convictions front and center as an artist. I
“And then the poignancy and melancholy (face toward mo[u]rning)” begins: haven’t used whatever platform I’ve had to
that comes from the Black blues thing. And, make explicit political or social statements.
somehow, they fuse.” It’s a blues that speaks to Knee on neck, near naked night, colors Is that on some level an abdication of respon-
multiple cultures, a true multicultural blues. cleave sibility? Have I been complicit in this horrif-
What seemed a whimsical experiment Fear forms hate in faithless fight, love that ic system by not actively using whatever plat-
began revealing another layer. “[Gabrielle] leaves form I have to explicitly condemn it or speak
thought that ‘Stars Fell On Alabama’ out against it?”
would be a nice one to sing,” said Redman. And later: Hearing those sentiments read back to
“Immediately after we decided to do it, him now, he reflected. “Those are some heavy
I thought about doing [John] Coltrane’s Arc that bends forever long words, you know? Heavy and heady times —
‘Alabama,’ putting them in juxtaposition, in Will it even stretch past this song? not just heady times but bodily. … I felt like I
dialogue with one another.” Turn right from a wrong? could feel in my body a certain sort of anguish
Let’s pause to contemplate this juxtaposi- and suffering and tumult, but also maybe
tion: A romantic evening in the genteel, Redman’s poetry alludes to a killing in some sense of hope and optimism, and also
Antebellum South during the Leonid mete- 2020 that the world watched together, yet just gratitude for being able to breathe,” he
or shower of 1833, a lovely (and fair) cou- alone, in our isolation during the pandemic. said. Unsaid in the earlier interview was the
ple kissing underneath the falling stars … Joshua Redman watched, too, alone with his fact that those feelings had already prompt-
alongside Coltrane’s impassioned response thoughts. ed him to write “After Minneapolis,” only five
to the heinous murder by the Ku Klux Klan A few weeks later, he was outside his days removed from those terrible moments.
of four Black girls from the bombing of the house, basking in the warm Bay Area sun, Redman had a melody then, but no words.
16th Street Baptist Church in Birmingham, peering through darkened glasses into his Like Coltrane, the music was still an abstract
Sept. 15, 1963. phone at this same interviewer. He unveiled expression of a literal event. “You know, even
“They obviously are two very different what had been on his mind. after I put it to lyrics it, [the song] doesn’t ever

“This idea of creating music that explicit-
MARK SHELDON
ly and directly addresses or makes a certain

sort of explicit statement about social justice
or about politics … I feel like I haven’t done
that here.” And yet, “After Minneapolis” is the
first track on the new album, the first notes
he composed while thinking about these
weighty issues in isolation, the first we hear of
the new music he’d written since the pandem-
ic. Implications are enough.
That front-loading of heaviness is count-
er-balanced with “Alabama” as the penulti-
mate moment of the album. Regarding this
symmetry, Redman, draped in his ever-pres-
ent cloak of humility, demurs, “I am not in
any way trying to insert myself into or make
an argument that I belong in the pantheon of
— well, first of all, great tenor saxophonists, in
general, let alone the greatest, John Coltrane.
… It’s not like this is my ‘Alabama.’”
Myriad valid arguments exist to place
Redman somewhere in that pantheon, but,
regardless, it should be noted that 60 years to
the month of that fateful Birmingham bomb-
ing, another prominent saxophonist is play-
ing a sorrowful melody for Black lives that
didn’t matter enough, for a hope that is sensed
but still, still unseen. It begs the question:
Where are we, truly, along the long arc of his-
tory, and does it bend toward justice?
This album, however, is hardly a dour dis-
course on the ills of society. Redman and
Cavassa handpicked songs that reflect many
facets of life and love, encompassing the
breadth of human experience, a mirror of
Redman’s own viewpoint.
“Most of the music that I love has at its
core a sense of both joyfulness and exultation,
but also poignancy and melancholy,” he said.
“This is kind of what the blues is for me. … It
engages with hardship and suffering, but it’s
also ultimately an affirmative experience, an
uplifting experience and a joyful experience.”
Redman also finally feels able to express
those things more fully through his horn.
“This album probably represents the strongest
and the most lyrical and melodic playing that
I’ve done. … It’s somewhat ironic that at the
time where I feel like I’ve finally found [that],
I kind of step aside and cede that authority to
Redman and Christian McBride performing this summer at the a vocalist.”
Newport Jazz Festival with Redman Mehldau McBride Blade.
Redman’s interactive chemistry with
Cavassa evokes another, historic saxo-
specifically mention the murder of George You know, the American reality versus the phone-vocal pairing, that of Lester Young and
Floyd, so it’s not just about that,” he cau- American dream.” Billie Holiday. “I’m [usually] the lead voice,”
tioned, “but it’s obviously grappling with a Redman illuminated this in “After he said, “and it’s liberating not to be that any-
lot of ideas and emotions and questions that Minneapolis” with another mashup — pref- more, and yet somehow by not being that, I
came out of that [act].” acing the song with a solo version of Woody was able to have a stronger lyrical presence.”
Redman continued, “Obviously, the song Guthrie’s “This Land Is Your Land,” his saxo- Redman’s willingness to relinquish the
does address social and political concerns in phone intoning irony over affirmation. lead was not lost on Cavassa. “Joshua took a
a way that no other song I’ve written has, and This is new and uncomfortable territory huge creative risk in not only making a vocal
I suppose one theme of the album is a sort of for Redman; it’s understandable if he wouldn’t record, but in trusting a relatively unknown
questioning, an examination of America. … allow himself to enter it fully. He cautioned, singer — me — with such a huge role,” she

said. “He is extraordinarily open-minded and like this can exist — where Basie, Coltrane, ic events of history with our current trage-
collaborative. … This, I realized, is how you Guthrie, Glen Campbell and Sufjan Stevens dies. He has even become a bridge for Blue
become prolific.” all co-exist, how a murder in Minneapolis Note, between the monuments of the label’s
In addition to Cavassa, Redman sought or Baltimore can be ref lected on while past jazz heroes to the wide-open field of its
others with that same lyricism. “I wanted to basking in the warm Bay Area sun or the emerging artists.
get the most melodic jazz musicians I could glow of sunset over Golden Gate. That Conversely, he laments the frequent
think of, and each one of these musicians is,” bridge seemingly doesn’t exist in Tony absence of a bridge between the American
he said about pianist Aaron Parks, bassist Bennett’s musical homage, but perhaps the dream and the American reality. And, ulti-
Joe Sanders and his longtime friend, drum- bridge is Redman himself. mately, Redman would have us learn to bridge
mer Brian Blade. Redman has worked with all He has bridged the generation gap to the different aspects of our lives — the joys, the
three in different settings but was surprised uplift an up-and-coming vocalist, their album challenges, the romance, the heartbreak, life,
to learn Parks and Sanders had never played a bridge to talented musicians who had yet to death, memories, visions, stars, streets … we
with Blade. “I felt like it would be instant play together. He has bridged cultures and cross all of it on our own bridge, on the long
chemistry,” he said. genres of music that cross over unto them- arc to somewhere, where we were to where are
Redman also enlisted a few guest artists selves, and he found a way to bridge the trag- we, to where we will be. DB
who would represent the cities of the songs they
selected: vibraphonist Joel Ross (Chicago),
guitarists Kurt Rosenwinkel (Philadelphia)
and Peter Bernstein (Manhattan), and trum-
peter Nicholas Payton (New Orleans).
Redman also was looking for those who
“generate a deep, natural, organic groove” for
the songs in particular that tread outside the
jazz canon. In addition to Stevens’ “Chicago,”
they include the Bruce Springsteen hit
“Streets Of Philadelphia”; “Baltimore,” by
eclectic pianist-singer-songwriter Gabriel
Kahane; and the Glen Campbell heart-render
“By The Time I Get To Phoenix,” suggested by
Parks, who, having first played with Redman
more than a decade ago in their collabora-
tive band James Farm, was glad for another
opportunity.
“Josh is a seeker,” the pianist said in an
email exchange. “He has a way of cultivating
challenges for himself, choosing to put him-
self in situations that create the necessary
conditions for evolution. What I notice now
in his playing more than ever is an ‘at-home-
ness,’ an embodied wisdom, a trust in his own
lyricism.”
Parks also delighted in playing with Blade,
noting, “The hookup with him and Joe was so
easeful and natural.”
“The amazing thing about Brian, you just
know he’s just going to come up with the
perfect groove,” said Redman of Blade, who
utilizes that ability frequently with anoth-
er Blue Note artist, Norah Jones. Strikingly,
Redman’s pop/rock-adjacent leanings with
the rapturous voice of Cavassa is in the mold
of what Jones has done in helping Blue Note to
expand into new forms of artistry.
Of course, Redman’s pedigree as a
straightahead jazz musician is unquestioned,
but Don Was learned early on of Redman’s
capacity to cross over when Was first tapped
Redman in the late 1990s to play on a Garth
Brooks record he was producing. “We both
share an enthusiasm for defying genre-based
expectations, and he was clearly undaunted
by the unfamiliar,” said Was.
Those sentiments are why an album

In 2010, when Darcy James Argue wrote
“Dymaxion,” a masterstroke for large ensem-
ble, he knew it was the beginning of something
bigger — a series of musical portraits, each
celebrating a forward-looking 20th-century
thinker. This September, the Vancouver-born
composer realized this vision with the release
of Dynamic Maximum Tension (Nonesuch), a
two-disc recording of 11 compositions con-
stellated around these largely underappreci-
ated historical figures.

U.S. Military Academy. In writing this piece,
LINDSAY BIERSTEIN
Argue said, he wanted to capture the intensi-
ty of a 1940s swing band without replicating its
expected harmonic constructs and rhythmic
templates.
“I tried to build something that had the
feeling of a classic band flag-waver but with a
contemporary sensibility, using an almost algo-
rithmic mathematical process that, hopefully,
feels organic to the listener,” he said.
These compositional twists speak to the life
and work of Alan Turing (1912–’54), the British
scientist who broke the purportedly indeci-
pherable Nazi war codes and, by so doing, has-
tened the end of World War II. Later, he was
prosecuted for his sexual orientation, under-
went state-imposed chemical castration and
died by what British authorities deemed a sui-
cide. Argue took exception to the cruel mis-
treatment of the brilliant mathematician.
“Turing is the father of modern computing
and also the philosophical father of artificial
intelligence,” Argue said. “It’s interesting that
“There’s a lot of untapped potential in that classic big band literature,”
Argue says, noting it serves as inspiration to grow as a composer. his story is taking on more and more salience
“‘D
as we move further and further into the future.”
ymaxion’ was really the of Music, Princeton University and The New One might make a similar observation of
beginning of the concept for School. the stage and screen dramatist Mae West (1893–
this album, of my looking to The latest record adds two milestones to 1980), another of Argue’s subjects. He became
figures from the past who represented some- this list of accomplishments. Not only is Argue interested in her story after reading the sonnet
thing exciting and optimistic in their day, for making his label debut on Nonesuch, an imprint “Mae West’s Advice,” by poet Paisley Rekdal.
inspiration in the present day,” Argue said in whose curatorial vision he has long admired, He based his composition by that name, with
an interview from Brooklyn, where he now but he’s adjusting his artistic trajectory. its neo-standard feel, on these 14 lines.
lives. “This double album, on such a major label “As I learned more about Mae West, it was
These compositions are more than paeans for the first time, is an opportunity for me to clear that she was someone who belonged in
to yesterday’s thought leaders, however. In reintroduce the public to my work,” he said. the category of inspiring mid-20th century pio-
crafting the works, Argue conscientiously “It’s really the first album of material not relat- neers who are reflected in this album,” Argue
studied each figure and fashioned the music ed to multimedia since my debut, Infernal said, citing the star’s doggedness in challenging
to reflect the ethos of their lived experience. Machines [2009]. The two albums that fol- social hypocrisy, her keen business sense and
For instance, architect and inventor R. low that up, Brooklyn Babylon [2013] and Real her tremendous power in Hollywood as aspects
Buckminster Fuller (1895–1983) served as Enemies [2016], were both documentations of of her persona that often go unremarked.
the catalyst for “Dymaxion” — and hence the the music for productions at the BAM Next Significantly, too, Argue discovered that
entire album — with his futuristic designs Wave festival. That’s music that I’m extreme- West was one of the first mainstream stars to
and humanitarian aims; Argue borrows the ly proud of, of course, but this album is a great film with Duke Ellington (1899–1974) and
track’s title from Fuller’s own shorthand for opportunity to give everybody a peek at all of his Orchestra. In her Belle of the Nineties, a
“dynamic, maximum, tension,” his concept the other music that I’ve been working on for Western from 1934, she fronts the Ellington
of maximum advantage through minimal the past 10-plus years.” band on “My Old Flame,” the tune that pro-
expenditure of energy. Like Fuller’s geometric Importantly, it’s through Argue’s “other vided the stylistic touchstone for Argue’s lone
images, Argue’s streamlined use of space and music” that one can track his ever-deeper vocal composition on the release (with guest
motion (spinning horns, percussive thrust) immersion into big band as an art form. These singer Cécile McLorin Salvant).
incites the imagination. days, he asserts, big band composers might Argue’s fascination with Ellington’s work
This composition has held a regular spot in avoid certain stylistic conventions in a bid for receives more direct expression on “Tensile
the live performances of Secret Society, Argue’s innovation. For his part, however, composi- Curves,” a 35-minute opus that rejoins
superb 18-seat big band, since its inception, tional innovation derives from an evolving flu- Ellington’s 1937 “Diminuendo And Crescendo
though it would be more than a decade before ency in that traditional big band language. In Blue.” Commissioned by the Hard Rubber
Argue released a studio version of the track. “There’s a lot of untapped potential in that Orchestra and the Newport Jazz Festival in
During these years, his career was advanc- classic big band literature,” Argue pointed out. 2014, “Tensile Curves” arose out of Argue’s
ing rapidly: three highly lauded albums for “And as I have grown more experienced as a systematic deep-dive into Ellington’s oeuvre
indie label New Amsterdam Records; multiple composer, I’m getting more comfortable in and his growing enthrallment with the intri-
nominations for Grammy and JUNO Awards; finding ways to reach further back and draw on cacies of the tune that so galvanized the 1956
legions of commissions and grants, including that history.” Newport Jazz Festival.
a Doris Duke Performing Artist Award and a A prime example from the album is With this track Argue also wants to set the
Guggenheim Fellowship; and teaching posts at “Codebreaker,” a commission for The Jazz record straight about that tune’s formal struc-
prestigious institutions like Manhattan School Knights, an elite big band ensemble with the ture — which, he contends, has been wrong-

ly analyzed. Part of this correction is his own recording and thinking, ‘This feeling is so great But Argentina sparks Argue’s interest for a
application of Ellington’s devices in “Tensile and the band’s playing so amazing. What does second, more personal reason: One of its global
Curves,” which migrates through the same this mean in 2023? What does it look like to industries is the production of ebonite, a type of
five keys, the same harmonic pattern, as the take those elements and find a way to make hard rubber formed through the vulcanization
Ellington tour-de-force. Instead of a diminuen- them make sense in a contemporary context?’” of latex from tropical rubber trees.
do, however, Argue uses a decelerating tempo Not all of the pieces invoke mid-century “Ebonite is used for many different things,
to generate the requisite excitement. This inventiveness, however. The moody, wailing but most important for our purposes are saxo-
technique is his own version of what he calls “All In,” for instance, memorializes trumpet- phone mouthpieces and hockey pucks,” he said.
Ellington’s masterful use of “misdirection.” er Laurie Frink (1951–2013), an early mem- “So, the title is a bit of a joke on the Argentinian
“The kind of games that Ellington plays ber of Secret Society, who passed from cancer contribution to Canada’s national pastime.”
with the listener on ‘Diminuendo In Blue’ a decade ago. An influential instrumental- Argue alludes to another Canadian pas-
are unlike anything I’ve ever heard, even in ist and educator, Frink played under several time in “Last Waltz For Levon,” a loping coun-
Ellington’s entire catalog,” Argue said. “The notable big band leaders, among them Gerry try ballad dedicated to Levon Helm (1940–
way he leads you down one path and then Mulligan, Benny Goodman, Bob Mintzer and 2012), drummer for the beloved Toronto-based
swerves to another — it’s just astounding.” Maria Schneider. musical group The Band. Helm was its sole
From among the original big band lumi- “Laurie is still very, very deeply missed. It American member.
naries like Ellington, Argue was also drawn certainly meant a lot to me to pay tribute to “When Levon passed, I was thinking about
to Cab Calloway (1907–’94) and his trove of someone who gave me and the band a direct his open-eared, musical omnivorousness,” he
swing-era hits; Argue especially admired the connection to the history of this music,” Argue said. “That was a big part of his drumming,
singer/bandleader’s popular dance number said. “When I was thinking of people who were growing up in the deep South, listening to Black
“Jitterbug,” by trumpeter Edwin Swayze (1906– trailblazers, ahead of their time, Laurie is one of radio, incorporating the New Orleans influ-
’35). Alluding to Calloway’s arrangement of the first people I thought of.” ence into his own style. [He brought] that into
the tune, Argue wrote “Single Cell Jitterbug,” a And “Ebonite,” another Hard Rubber this group, one of the most famous Americana
fresh (albeit noir) understanding of the now-fa- Orchestra commission, acknowledges Argue’s groups of all time. Even though they’re most-
miliar big band tropes that Calloway popular- interest in Argentinian culture — specifically Canadian.”
ized in the 1930s. ly, the chacarera style of folk music, from the Argue himself left Canada in 2000 to study
“There are some direct quotes from north of the country, with its engaging metrical at the exclusive New England Conservatory
‘Jitterbug’ in the piece — some pretty obvi- ambiguity. He brings this same rhythmic fluid- of Music under Bob Brookmeyer (1929–2011),
ous ones,” Argue said. “A lot of that came from ity to this track’s tilting, percussive angles and the pre-eminent trombonist and composer.
listening back to that original Cab Calloway florid, melodic choruses. As a commission for NEC’s 150th anniversa-

LUIS GODINHO
Argue conducts his 18-seat big band Secret Society.
‘The kind of games that

hopeful album.”
Similarly, the recording’s newest composi-
tion, “Your Enemies Are Asleep,” gives voice
Ellington plays with the

to Argue’s dismay over the Russian invasion of
Ukraine that began in 2022. He found inspira-
tion for the 16-bar blues — spare and direct in
listener on “Diminuendo
its sorrow — in the timeless Ukranian folk song
“Nich Yaka Misyachna,” often sung as a lullaby.
“I was really taken by this song — it’s one of
in Blue” are unlike

those old-world melodies that is very haunting,”
he said. “I was able to fill in some of the cultural
context, about Stalin’s purges of the Ukrainian
anything I’ve ever heard.’

bandura players in the 1930s, including Vasyl
Ovchynnikov, one of the composers of the song
[with kobzar Andriy Voloshchenko], who was
almost certainly executed by Stalin in one of
ry, Argue wrote “Wingèd Beasts,” a sophisticat- Curiously, both the oldest and the newest those purges. That added a whole other layer of
ed contemporary selection that premiered at a compositions on the album flow from Argue’s meaning to it.”
2018 concert honoring Brookmeyer. empathic reaction to modern wars that In Argue’s quest for such “layer(s) of mean-
“As I was writing the piece, there was an have stunned the world. The first of these, ing” in others’ lives, he reminds us of the exis-
insistent chromatic line that happens through- “Ferromagnetic,” he wrote out of “anger, shock tential anxiety that gripped mid-century soci-
out,” Argue recalled. “When I tried [the figure] and horror” at the Nisour Square massacre in ety — a disquietude that has yet to abate.
as a bass line, I realized that it was the bass line 2007, during the Iraq War, when Blackwater Through his music, he offers a response.
to Bob’s piece ‘The Nasty Dance.’ I just decid- International military contractors “slaughtered “In that society, there was a feeling of tre-
ed to embrace it. It felt like Bob was looking Iraqi civilians with impunity,” he said. mendous optimism and progress,” he observed.
over my shoulder and [telling me] to use it. So, “It’s a piece that is reflective of the darker “There was the idea that the future is something
the middle half of the piece is a heart-on-my- side of this mid-century optimism that other- that we shape ourselves — it’s not something
sleeve tribute to Bob in general, and ‘The Nasty wise infuses the album. I felt that there needed that happens to us.
Dance’ in particular, which remains one of the to be some recognition of that side of progress,” “So, really, the unifying idea behind the
greatest pieces of big band music ever written, he said. “The role that that tune plays is [to add] music on this album is that the future is some-
in my opinion.” some bracing reality to what is otherwise a very thing that we make.” DB

By Philip Lutz Photos by Janette Beckmann
On a steamy midsummer night in New York, Aaron Parks cut a solitary
figure as he lingered in the cool semi-darkness of the Village Vanguard.
Not 20 minutes earlier, the pianist had wrapped the late set before a
packed house on the fourth night of a six-night engagement. Now,
as the lights in the basement club dimmed, he basked in its after-
glow — alone, save for a few stragglers.

nied by grandiose thinking.
“I was becoming convinced of some sense
of over-literalizing metaphors.” In his mind,
“Dreams Of A Mechanical Man” — the title
track of Little Big’s most recent album and a
brilliant act of musical rebellion against blood-
less conditioning — increasingly existed out-
side the realm of mere symbolism.
The music transformed accordingly. As he
began to entertain the delusion that “maybe I’m
actually a robot, maybe I was made, not born,”
the rebellion against conditioning became a
surreal pantomime.
“I was taking a solo with my left hand
instead of my right hand, sort of playing inten-
tionally things that were corny and not musi-
cally sophisticated, taking the whole thing not
very seriously.”
The situation became untenable. “He was
clearly in a manic state,” said Greg Tuohey,
the band’s guitarist and a trusted friend Parks
credited with helping bring things under con-
trol. “He texted us: ‘We can’t go on.’ We knew
at the same time it was not safe.” So they, along
with Parks’ wife, mother and manager, decided
to cancel the rest of the tour.
Parks said his finances took a hit, as did his
relationship with some of the club owners left in
the lurch. But the outpouring of affection and
understanding from colleagues and fans on
social media and in person was overwhelming.
After he published an essay explaining the situ-
ation on Medium, the response, as he wrote on
Facebook, “was more supportive than I could
have imagined.”
His creative life also got a boost. As it hap-
pened, he and Philadelphia-based poet, sing-
er and activist Samantha Rise had, during the
Parks has battled and triumphantly come back from bouts of manic behavior that left him
“getting pretty abstract,” he said, to the point that he had to cancel a tour and seek help. summer of 2022, already begun shaping ideas
for a project combining words and music.
T
Produced under commission from the Hudson
he set, he said, had been the gig’s best so recording artist of distinction. This fall will see Jazz Festival, the project would have a person-
far, filled mostly with originals that activity on most of those fronts. al dimension — and, he said, his experience
built to a roiling climax with the But, for all the activity, he is careful not to on tour would become another of the “mental
emblematic “Little River,” a minor-key, pan- ride too high. Last November, while playing health reckonings” that informed it.
demic-era waltz written after the birth of his with his quartet Little Big at the Blue Note in Rise, for their part, also drew on a cascade
son, Lucas. Making full use of his foil, the Milan — the sixth stop of a planned 17-stop of personal tests: death, divorce and a coming
young tenor saxophonist Ben Solomon, and European tour that was to include dates at out as a nonbinary person of color.
his redoubtable comping partners, bassist Ben Ronnie Scott’s in London, Zig Zag Jazz Club “For each of us,” Rise said, “there had been
Street and drummer Billy Hart, Parks engi- in Berlin and Bimhuis in Amsterdam — his this buildup of personal challenges and heart-
neered a 10-minute-plus treatment that swung musical life came crashing down. Parks, long break and grief into the pandemic and also the
from peaceful to turbulent before settling into diagnosed with bipolar disorder, was spinning uprisings of 2020 — the critical mass of racial
a delicate equilibrium. out of control. injustice and systemic inequity in America that
“It’s a little lullaby that can get to be fero- “I was getting pretty abstract,” Parks boiled over in those windows of time.”
cious,” he said, clearly still feeling the charge of recalled four months after the episode as he As Parks put it: “We’d been having conver-
emotion even as he worked to contain it. eased into a couch in a cozy room on the sec- sations looking at the state of the world and
A pianist of deep passion and profound ond floor of his home in Beacon, New York. “I thinking, ‘This is the best we can do?’”
conviction, the onetime prodigy is — now was talking a lot on the bandstand, sometimes The project, Dreaming Home, was posited
on the cusp of turning 40 — riding high. The taking large portions of the set to make philo- as something of an answer to that question.
Vanguard gig is one of many credits he is col- sophical observations of the world, sometimes Joined on a snowy February night by bassist
lecting as a leader in top clubs, as a core mem- dancing around stage like Monk, another per- Meshel Ndegeocello, drummer J.K. Kim and
ber of Terri Lyne Carrington + Social Science, son with bipolar disorder.” flugelhornist Milena Casado on the grand stage
as a recipient of writing commissions and as a The erratic behavior was, he said, accompa- of Hudson Hall — perhaps New York State’s

oldest surviving theater — Parks and Rise fashioned a work that
was seductive but also subversive. Even at its most disharmonious
moments, it fell so gently on the ears that its urgent calls to look
inward — and face outward — might almost have seemed beside the
point. They decidedly were not.
True, the work’s opening, “Dream Invocation,” suggested that a
passive experience awaited the audience, an impression fostered by
Parks’ trance-inducing central device: an unadorned six-note osti-
nato he rendered with sublime delicacy using his left hand. But
when the sonic context shifted and subtle ambiguities crept into the
surrounding harmonies, an odd current of contradictory sensations
— a feeling of flow yet stasis, of comfort mixed with unease — por-
tended a more complex experience.
Floating over the proceedings, Rise’s words offered up the
piece as “an invitation to a place where our attention and our
intention meet.”
By the time “Dream Invocation” made its climactic return about
an hour later, the mood — lifted by moments of musical poetry in
which Casado’s uninflected flugelhorn doubled with Rise’s crystal-
line vocal atop Ndegeocello’s pulsing bass — had grown more press-
ing. The original offering was now posed as a challenge in the form
of a question: “And so, how do we find ourselves, in Hudson, hud-
dled near the edge of oblivion/In the place where our attention and
intention meet?”
That challenge, heralded by the signature ostinato’s recapitula-
tion as a ghostly presence, jolted the audience. Parks said he sensed
the reaction onstage.
“It was something that I felt was going to land pretty hard,” he
said. “And actually experiencing it in the moment with everybody
there I was like, ‘Oh, that is really heavy.’”
Despite the success of Dreaming Home, he said, a “low-level
depression” persisted. The pressure of finishing the piece had
taken its toll.
“There were moments when I was wondering, ‘How am I going
to do this?’ I was just feeling overwhelmed,” Parks remembered.
And he was still in a “pretty depressive state” in early March when he
appeared at Bar Bayeux, an overcrowded sliver of a cocktail lounge
on a down-market stretch of Brooklyn’s Nostrand Avenue. Matched
for the first time with Thomas Morgan on bass and Joe Dyson on
drums, he found freshness in standards that, in lesser hands, could
have seemed well past their due date. The crowd, mostly male drink-
ing buddies, was won over.
Yet Parks, hanging outside and grabbing a quick breath of fresh
air between sets, was dissatisfied.
“I was stuck in my head, putting boxes around myself,” he said,
invoking a metaphor that became a recurring theme, especially as
he examined his writing — or, in his estimation, overwriting — of
specific piano figures. For Little Big, he said, “I write myself into
these little prisons and then I’m trying to break down the doors of
them as well.” Likewise, in his work for Social Science, “I’m trying
to break my habit of writing a cage.”
Carrington apparently had no such qualms. Speaking in the
days after a March concert with Social Science at Carnegie Hall’s
Zankel Hall, she recalled wanting to adapt Parks’ “Bells (Ring
Loudly)” since she first heard Little Big’s hypnotic version. She
and Parks — who appeared on her radar when he was a teenager
in Terence Blanchard’s band and who played on her 2012 album
Money Jungle: Provocative In Blue — agreed to add her lyrics and
remove a final section while retaining the melody’s integrity. The
rethought tune became the cornerstone of the 2019 Social Science
release Waiting Game.
It also ushered in the Zankel Hall concert’s finale. The tune’s
ringing sonorities and stinging commentary on police brutali-

ty connected with the audience, who cheered solos, highly evolved yet easily accessible to the came the Vanguard gig, with a wholly differ-
when its obliquely harmonized vamp sudden- most naïve ears, had proved the point, generat- ent but equally satisfying quartet. The pendu-
ly morphed into a counterintuitive but highly ing some of the strongest audience reactions at lum had swung, he said, toward a possible lift-
effective bed for the simple, if iconic, melodies Zankel Hall. And she praised his values, artis- ing of his depression.
of “Lift Every Voice And Sing” and “We Shall tic and social. “Feeling that sense of connection — music
finding a home in people’s hearts and being
‘There were moments when

well received — is tremendously encourag-
ing,” he said.
Little Big, for its part, might be restructur-
ing more as a collective, relieving Parks of
I was wondering, “How am I

some bandleader burdens and encourag-
ing more contributions from its members.
Drummer Tuohey, he said, had recently drawn
on his rock chops to produce an Afrobeat-
inflected “Sports,” which Parks labeled “an
going to do this?”‘
immediate hit.”
The band, contemplating a renaming to
avoid confusion with a Russian group of the
same name, was eyeing a possible recording
this year. It would be the group’s third; Dreams
Overcome.” “There are certain musicians who are in Of A Mechanical Man was released at the pan-
“It worked beautifully,” Carrington said, alignment with the future and where things demic’s start in 2020.
noting that Parks was her initial collaborator should be and where they’re going, Carrington On a wider canvas, Parks was working on a
when she was forming Social Science and pro- said. “And he’s one of those musicians. I feel like commission from the Miami-based Nu Deco
ducing Waiting Game. “Bells,” she said, was the we’re from the same tribe.” Ensemble, an innovative chamber group he
first tune to which she put a lyric: “It helped The months after the Zankel concert grew joined on the album Nu Deco Ensemble +
negotiate the direction of the album.” busier. He returned to Europe with Little Big, Aaron Parks, released in 2021. He was aim-
She was effusive about his pianistic gifts; his packing houses at venue after venue. Then ing to create 15 to 20 minutes of new music
based on a folk tune over a six-chord harmon-
ic progression.
“I’m still in the process of boiling it down to
its essence and figuring out how to spread it
around,” he said. “It’s just going to require deep
dives in the basement of my house.”
Though such phraseology conjured imag-
es of him toiling and feeling the pressure
to produce, as he felt with Dreaming Home,
Parks seemed more at peace with the pros-
pect. The piece is scheduled to premiere in
October. The following month, he is scheduled
to take a quintet, with saxophonist Solomon,
to Europe.
Meanwhile, back home in Beacon, between
moments of dutiful doting on 2-year-old Lucas,
Parks called up a recording of two tunes — Bill
Evans and Miles Davis’ “Blue In Green” and
Duke Ellington’s “Melancholia” — from a solo
concert he held at Timbuktu Studio on a side
trip to Lisbon during last fall’s ill-fated tour.
The concert, he said, was performed “in a bit
of a manic state, right before the tour crashed
and burned.”
To the lay ear, his interpretations revealed
little evidence of his being in such a state.
Relaxed, thoughtful, at once adventurous in
spirit and fully grounded, Parks thoroughly
inhabited the tunes. But if he did find his psy-
che on that slightly elevated plane, one might
conclude there is value in being there — in fly-
ing high, that is, just not too high — and not
thinking too much about it.
“I’m letting the music itself work its
magic,” he said. DB

By Phillip Lutz Photo by Jimmy and Deana Katz
Perhaps no interpret-
er of American popular
song had as long and dis-
tinguished a career as Tony
Bennett. Yet in his everyday
life, he was not one to dwell
on the past. Neither his 20
Grammy statuettes nor the
boatload of other awards
— save for the Kennedy
Center Honors medallion —
were on display in his home,
according to his son and manager,
Danny Bennett.

STEVEN SUSSMAN
Bennett had a wealth of material to draw upon, and he had a direct association with much of it.
A
nd, he said, his father never regarded dementia — about his classical voice training That he was thwarted in his desire to pair
his albums as objects of nostalgia. The at the American Theatre Wing, his haunting with Clooney is ironic, given that he would
elder Bennett only listened to them for of jazz clubs on 52nd Street in Manhattan and later win acclaim for a series of duets with
research purposes. his friendship with jazz cellist Fred Katz in the women, among them Amy Winehouse, k.d.
“He never looked back, was always in the army during World War II. lang, Diana Krall, Carrie Underwood and
present and hopeful about the future,” Danny Discussing his days at Columbia Records Lady Gaga.
said by phone after his father’s death on July 21 in the early 1950s, his tone became slight- But that was hardly the biggest irony of his
at the age of 96. ly heated when he recalled his successful bat- career. That may be the outsized popularity of
So it was all the more unusual that, in a 2018 tle with label executives to take a more adven- “I Left My Heart In San Francisco,” which was
interview for DownBeat almost exactly five turous approach to his interpretations. And it expected to be the B-side of a 1962 single but
years to the day before he died, the elder became wistful when he recounted his unsuc- famously emerged as his signature song. Less
Bennett — seated on a well-worn couch in his cessful attempt to become a kind of double act known is that the A-side, “Once Upon A Time,”
small, spare art studio 15 stories above New with singer Rosemary Clooney, whose visage the melancholy fairy tale with music by Charles
York’s Central Park South — eased quite com- gazed out from a framed photo placed promi- Strouse and lyrics by Lee Adams, was once also
fortably into a discussion of the past. nently on a table in front of the couch on which a staple of Bennett’s sets.
True to form, no awards were on display in he now sat. “I was sorry to see it go,” guitarist Gray
the studio. And true to form, he looked dapper “I loved her,” he said softly, his hand lightly Sargent, a member of Bennett’s working quar-
and spoke lucidly — despite having early-stage touching the arm of a writer seated next to him. tet from 1997 until the singer’s last gig in 2021,

said by phone after Bennett’s death. thinks he reinvented himself. We reinvented tiple dimensions — as an artist equipped
Some of Bennett’s most preferred material the audience.” with a powerful arsenal consisting of “bel
was not even on his set list. Top of mind, when In the 2018 interview, Tony Bennett was at a canto coupled with jazz phrasing coupled
Sargent was asked, was the Jerome Kern– loss to explain the phenomenon, though he was with Judy Garland’s way of setting the story.”
Oscar Hammerstein II tune “All The Things obviously pleased with its impact: “It was a way The factors, he said, were a combustible
You Are.” The tune had not been on the list of exposing the Great American Songbook to a combination, generating a sense of “intense
during Sargent’s 24 years with Bennett despite new generation.” drama” that, in his experience, was evident
— or because of — the prominence he gave it Singer Kurt Elling, whom some locate in a from their first rehearsal.
elsewhere. lineage that includes Bennett — and who, in a Naturally, Bennett felt freer to let his jazz
A sublime four-and-a-half-minute rendi- 2021 DownBeat interview, said that as an aspir- flag fly when working in smaller units, espe-
cially partnerships with pianists with whom
he could spar eye-to-eye. Notable among
‘IT WAS A WAY OF EXPOSING them were Bill Evans, with whom Bennett
made two acclaimed albums in the 1970s,
and Charlap, whose Kern collaboration
THE GREAT AMERICAN SONGBOOK was followed by one in 2018 focusing on the
Gershwins and featuring Krall titled Love Is
Here to Stay (Verve/Columbia).
TO A NEW GENERATION,’
Comparative treatments of “All The
Things You Are” are telling. In contrast
with the version on his 1962 live album Tony
BENNETT SAID OF THE RESURGENCE

Bennett At Carnegie Hall, where he is accom-
panied by a full orchestra, the duo’s take
included on The Silver Lining displays consid-
OF HIS CAREER IN THE 1990S.

erably greater breadth musically and, argu-
ably, emotionally.
Granted, the half-century that elapsed
between the versions — and the maturi-
ty gained — might account for some of the
tion of the tune opens his Grammy-winning ing singer he regarded Bennett as “the guy you change. Nonetheless, the number and spon-
2015 album of Kern songs, The Silver Lining. want to be” — noted by phone after Bennett’s taneity of the later version’s signature Bennett
His collaborator on that album, pianist Bill passing that the resurgence was accomplished moves — the primal growls, tremulous glis-
Charlap, said that the singer was well aware of without pandering. sandi, abrupt shifts in dynamics, risky inter-
the harmonically opulent, lyrically transcen- “Tony carried the torch,” he said. “He sang vallic leaps, unexpected modulations — are
dent tune’s standing at the apex of the food the songs the way they were meant to be sung. striking, reflecting a fuller expression of his
chain in both the theater and jazz repertoires. He never deviated from the path. To my knowl- instinct to make every note, every bar, every
“Tony knew how important ‘All The Things edge, he never recorded junk just to continue to phrase a fresh one. And that argues for plac-
You Are’ was,” Charlap said by phone after be a star.” ing him squarely in the jazz tradition, where he
Bennett’s death. Bennett’s uncompromising outlook grew wanted to be.
Of course, Bennett had a wealth of materi- out of a youthful desire to explore the more Bennett’s last touring gig was at the Count
al to draw upon, and he had a direct associa- challenging path that jazz represented. He Basie Theater in New Jersey on March 11,
tion with much of it. A set list Bennett’s staff said he started fashioning himself as a jazz 2020, the day the World Health Organization
provided DownBeat at the time of the 2018 singer when he began listening in as his declared a pandemic. After that, he came back
interview included hits like “Just In Time,” brother studied the music. Then, as a young in August 2021 for a two-show, televised per-
“Boulevard Of Broken Dreams” and a med- man checking out 52nd Street, he was con- formance with Lady Gaga at Radio City Music
ley that incorporated “Because Of You” and firmed in his direction. Hall. That was his official swan song.
“Rags To Riches.” It also included tunes by the “I said, ‘This is the way to go.’” But he played with members of his band
Gershwins and Michel Legrand that Bennett Although Bennett never set out to be an one more time. On New Year’s Day 2022,
had sung many times. improviser in the Betty Carter mold, few seem Sargent said, he and bassist Marshall Wood
Of particular interest was the inclusion of to argue that, in his freewheeling attitude and visited Bennett at his New York apartment.
Irving Berlin’s “Steppin’ Out With My Baby.” freethinking sensibility, he did not measure up Bennett’s dementia had progressed, he said, but
A 1993 music video built on the tune helped to Sargent’s declaration: “He was a jazz guy.” not to the point where he couldn’t sing — and,
Bennett connect with a younger generation Elling took a view that was more nuanced, for 40 minutes, the three of them played as a
when it aired on MTV. Coming after a peri- if no less certain. band again.
od of financial and other setbacks, the video “If the voice is willing and the approach is “It was a wonderful feeling,” Sargent said.
was a catalyst in a widely celebrated commer- fresh with even the spirit of improvisation in “He came out. He looked great. He gave us a big
cial resurgence — one that reestablished him there, then you have a better claim than any- smile. We hung out and told him what a great
as a presence on TV, from Saturday Night Live body in the pop world who’s there to rearrange time it had been making music with him.
to The Simpsons, and boosted his profile to epic everything in a very straightforward fashion, “Then, you know it’s not going to be like
proportions generally. even if they are there to invigorate it as though that, but you want to offer just a nice thought.”
Danny Bennett, who is credited with engi- it were being sung for the first time,” he said. So he did, on what would be his final parting
neering the resurgence, debunked what he “But it’s not.” with Bennett:
said was a misconception about it: “Everyone Charlap, for his part, saw Bennett in mul- “‘Oh, yeah, we’ll see you some time.’” DB

Masterpiece ★★★★★ Excellent ★★★★ Good ★★★ Fair ★★ Poor ★
COURTESY OF MUSIC WORKS INTERNATIONAL
Ambrose Akinmusire
Ambrose Akinmusire solo album. Given the trumpet’s tendency to be less inclined to listen to elliptical music devoid
of hooks, it’s a chore. The album sounds like
one of the more unforgiving instruments when
Beauty Is Enough it comes to exposing cracks in one’s tone and a collective of tone poems that were designed
ORIGAMI HARVEST only for a select few. There’s an emotional inti-
melodic articulation, this venture is even riskier.
HHH Akinmusire rises to the occasion in the most macy emanating throughout but seldom does
glorious way. He’s never been one to take the anything manifest into something memorable.
Ambrose Akinmusire’s wondrous trumpet Listening to Beauty Is Enough is akin to flip-
playing roams buck-naked throughout this easy route by churning out callow renditions of
jazz chestnuts. Instead, he powers his expres- ping through a great visual artist’s sketch book.
self-released album, recorded at Paris’ Saint Akinmusire’s ingenuity is undeniable.
Eustache Cathedral in 2022 while on tour. He sive musicality on highly personal evocations
Nevertheless, Beauty Is Enough amounts to
liberates his music from conventional accom- that pique the imagination and stretch the ears.
glimpses of a genius at work rather than a last-
paniment other than the capacious acoustics of The 14 originals on Beauty Is Enough allow you
ing stroke of genius. —John Murph
the enormous Gothic church. to luxuriate in his keen sense of spatial aware-
Inspired in part by the solo excursions of ness, deft control of sonic dynamics, melliflu-
Beauty Is Enough: To Taymoor; 2->1<-; Carvin; Turns;
elder sonic pioneers Roscoe Mitchell and ous timbre and fascinating motivic structures. Launchpad; Olusiji; Off The Ledge; To Shabnam; Achilles; Boots
Wadada Leo Smith, Beauty Is Enough is a rite With all those great attributes, Beauty Is And Jewels; Wallace; Ann; Rio; Self Portrait; Sunknees; To Cora
Campbell. (48:44)
of passage for Akinmusire, who was advised Enough demands far more concentrated listen- Personnel: Ambrose Akinmusire, trumpet.
by those aforementioned jazz icons to record a ing than it commands your attention. For those Ordering info: ambroseakinmusire.com

At its best — including an especially rol-
licking section in the middle of “Swing
Low” — the quintet sounds like the spirit of
Charles Mingus is moving among its mem-
bers. From a rambunctious prayer meeting,
the band begins to shift in and out of rhythm,
and by the time the piece rumbles to a close
it feels like you’ve just had a ride on a celes-
tial chariot.
Likewise, “Elijah Rock” moves from
William Parker’s resonant introduction into a
plaintive exchange between Lewis’ tenor and
Kirk Knuffke’s cornet. Best of all is “Calvary,”
which builds steadily from the dark, dual-ar-
co introduction through a stately lead har-
mony line for saxophone and cornet.
James Brandon Lewis “Go Down Moses” begins with a similar Damon Locks &
Red Lily Quintet emotive feel, but loses momentum midway Rob Mazurek
For Mahalia, With Love until its swaggering, joyous, final two min- New Future City Radio
TAO FORMS utes. Momentum is also an issue on “Wade INTERNATIONAL ANTHEM
HHH1/2 In The Water,” which has an alluring, thorny HHH1/2
harmony line, and a very free “Were You
Inspired by one of America’s most distinctive There” seems especially slight when com- Pirate radio might be a phenomenon better asso-
singers, Mahalia Jackson (1911–’72), this album pared to the strongest performances here. ciated with developing DIY dancefloor genres
is reminiscent of earlier tribute recordings that —James Hale like jungle and garage throughout the UK in the
mined the shared fervor of gospel music and For Mahalia, With Love: Sparrow; Swing Low; Go Down Moses; ’90s, but for Chicago experimentalists Damon
free jazz. So ardent is the improvisation on fully Wade In The Water; Calvary; Deep River; Elijah Rock; Were You
There; Precious Lord. (71:36)
Locks and Rob Mazurek it’s equally a source of
half the recording that you can easily forgive Personnel: James Brandon Lewis, tenor saxophone; Kirk Knuffke, improvisatory inspiration. On their debut album
cornet; Chris Hoffman, cello; William Parker, bass; Chad Taylor,
some of the more discursive and less-inspired drums, tambourine. as a duo, New Future City Radio, the pair have a
playing that occurs. Ordering info: taoforms.bandcamp.com weighty concept: fragmented transmissions from
a near-future pirate station announcing the col-
lapse of society while punchy electronic samples
play beneath snatches of improvised melody.
Over 18 tracks, Locks and Mazurek expand
Veronica Swift on their playful thesis, traversing the opening,
Veronica Swift percussive salvo of “Yes!” to the dancefloor elec-
MACK AVENUE tronica of “The Sun Returns,” the chopped break-
HHH1/2 beats of “Flitting Splits Reverb Adage” and even
snatches of reggae on “New Future.” Per its theme,
Veronica Swift opens with a cool blast of ono-
New Future City Radio skips through its tracks
matopoeic hipness, scatting with gleeful preci-
and sounds at pace, barely leaving the listener
sion into the distinctly un-hip gay anthem “I Am
time to catch up with Locks’s artful sonic collag-
What I Am” as if she were tearing into “I Got
es and Mazurek’s bursts of trumpet melody. On
Rhythm.” With only a hi-hat sizzle beneath her
“Droids!” we hear a welcome snatch of Mazurek
prologue, the song appears briefly, then melts
wrestling his trumpet into submission over a dis-
away in the shadow of a propelling vocal agili-
torted, dread-filled background of noise loops, yet
ty. Ironically, Swift is not quite sure what she is.
after two minutes we have already moved on to
She’s not the first singer to colonize diverse
the modular ambience of the following number.
categories. It took separate labels — Mercury
New Future City Radio is an admirable, exper-
and EmArcy — to contain the expansive swath delicious Django-isms and a touch of accordi-
imental project that leaves the listener lacking
of Sarah Vaughan, who built dual audiences by on. So if she wants to do jazz, she should do it
thanks to its uneven pacing. Explosions of sound
making sure neither had to suffer the unwanted and not punch below her weight just to prove
like the cacophonous “The Beat” and the glitch
preferences of the other. Not here. I don’t know she can do stuff the jazz world doesn’t care
melodies of “Polaris Radio” beg to be expanded
a lot jazz people, for example, who are dream- about anyway. —John McDonough
upon further, highlighting how this is an album
ing of the next Nine Inch Nails tour. So what Veronica Swift: I Am What I Am; Closer; Do Nothing Till You Hear bursting with creativity but only given space to
is “Closer” doing here? Swift gives it a lusty From Me; The Show Must Go On; I’m Always Chasing Rainbows; In
The Moonlight; Severed Heads; Je Veux Vivre; Chega de Saudade; breathe in the wrong places. —Ammar Kalia
power, then tosses it aside for a 4/4 scat flight. Keep Yourself Alive; Don’t Rain On My Parade [CD/digital only].
(47:58)
It’s as if two different singers are having at it. Personnel: Veronica Swift, vocals; James Sarno, Benny Benack III,
New Future City Radio: 5-4-3-2-1; Yes!; The Sun Returns; Breeze
Of Time; Your Name Gonna Ring The Bell; New Future; Droids!;
We also get pair of jazz-resistant Queen songs. trumpet; Javier Nero, trombone; Troy Roberts, David Leon, reeds; The Concord Hour; Future City; 10mins Past The Hour; Support The
Pierre Blanchard, Antoine Silverman, violin; Ludovic Bier, accordion; Youth (With Sound); The Beat; Las Niñas Estan Escuchando (The
Even “Moonlight Sonata” is burdened with pop Adam Klipple, Randy Waldman, piano, keyboards, organ; Philip Children Are Listening); Flitting Splits Reverb Adage; Twilight Shim-
mer; Suspense In The Grip Of Suspense; Polaris Radio; Drop. (39:52)
gimmickry. Norris, Felix Blanchard, electric bass; Alex Claffy, Antonio Licusati,
upright bass; Chris Whiteman, Samson Schmitt, guitar; Brian Personnel: Damon Locks, voice, sampler; Rob Mazurek, trumpet,
Swift is clearly a special talent of rare class Viglione; drums, rhythm guitar, vocals; Luisito Quintero, percussion; sampler, modular synthesisers, voice, flutes; Mauricio Takara,
Mariano Licusati, Carolynne Framil, Austin Patterson, background percussion (12, 14); Helado Negro, voice (14); Brandi Augustus,
and presence, evident in “Rainbows” and her vocals. vocals (6).
comfortably relaxed “Je Veux,” seasoned with Ordering info: mackavenue.com Ordering info: intlanthem.bandcamp.com

The
John
Critics John Murph James Hale McDonough Ammar Kalia
Ambrose Akinmusire ★★★ ★★★★ ★★★★ ★★★½

Beauty Is Enough
James Brandon Lewis ★★★★ ★★★½ ★★★ ★★★★

For Mahalia, With Love
Veronica Swift N/A ★★★ ★★★½ ★★★

Veronica Swift
Damon Locks & Rob Mazurek ★★★ ★★★ ★ ★★★½

New Future City Radio
Critics’ Comments
Ambrose Akinmusire, Beauty Is Enough
By turns ruminative, meditative and passionate, Akinmusire opens a window into his soul, while
simultaneously displaying his technical prowess. —James Hale
This will get attention. Sixteen solo pieces carefully crafted, never showy, worth hearing. More
polished and pensive than profound, they range from meditation to mischief. With patience,
interesting to follow. But he gives up a lot. Jazz may be a solo art, but not a solitary one. Like
Hitchcock’s Rope and Coleman Hawkins’ “Picasso,” this will probably never be repeated.
—John McDonough
An admirably exposing solo effort showcasing the lyrical dexterity of Akinmusire’s lines and
dynamic mastery. By nature of its minimal setup, though, it can be a challenging, confronting
listen, often leaving listeners to fill in the gaps. —Ammar Kalia
James Brandon Lewis Red Lily Quintet, For Mahalia, With Love
Soul-stirring and soaring with seemingly boundless invention and emotional oomph.
—John Murph
Lewis glides slowly into his notes and leans hard into Knuffke’s cornet, suggesting the austere
blends Ornette Coleman and Don Cherry once caught on “Lonely Woman.” Unmediated by pi-
ano, it gives these dirges an astringent flavor before they open up to his freer impulses. Moving
beyond his own compositions may widen his audience. —John McDonough
Lewis’ hard-blowing tenor sound is a perfect match for the clear-sighted gospel melodies of Ma-
halia Jackson’s repertoire. At turns euphorically joyous as much as it is yearningly introspective,
Lewis feels into the full range of this spiritual music. —Ammar Kalia
Veronica Swift, Veronica Swift
[Hot Box critic John Murph is recused from reviewing the album because he worked on the project.]
She’s a blues belter, a theatrical diva, an intimate chanteuse; Swift jumps comfortably into any
number of personas. Her range is impressive, but the sincerity is lacking. —James Hale
Bebop singer Swift certainly has the dextrous chops needed to keep up with the fast-paced
selection of tunes on her latest, yet the album as a whole comes off a little cold thanks to its
slickness. With more grit and raw emotion, its consistency could be supplanted into something
truly great. —Ammar Kalia
Damon Locks & Rob Mazurek, New Future City Radio
A frothy mixtape-like adventure in which hip-hop inspired sound collages smash into one anoth-
er to create surprising new aural portals. —John Murph
New future? Actually sounds like numerous electro-acoustic mashups from Byrne/Eno on down.
—James Hale
A random collage of pirate radio static and scraps suggests a sense of provocative ambiguity at
first. But we are soon in a Tower of Babel with no story to hear. Turn the dial.
—John McDonough

Trumpeter Matthew Halsall’s latest album is a
gently rippling, sun-dappled lake made of harps,
kalimbas, flutes, chimes and Fender Rhodes elec-
tric piano, over which flutes, saxophones and
trumpets dance like dragonflies. Occasionally, a
soft female voice whispers wordlessly from some-
where, like a breeze through trees. It would be
easy to imagine a DJ putting a thumping 4/4 beat
underneath the more uptempo tracks here, like
“Calder Shapes” and “Water Street.” The gentle
breakbeats and shimmering chimes of the clos-
ing “Triangles In The Sky,” on which Halsall plays
custom gongs, could easily have come off a Ninja
Tune compilation from the ’90s.
The melodies are memorable, but the solos are
never passionate enough to break free of the
Matthew Halsall groove; Halsall’s playing on “Natural Movement” Aaron Diehl &
An Ever Changing View feels like he’s trying to rehabilitate Chuck The Knights
GONDWANA Mangione for Gen Z. But none of this is bad news; Zodiac Suite
HHHH1/2 the summertime vibe is impeccable. MACK AVENUE
—Phil Freeman HHH
The rise of vibes-based jazz — the aesthetic, not
the instrument — has gone largely unremarked This important arrangement of Mary Lou
An Ever Changing View: Tracing Nature; Water Street; An Ever
but is now unmistakable. Although the artists Changing View; Calder Shapes; Mountains, Trees And Seas; Field Williams’ Zodiac Suite strives to be the fulfill-
who make this sort of music have roots in the Of Vision; Jewels; Sunlight Reflection; Natural Movement; Triangles
In The Sky. (49:36) ment of the large-format Williams’ composi-
spiritual jazz of the early 1970s (Pharoah Sanders, Personnel: Matthew Halsall, trumpet, glockenspiel, piano, tion built up to (from trio to her own hiatus-
kalimba, celeste, Fender Rhodes, piano effects, chimes, bells, log
Alice Coltrane, Idris Muhammad, etc.), they have drum, custom made triangular gongs, field recordings; Matt Cliffe, inducing orchestral performance). Pianist
the mellow feeling and love of a simple, hypnot- alto saxophone, flute; Chip Wickham, soprano saxophone, flute;
Aaron Diehl, alongside his trio of bassist David
Alice Roberts, harp; Maddie Herbert, harp; Liviu Gheorghe, Jasper
ic melody that propelled the CTI catalog to great Green, Fender Rhodes; Gavin Barnes, bass; Alan Taylor, drums; Jack Wong and drummer Aaron Kimmel and large
McCarthy, Sam Bell, congas, percussion; Chris Davies, xylophone;
commercial success, and they have clearly spent Caitlin Lang, vocals. ensemble The Knights, takes a spin at it, enjoy-
plenty of time on dance floors as well. Ordering info: gondwanarecords.com ing the ride but certainly not reinventing the
wheel. There is so much reverence here that the
compositions seem to fit a bit too tightly, like a
suit tailored for someone else’s body type.
Leslie Vincent That isn’t the case for the entire album.
About Last Night Brandon Lee’s trumpet soloing on “Virgo”
INDEPENDENT RELEASE perks matters up significantly and reminds
HHH1/2 the listener that there’s more going on here
than a spruced-up museum piece. It’s not
Leslie Vincent is certainly a versatile singer.
exactly the centerpiece of the album but it’s
Based in Minneapolis, she is as much a story-
the liveliest, most dynamic song that’s sixth
teller as she is a jazz singer, and with her flexible
in a sequence of 12, so it certainly qualifies
voice one could imagine her singing country or
by default.
folk music, especially since she does not impro-
Tackling such a gargantuan task as
vise all that much. About Last Night follows her
Williams’ Zodiac Suite was never meant to be
debut recording, These Foolish Things.
easy. It’s laudable that Diehl and artistic direc-
The plot behind these 10 selections (seven
tors Eric and Colin Jacobsen do such a good job
standards, two of the singer’s originals and a
of realizing this material, even if it may never
pop song by pianist Josh Nelson) is that they tell
get past the entire vibe of being important.
the evolution of a single night, from the start of Of the other selections, several benefit from It still feels like eating one’s vegetables, and it
a love affair to morning-after regrets. The most offbeat arrangements and additions of new still doesn’t quite get the reassessment we’ve all
jazz-oriented selections are the first five, which countermelodies (particularly “Laura” and given brussels sprouts and balsamic vinegar.
often find Vincent overshadowed by the bois- “Black Coffee”). The singer is at her best on a —Anthony Dean-Harris
terous trumpet playing of Mitch Van Laar and slow version of “Stars Fell On Alabama,” where
pianist-arranger Ted Godbout. her phrasing is a bit reminiscent of late-period
“Psychedelics With You,” which begins as a Dinah Washington. —Scott Yanow
Zodiac Suite: Aries; Taurus; Gemini; Cancer; Leo; Virgo; Libra;
Scorpio; Sagittarius; Capricorn; Aquarius; Pisces. (37:35)
trumpet-drums duet, is filled with parade Personnel: Aaron Diehl, piano; David Wong, bass; Aaron
Kimmel, drums; Evan Christopher, clarinet (3); Nicole Glover, tenor
rhythms and rambunctious trumpet. “What’ll About Last Night: Psychedelics With You; What’ll I Do; If I Were saxophone (4); Brandon Lee, trumpet (6–7); Mikaela Bennett,
I Do” starts as a wistful vocal-piano duet, then A Bell; Icetown Blues; No Moon At All; Stars Fell On Alabama; Laura; soprano voice (12); Eric Jacobsen, conductor, artistic director; Colin
Black Coffee; How You Loved Me On Mars; This Time The Dream’s Jacobsen, concertmaster, artistic director; Njioma Previous, Kristi
becomes swinging and quite joyful, as if Leslie On Me. (39:25) Helberg, Nanae Iwata, George Meyer, Miho Saegusa, violin; Kyle
Armbrust, Mario Gotoh, Miranda Sielaff, viola; Gabriel Cabezas, Alex
Vincent’s dilemma is not that she is lost but Personnel: Leslie Vincent, vocals; Mitch Van Laar, trumpet; Ted
Godbout, piano; Matt McIntyre, bass; Ben Ehrlich, drums; Tommy Greenbaum, cello; Caitlin Sullivan, cello; Alex Sopp, flute; Gustav
probably has too many good choices. “If I Were Boynton, background vocals, guitar; Tony Balluff, clarinet; Mary Highstein, oboe; Chad Smith, clarinet , bass clarinet; Brad Balliett,
bassoon; Michael P. Atkinson, horn; Sycil Mathal, trumpet; Nate
Alice Hutton, Stephanie Skor, violin; Niloofar Sohi, viola; Rose
A Bell” swings hard, while “Icetown Blues” is Thompson Vieira, cello. Mayland, trombone.
the singer’s tribute of sorts to Minnesota. Ordering info: lesliedellavincent.com Ordering info: aarondiehl.bandcamp.com

as a player and composer of straightahead jazz.
Given everything else he does, this is not
music that Hey gets to play that often; his pre-
ceding trio recording, Watershed, was issued in
2003. But his fleet, poised solos, as well as his
rapport with bassist Joe Martin and drummer
Jochen Rueckert (who was also on Watershed),
affirm his command of the post-bop jazz ver-
nacular. The album’s title, which is taken from
a Micronesian word for sailors who mastered
the skill of navigating by reading wave pat-
terns, implies an interest in dynamics of ener-
gy and flow. One can hear how that’s expressed
on “Étoile,” as Rueckert’s ornamental cymbals
and brushes seem to feed the springy quality to
Hey’s solo. But such occurrences never detract
Henry Hey from the melody. Jalen Baker
Trio: ri-metos One might suppose that Hey’s extensive Be Still
INDEPENDENT RELEASE work with vocalists informs his composition- CELLAR MUSIC
HHH al choices, such as the gracefully contoured HHH1/2
“Post Road” and the beseeching melody his
Henry Hey has enjoyed considerable success Young vibraphonist Jalen Baker asserts his artist-
sole unaccompanied piece, “The Gardner.” This
realizing the music of others. He has been a ry in a powerful yet subtle way on Be Still, as a sig-
is not a record that will change the language of
music director for concert tours and stage nificant new voice on vibes — focused, rooted in
the piano trio, but it does affirm Hey’s com-
shows by Rod Stewart, David Bowie and tradition and with his own personal touches —
mand of said language. —Bill Meyer
George Michael; written arrangements for and as composer-leader with a winning vision.
Ariana Grande and the Tedeschi Trucks Band; Baker’s resume includes work with Jeremy Pelt
and played keyboards for Bill Bruford, Theo Trio: Ri-metos: Season Of The Thicket; Étoile; Cobalt; Post Road;
Weekly Benefits; Swirl; If I Should You Lose You; Live By Love; The and Ulysses Owens Jr. (who produced Baker’s
Bleckmann and Vanessa Williams. But as the Wandering Song; The Gardener (for Jane Hey). (63:25) 2021 debut album This is Me. This is Us) and a
Personnel: Henry Hey, piano; Joe Martin, bass; Jochen Rueckert,
leader of an acoustic trio, he pursues a different drums. self-acknowledged debt to his Baptist upbringing.
ambition. Trio: ri-metos asserts his bona-fides Ordering info: henryhey.bandcamp.com As heard from the new album’s rippling
opening tune “T’was” forward, Baker keeps
good and tuned-in company with a sturdy
quartet linked to his hometown of Houston.
Lucia Cadotsch The rhythm section of bassist Gabriel Godoy
Aki and drummer Gavin Moolchan lay down a
HEARTCORE solid yet ever-flexible foundation. Pianist Paul
HHH1/2 Cornish, in particular, stands out as a solo-
ist of considerable skill and elastic linguistics,
The ease Lucia Cadotsch conveys with every
sometimes shifting from flowing melodicism
note is hypnotizing, as if she’s crafting this
to abstract zones and back, unobtrusively sing-
music to maintain the structural integrity of
ing along as he goes. Baker’s own soloing heads
Glenda, the Good Witch of the North’s floating
down a more middle, mainstreaming path,
bubble. This is no soap bubble, though. It’s got
with an assured sense of phrasing and techni-
strength and tension and fortitude, with James
cal prowess, for musicality’s sake.
Maddren’s drums softly but assuredly shoring
Baker naturally taps into the lineage of
up the walls of these unspooling songs.
post-hard bop syntax, as composer and inter-
Cadotsch’s off-kilter coos have the ability to
preter, on vibist legend Bobby Hutcherson’s pro-
leave the listener off balance but never led
pulsive “Herzog,” a smoothly shuffling take on
astray. Not that we’re being taken on a long
just as apt. Joe Henderson’s “Jinrikisha” and a lyrical visit
journey. Aki, clocking in at just over half an
However, this tight album works this well to the iconic stuff of “Body and Soul” to close
hour, is quick and goes down easy. These 10
in part due to this equally right backing trio of the album. From Baker’s nimble pen, the musi-
tunes have a pop-like brevity to them, getting
the aforementioned James Madden on drums, cal terrain shifts from the stillness-meets-syn-
to the point while still taking enough time to
Phil Donkin on bass, and Kit Downes on piano copated-kinetics of the title track to the balladic
flesh that point out.
and organ, all widely giving the right amount of grace of “Lexi’s Lullaby,” to the restless ventur-
Of course, adding a touch of Kurt
dazzle while not leaning too hard in the razzle. ing of “There’s Beauty in Fear.”
Rosenwinkel to your album doesn’t hurt things
Cadotsch’s material doesn’t call for all that. There’s a bold new vibraphonist in jazz
one bit, and the touches he adds to “Bitter
—Anthony Dean-Harris town, and he warrants an ear and a promising
Long Lying Leisure” are the perfect sexy, lan-
career. —Josef Woodard
guid cool giving way to bursts of bridging tones Aki: I Won’t; Bitter Long Lying Leisure; Brother II; Secedas; No
Apology; Medusa’s Champagne; Ballad Of The Drowned Girl; O
that’s become his trademark. He has a show- One; Lily Of The Nile; Naked And Numb. (36:43) Be Still: T’was; Be Still; Lexi’s Lullaby; Herzog; Jinrikisha; There’s
case in this song but still very much acts as the Personnel: Lucia Cadotsch, vocals; Kit Downes, piano, organ; Phil Beauty in Fear; The Light; Body and Soul. (50:00)
Donkin, bass; James Maddren, drums; Kurt Rosenwinkel, guitar Personnel: Jalen Baker, vibraphone; Paul Cornish, piano; Gabriel
addendum to Cadotsch’s slinky tune. His sec- (2, 6). Godoy, bass; Gavin Moolchan, drums.
ond appearance on “Medusa’s Champagne” is Ordering info: luciacadotsch.bandcamp.com Ordering info: jalenbaker.bandcamp.com

first 11 pieces are Mehldau’s renderings of
the classic poetry (intriguingly presented as
a panorama of sex as a sociopolitical device);
it’s hard to imagine more beautiful or tender
treatments of Shakespeare’s 147th and 75th
sonnets or Goethe’s “Ganymede.” Bostridge’s
classical delivery can be a bit much, but it
sounds both correct and heavenly on William
Butler Yeats’ “Sailing To Byzantium.” e.e.
cummings’ “the boys i mean are not refined”
is a full-on rocker, a startling but apropos
turn. Mehldau’s pristine touch and lush har-
monies are on display throughout.
Yet it’s hard to overlook the thickets en
route to these treasures. Mehldau’s settings for
Yeats’ “Leda And The Swan” and W.H. Auden’s
Brad Mehldau & “Ganymede II” are thorny and forbidding. Various Artists
Ian Bostridge Bertolt Brecth’s German-language “Über Die Late Night Basie
The Folly of Desire Verführung von Engeln” is evenmore so, since PRIMARY WAVE
PENTATONE the Brecth estate wouldn’t authorize an English HHHH
HH1/2 translation. And while Bostridge reins in his
operatic style a bit on the standards, it can’t help Laced with rap verses, funky bass lines and
Brad Mehldau refers to The Folly Of Desire as but sound pretentious on “In The Wee Small even African djembe, Late Night Basie is a
“an inquiry into the limits of sexual free- Hours Of The Morning” and “Night And Day.” genre-fusing, contemporary revisioning of
dom in a post-#MeToo political age.” Heavy —Michael J. West Count Basie’s musical legacy. The seven-song
stuff; heavier still when it’s expressed through record features a mixture of Basie’s songs
The Folly Of Desire: The Sick Rose; Leda And The Swan; Sonnet
Shakespeare, Blake and Goethe poems. The 147; Sonnet 75; Über die Verführung von Engeln; Ganymede I; Gan- performed by modern, genre-diverse talent
mostly through-composed settings for piano ymede II; the boys i mean are not refined; Sailing To Byzantium;
Night II; Lullaby; These Foolish Things; In The Wee Small Hours Of
including Terence Blanchard, Jazzmeia Horn,
(Mehldau) and operatic male voice (English The Morning; Every Time We Say Goodbye; Nacht und Träume; Cimafunk and others.
Night And Day. (67:58)
tenor Ian Bostridge) aren’t easier to digest. Personnel: Brad Mehldau, piano; Ian Bostridge, vocal. Though the Count Basie Orchestra does
There are rewards for toughing it out. The Ordering info: bradmehldaumusic.com appear on three of the seven tracks, this record
is more a compilation of artists performing in
tribute to Basie. Still, they offer innovative and
informed takes on Basie’s repertoire.
Marty Isenberg Off the jump, “Didn’t You” features the
The Way I Feel Inside: nimble verses of rapper Talib Kweli and Boston-
Inspired By The films bred funk band Lettuce, who add in a groov-
Of Wes Anderson ing foundation and slow the soli-style sax mel-
TRUTH REVOLUTION ody. Likewise, Cuban rockstar Cimafunk and
HHHH1/2 African percussionist Weedie Braimah collab-
orate with New Orleans brass band The Soul
Movies are things you listen to as much as you Rebels for a spicy version of “St. Thomas,” while
watch. Not just the dialogue (which is pretty Basie’s iconic “Blue And Sentimental” gets a
important), but the whole sound design and, country treatment with electric guitar and
crucially, the music. Bassist Marty Isenberg is vocals from Americana singer Larkin Poe.
a big fan of director Wes Anderson’s mixtape The record also has classic swing band
cinematography and The Way I Feel Inside is his moments, particularly on “M-Squad,” “Jumpin’
own movie collage, aiming at and heartbreak- At The Woodside” and “One O’Clock Jump,” all
ingly achieving the same poignancy of loneli- performed by the Count Basie Orchestra with
ness, wonder, alienation that Anderson evokes. original mood and emotion. guest artists. Featuring trumpeter-composer
The title song is a perfect illustration. The Musically, it’s a cleverly devised ensemble, Blanchard, “M-Squad” is a ripper with thrill-
original Zombies number is a virtually unac- each arrangement pitch perfect. “Imaginary ing brass and sparse, Basie-style piano fills. In
companied vocal, turned here into a delicate soundtracks” and “movies for your ears” are this way, Late Night Basie strikes a good balance
orchestral piece and sung with perfect weight also somewhat clichéd, but Isenberg has gone with ample nods to the tradition and inspired
and a devastating key change by Sami Stevens. way beyond that. This is a movie. new applications of the big band style.
Sometimes, the renditions are fairly liter- —Brian Morton —Alexa Peters
al, like David Bowie’s “Life On Mars?,” which
Anderson also used, sung in Portuguese, in The Way I Feel Inside: Stephanie Says; The Way I Feel Inside;
Life On Mars?; Needle In The Hay; Rebel Rebel; So Long; Cello Song; Late Night Basie: Didn’t You; One O’Clock Jump; Blue And
The Life Aquatic With Steve Zissou, but with the These Days. (55.35) Sentimental; M-Squad; Jumpin’ At The Woodside; St. Thomas; One
Personnel: Pablo Masis, Gil Defay, trumpet; Ric Beeker, trombone; O’Clock Jump (bonus track). (23:32).
melody delivered by Ric Becker and Nir Felder. Kyra Sims, French horn; Rich Perry, saxophone; Sean Nowell, Personnel: Lettuce (1), Talib Kweli (1), Jazzmeia Horn (2), Cimafunk
(6), vocals; Count Basie Orchestra (2, 4, 5); Ray Angry, keyboards
But who could tell what was coming after the saxophone, flute; Jay Rattman, clarinet; Marta Sanchez, piano;
Dallas Heaton, harpsichord; Sasha Berliner, vibraphone; Nir Felder, (2, 5); Larkin Poe (3), Will Lee (3), bass; Shawn Pelton, drums (3);
percussion intro to “Cello Song”? Nick Drake is Alicyn Yaffee, guitar; Nate Ostermiller, mandolin; Trevor New, violin; Terence Blanchard (4), Nicholas Payton (6), trumpet; Jimmy Vivino,
Marty Isenberg, bass; Rodrigo Recabarren, drums; Dennis Bulhoes, guitar (5); The Soul Rebels (6), Weedie Braimah, djembe (6); Danny
an Anderson favourite, and both Anderson and percussion; Sami Stevens, Ramsay Rawson, vocals. Jonkuchi & The Revisionists (7).
Isenberg know how to retain and ramp up the Ordering info: trrstore.bandcamp.com Ordering info: lnk.to/latenitebasie

Daniel Casares
From A Cabin In The Woods
HOUT
HH1/2
A first listen to Spanish musician Daniel Casares’ debut full-length
album From A Cabin In The Woods can be befuddling and a bit abrasive,
given its excess of aimlessly noodling solos (on distorted guitar, EWI and
synth), sketchy song structures and raw-edged instrumental technique.
On second listen, some sense of an ulterior aesthetic logic or ruffian
patina lines the experience. At times, the album — with the DIY-driven
Casares multitracking guitars, drums, synths, bass, EWI, alto saxophone
and doing the mixing/mastering duties — comes across with a punkish
brutalism in its favor. The 12-track album can suggest a nerdy jazz/prog
rocking variation on what The Shaggs might concoct, unbeholden to the
usual standards of musical conduct and polish.
There may be an element of cabin fever involved in From A Cabin In
The Woods, built up and laid down in his studio in the country without
the give-and-take of other musicians and collaborative/curatorial voices
in the mix. But, in a sense, that singularity and insularity is part of what
creates the gruff charm of Casares’ end result. This music abides by its
own rules of order and disorder.
The tunes themselves do come in varying shapes, vibes and sizes.
“Alien Hang,” as the name might suggest, banks on a post-synth-rock
bluster, while “Porto” wears jazz harmonies more on the sleeve, with
vibraphone tones in tow. “Someday” simmers like lounge music from
another planet. Along the way, Casares pays homage to some of his
admitted influences, including Madlib’s Yesterday’s New Quartet (“One
For The YNQ”), the self-described “Schlager trash pop band” Captain
Janeway (“Janeway”) and, somewhat surprisingly, Lennie Tristano-
mentored saxophone legend Warne Marsh (the shadily swinging
“Warne”).
On third listen, the Cabin spirit can even sound warm and fuzzy,
when met on the music’s own scrappy, subversive terms.
—Josef Woodard
From A Cabin In The Woods: Traveler; Sun Radio; Commander; Alien Hang; The Cabin; Someday;
Forest Blues; One For The YNQ; Porto; Janeway; Warne; Bright Light. (45:30)
Personnel: Daniel Casares, guitar, electric bass, synthesizer, keyboard, EWI, alto saxophone, drums,
percussion, mixing, production, mastering.
Ordering info: houtrecords.com

complexities and form of the composition, per-
haps most evident in “Skipping Stones.” In her
brief introduction to the following tune, “In
Barbara’s Mist,” Goodman allows the theme to
take us to the depths of what feels like a void
— indeed, the whole record evokes the myster-
ies of vast expanse that is open water — before
complementing it with a rhythmic return.
A Berklee graduate, Goodman has spent
the better part of a decade in the country
music mecca of Nashville. Built around ele-
ments of the jazz scene there, Secrets Of The
Shore is a follow-up to 2018’s Myriad Of
Flowers. On this outing, Goodman’s compo-
Sofia Goodman Group sitions point to textures and feelings that can
Secrets Of The Shore sometimes feel light, sometimes mysterious
JOYOUS and sometimes prescient. It is at times unpre- Anthony Wilson
HHHH dictable, which works. Collodion
In life, we never know when a great shift is COLORFIELD
This record begins with a dreamy soundscape, coming. These are sounds that honor the trans-
before launching into nearly an hour-long
HHH1/2
formative possibilities inherent in the essential
jaunt through space as mesmerizing as it is elements that surround and sustain us. For the son of big band leader Gerald Wilson,
compositionally rich. Led by drummer Sofia —Joshua Myers who not only played in that swinging aggre-
Goodman, the band is never dominated by gation but toured and recorded with Bobby
her. Her rhythmic presence is just enough Hutcherson, Al Jarreau, Diana Krall, Terri
Secrets Of The Shore: Siren Song; Skipping Stones; In Barbara’s
to build something cohesive and lush. Those Mist; Buried Treasures; Shadows On The Sand; Alberto’s Dream- Lyne Carrington and Charles Lloyd — and also
looking to categorize this sound would find land; Coast to Coast; Sea Legs; Stowaways; Angel. (53:33) headed up a superb four-guitar summit meet-
Personnel: Sofia Goodman, drums; Matt White, trumpet; Roy
that the word “fusion” applies. Agee, trombone, Joel Frahm, Dan Hitchcock, saxophones; Max ing on 2011’s Seasons — this is a hard left turn.
Dvorin, clarinet; Alex Murphy, keyboards; Rheal Janelle, guitar;
Each of Goodman’s comrades deploys Leland Nelson, bass; Carlos Duran, percussion. Combining aspects of Brian Eno’s ambient/
improvisational approaches that mirror the Ordering info: thesofiagoodmangroup.bandcamp.com electronic music and chance music theory with
a touch of Philip Glass minimalism and his
own sense of curiosity and intuition, Wilson
has crafted an experimental studio recording
that is unlike anything he has done before.
Peter Epstein Credit engineer-producer and Colorfield
Two Legs Bad label owner Pete Min of Lucy’s Meat Market
SHIFTING PARADIGM recording studio in Los Angeles with provid-
HHH ing the playing field for Wilson to unleash his
imagination, as per the label’s mission state-
Two Legs Bad is saxophonist Peter Epstein’s first ment: “Colorfield artists are encouraged to
album in nine years. Why the hiatus? One compose in the studio, often playing instru-
might suppose that his responsibilities as the ments that they’re not accustomed to and rely-
director of jazz studies at the University of ing as heavily on sound as on musicianship
Nevada–Reno have imposed strong demands and composition. The process is designed to
upon his time, and one might construe from emphasize getting outside of comfort zones in
the fact that his return draws its title from order to increase spontaneity and exploration.”
George Orwell’s Animal Farm that the turbu- And so, we hear Wilson playing acoustic
lence of recent times impelled him to make a piano, gamelan strips, kalimba and vari-
new artistic statement. ous electric keyboards amid the dreamlike
Surveying the titles for clues, one supposes complement each other. On “Conjunction,” swirl of sound on atmospheric tunes like “Star
that Epstein’s newest music is informed by the opening track, the song-like initial state- Maiden.” And while he does play snippets of
contemplation of prior experiences. “B320” ment contrasts uneasily with the distorted guitar on “Planet Guide,” the sparsely haunt-
is named for a rehearsal room at California guitar and muscular tenor solos that follow. ing dirge “Keeping,” the harmonically engag-
Institute of the Arts, and “Bass Case” referenc- And while the title track aspires to represent ing “Heart Whispering” and the tribal trance
es his mentor there, Charlie Haden. But his cur- human dualities, its continually escalating number “Dream Oracle,” it’s not enough to sat-
rent compositional practice, which is more pre- displays of intensity and complexity seem to isfy guitar aficionados. But fans of Steve Roach
scriptive and structured than before, represents come down hard on the side of flexing muscle. will eat this stuff up. —Bill Milkowski
a break from his past. While the intricacies of Is that really what Epstein wanted to convey?
the record’s eight compositions are effective- —Bill Meyer Collodion: Star Maiden; Planetary Glide; Keeping; Arrival At
Kanazawa; Divine One; Far Growing Nearer; Dream Oracle; Heart
ly realized, just what they’re communicating is Whispering; The Daughters Of Night; Collodion; Muse Of Joy. (34:23)
Two Legs Bad: Conjunction; B320; Never Odd Or Even; Pre-
harder to sort out. science; Tepper; Two Legs Bad; Bass Case; Pajaro Dunes. (66.14)
Personnel: Anthony Wilson, guitars, piano, keyboards, bass,
drums, percussion, kalimba; Anna Butterss, bass (7, 9); Mark
Some tracks, like the brooding, turbulent Personnel: Peter Epstein, saxophones; Julien Knowles, trumpet; Guiliana, drums (4, 9); Rob Moose, strings (10); Julien Knowles,
Adam Benjamin, piano, Rhodes; Dave Strawn, guitar; Zack Teran, trumpet (4, 11); Jonah Levine, trombone (4); Daniel Rotem, tenor
“Prescience,” project a cohesive mood. But bass; Miguel Jimene-Cruz, drums. saxophone (1, 4, 7).
others send conflicting signals that fail to Ordering info: shiftingparadigmrecords.bandcamp.com Ordering info: colorfieldrecords.com

Sam Eastmond
The Bagatelles Vol. 16
TZADIK
HHHH
John Zorn’s 300 three-line compositions, written in 2015 as launching
pads for interpretation and improvisation, have been explored since 2021
through works initially released in limited edition CD boxed sets by four
artists or groups taking their own approaches. Sam Eastmond, a London-
based trumpeter and Zorn devotee, doesn’t blow here, but expands upon
the New York downtowner’s original, atonal melodies directing a highly
disciplined, aggressively adventurous big band.
He’s arranged for a hand-picked powerhouse of a 12-tet, which
embodies Zorn’s quick-change, magpie-referential, no-holds-barred
sensibility in complex, quick-shifting soundscapes. The horns have
a hard gleam, harmonize richly, make their gritty, fiery statements
in and across the charts’ broken linear narratives. Pianist Chalk and
guitarist Freed add depths, and sometimes rise from layers of sound;
Pennington’s a kick-ass drummer, Quill an apt bassist. There are so
many personal touches, thematic twists, inventive juxtapositions and
testing of the limits of musical coherence that Zorn’s writing is beside
the point: This performance is the thing. Which need not detract from
a listener’s pleasure.
Eastmond’s troupe generates a density of incident and scale of events
reflecting hardcore city life, the varied experiences and rhythmic paces
of heterogenous populations. A track may start as a bold tutti, morph
as quickly as turning a street corner into relentless pounded drums,
a moment of swing, out-bound guitar shots or a sweep of piano keys.
Slamming James Bond-like spy riffs in #198 back a raging solo that
ignites collective chaos. The surprises this freewheeling music delivers
defy minute description and are perhaps inexhaustible; innumerable lis-
tenings register only a fraction of everything happening. It’s packaged
with Bagatelles programs by Peter Evans, Ben Goldberg and the Chris
Speed & Jon Irabagon Quartet. —Howard Mandel
The Bagatelles, Vol. 16: Bagatelle #256; Batagelle #78; Bagatelle #143; Bagatelle #63; Bagatelle #2;
Bagatelle #198; Bagatelle #74; Bagatelle #101. (72:35)
Personnel: Sam Eastmond, arranger, conductor; John Zorn, composer; Chris Williams, alto saxo-
phone; Asha Parkinson, Emma Rawicz, tenor saxophones; Mick Foster, baritone saxophone; Noel
Langley, Charlotte Keeffe, trumpets, flugelhorns; Joel Knee, trombone; Tom Briers, tuba; Moss Freed,
guitar; Olly Chalk, piano; Fergus Quill, bass; Alasdair Pennington, drums.
Ordering info: tzadik.com

Historical / BY EUGENE HOLLEY JR.
John Coltrane and Eric Dolphy
COURTESY OF IMPULSE!
Donaldson, and released a number of recordings
as a leader. This 1971 release, Black Rhythm
Revolution! (Jazz Dispensary; HHH 35:41)
features the rarely recognized funkier side of
the jazz-fusion genre. Backed by guitarist Melvin
Sparks, Harold Mabern on keyboards, bassist
Newly Unearthed Gems

Jimmy Lewis, saxophonist Clarence Thomas and
trumpeter Virgil Jones, Muhammad and com-
pany get down on the funky soul hit “Express
The newly discovered and rediscovered jazz Atkinson and guitarist Rudy Stevenson, Yourself,” Jack McDuff’s “Soulful Drums,” James
recordings in this review include two scientists Simone’s jazz-tinged, classically trained pi- Brown’s “Super Bad” and Muhammad’s Afrocen-
of sound at the height of their powers, a diva’s anism and vocals deliver standards like the tric selection “By The Red Sea.”
soulful sound and fury against racism, an or- title track, “I Loves You Porgy,” Abbey Lin- Ordering info: jazzdispensary.com/store
ganist’s swinging soul-jazz and a potpourri coln’s “Blues For Mama” and “Be My Hus- The Houston-born organist Leon Spencer
of drummers and their infinite varieties of band” in the riveting and regal fashion we rounds out the Prestige-produced, ‘70s soul-
rhythms. The canon continues. expect. Not so with “Mississippi Goddam.” jazz recordings with Where I’m Coming From
Discovered in the New York Public Library, On this swinging version, Simone shouts (Jazz Dispensary; HHH 33:46). Released
the 1961 live gig Evenings At The Village and shrieks with appropriate anger at the in 1973, Spencer leads a band with lots of jazz
Gate: John Coltrane With Eric Dolphy civil unrest in the nation’s ghettos. greats including trumpeter Jon Faddis, flutist
(Impulse!; HHHHH 80:03) finds John Ordering info: shop.ninasimone.com Hubert Laws, Melvin Sparks and Joe Beck on
Coltrane backed by pianist McCoy Tyner, In 1974, drummer, composer and band- guitar and bassist George Duvivier. Though not
drummer Elvin Jones and bassists Art Da- leader Jack DeJohnette wrote “The Rev- as well known as his keyboard contemporaries,
vis and Reggie Workman. Trane’s “sheets of erend King Suite,” a three-part composition Spencer does indeed burn on his takes on Stevie
sound” improvisations on soprano and tenor that featured Eastern-tinged, psychedelic, Wonder’s “Superstition,” Curtis Mayfield’s “Give
aurally illuminate the venue, augmented by dirge-like motifs, echoplexed horns and free- Me Your Love,” The Four Tops’ “Keeper Of The
Eric Dolphy’s labyrinth of lines from his acid jazz drumming. The King composition is from Castle” and an edgy, percussive arrangement of
alto, florid flute and bone-deep bass clarinet DeJohnette’s Sorcery (Jazz Dispensary; Marvin Gaye’s “Trouble Man.”
he provided for Charles Mingus, Andrew Hill HHH 41:19), originally released on Prestige. Ordering info: jazzdispensary.com/store
and George Russell. Buoyed by Jones’ pro- DeJohnette, a member of the Charles Lloyd Boston-area phenom Terri Lyne Car-
pulsive polyrhythms, Tyner’s powerful chords Quartet in the ‘60s, goes for a more Miles rington was just 16 years old when she released
and finger-busting fills, and solid bass work Davis, Bitches Brew-oriented sound on this her debut LP, TLC And Friends (Candid; HHHH
by and Workman and Davis, Coltrane and record. With guitarist Mick Goodrick, bass- 37:36), in 1981. A no-nonsense, straightahead
Dolphy’s long, engaged explorations of “My ist Dave Holland and saxophonist Bennie blowing session with saxophonist George Cole-
Favorite Things,” Benny Carter’s evergreen Maupin, DeJohnette — who also played key- man, bassist Buster Williams and pianist Kenny
ballad “When Lights Are Low,” “Greensleeves,” boards and C-melody saxophone — for the Barron, it contains a diverse selection of compo-
“Impressions” and “Africa” highlight two musi- most part stays in the electric Miles lane on sitions including Billy Joel’s “Just The Way You
cians at the zenith of their art. the rest of the selections, including “Sorcery Are,” “What Is This Thing Called Love,” Miles Da-
Ordering info: impulserecords.com #1,” “The Right Time,” “The Rock Thing,” “Four vis’ “Seven Steps To Heaven” and Sonny Rollins’
Nina Simone wrote “Mississippi God- Levels Of Joy” and “Epilog.” “Sonnymoon For Two,” with Carrington’s father
dam” in protest of the murder of Civil Ordering info: jazzdispensary.com/store (also named Sonny) on tenor saxophone. This re-
Rights leader Medgar Evers; it is the cen- Idris Muhammad was one of the late cord does not sound dated. The drumming that
terpiece of this unearthed 1966 Newport pianist Ahmad Jamal’s specially picked New we hear today in Carrington’s music is already
Jazz Festival performance on You’ve Got Orleans drummers. He’s worked with many firmly established on this hard-swinging record-
To Learn (Verve; HHHH 32:56). Backed other jazz stars, from Grover Washington Jr. ing from early in her career. DB
by drummer Bobby Hamilton, bassist Lisle and Bob James to Pharoah Sanders and Lou Ordering info: candidrecords.com

Blue Cranes
My Only Secret
JEALOUS BUTCHER/BEACON SOUND
HHHH1/2
This is not your standard blowing session.
Hailing from Portland, Blue Cranes owe as
much to noir, orchestral rock as to jazz. The
music on My Only Secret, the quintet’s lat-
est release, has the feel of grand ideas, com-
posed with crafty soloing in and around and
through — as in through-composed — on
this eight-track set.
Take, for example, the opening track,
“Sloan.” Keyboardist Rebecca Sanborn, bass-
ist Jon Shaw and drummer Ji Tanzer lay
aja monet down a compelling groove for saxophonists well-placed synth plinks that give that “are
when the poems do Reed Wallsmith (alto) and Joe Cunningham
(tenor) to explore the melody with terrif-
you out there?” sense of communicating with
space. Cunningham floats long, beautiful
what they do ic unison lines before flying off in counter- tenor tones with plenty of reverb in response,
DRINK SUM WTR
point. Tanzer’s drum solo serves the song letting that sound fill the space with just a
HHHHH with fire, rather than simply demonstrating few notes. When Wallsmith’s alto replies, the
aja monet, well known on the literary scene, was chops. That’s the case for all the musicians on conversation becomes lush, beautiful, wail-
the winner of the Nuyorican Poets Cafe Grand this recording. ing, then regal as Tanzer drums frenetically
Slam Poetry Award in 2007. She has published It’s truly an ensemble record. At its most and Shaw delivers some soulful arco.
four books of poetry, including The Black ambitious, perhaps, are the album’s third These musicians have been working
Unicorn Sings and Inner-City Chants and Cyborg and fourth tunes, “Forward” and “Gaviota,” together since 2004, and it shows. This is the
Ciphers, and often performs accompanied by where Blue Cranes bring in extra firepower kind of togetherness that can only be devel-
her musician friends. On this, her debut album, on flute, clarinet and trombone. The results oped over time by thoughtful, caring artists.
she’s backed by an impressive roster that includes are fantastic, with rich arrangements that It’s great that My Only Secret no longer is one:
trumpet player Chief Xian aTunde Adjuah, alternately highlight the saxophones and This is a terrific recording by a wonderfully
drummer Marcus Gilmore, bass player Luques the beautiful flutework of John McCabe. talented group. —Frank Alkyer
Curtis and pianist Samora Pinderhughes. Tanzer’s drum work consistently stands out
My Only Secret: Sloan; Semicircle; Forward; Gaviota; Rhododen-
monet’s versatility is impressive. Her use of with interesting rhythm patterns, fills and dron; Sandbox; A Night In Montavilla; Lonely Coyote. (40:12)
internal rhymes and rhythms, historical ref- showmanship. Personnel: Reed Wallsmith, alto saxophone, keyboards, percus-
sion; Joe Cunningham, tenor saxophone, keyboards, percussion;
erences and personal insight makes every The best example of the group’s ensemble Rebecca Sanborn, keyboards; Jon Shaw, bass; Ji Tanzer, drums;
James Powers, trombone (3, 4); John Savage, flute (3, 4); Nicole
poem shine. “i am” is a powerful introduc- nature might be the lovely, longing closer, McCabe, clarinet (3); Timothy Young, guitar (5).
tion. Accompanied by djembe player Weedie “Lonely Coyote.” It begins quietly, just some Ordering info: beaconsound.bandcamp.com
Braimah, she pays homage to the history that
shaped her vision and the artists she admires,
from Billie Holiday to Bob Marley and La Lupe.
Pinderhughes plays subtle piano chords as
Gilmore’s drumming merges Latin, African,
hip-hop and jazz rhythms on “black joy.”
monet describes joyful moments, summing
it all up with her closing words, “True joy has
always been, and will always be, justice.” monet
celebrates the place of poetry in the movement
for social change in “for Sonia,” a nod to poet
Sonia Sanchez, one of monet’s inspirations.
“Who’s got time for poems, when the world’s
on fire?” monet asks, answering the question
herself, with a list of international tragedies
that can be highlighted and partially healed by
poetry, art and the free expression of grief.
—j. poet
when the poems do what they do: i am; why my love?; black
joy; unhurt; weathering; the perfect storm; the devil you know;
what makes you feel loved?; for Sonia; yemaya; castaway; give
thanks; for the kids who live. (83:06)
Personnel: aja monet, vocals; Weedie Braimah, percussion;
Marcus Gilmore, drums; Chief Xian aTunde Adjuah, trumpet, Chief
Adjuah’s bow; Luques Curtis, bass; Elena Pinderhughes, flute;
Samora Pinderhughes, piano; Eryn Kane, Annabelle Freedman,
Lonnie Holley, Jadele McPhearson, Assata Shakur, vocals.
Ordering info: drinksumwtr.com

European / BY PETER MARGASAK
The Continental Drift

Even at age 79, British reedist Evan Parker
COURTESY OF EVAN PARKER

continues to embrace new tools to enrich
and provoke fresh strains of improvisational
thinking. He’s maintained several ensem-
bles that process spontaneous sounds with
analog and digital means, including Trance
Map+, his nimble duo with electronics maven
and turntablist Matt Wright. On Etching
The Ether (Intakt; HHHH 49:35) the pair
are joined by trumpeter Peter Evans for three
extended improvisational pieces, with the Sandra Booker &
horn players leaping in and out of Wright’s
gurgling, fractal hall-of-mirrors manipula-
The New Trio
tions. On its own the trio delivers thrilling, The Reunion Concert
quicksilver interactions that spin, splat and BOOKER GROUP
slide forward, each high-velocity sally de- HHHH
manding full concentration, with Evans and
Parker responding to Wright’s machinations Evan Parker and Matt Wright Despite the “New Trio” of the credits, Sandra
as he spins sparkling, motion-smeared trans- “The Space Dance Experiment,” soaring ever Booker is joined by four accompanists on this
formations of their lines. Parker and Wright higher into the alto saxophone’s upper regis- 2015 live date from Pasadena Conservatory of
then invited percussionist Mark Nauseef to ter, with the tightly coiled tripled-up rhythm Music Barrett Hall. Guitarist Steve Cotter is
add sounds in postproduction. His highly me- section injecting ever more propulsion. This non-trio member whose work with Booker was
tallic contributions fit masterfully. If the listen- piano-free big band complements three a beloved staple of L.A. jazz in the 1990s, hence
er didn’t know better, it would seem he was bassist-drummer pairs with 11 horn players, the “reunion” billing. But let’s not let numbers
part of the initial session. but Nilssen carves out space within the good or nomenclature distract us from a joyful and
Ordering info: intaktrec.ch time maelstrom, generally opting for only one
beguiling set of vocal jazz.
The British quartet of saxophonist John of the rhythm teams at any given time. The
Accomplished in multiple arenas (she’s also
Butcher, pianist Pat Thomas, bassist Domi- album title’s sentiment is genuine, a quality
nic Lash and drummer Steve Noble serves that definitely comes through on this spirited a songwriter, journalist, playwright and
up a more familiar strain of collective impro- performance, recorded live at the Hague in actress), Booker could nonetheless stand on
visation on Fathom (577; HHHH 38:00), the Netherlands in the fall of 2022. her vocal chops alone. She steers adeptly from
but even if the method is more conventional Ordering info: wejazzrecords.bandcamp.com tender ballads (“In A Sentimental Mood”)
the results are hardly commonplace. The Swedish bassist Vilhelm Bromander to down-and-dirty blues (“Black Coffee”) to
multi-generational ensemble deftly toys has been an increasingly important and high-octane scat swingers (“The Song Is You”).
with density and gesture, and this 2021 per- versatile part of Stockholm’s creative music Booker’s instrument is robust, precise and as
formance from London’s Café Oto finds the scene for years, and his various interests and flexible as nylon. It’s the precision that makes
quartet proceeding as one even as the four abilities coalesce with staggering power on In
the deepest impression: Booker makes some
individuals push and prod, with little solois- This Forever Unfolding Moment (Than-
unusual note choices in her energetic interpre-
tic outgrowths emerging and receding along atosis Productions; 33:24 HHHHH). It’s
the way. Butcher toggles between elliptic, a large-ensemble endeavor with a brilliant tations of “It Could Happen To You” and “But
full-bodied phrases obliquely rooted in post- Scandinavian cast. The three-movement suite Not For Me,” choices that could easily have
bop and more abstract utterances, especially opens with a haunting alap sung by dhrupad derailed the songs if missed. But damned if she
on the second track where the piece opens master Marianne Svašek. Too often when In- doesn’t nail it every time.
with heady saxophone sibilance echoed by dian classical tradition mixes with post-bop Not being a part of the trio per se, Cotter
Lash’s low-end groans, which sound as much it feels like window dressing, but the singer sits out three songs. It’s a shame, because his
like some primordial animal as a musical in- actually implants the work’s central melodic presence enriches the tunes. On Booker’s
strument, while Thomas reaches inside of theme. When the group begins to join in on “What Made God,” it’s he who establishes, and
the piano to alter the timbre of his probing the title composition they meticulously build
leads, pianist Tamir Handelman, bassist Dave
chords and brittle phrases and Noble turns his and flesh out the skeletal melody, transform-
Robair and drummer Robert Perkins through
drum kit into a texture machine. There is an ing the singer’s subtle swoops and cries with
unmissable rapport on display, elevating the almost symphonic power. a sweetly subtle framework for the singer’s cos-
music into something special. Bromander is at home in several worlds mic inquiry.
Ordering info: 577records.bandcamp.com beyond jazz and improvised music, and his Subtlety, by the way, is the one quality in
On the second album from Gard Nils- investment in transformative sounds runs short supply on Booker’s performances here.
sen’s Supersonic Orchestra, the Norwegian deep. One can sense the influence of Charlie All things considered, however, that’s a nitpick.
drummer oversees a wildly celebratory vibe Haden’s Liberation Music Orchestra, which —Michael J. West
from a veritable Scandinavian all-star band. explored a similar kind of freedom and fight
The Reunion Concert (Live From Pasadena Conservatory
Much of the music on Family (We Jazz; through the medium of sound. Bromander Of Music Barrett Hall): Over And Over Again; In A Sentimental
HHHH 66:49) has been road-tested by convincingly serves notice here — ignore Mood; My Ship; Black Coffee; It Could Happen To You; What Made
God?; But Not For Me; Eddie; The Song Is You. (44:39)
some of his smaller combosMette Rasmussen these sounds at your own peril.DB Personnel: Sandra Booker, vocals; Tamir Handelman, piano;
is a whirling dervish on the frenzied opener Ordering info: thanatosis.org Steve Cotter, guitar; Dave Robair, bass; Robert Perkins, drums.
Ordering info: sandrabooker.com

er of Quartet San Francisco. On “Powerhouse,”
the opening track, it’s hard not to be transport-
ed back to the mid and late 1940s and experi-
ence Scott’s lively tunes perfectly synchronized
with the animation.
Sal Lozano’s alto on “Cutey And The
Dragon” and his soprano on “Yesterday’s Ice
Cubes” are standouts, and in a singular fashion,
he personifies the brilliant rhapsodic quality of
Gordon Goodwin’s Big Phat Band. Goodwin’s
piano shines on “Huckleberry Duck,” where he
establishes a delicate rosary of melody and sound
against the strings of Quartet San Francisco.
Interwoven through the engaging melange
of tunes are brief commentaries from Scott,
most notably when in a segment entitled
Quartet San Francisco/ “Quintessentially American,” he draws a cate-
Gordon Goodwin’s Big gorical distinction from any other hyphenated
Phat Band/Take 6 music. Perhaps the loveliest piece is “Serenade,”
Raymond Scott Reimagined which provides Take 6 an opportunity to lend
its collective voice to Scott’s closing track: some-
VIOLINJAZZ
thing almost akin to saying, “That’s all, folks!”
HHH1/2 —Herb Boyd
Cartoon buffs who paid close attention to the
Raymond Scott Reimagined: Powerhouse; On The Creative
credits of Merrie Melodies and Looney Tunes Process; Toy Trumpet; In An 18th Century Drawing Room; Cutey
— Bugs Bunny et al. — invariably noticed And The Dragon; Huckleberry Duck; I Remember Nothing Of
That; The Quintette Goes To A Dance; Yesterday’s Ice Cubes;
that the music was composed by Raymond Quintessentially American; Twilight Turkey; I’m An Experimentalist;
Serenade. (45:17)
Scott (1908–’94). Many of those tunes occur Personnel: Quartet San Francisco, strings (1 ,3, 4, 6, 7, 9, 10, 12, 14);
on Raymond Scott Reimagined, in the capa- Gordon Goodwin’s Big Phat Band (1, 6, 9, 10, 12); Take 6, vocals (4,
14); Bret McDonald, piccolo, clarinet (2, 11); Raymond Scott, spoken
ble hands of Gordon Goodwin and violinist word (2, 5, 8, 11, 13).
Jeremy Cohen, executive producer and found- Ordering info: violinjazz.com
Bill O’Connell
Live in Montauk
SAVANT
HHH1/2
For his ninth Savant album, pianist Bill
O’Connell delivers an exuberant live set from
the 2021 Hamptons Jazz Festival recorded in the
pianist’s adopted hometown of Montauk, Long
Island. Past collaborators Craig Handy and, on
two tracks, Randy Brecker provide horn power
over rhythmic dynamos Santi Debriano (bass)
and Billy Hart (drums) for a bristling ensem-
ble sound. O’Connell, whose resume includes
conguero Mongo Santamaria, gives a vigor-
ous Latin spin to hard bop tunes and standards
audacious keyboard command. Debriano’s
and also contributes his own excellent compo-
“Ripty Boom” eases from Latin to 4/4 swing,
sitions. Though his solos can get a bit chunky,
ending with a lively bass-piano conversation.
he improvises with refreshing abandon.
By contrast, the band’s cross-patch of Latin and
Brecker bookends the album, starting with
swing on Bobby Timmons’ “Moanin’” does
a Latin take on “Do Nothing Till You Hear
not cohere well. Throughout, Hart buoys and
From Me,” and ending with the barn-burn-
embellishes the ensemble with great finesse for
ing “Tip Toes,” which skips along like a stone
an album that, overall, projects joy and delight.
over water, à la Monk’s “Evidence.” O’Connell’s
—Paul de Barros
original ballad “No Rhyme Or Reason” features
a warm and rippling piano solo and a soulful Live In Montauk: Do Nothing Till You Hear From Me; Sparks;
Moanin’; No Rhyme or Reason; One Finger Snap; Ripty Boom; Tip
outing by Handy, whose pleasingly piping mid- Toes (59:14)
dle-register tone skitters up to a Charles Lloyd- Personnel: Bill O’Connell, piano; Craig Handy, tenor saxophone;
Santi Debriano, bass; Billy Hart, drums; Randy Brecker, trumpet
like whisper. Herbie Hancock’s seldom-played (1, 7).
“One Finger Snap” highlights O’Connell’s Ordering info: jazzdepot.com

Latin / BY CATALINA MARIA JOHNSON
Rhythmic
FRANK SIEMER
Currents
Timba a la Americana (Blue Note; HHHH
41:51) is Cuban pianist and composer Harold
López-Nussa’s Blue Note debut and 10th al-
bum as a leader. The accomplished winner of
the 2005 Montreux Jazz Piano Competition
shares 10 tunes shaped by his recent decision
to leave his homeland for France. Produced
by Michael League, the album highlights the Kyle Eastwood
talents of harmonica virtuoso Grégoire Ma- Eastwood Symphonic
ret, bassist Luques Curtis, conguero Bárbaro DISCOGRAPH
“Machito” Crespo and drummer/López-Nus- HHH
sa’s brother Ruy Adrián. Elements from the
danzón (Cuba’s national dance and genre), A man’s got to make a living, and bassist Kyle
ancient bata drum rhythms tasked with divine Eastwood has forged his own career inde-
communication and the ebullient mambo all pendent from his famous dad, but the two
make their appearance in tunes that despite are nonetheless frequent collaborators. Their
their complexity, prove to be irresistibly dance- bond familial is unequivocal in this orches-
able. tral jazz album derived from the films of Clint
Ordering info: bluenote.com
Eastwood that, for the actor who played Dirty
Cartas ao Vento (Taina Music;
Harry, was sure to go ahead and make his day.
HHHH 47:35) is Bay-Area-based, Rio-
born vocalist, pianist, percussionist and
Kyle Eastwood’s working quintet joins forc-
composer Claudia Villela’s first recording es with the Czech National Symphony
made in her homeland and the seventh in a Harold López-Nussa
Orchestra, and for a few dollars more he enlist-
three-decade career. Cartas features guest ed Grammy-winning composer Gast Waltzing
appearances by a variety of renowned dictable, fascinating ways. The Quinteto to arrange and conduct the 12 selections. The
Brazilian musicians. The rhythmic currents he employs on Telmo’s Tune (Sunnyside; result is not flawless, but it’s assuredly more
are propelled by Villela’s delicate vocals HHHH 44:49) are able to express Klein’s good than bad, or ugly. Highlights include the
and piano chords and shimmy along to musical vision with flair and understand- main themes from Gran Torino, Eiger Sanction
the delicate, understated cadence of her ing. The title track, named for Klein’s son, and Letters From Iwo Jima, where the melodies
pandeiro. Besides the inherent musical po- is a lyrical composition with a narrative arc
translate seamlessly to jazz and the orchestra
etry in her compositions, three of Canto’s that shifts between minor and major tones.“
beautiful pieces frame the words of great Si Vos Me Queres” features luminous, mea-
layers a vibrant tapestry of color underfoot.
South American poets: Brazilian poets Ana sured interplays between the musicians. Yet the road to hell is paved with good
Cristina Cesar (“Flores do Mais”) and Mario In contrast, “Quiero,” one of Klein’s earliest intentions, as heard in the themes from Flags Of
Quintana (“Instrumento”) and Venezuelan pieces, features rock-tinged grooves shaped Our Fathers and A Fistful Of Dollars. A man’s
Ramon Palomares (“Paramo”). by urgent, near-eerie phrasing. got to know his limitations, and Waltzing’s
Ordering info: claudiavillela.com Ordering info: sunnysiderecords.com attempt at treating a full symphony orches-
Trombonist Ryan Keberle’s second Cry Me A River (Alma; HHHH 52:29) tra like a big band procures clumsy and cha-
album with the São Paulo-based Collec- is Cuban-Canadian maestro Hilario Duran’s otic execution of syncopated block chords and
tiv do Brasil, Considerando (Alternate first recording with his Latin Jazz Big Band in shout choruses. Yet overall, Clint Eastwood’s
Side; HHHH 57:42), explores the song- 17 years, a euphoric Afro-Latin tour-de-force of
cinematic themes are validated in evocative,
book of composer, guitarist and vocalist nine tunes of a magnificent lushness possible
Edu Lobo — seven of the 10 tracks are orig- only thanks to a 19-piece orchestra. The Gram-
dramatic fashion, and Kyle Eastwood and his
inal arrangements of Lobo songs — plus my-nominated and Juno-winning pianist, band shine as expressive players and excellent
one Keberle original, “Edu.” The project composer and bandleader draws sustenance soloists. As his father would no doubt attest,
features drummer Paulinho Vicente, pianist from his tradition and along the way pays one is never unforgiven for trying to do some-
Felipe Silveira and bassist Felipe Brisola; homage to other maestros, from Bebo Valdés thing ambitious, pass or fail. If you want a guar-
the first two also recorded with Keberle the and Pérez Prado to Mingus to Chopin. Guests antee, buy a toaster. —Gary Fukushima
Collectiv’s 2022 Sonhos da Esquina. Creat- include Paquito D’Rivera on alto saxophone
ing a musical world that surrounds Lobo’s and drummer and percussionist Horacio “El Eastwood Symphonic: Eastwood Overture; Magnum Force
Main Theme; Gran Torino Main Theme; Bridges Of Madison County
remarkable compositions with improvisa- Negro” Hernandez. The artful, fierce improvi- “Doe Eyes” Theme; Eiger Sanction Main Theme; The Good The Bad
tory explorations, Keberle reveals the many sation of Cuban-Canadian violinist Elizabeth And The Ugly Main Theme; Unforgiven “Claudia’s Theme”; Letters
From Iwo Jima Main Theme; Dirty Harry Main Theme; Changeling
splendors of the Brazilian icon’s work. Rodriguez (Okan) is featured on the title track, Main Theme; Flags Of Our Fathers Main Theme; A Fistful Of Dollars
Ordering info: ryankeberle.bandcamp.com which segues back and forth into “Llora Como Main Theme. (75:01)
Personnel: Kyle Eastwood, upright and electric bass; Andrew
Barcelona-based Guillermo Klein Yo Lloré,” a beloved tune popularized by semi- McCormack, piano; Brandon Allen, saxophones; Quentin Collins,
creates evocative, spacious compositions nal Cuban bands. DB trumpet; Chris Higgenbottom, drums; Gast Waltzing, arranger/
conductor, Czech National Symphony Orchestra.
in which the dynamics change in unpre- Ordering info: almarecords.com
Ordering info: eastwoodsymphonic.com

INDIE LIFE
“I own the masters on about half the albums really good guidance throughout the process
DASHA DERK
under my name,” Blake said as one from Matt,” Blake said. “He was really in my
reason to start P&M Records.
corner in terms of just believing in the music
and really digging my saxophone playing. He
was like, ‘Come on, people want to hear you
wail, man. Get that saxophone music out into
the world.’ Matt connected it to a little Michael
Brecker influence, even though I don’t think I
imitate Michael at all in my playing. But I do
think that Michael’s spirit is in there a little bit.”
Dance Of The Mystic Bliss follows the pat-
tern of Blake’s previous concept albums like
Kingdom Of Champa (reflections on a month-
long stay in Vietnam), In The Grand Scheme
Of Things (a cinematic mini-suite inspired by a
trip to Zambia for Paul’s wedding) and Amore
de Cosmos (rooted in his boyhood memories
of British Columbia). And while this latest proj-
ect was written in response to his mother’s
death, the music is often buoyant and uplift-
ing rather than brooding and requiem-like.
“After my mum passed away in 2018, I felt a
complete collapse in ambition to release new
music, and I was processing that loss for al-
most two years,” he explained. “In early 2020,
I got a grant from The Canada Council for the
Arts and then COVID hit. So it was just a tim-
ing thing where I was fortunate to have some-
thing to distract me as the world reeled from
the global pandemic. I composed all the music
during the shutdown and we recorded it in the
fall of that year when we were allowed to gath-
er in groups again. And I ended up writing mu-
sic that was really quite joyous. I think that was
MICHAEL BLAKE
my way of responding to both the pandemic
and the loss of my mom.”
Blake’s idea for replacing drum set with
two Brazilian percussionists came after a
THE SAXOPHONIST AS pre-pandemic performance that his Chroma

Nova septet gave at The Stone in Manhattan.
“I realized on that gig that the drum set was
RECORD EXECUTIVE
just too loud and too intense for the strings to
play, especially in an acoustic situation where
the strings aren’t miked. So I decided to make
the whole thing lighter by just using a percus-
sionist. That’s when I started using Rogerio
Boccato, who brought in his sit-down hybrid
Over the course of four decades, from his early ’90s stint with kit with the cajon, pandeiro and a wonderful
combination of other percussion instruments
the Lounge Lizards, subsequent recordings with the Herbie that he uses in different combinations with his
Nichols Project and Ben Allison & Medicine Wheel to his hands and sticks. And then I brought in Mauro
Refosco as a special guest, and they sounded
numerous recordings as a leader — from 1997’s Kingdom Of fantastic together. I had these little germs of
Champa, 2001’s Drift, 2002’s Elevated and 2005’s Right Before rhythmic ideas that I had done in Logic as a
basic sort of vibe, and then they would expand
Your Eyes to 2014’s Tiddy Boom, 2016’s Fulfillment and 2022’s on that. I would never have known where to
have the metal triangle and where to have the
A striking septet recording for violin, cello, album dedicated to our mom, a retired dancer conga and all these things that they just do in-
bass, guitar, saxes and flute and featuring who was also a singer, gardener and an amaz- stinctively. And to have that authentic samba
dual Brazilian percussionists in Rogerio Boc- ing role model for us. But I finally got over my school vibe on the record was so cool.”
cato and Mauro Refosco, Dance Of The Mys- initial fear that it was too personal of a subject A radically divergent project from Blake’s
tic Bliss is dedicated to Blake’s mother, Merle, to make into a commodity. Because the whole 2022 swaggering and celebratory brass band
who passed away in 2018. Written and record- purpose of making music is to disseminate it.” outing, Combobulate — a double-tuba project
ed before 2022’s Combobulate on Newvelle, it Blake came to that realization with the help featuring Marcus Rojas and Bob Stewart with
almost didn’t come to fruition. “I was hesitant of music publicist Matt Merewitz, founder and Clark Gayton on trombone, Allan Mednard on
to put this record out,” Blake explained. “It’s an director of Fully Altered Media. “Paul and I had drums and longtime colleague and frequent

collaborator Steven Bernstein on trumpet —
Dance Of The Mystic Bliss is an excursion into
world music exotica with a churning Afro-Bra-
zilian undercurrent, courtesy of Boccato and
Refosco (on zabumba bass drum, berimbau
and marimba). Augmented by Guilherme Mon-
teiro’s versatile electric guitar work (including
a nasty, bent-string, John Scofield-like solo on
“Little Demons”) and the entrancing strings of
cellist Christopher Hoffman and violinist Sky
Steele (who also plays rabeka and gonji on
two tunes), it’s a compelling mesh on top of
which Blake launches into some of his boldest
tenor solos to date (particularly on “Merle The
Pearl,” “Love Finally Arrives” and the Michael
Brecker-ish “Little Demons”). He also delivers
potent soprano sax solos on “The Heart Of The
Garden,” “Topanga Burns” and “Cleopatra”
and is heard soloing on flute for the first time
on record as leader on “The Meadows” and the
evocative “Prune Pluck Pangloss.”
Regarding the formation of P&M Records,
Michael feels it was the next step in the broth-
ers’ ongoing adventure. “We grew up with
music. When my brother and I were kids, we
moved around a lot between Canada and Cal-
ifornia after my parents got divorced. Usually
I was with my mom in Vancouver, but every
summer I’d see my brother in California. And
each summer he was into a different style of
music. One summer he would be a hippie into
Hendrix, then the next year his hair is short,
he’s wearing pleated trousers and is into salsa.
He’s listening to Ray Barretto and Fania Re-
cords and having friends come over for dance
parties. Meanwhile, I had my hair long and
was playing Frampton Comes Alive, which was
the big record of that summer. And I’m like,
‘Man, I can never get it right with this guy.’”
Michael did eventually get swept up by sal-
sa music himself, and when he moved to New
York in 1987 he became immersed on the sal-
sa and merengue scenes. “I was playing with
Charlie Sepulveda a lot back then and [fellow
saxophonist] Jay Rodriguez would hook me up
with other gigs.”
And now it’s a beautiful kind of com-
ing-full-circle that Michael’s new release
on P&M Records captures some of that
musical flavor that he and Paul both fell in
love with when they 13 and 15 years old.
With Paul currently based in London and
Michael in Manhattan, the Blake brothers
are poised to build on Michael’s catalogue
with new works like Dance Of The Mystic
Bliss and reissue older works like 2010’s
Hellbent, 2006’s Blake Tartare, 2002’s El-
evated, Slow Poke’s 1998 debut At Home
and Blake’s soundtrack to John Rubino’s
2016 film Vodka Rocks.
“I own the masters on about half the
albums under my name,” Blake said. “So
Paul and I decided we would release my
back catalog first before this new album.
I’m not sure what we’re going to do next,
whether we’ll want to release somebody
else’s music or do another one of my al-
bums down the road. I’ve got to talk to
Paul about that.” —Bill Milkowski

INDIE LIFE
ing concerts, doing marketing, designing my

COURTESY GABRIELA MARTINA
website, interacting with social media, direct-

ing and producing my videos, writing grant
applications, doing fundraising, handling the
communication between my musicians and
event organizers, booking gigs and arranging
the transportation and accommodations.”
Martina was starting work on a new col-
lection when the memories of early yodeling
songs began filling her head. “I began think-
ing about the cycle of winter into summer, the
summer storms that bring rain and the light-
ning that can also be dangerous to crops and
the autumn harvest. My parents planted a tree
each time a child was born, but as they got
older, it became physically and economically
impossible to do the work. They had to give up
the farm, and when our house was renovated,
my tree got cut down. I started writing about
that and the rest of the songs flowed out.”
Homage To Grämlis was recorded with
her long-standing band of pianist Maxim Lu-
barsky, bassist Kyle Miles, drummer Vancil
Cooper, guitarist Jussi Reijonen and accordion
Gabriela Martina and her longstanding band, from left, Vancil Cooper,
player Ben Rosenblum. Her melodies are root-
Martina, Ben Rosenblum, Kyle Miles, Maxim Lubarsky and Jussi Reijonen. ed in jazz, but the arrangements flow through
many styles. “This Country, That Country” in-
GABRIELA MARTINA corporates a theme from Swiss composer Hans

Aregger and features Martina yodeling and
chanting the nonsense syllables of a playful
INTRODUCES JAZZ YODELING

child. “Mother Mary” is a woman-to-woman
letter to the Virgin Mother. It combines ele-
ments of jazz, liturgical and classical music
along with her yodeled improvisations.
“We recorded the album a year before
COVID shut everything down,” she says. “I
Singer and composer Gabriela Martina has a simple philosophy: released it on my website and lost a lot of
“What I’m looking for in music is to not always know what’s money. I was able to get support from some
foundations, but it’s a challenge being an in-
happening next. I want to surprise myself and be a part of the die artist in this business.”
moment of creation, expressing myself in many different ways, Despite the difficulty, Martina stays busy.
She’s already cut her next album, States, a
every time I sing.” look at the way the United States represents
freedom to the world while failing to look af-
Her love of musical discovery and invention then returned to Lucerne for her jazz educa- ter its own citizens in many ways. “The lyrics
shines through on every track of her latest al- tion. “I soon realized jazz was much more than use rhythm and texture to create a unique
bum, Homage To Grämlis, a song cycle that the sounds you hear,” she said. “It’s a musical language that may make sense, or not. My
describes her childhood on her family’s farm art form with African roots that was created in mentor Frank Carlberg introduced me to the
in Lucerne, Switzerland. “A few years back, the United States and from that tree all other work of Gertrude Stein, and I wrote some of
I started yodeling again and it moved me so styles evolved such as blues, soul, funk and so the words in her style.
deeply that I started to cry,” Martina said. “My much more. It’s part of the way you walk and “In the meantime, I’m going to Mozam-
family played music together many Sunday talk and live. I wanted to move to the U.S. and bique to meet my friend Angelena Mbulo, a
afternoons. My mom played accordion and experience that. My family couldn’t afford to vocalist and music educator. With the sup-
piano, sang in the church choir and loved Ma- pay my tuition at the Berklee College of Mu- port of a grant from Chamber Music Ameri-
halia Jackson. My father sang in a traditional sic, so I worked hard and saved my money. In ca, we are composing musical pieces on the
Swiss yodeling group. I had a sister who played 2008, I moved to Boston and started school.” subject of child marriage, recording a demo
piano, a sister who played flute and guitar and As soon as she touched down in the States, and planning concerts to raise awareness,
a brother who played drums, so something she started performing and recording. She and financial support, for Angelina to start an
musical was always happening in our house. networked with musicians, played gigs and after-school program for impoverished chil-
“During my teenage years, I thought yo- found session work. After two years, she re- dren. After that, I’ll continue with the promo-
deling wasn’t cool. I listened to rock and pop, leased two EPs and an album, No White Shoes, tion of States. It can be a difficult path being a
then fell in love with jazz. I got active in the that she produced and promoted on her own. musician, but I grew into it. When music gets
music scene, sitting in [with] bands and collab- “It would be nice to work with a label, but you, it’s hard to get rid of it. It’s a love/hate
orating on songwriting with other musicians. I not many of them work with the musicians,” relationship. Sometimes it’s difficult for me to
didn’t see myself as a professional back then.” she said. “So I’ve been doing everything as an do, but there’s no way for me to escape, so
Martina studied music in London for a year, indie musician for the past 20 years. I’m book- here I am.” —j. poet

INDIE LIFE
maps. “Some that have had huge influences
CHAD LANNING
on my music are Nirvana and Coltrane for
energy, Wes Montgomery and Miles for feel,
Pat Metheny and Jim Hall for sound, Jim
Black and Bill Frisell for vibe, Paul Motian
and Nels Cline for the spirit of adventure,
Stevie Ray Vaughan and Clifford Brown for
vocabulary and Zach Galifianakis for looks.”
Since landing in Portland in 2012, Me-
agher has become ever more entrenched
and engaged in the active jazz scene and is
currently the artistic director of the Portland
Jazz Composers Ensemble (PJCE). But his life
and attendant musical path extend back to
his upbringing in San Jose, California, stud-
ies in San Diego and an enriching stint living
in New York City before the westward move
to Portland.
“I really made the decision pretty early on
that jazz music was going to be a huge part of
my identity when I was growing up in Califor-
nia. But New York City made a man out of me,”
“Almost all of us artists are rethinking what an album is and can be,”
Meagher says. “I don’t think I could be who I
says Meagher of his latest release, which combines music, drawings and video. am today without California and New York
RYAN MEAGHER
City. That being said, Portland is home, and
it’s now the place where I have spent most of
my adult life. We have our issues here, like any
place, but I love our city. And I feel honored I
TELLING STORIES
get to help shape some of how our city’s cul-
tural contributions are understood.”
Meagher has fully embraced his musical
life and cultural role in Portland. “We have
a treasure trove of brilliant musicians here,”
he asserts. “There is no shortage of inspiring
artists on any instrument. Many of them have
Portland, Oregon-based guitarist Ryan Meagher abides by the earned their stripes in cities with established
power of certain “E” words: He practices eclecticism of style, scenes like New York, Los Angeles, Chicago,
etc. And some of them are from here, and in-
expansive creative thinking and his long-held belief in the DIY ener- spire me as much as my favorite artists that
gies for getting things done. might be more well-known.”
Guiding Meagher’s multifaceted musical
life and productive workflow is a strong DIY
He has built up a sizable discography over gressive rock to atmospheric moments in impulse, which has become an increasingly
the past 20 years, including titles on Fresh line with post-rock to more identifiably jazz- critical factor in making an independent jazz
Sound, the Portland-based PJCE label and his lined tunes. His guitar tones vary to suit, life function. “I have always been inclined to
own Atroefy imprint. His resume includes per- and he has a strong empathetic alliance make things happen,” he says. “I remember
formances with Mostly Other People Do the with Portland jazz players Tim Wilkins on organizing a local band festival at my high
Killing, Randy Brecker, Cuong Vu and fellow saxophone, bassist Andrew Jones, drummer school when I was 15 years old. When I moved
northwesterner David Friesen. Charlie Doggett and keyboardist-engineer to New York, I started jam sessions at local
But something fresh has arrived with Me- Clay Giberson. restaurants and bars. When I first moved to
agher’s new AftEarth project. Created in Meagher says that the album’s diverse Portland, I started a jazz composer’s jam ses-
collaboration with artist Tina Granzo over fabric is “really just a reflection of me and my sion, which is how I got introduced to the
the pandemic, AftEarth is an environment- musical development. I grew up as a white kid Portland Jazz Composers Ensemble.
themed song set with accompanying draw- in the suburbs in the 1990s. The alternative “It is a bit of a DIY ethic, I suppose, but I’m
ings and a series of videos in a multifaceted rock from that era forged the walls of my soul, just trying to get shit done and make some-
package. Describing the origin of his latest ar- and Black American music filled it to the brim. thing happen for myself and the people with
tistic development, Meagher notes, “Almost I was just writing and playing the only way I whom I like to create. Right now, I am busy
all of us artists are rethinking what an album know how, which is as much Nirvana, Sound- programming the PJCE’s future with things
is and can be. By attaching art to music, I was garden and Rage Against the Machine as it is like a jazz musical theater piece, collabora-
hoping it would make people slow down and Miles Davis, Jimi Hendrix and James Brown.” tions with local legends, partnerships with
think about what they were hearing. So, I do As such, Meagher belongs to a breed of like-minded organizations and a suite ded-
think that connecting other forms of media naturally eclectic modern musicians — es- icated to telling the story of Oregon’s wild
to their music is one way that artists can con- pecially relevant to the rock-aligned world spaces. I will keep telling my story through
nect with audiences.” of electric guitar. When asked for a short list music, but I really like helping others’ stories
Musically, the terrain is in constant flux of his major influences, the guitarist’s refer- get told in the process. I like making music
through the album’s sequence, from pro- ence points are expectedly all over various about people and places.” —Josef Woodard

Woodshed MASTER CLASS
BY NICHOLAS URIE
dominant 7th chords. The most basic mecha-

KATHRYN SIEVERS
nism is dominant-to-tonic resolution: V7 to I.

This cadence reinforces the sound of the key
by developing and then resolving harmonic
tension.
The V7-to-I gesture is so ingrained in lis-
teners of Western music that we hear the pull
of the dominant toward the tonic even if we
only hear a fragment of the chord. The lin-
ear motion from 5 down to 1, 4 down to 3 or
7 up to 1 (or any combination of those ele-
ments) offers a sense of resolution. Whether or
not the tonic does come next, either fulfilling
or subverting expectation, doesn’t matter so
much as the fact that an expectation was cre-
ated at all. This back-and-forth between ten-
sion and release, expansion and contraction, is
what makes tonal music sound fundamental-
ly different from modal or post-tonal Western
music.
To create even more tension, a clearer
expectation and a greater sense of resolution,
a “related II” chord is added before the domi-
nant, referred to as a “II–V.” A II–V is defined
by descending perfect-fifth root motion from
the related II (minor 7th or minor 7th flat-
5 chord) to the dominant 7th chord. A relat-
ed II chord paired with a dominant 7th chord
creates more tension than the dominant 7th
chord can generate on its own. II–V patterns
are a fundamental building block in the har-
monic grammar of jazz and Western music.
We can also play around with dominant
resolution by shifting the dominant 7th chord
away from 5 to other diatonic scale degrees,
creating new gravitational centers that allow
for resolutions to different diatonic chords.
These dominant 7th chords that are not built
on 5 but have a diatonic root are called second-
ary dominants. These chords create the same
In order to have true creative fluency, Nicholas Urie believes it’s essential to master the
harmonic conventions of jazz in parallel with mastery of your instrument. kind of expectation of resolution for the listen-
er that V7 does, but the expected resolution is
A Clearer Understanding
not Imaj. Instead, we expect each secondary
dominant to resolve to the diatonic chord a
perfect fifth below its root.
of II–V Chord Progressions

Understanding how these patterns work
together to create tension and release helps us
T
learn tunes faster, makes our ears sharper and
he harmonic language used by jazz without the existence of the ordinary.” In other allows us to titrate the harmonic tension we
musicians has developed over genera- words, it is essential to master the harmonic want in our own writing. Experiment, explore
tions, incorporating a set of harmon- conventions of jazz in parallel with mastery of and have fun getting to know one of the foun-
ic expectations found in songs from Tin Pan your instrument to have true creative fluency. dational harmonic gestures in jazz. Musical
Alley, Broadway and Hollywood musicals, Your mastery of the basic architecture of this examples of the topics that follow can be found
along with other popular songs of the first half language, along with the flexibility you are able on pages 72 and 73.
of the 20th century. to wield as you manipulate it, is what allows
Even as this poetic, subtle and rich lan- deep, nuanced expression. Primary Dominant
guage is still evolving in exciting and surpris- The harmonic vocabulary of standard jazz The primary dominant in a major key is
ing ways, Ernst Levy puts it best in A Theory repertoire of the first half of the 20th century V7. It is diatonic to the key and creates a strong
of Harmony: “There is nothing extraordinary is largely defined by the gravitational pull of expectation to resolve to the tonic (Imaj). This

expected resolution is created by the tritone secondary dominant is built on and where it in half again to create more active harmonic
that exists between the V7 chord’s 3rd and is expected to resolve. For instance, a domi- passages.
♭7th. The notes of that tritone are 7 and 4 of the nant 7th chord built on 7 is V7/III, because it Related II chords should precede their
key, and the melodic tendency is for 7 to move is a perfect fifth above IIImin7, and a domi- dominant counterparts in a strong met-
up to 1, and for 4 to move down to 3 (the root nant 7th chord built on 2 is V7/V, because it is ric stress, while the dominant chords should
and third of the tonic chord). a perfect fifth above V7. sound in a weak stress position. This is true
almost exclusively: The notable exception to
Primary “Related II” Adding Related II Chords this rule is V7/V. If it is not accompanied by a
One of the most common ways to increase Just as a related II chord enhances the related II, it is found in a strong stress imme-
the harmonic tension of V7 is to add a sub- gravitational pull of V7 in the primary diately preceding V7.
Tension Voice Leading

The V7-to-I gesture is so There are two basic colors to choose from
when selecting tensions on a secondary dom-
inant: (9, 13) or (♭9, #9, ♭13). The dominant
ingrained in listeners of chord’s 9 and 13 act as common tones of the

major target chord’s 13 and 3. Similarly, the
voice leading to a minor target creates smooth
voice leading where the dominant chord’s #9
Western music that we hear becomes the minor target chord’s ♭7, the ♭9
resolves down by half step to the minor tar-
get chord’s 5th and the ♭13 becomes the minor
the pull of the dominant toward target chord’s ♭3.
Tension Binary
the tonic even if we only hear Because voice leading is consistent
between dominant 7th chords and their tar-
gets, the presence of either 9 or 13, or ♭9, #9 or
♭13, sends our ear in one of two possible direc-
a fragment of the chord. tions. A 9 or 13 creates an expectation to hear a
major target chord, while a ♭9, #9 or ♭13 creates
an expectation to hear a minor target chord.
dominant chord before it, creating the sub- sequence leading to Imaj, each secondary This voice leading is consistent on all second-
dominant-dominant-tonic cadence. The pri- dominant can be preceded by its own related ary dominants and creates a binary “this or
mary II–V uses the diatonic subdominant II II. The phone number that allows us to call up that” question represented by V7/Y where Y is
chord of the key: IImin7. related IIs now has an area code of #4. The new a variable showing that the secondary domi-
phone number, (#4) 736-2514, lets us quickly nant is expected to either resolve to major (V,
Secondary Dominants identify the available related II chord for each I, IV) or minor (III, VI or II).
A dominant 7th chord must fulfill three secondary dominant. There are three secondary dominant
requirements to be a secondary dominant: (1) By showing us the sequence of perfect 5ths chords that resolve to minor: V7/III, V7/
The dominant seventh chord must have a dia- in a major key, any consecutive three-number VI and V7/II. Because they are all resolving
tonic root. (2) The dominant seventh chord sequence of the phone number shows a com- down a perfect fifth to a minor quality, ♭9, #9
must have at least one non-diatonic pitch. (3) plete II–V cadence. The first number in the and ♭13 all support and enhance the feeling
There must be a diatonic chord a perfect fifth three-number sequence is the related II, the of expectation that the chord will resolve to
below the root of the chord. (Keep in mind second number is the dominant 7th chord minor while maintaining the sound of the
that whether or not the expected resolution and the third number is the expected tar- key.
occurs is less important than the fact that the get chord. For instance, if you are targeting There are two secondary dominants that
expectation was created.) VImin7, you would end up with a three-num- resolve to major — V7/IV and V7/V — along
ber sequence 7–3–6, which gives you the relat-
ed II of VIImin7(♭5), the secondary dominant
with the primary dominant V7/I. Because
The “Phone Number” they are resolving down a perfect fifth to
A simple way to both identify and generate V7/VI and the target chord of VImin7. a major quality, 9 and 13 both support and
secondary dominants is by using the phone enhance the feeling of expectation that the
number 736-2514. This number sequence Metric Stress chord will resolve to major while maintain-
organizes all major-key secondary domi- To hear a II–V clearly it is important that ing the sound of the key. DB
nants by scale degree, which makes construct- these chords happen on specific metric stress-
ing and identifying secondary dominants es placements within the phrase. The strong
As an active arranger and composer, Nicholas Urie has been
straightforward and easy to remember. It is and weak metric stresses cut a phrase in half: commissioned to write music for concerts, recordings and
made up of the scale degrees of a major scale The first half is the strong metric stress, and television broadcasts for Cory Wong, John Scofield, Donny
McCaslin, Queen Latifah, Steve Vai, Trijntie Oosterhuis, the
arranged in perfect 5ths. the second half is the weak metric stress. Metropole Orchestra, WDR Symphony Orchestra, the Boston
Because all secondary dominants create The dividing line between a strong and Pops and the Aarhus Jazz Orchestra, among others. Urie is
an Associate Professor in the Harmony and Jazz Composition
an expectation that they resolve down to weak stress comes at the midpoint of the department at Berklee, where he has been teaching since 2012.
the target chord by a perfect 5th, this num- phrase. A phrase with multiple chords can be For more information on Nicholas you can stream his latest EP,
Two Songs; find him on Instagram, @nicholasurie; or visit his
ber helps us easily see what scale degree each subdivided further by splitting the midpoint website, nicholasurie.com.

Woodshed PRO SESSION
BY RICHARD X BENNETT
From two doors down were faint, haunted

JAVIER ODDO
piano sounds of Bud Powell solos being played

at exceedingly slow tempos. The rest of the
building was filled with visual artists who
didn’t speak. We all tried to avoid each other.
Being in a building full of ghosts was
inspiring. I started to compose new music,
based on stories I’d been writing about the
previous year. This music would feature the
fiery saxophonist Matt Parker. He brings a
drama and pathos to his expressions, which is
crucial in programmatic music. I would often
hear his sax sound ringing in my head as I
worked through my ideas.
The main song I was working on was
called “Style V Substance,” based on a story
about churchgoing during the pandemic. It
starts like this:
In the beginning, when just about every-
thing was full-stop, I went to a church in
Brooklyn Heights every Sunday just to be
around other people. The general format was a
short service (singing forbidden), followed by an
inspirational and positive sermon, followed by
a foreboding post-Wagnerian organ piece that
said, ‘Ignore the sermon, hellfire awaits.’ All
that in less than an hour. Every week it was the
same 11 masked people sitting in a space that
could fit 500. We felt like the early Christians,
defying death and the lions.
Eventually the minister became more
dispirited and disheveled and you could sense
he was running out of things to say. The final
straw was a sermon on vanity consisting sole-
ly of cliches: “All that glitters is not gold” (true
enough), “Appearances can be deceiving” (occa-
sionally), “Style over substance” ... and now
we have a problem. Is style really sinful? In
Matthew 3:4, John the Baptist is described as
being casually dressed in a “raiment of cam-
el’s hair, and a leathern girdle about his loins.”
I would wear that!
Richard X Bennett says that recording Parker Plays X
was about trying to catch the feeling of the early pandemic.
The “Style V Substance” music has three
2 Songs in 1 Day
sections. The groove and first section of the
song are inspired by Kirk Franklin. (He’s
the best.) The second section is a metaphysi-
cal description of the Gates of Hell. Everyone
I
plays their lowest notes.
n December 2020, the Delta COVID vari- I decided to look for a practice studio. I figured that a song that went with a story
ant left me with only online work and I found one in a deserted area near the that mentioned post-Wagnerian organ need-
no place to go. I was in a small Brooklyn heavily polluted Gowanus Canal. Each morn- ed some 19th-century harmonic modulations.
apartment obsessively repeating a two-bar ing with mask on, I’d walk along the Brooklyn My nephew, the classical composer Julian
piano phrase when my wife, composer and Queens Expressway, turn into an ugly indus- Bennett Holmes, sent me some chord exercis-
Juilliard musician Paula Jeanine Bennett (also trial building and skulk through an endless es that he was teaching. All but one had obvi-
stuck at home), came out of the other room maze of corridors until I reached my window- ous jazz equivalents.
looking agitated. less room. Next door to me was a fitness studio This sequence was new to me: start on a
She asked: “Are you trying to torture me?” and I would hear and feel the sound of heavy major chord, go down a half step to a 7th chord,
I said: “But the piano has a mute on it.” weights being dropped: “Thunk! Thunk! up a 4th to a minor chord, down a whole step
“It’s not helping.” Thunk!” to a 7th chord, up a 4th, etc. (See Example 1.)

Repeat until you’ve gone though all 12 keys.
Example 1
It’s a cycle of 5ths going counterclockwise,
but it sounds like you’re perpetually ascend-
ing Tatlin’s Tower. It never feels completely
resolved.
Normally I don’t get that excited about
harmony. I’ve spent many months in India,
Indonesia and the Arctic tundra without hear-
ing a chord and I never missed ’em. But I got
obsessed with this set of changes. If you had
walked down a certain post-apocalyptic hall-
way in January 2021, your soundtrack would
have been:
1) Excruciatingly slow Bud Powell (played
by Ethan Iverson).
2) Barbells incessantly going “Thunk!
Thunk! Thunk!”
3) An endless loop of spiraling harmony.
I improvised with these disparate ideas
There is no songwriting
until they fit together, avoiding writing any-
thing down until absolutely necessary. Notation
can freeze creativity, especially rhythmically.
For such a short song (3’30” on the record-
ing, much longer when performed live), “Style
V Substance” also has an overarching form. process. ‘Style V Substance’
The arc of the song is taken from the alap
(slow) section of an Indian raga. Commonly
you start in the midrange, go down to your
lowest note and eventually meander up to
took months, and the soul
the highest peaks. This process takes about
an hour. On the “Style V Substance” record-
ing, the quartet takes a much quicker path
ballad just appeared out
with the piano taking the low part and the sax
going high. I don’t expect the audience to con-
sciously hear this structure (I’m not even sure
of nowhere.
the band hears it), but hopefully it is felt on a onds when she stopped me and got her note- “This is hard.” We played it again. I knew then
deeper level. book. I started again and she wrote: that we needed to record while everyone’s emo-
“Style V Substance” lacked a hook. I don’t “First sorrow … Then joy comes with the tional memory of the early pandemic was fresh.
understand non-melodic jazz songs at all. If morning First the endless dark … Then it’s We also played “Joy Comes With The
you can’t sing the tune, then you might as well a clear new day In the valley … Shadows Morning.” Matt is a singer of songs on the
just skip to the solos. One inspired day in late fall with challenging Yet we find our way … tenor sax. You can hear the lyrics in his phras-
January 2021, I found my hook. I obsessively Within the gathered dusk.” ing. Like my favorite vocalists, Pericles and
played it, realized it was strange in some way; The soul ballad was now “Joy Comes With Pavarotti, Parker is a big man with a huge,
tried not to analyze it and just rode the wave. The Morning.” It’s based on Psalm 30 (KJV). warm sound that surrounds you. He never
Later on I realized it had an extra beat, a bar of In February 2021, I got vaccinated. That plays the melody exactly as written. My notes
five in a sea of four. It wasn’t inserted for com- was the end of my creative streak. I couldn’t sit are merely a suggestion. He got to the bridge,
plexity and it’s not emphasized more than nec- all day in a windowless factory while there was saw that it was written in 3/8 (looks harder
essary. Finally I had a composition. a world to explore. I hadn’t seen Matt Parker than it plays) and said, “What were you smok-
Relaxed and happy, I then improvised a in person for more than a year. He had moved ing?” Matt added the idea of an angry sax
soul ballad in two parts, knew that there was to Connecticut. It was time for a visit. I took explosion during the second time through the
something unusual about the bridge, knew a FlixBus to Hartford. The most exciting part bridge. We weren’t quite at a place of joy.
that it was all very good, listened back to the was when the bus crossed into New Jersey. I Both “Style V Substance” and “Joy Comes
recording and played it again. A whole differ- had escaped New York! The trip cost $7.80 but With The Morning” were recorded later that
ent song, done in 20 minutes. Two songs fin- Flix saves money on gas by driving on service year and are part of our new album Parker
ished in one day! roads. A two-and-a-half-hour trip took five Plays X. The notes and rhythms were import-
There is no songwriting process. “Style V hours. Parker picked me up in Hartford and ant, and for a brief moment the harmonies
Substance” took months, and the soul ballad we got hot dogs from a roadside truck. This were crucial, but ultimately it was about trying
just appeared out of nowhere. was already an A-plus day. to catch the feeling of the time. DB
That night I came home all excited and I showed Matt “Style V Substance” and told
said to Paula Jeanine, “Do you want to hear him to ignore the melody and just solo over the Richard X Bennett is a pianist/composer and filmmaker living
in Brooklyn, New York. He has six raga-based releases on Indian
my new songs?” harmonic spiral. He played the most awe-in- labels as well as jazz and electronica releases on Ropeadope
and Ubuntu Records. His latest release is a collaboration with
“Sure.” spiring, jaw-dropping, raw 11 bars I’ve ever saxophone player Matt Parker, Parker Plays X (BYNK Records)
I played the soul ballad for around 10 sec- heard. Now the chords had soul! Matt said, available at bynkrecords.bandcamp.com.

Woodshed SOLO
BY LUIS HERNANDEZ
music. If you don’t play from a patternistic

AQUIPO FILMS, LTD.
approach, but play from melodic and rhyth-

mic development, then you’re creating music
inside the music. Of course, I studied every-
one I was listening to, and tried to develop
my vocabulary from the language of Charlie
Parker, Dizzy Gillespie, Sonny Stitt, Miles
Davis, Thelonious Monk, Max Roach and oth-
ers. I was captured from an early age, and to
this day, try to channel all of my influences in
the moment of now.
So, back to this solo. When you listen to it
and follow it, you’ll feel how I’m playing off
of what Blackwell is playing, and he’s play-
ing off of what I’m playing. So you feel the tri-
ple time and the duple … you feel the quarter
note … the big beat inside where the quarter
note is coming from. The way Dave Holland
plays with Blackwell, Michel and me, there’s a
Joe Lovano describes the recording session for his quartet
real swinging, polyrhythmic, natural flow that
album From The Soul as “a magical gathering.” brings out the beauty and joyous feeling on this
Joe Lovano’s Tenor Saxophone

take. All of our ideas come together as one.
Hernandez: How would you encourage the

Solo on ‘Portrait Of Jenny’ new generation of improvisers as they develop
A
their voices?
good friend of mine shared Joe Luis Hernandez: Joe, talk about how your Lovano: Live in the library of the sounds and
Lovano’s 1992 CD From The Soul father, the saxophonist Tony “Big T” Lovano, spirits that inspire you to find yourself.
(Blue Note) with me while we were on influenced your approach to improvisation. Internalize the music, themes and variations.
the tour bus with the Navy Band. So I put it Joe Lovano: My dad taught me how to listen. Don’t become a repeater: Try to develop your
in my Discman, and when I got to “Portrait And he taught me to appreciate how every- own way of playing where you’re creating ideas
Of Jenny,” I was so moved that I immediately body I listened to had their own way of play- from the ideas that are being created around
pulled out some staff paper and started writing. My dad had a great record collection. He you. Develop a free-flowing approach as an
ing it out. was on the scene in Cleveland, and knew what improviser in the spontaneity that can hap-
When I touched base with Lovano to talk was happening. He was born in 1925, a year pen when you’re inside the beat in that poly-
about his tenor saxophone improvisation before Miles and Coltrane. He heard Bird, rhythmic way. You have to study the rhythm
on that particular track, he said: “I love that Lester, Gene Ammons and Coltrane and talk- and develop a polytonal melodic approach as
tune and think it was one of the highlights of ed about them all the time. His record collec- well, where you’re hearing things in all keys
From The Soul. The album title alone gives you tion reflected that. around the center of the key you’re in. That’s
an idea of how we were approaching playing Remembering early lessons with my dad, a study that I’m trying to develop more these
together in a soulful, expressive way. The ses- learning and studying the elements of the days. Follow the sound and play off the title of
sion was a celebration and a joyous gathering music, in all keys, trying to execute through- the tune. For example, the tune “All The Things
of love and music between us. [The late pia- out the full range of my horn; scales and You Are,” you play that title of the tune every
nist] Michel Petrucciani’s birthday was Dec. arpeggios and songs. We played together a lot. time you play.
28th, and mine is the 29th. So I booked the Playing side by side with someone who really
date to commemorate our two birthdays.” had a big, beautiful deep sound, and played the Hernandez: Learning and transcribing this
The full quartet on From The Soul included tenor saxophone from the bottom to the top, solo taught me so much about what you’ve dis-
bassist Dave Holland and the late Ed Blackwell top to the bottom, inside-out and outside-in. cussed, Joe. Thanks again for all the beautiful
on drums. “It was a real magical gathering,” Those things taught me a lot about where you music you’ve shared with us.
Lovano remembered at the start of the follow- are on your horn melodically in the piece of Lovano: Thank you — it’s all about sharing
ing interview with DownBeat. “The music just music. Having him play in front of me, vibrat- the blessings, man. DB
unfolded as we went along.” ing in front of me, gave me something to reach
A native of Miami, saxophonist Luis Hernandez studied at
The entire session was completed in one for. There was a focus on melody and trying to University of North Texas, where he played in the One O’Clock
day, and nearly all the tunes, Lovano said, were execute syncopation and rhythm; trying to get Lab Band for three-and-a-half years. Hernandez earned his
master’s degree from Rowan University. He served 26 years as
completed in one take — including “Portrait an understanding about rhythm, tone quality tenor saxophonist/soloist in the Navy’s premiere jazz ensemble,
Of Jenny.” The following transcription of and sound. He gave me my foundation. The Commodores. Hernandez is a member of the Grammy-
winning Afro Bop Alliance, and has performed/recorded
Lovano’s complete solo on the tune (which he A lot of the cats these days learn how to with Dave Samuels, Paquito D’Rivera, Maria Schneider, Eddie
also composed) has been transposed for B-flat play like it’s an exercise and don’t come from Daniels, James Moody, Chris Potter and Jerry Bergonzi.
Hernandez is a JL Woodwinds and Key Leaves artist. Follow him
tenor saxophone. the depth of feeling and possibilities in the on Instagram @cubantenor.

Toolshed
P. Mauriat PMB-185
Baritone Saxophone
Intermediate-Class Instrument Resonates
with Students, Plays Like a Pro
W
oodwind and brasswind manufacturer P. Mauriat, which
started life as a professional saxophone company and earned
an early reputation for its consistently excellent instruments,
has made major headways into the student and intermediate markets in
recent years. One prime example is the company’s 185 series, which shares
many of the same features as P. Mauriats pro horns and has been complet-
ed with the introduction of the PMB-185 baritone saxophone.
The body tube of the PMB-185, made of 100 percent yellow brass, has
the same internal bore as the company’s professional baritones, like the 300
series. While it lacks the hand engraving, fancy lacquer and abalone key
touches on the 300 series, the PMB-185 has numerous pro features, includ-
ing Pisoni pads with metal resonators, blued steel springs, a triple neck-
strap hook, a true hand-hammered bell and a full range from low A to high
F#. It’s capable of just about anything you can ask from a baritone sax — it
just doesn’t have a prohibitive price tag. Minimum advertised price on the
PMB-185 is only $6,199.
“You could find this in a middle or high school band room anywhere
in the country, or you could find it in a professional saxophone player’s car
trunk — specifically someone who is a reed player who needs a bari sax
that’s going to play, be responsive and be free-blowing, but they don’t want
to spend 14 or 15 thousand dollars on it,” said Jeremiah True, P. Mauriat
brand manager, a lifelong bari specialist who spent 21 years playing in four
different bands in the U.S. Air Force. “On our professional series baris, on
different sections of the instrument you have ribbed construction, while
the PMB-185 is predominantly post-to-body construction. Sometimes,
post-to-body is regarded as a pejorative, but in this case it has the opposite
effect, just like the post-to-body construction the Yamaha 52 baritone sax
had. As someone who regularly performed on a Yamaha 62 with ribbed
construction, I bought a 52 for myself, and it played so much more freely.
It vibrated so much better, and the post-to-body on this I think is what is
lending it that same kind of ease of feel. It doesn’t have as much metal on it,
which makes it lighter and suitable for younger players.”
On play-testing, the PMB-185 responded instantly, with almost shock-
ing ease, and, boy, could I feel it vibrate in my hands. It has a huge, flexible
sound that makes expressive, dynamic playing a breeze. The bell is slightly
flared (it’s about a half-inch wide diameter than the bell on my PMB-301),
which gives it the feel of a low B-flat bari and enhances the resonance of the
horns lowest, sweetest notes, especially its solidly in-tune low A. It offers an
even-feeling scale, and the keywork is just as fast and accurate as the PMB
301. Intonation is consistently spot-on, and the horn avoids the tendency
go go sharp up high (a curse of many lesser baris). It’s durable, free-blow-
ing and high-flying — a fun-to-play horn with respectable serious side, too.
As True observed, “it’s more live driving a ’69 Charger as opposed to a 2023 that the PMB-185 bari is capable of.
Lexus.” The PMB-185 comes in a Traveler II ABS hardshell case that can stand
P. Mauriat’s entire 185 series, which True describes as an “advanced up to rough rides on band buses and airplanes, and it can be convenient-
beginner/intermediate line,” is great for a range of educational applica- ly wheeled on surfaces like sidewalks, parking lots and school hallways.
tions, from middle school band rooms to high school jazz band to univer- The PMB-185 is a real charmer of an instrument, an all-around prac-
sity wind ensemble. It’s an excellent fit for colleges that have instruments tical horn that bari players of all stripes — soloists, ensemble players,
available to their music majors or even non-major university students to educators and recording artists — will find not just appealing, but down-
play in university bands. When it comes to pro saxophone doublers and right inspiring. —Ed Enright
even dedicated bari players, they can have a field day exploring everything pmauriatmusic.com

Toolshed GEAR BOX
1
1. Comfy Contours, Cool Colors

Fender’s Cory Wong Stratocaster is available
in two new colorways: Daphne Blue and Surf
Green. Wong’s signature model features a
scaled-down alder body combined with a
Modern “D” neck and sculpted body contours
for a comfortable playing experience.
More info: fender.com
2. Pop Prevention
Neutrik has redesigned and upgraded
its silentPLUG instrument jack plug. The
silentPLUG automatically mutes a quarter-inch
instrument cable to avoid pops and squeals
when plugging in or disconnecting gear.
More info: neutrik.com
3. Stop Eating the Mic 3

The Mic Trainer is an accessory that helps
vocalists learn to keep their mouth at an
appropriate distance from the microphone by 2
providing an adjustable physical touchpoint.
It gives singers added control over their sound
while also limiting exposure to the surface
of the microphone grille, allowing for better
articulation and coloration of vocals.
More info: mictrainer.com
4. Soft & Sturdy Stands

Gator Frameworks’ stands for woodwind
and brass instruments are made of durable
materials to maximize sturdiness plus softer
elements to prevent surface scratching.
Tripod stands are available for saxophones, 4
trumpets, trombones, flutes and clarinets; the
collapsible stands have padded yokes or pegs
(dual-instrument stands like the the alto/tenor
saxophone tripod stand feature both) and
rubberized feet to prevent slipping. Round-
base, weighted stands are available for clarinets
and flutes. A-frame collapsible stands have a
padded cradle to accommodate a French horn.
More info: gatorco.com
5. Micro Polysynth
Roland’s S-1 Tweak Synth, the latest addition
to the Aira line of pocket-sized instruments,
also includes the T-8 Beat Machine, J-6 Chord
Synthesizer and E-4 Voice Tweaker. Inspired
by Roland’s SH-101 from the 1980s, the S-1
is a micro polysynth with futuristic wave 5
manipulation and onboard sequencing.
More info: roland.com
6
6. Brecker’s Notes
The Practice Notebooks of Michael Brecker
(Sher Music) contains more than 700 entries,
re-engraved from the legendary saxophonist’s
hand-written notebooks. Brecker (1949–2007)
kept extensive notes on things to practice over
the entire span of his 35-year career, and the
141-page book contains first-hand accounts of
how he worked on these musical concepts from
his bandmates Joey Calderazzo, John Patitucci,
Richie Beirach, Steve Khan, Dave Liebman and
others. The book is available in print and PDF
versions for all treble clef instruments and
includes an appendix of Brecker’s saxophone-
specific ideas on fingerings, multiphonics and
extended techniques.
More info: shermusic.com

THE COLLEGE GUIDE
Where
to Study
Jazz in
2024
CAREERS FOR JAZZ GRADUATES
HOW TO SELECT THE RIGHT SCHOOL
THE MARCH TOWARD EQUITY IN JAZZ
MORE THAN
180 SCHOOL
LISTINGS!
Frost School of Music Studio Jazz Band
(Photo: Courtesy of Frost School of Music)
COURTESY UNIVERSITY
OF THE ARTS
Philadelphia’s University of the Arts “Z” Big Band
TIPS ON USING THIS GUIDE

I
n creating the DownBeat College Guide, a Alumni: There will be scores of names that stu- many roads to jazz and even more ways to enter
lot of thought went into what students and dents and parents are unfamiliar with as well the profession in this day and age.
parents need to know when selecting the as those who are immediately recognizable.
right school. Over the years, we’ve come up That doesn’t mean they those unknown-to- Final Note for Parents: Should you let your child
with a formula that seems most effective. you names aren’t important. They are there to study music? YES. If you learn to do one thing
be researched and checked out. You might find well, you can learn to do many things well.
Student Body: For most entries, we break it down that a school has a long line of top-flight arrang- And there are so many options for careers in
by the school, then the music school and how ers or teachers who don’t always get the pub- this wonderful ecosphere. Rest assured, they’ll
many jazz students. Some students want the lic-facing credit they deserve probably scrape by in the beginning, but, ulti-
major university or big music school experi- mately they will find a path and their place in
ence, while others want it small and personal. Auditions: Getting to know the audition require- this business. Enjoy the journey with them.
ments is a true step in the right direction. —Frank Alkyer
Tuition: Maybe that should be No. 1. The cost of Throughout the guide, colleges will simply
college is truly a challenge in this day and age. send you to a website. Some may require more
We get it. information than can be delivered here. So, COLLEGE GUIDE INDEX
explore and research, and don’t be afraid to ask
Jazz Degrees: Bachelor of Music (BM through- questions. These schools want and need you FEATURE
out the guide); Bachelor of Arts (BA), Master of to attend. They want a chance to answer your
Music (MM), Master of Arts (MA) and so on. questions and wow you with the experience. 86 Career Options for Jazz Graduates
Ask your college about the differences, which 112 Selecting the Right School
may seem subtle but are extremely important Financial Aid and Scholarships: A few schools offer 128 A March Toward Equity and Inclusion
to consider. Also, options for jazz students are no financial aid or scholarship opportunities,
expanding, just as the jazz world is expanding. but most do, and many offer generous amounts.
Leave no money stone unturned.
SCHOOL LISTINGS
Faculty: Who’s teaching and directing these
programs? As pointed out in our How to Select Application Deadlines: Know your deadlines, 90 EAST
the Right School article beginning on page 112, especially early deadlines for scholarship and
undergraduates will be spending four years of
their lives with these teachers. So, there should
financial aid considerations. 116 SOUTH
be a connection, or at least a starting point, for Contacts: These people are there to recruit you.
researching their backgrounds. So, don’t think twice, call or email them. They 132 MIDWEST
would love an opportunity to tell you more.
Jazz Bands: How many and what configuration
make a big difference. If a student like to play in Location: At the top of each entry, you’ll find the
154 WEST
a combo, a strictly big-band school is not gonna location of the school. Where do you want to
fly. The same is true for a trombonist who loves be? Large city or small town? Warm weather 170 INTERNATIONAL
being part of a horn section instead of a trio. or snow country? Go ahead, dream. There are

MTSU
Felipe Valenzuela, a recent Middle Tennessee State Music
Industry graduate, now works at Universal Music Publishing Group.
DARIO GRIFFIN
Pearl Drum interns come from a variety of schools. Shown here during a company
event at the Brooklyn Bowl in Nashville are, from left, Mary Smith, Pearl events
marketing manager; Gracie Martin, intern from the University of North Alabama;
Russ Saunders, Pearl sales representative; Avneesh Babar, intern from the USC Thornton Jazz Studies students collaborate with peers
University of North Texas; Austin Mellen, intern from Middle Tennessee State in the USC Thornton Screen Scoring program at Capitol
University; and Jonah Jaisen, intern from Middle Tennessee State University. Records’ legendary Studio A in Hollywood.
Jazz Studies & Beyond

EXPLORING CAREER OPTIONS
FOR JAZZ STUDENTS by Terry Perkins
D INDIANA STATE UNIVERSITY

ownBeat’s annual Where to Study Jazz (National Association of Music Merchants) than
Guide lists more than 180 four-year In 1978, Indiana State University added a any other university program.”
jazz studies programs across the United Bachelor of Science degree in music business with But as the music business has evolved,
States. Multiply those programs by the number concentrations in either merchandising or busi- Piechocinski acknowledges that it’s a continuing
of students enrolled in them, and it’s clear that ness administration. The new degree also required challenge to keep course offerings at ISU as rele-
thousands of undergraduate and graduate stu- students to be trained as musicians by taking the vant as possible.
dents are pursuing jazz-related degrees. same core music classes as music majors. “We’re in a constant state of flux with our
Many of these students will enter the field Over the years, the music industry degree curriculum, just like the music business,” he
of music education. Others will strive to estab- program at Indiana State became one of the explains. “Here’s one example. We used to assign
lish themselves as professional musicians, prestigious in the country, achieving a 100% students to put together a promotional kit for a
composers and arrangers. But in today’s rap- success rate for many years in placing graduates local musical artist as a semester project. It’s not
idly changing and increasingly competitive in jobs within the music industry: merchandis- a physical kit; it’s social media. But there are still
music environment, many jazz studies pro- ing, publishing, recording, retail, touring, man- certain key informational buttons you need to
grams are offering a wider array of special- ufacturing, promotion and media. hit. I teach students that it’s still the same game,
ized courses and career paths to provide stu- Professor Ted Piechocinski, director of the but you need a different approach — like playing
dents with the skills and knowledge to succeed ISU School of Music and the Music Business small ball in baseball instead of trying to hit home
in other areas. Program since 2004, believes one of the key runs. And in the end, the key things that matter
Indiana State University, Middle elements in the success of the music indus- in this business are building relationships, com-
Tennessee State University, Western Michigan try degree pathway is its six-month internship municating information and having the skills
University, Thornton School of Music at the program. and adaptability to keep up with the changes.”
University of Southern California and the “Students take their internship after their
New School in New York City have all worked course requirements are done,“ he states. “The MIDDLE TENNESSEE STATE UNIVERSITY
to provide their jazz studies students with internship is scheduled during their final semes- Why did Middle Tennessee State University
a variety of pathways to develop skills and ter and truly becomes a culminating experience, add a Music Industry track to its Music
explore career options in today’s rapidly evolv- immersing them full-time in a company. Over Department more than a decade ago? The
ing music industry. the years we’ve had more interns at NAMM answer: location, location, location. MTSU is

MARK BUGNASKI, COURTESY OF
WESTERN MICHIGAN UNIVERSITY
In Western Michigan’s clinical improvisation course, students practice facilitating
improvisations that address various client goals, like emotional expression, social interaction
and range of motion. They then verbally process the improvisation experience.
WESTERN MICHIGAN UNIVERSITY

Lesédi Ntsane, a New School MAAME Multimedia Arts Technology students at West Virginia
graduate and jazz trumpeter. University work sound for a live concert.
in Murfreesboro, just 34 miles from downtown it towards a minor. The Music Industry degree start the program. But Assistant Professor Carter
Nashville, one of music industry’s epicenters. really offers a remarkable blend of both rigor J. Rice explains that the program was designed to
Professor Jamey Simmons, director of jazz and flexibility.” include much more varied class offerings.
studies at Middle Tennessee State, explains that MTSU Music Industry students must also “We decided classes that only teach audio
the concept of adding a Music Industry degree complete an internship. Professor Cedric engineering were a disservice to students want-
came about because students taking recording Dent coordinates the internship program, and ing a broader perspective,” he says. “Fewer and
and production courses in the MTSU media has taken advantage of MTSU’s proximity to fewer jobs are focused on just that. Video is a
department began enrolling in music depart- Nashville to set up internship positions at more huge part of MAT, and courses in videography,
ment instrumental and vocal classes. than 30 music industry businesses, ranging from video editing, animation, game design, cinema
“They were media degree majors,” he says, recording studios, record labels, marketing and sound design, mixing in surround sound and
“and wanted to play music but couldn’t com- promotion firms, to media companies, retail dis- video game sound are offered. A lot of com-
mit to a full-time music degree. So we decided tributors and the Country Music Hall of Fame. puter and video companies hire our graduates
to create a music degree that had all the compo- “The internships range from three to six because they need people who can code who are
nents of our performance degrees, but allowed credit hours, depending on length,” concludes also musicians.”
students to have a music industry minor. As Simmons. “Our hope is for them to use this According to Rice, the MAT program
a result, the Music Industry track went from opportunity to build a real command of the attracts a growing number of jazz studies stu-
being a small program in the beginning to one business side of music.” dents, especially those majoring in composi-
of our largest music degree programs.” tion. But there’s also room for students without
Travis Hunter, academic advisor for the WESTERN MICHIGAN UNIVERSITY a traditional music background as well.
MTSU School of Music programs, notes that At Western Michigan University, the Music “We have students who come through the
the degree has become a popular choice for jazz School introduced a Bachelor of Science degree program who can barely read or write music,”
students looking to add flexibility to their Jazz in Multimedia Arts Technology a decade ago. says Rice, “but they’re some of the best musi-
Performance degree. MAT courses are based on five foundation- cians I’ve ever met. MAT seems to attract eager
“Our jazz students can take Music Industry al pillars: audio engineering, creative projects individuals who might not make it into other
classes to learn 21st-century musicianship skills for various media, live sound reinforcement for programs. It all adds up to an eclectic hodge-
such as networking, finances and creating audi- concerts and shows, computer programming podge of humans who end up doing really cool
ence engagement in our Foundations of Music and performance with technology. things.”
Industry and Music Industry Professional The availability of Western Sound Studios on WMU’s Music Therapy program offers a
classes. Jazz musicians can also take courses in campus, which operates as a professional business more traditional career path for jazz majors,
the Recording Industry or Audio Production as well as serving as the recording facility for the according to Associate Professor Jennifer Fiore.
departments. Students can also use that cred- university’s music program, was an impetus to “An undergrad degree in Musical Therapy

Drummer Kenny Aronoff speaks with Indiana State
School of Music students during a campus visit this year.
has specific requirements, and there is some dia. Music production students are required real world out there,” adds Pablo Helguera,
overlap with jazz studies requirements,” she to collaborate with songwriters, artists and assistant professor of arts management and
explains. “Sometimes students finish both bands at Thornton, and have the opportuni- entrepreneurship. “We try to give them the
degree; others end up focusing on one. We do ty to work with students in other USC schools. reins to their own career: how to fundraise and
have an equivalency certification program for For example, they can partner with video direc- find resources to do what they want to accom-
students who have a jazz studies degree but tors/designers and video game designers in the plish. We show them that artists don’t live in
want to come back and study to be a music ther- School of Cinematic Arts, or with students in isolation.”
apist. They just take the classes needed to fulfill the Roski School of Art and Design, the Viterbi In the first year of MAAME classes, stu-
that certification, do an internship, then qualify School of Engineering or the Annenberg School dents are introduced to entrepreneurial practic-
to take the board certification exam.” for Communication and Journalism. es such as marketing, fundraising strategies and
“The contemporary music division at cultural and creative industry business mod-
USC THORNTON SCHOOL OF MUSIC Thornton contains jazz, industry, production, els. The second year is focused on developing a
Thornton School of Music at the University of our exceptional Screen Scoring program as well capstone project that combines these entrepre-
Southern California offers a Bachelor of Science as a pop music track,” says Goldman. “The music neurial skills with their artistic creativity.
degree in Music Industry as well as a Bachelor of industry changes fast, and in an academic envi- “We want them to really think about what
Music degree in Music Technology. In fact, the ronment it’s challenging to stay up with the lat- their capstone project might be by helping
Music Industry program has Thornton’s highest est trends, but I think Thornton does a great job.” them dream in a creative way,” adds Helguera,
enrollment, with 500 current students. “then realistically showing them what’s possi-
Courses in both those programs are also THE NEW SCHOOL ble. Their last semester is the time for produc-
required for all Thornton students, according to Students at the New School in Manhattan tion, setting a budget and time frame to make
Jason Goldman, associate professor of practice enrolled in the School of Jazz and Contemporary that idea happen. For example, Lesédi Ntsane,
and chair of Thornton’s jazz studies program. Music have the opportunity to continue and a South African trumpet player, created a per-
“For jazz students, we require the Intro to enhance their performing careers after receiv- formance based on letters and correspon-
Music Business and Careers in Music course in ing their undergraduate degrees thanks to a dence from the apartheid era. He then reached
the Music Industry program, and we require four new program, the Master’s in Art Management out to the South African consulate for sup-
music technology courses as well,” Goldman and Entrepreneurship. Begun in 2017, the port to help create a successful performance.
explains. “It’s vital to know your rights as a musi- two-year MAAME program brings togeth- Capstones can become the launching pad for
cian: how you get royalties, how you get paid.” er School of Jazz grads with students from the future career.”
“Music technology students can choose the New School’s College of Performing Arts — “In addition to accepting grad students,
four required courses from up to eight class- the School of Drama and the Mannes School MAAME now has a five-year program for our
es. We want to give them the freedom to learn of Music — to gain skills in arts management, College of Performing Arts undergrads,” adds
more within specific areas. For example, they administration and entrepreneurship. Dr. Keller Coker, dean of the School of Jazz and
can take classes like Pro Tools, Sibelius or “Entrepreneurial practice is a core value of Contemporary Music. “They can apply during
Finale notation, or Web Building.” all our programs,” says Stephen Brown-Fried, their second year and enter a dual degree path if
Music Industry majors can take a variety of vice dean of curriculum and learning at The accepted. They then integrate MAAME cours-
courses: artist management, the recording New School’s College of Performing Arts. es in their third and fourth year and can gradu-
industry, music publishing, artist branding “There are a lot of programs for arts managers, ate in five years.”
and marketing, music law, live concert promo- but we feel this program is unique. MAAME “At MAAME,” emphasizes Brown-Fried,
tion, festival management, DIY touring, music requires them to continue their performance “we are connected to the field as it exists in this
industry ethics and venue management. career — and come out of the program empow- moment and are thinking ahead and preparing
Music Technology majors can explore using ered with all the tools of entrepreneurship.” artist-entrepreneurs for a world that continues
technology in live performance and multime- “We all operate from the idea that there’s a to change. That implies constant evolution.” DB

Student Music Guide
ELIZABETH FRIAR
SUZANNE PITTSON
CUNY’s Graduate Jazz Combo at Jazz Congress
BEN JOHNSON
High-flying performance at Berklee Students jam at the Peabody School.
students (65 undergraduate/15 MM in Performance–Jazz Emphasis.
EAST Tuition:
graduate).
Undergraduate: In-state, $3,365/
Faculty: Mike Tomaro, Jeff Bush, Paul
Thompson, Max Leake, Eric Susoeff,
semester. Out-of-state, $600/credit. Tom Wendt, JD Chaisson, Kelley
Graduate: In-state, $5,385/semester. Krepin-DeFade.
Out-of-state, $830/credit.
Berklee College of Music Jazz Bands: Jazz Ensemble, Jazz Workshop, Jazz
Jazz Degrees: BM in Jazz Studies, MM in Jazz Combos.
Boston, Massachusetts Studies. Alumni: Sammy Nestico, Mike Tomaro,
Student Body: 8,282. Faculty: Steve Wilson, Suzanne Pittson, David Budway, Don Aliquo Jr.,
Tuition: $48,830 annually. Mike Holober, Ray Gallon, Dennis Darryl Yokley, Chris Hemingway,
Brandner, Carolyn Leonhart, Dylan Brett Williams, Arianna Powell, Eric
Jazz Degrees: BM (BA degree offered in Music
Pramuk, Kenny Wessel, Jason Richards, Paul Murtha.
Industry Leadership and Innovation
Rigby, Nasheet Waits, Adam Cruz, Portfolio plus live audition, see duq.
for non-musicians). Auditions:
Carl Allen, Scott Wendholt, David edu/auditionoverview.
Faculty: Terri Lyne Carrington, Allan Chase, Wong, Sean Smith, Mark Ferber.
Edmar Colón, Danilo Pérez, Sara Financial Aid: Academic, talent, and need-based
Jazz Bands: Small ensemble, large ensemble, scholarships up to 100% of tuition
Caswell, Steven Feifke, Tia Fuller,
jazz vocal ensemble. coverage.
Anastassiya Petrova, Kris Davis,
Linda May Han Oh. Alumni: Ira Gershwin, Frank Loesser, Scholarships: Undergraduate, see duq.edu/
Yip Harburg, Kris Davis, Theo MusicAwards. Graduate, see duq.
Jazz Bands: Jazz Composition Workshop
Bleckmann, Alan Mednard, Vitor edu/gradmusicawards.
Ensemble, Jazz Comp Fusion
Goncalves, Antonio Ciacca, Tony
Ensemble, Chord Scale Madness Apply by: Priority deadline, March 1, 2024
Davis, Aidan Carroll, Jamile Staeve,
Ensemble, Berklee Concert Jazz (closes June 1, 2024).
Deanna Witkowski.
Orchestra, Rainbow Big Band,
Visiting Scholar’s Ensemble, more. Auditions: See jazz.ccnysites.cuny.edu/ Contact: Dr. Thomas Carsecka, director of
auditions. music admissions, 412-396-5064,
Alumni: Terri Lyne Carrington ’83, Quincy musicadmissions@duq.edu.
Jones ’51, esperanza spalding ’05, Financial Aid: See ccny.cuny.edu/financialaid.
Bill Frisell ’77, Donald Fagen (Steely Scholarships: Sweet Basil Jazz Club Scholarship;
Dan) ’66, Danilo Pérez ’88, John
Scofield ’73, Leo Genovese ’04,
Ella Fitzgerald Foundation The Eastman School of Music
Matthew Stevens ’04, Arooj Aftab
Scholarship. For complete list, see of the University of Rochester
jazz.ccnysites.cuny.edu/students/
’10, Debo Ray ’13, Grace Kelly ’12,
Julian Lage ’08, Gary Burton ’61.
scholarships-awards. Rochester, New York
Apply by: Feb. 1. Student Body: 550 Undergrads, 400 Grads. Music
Auditions: Interview, prepared piece, Students; 550 undergrads, 400
improvisation, sight reading, ear Contact: Marla Alexandre, Music
Department Office, 212-650-5411. grads. 40 jazz majors.
training, additional guidelines for
select instruments. For BM, jazz@ccny.cuny.edu. For Tuition: $63,150 (undergraduate tuition).
MM, jazzgrad@ccny.cuny.edu. For Jazz Degrees: BM, MM, DMA.
Financial Aid: Contact financialaid@berklee.edu; more information, jazz.ccnysites.
617-747-2274. cuny.edu. Faculty: Christine Jensen, Jeff Campbell,
Scholarships: Contact financialaid@berklee.edu; Gary Versace, Clay Jenkins, Sara
617-747-2274. Gazarek, Bob Sneider, Charles
Jan. 15.
Duquesne University Pillow, Rich Thompson, Mark
Apply by:
Mary Pappert School of Music Kellogg, Dariusz Terefenko, Dave
Contact: Office of Admissions, 617-266-1400. Rivello.
Pittsburgh, Pennsylvania Jazz Bands: Eastman Jazz Ensemble, New Jazz
The City College of New York Student Body: 9,000 undergrads; 300 music Ensemble, Lab Band Ensemble,
(City University of New York) students (grad and undergrad); 15
jazz students (grad and undergrad).
Eastman Studio Orchestra.
Alumni: Ron Carter, Chuck Mangione, Steve
New York, New York Tuition: Contact musicadmissions@duq.edu. Gadd, Maria Schneider.
Student Body: 16,544 in the university. 80 jazz Jazz Degrees: BM in Performance–Jazz Emphasis; Auditions: Preliminary recording and

Student Music Guide
JOYCE BOGHOSIAN
HEATHER MEANEY
George Mason Jazz Vocal Ensemble The SUNY Schenectady Jazz Combo
application materials due Dec 1. Jazz Degrees: BA in Music, Music Minor. Apply by: University Early Action, Honors
Final auditions due in February Faculty: Matt Buttermann, Nathan Lincoln- College, and University Merit
(offered virtually and on campus). DeCusatis, Mika Nishimura, Juan Scholarship Consideration Deadline:
Montoya, Kevin Farrell, Amanda Nov. 1. University Regular Decision
Financial Aid: Contact financialaid@esm.
Ekery, Katherine Copeland, Zoe Deadline: Feb. 1. School of Music
rochester.edu.
Obadia, Douglas Marriner, Willie Merit Scholarship Consideration:
Scholarships: Contact Danielle Arnold, darnold@ Complete an audition prior to
Applewhite, Keegan Riley.
esm.rochester.edu. March 1.
Jazz Bands: Jazz Orchestra, Combos, Vocal
Apply by: Dec. 1. Contact: Dr. Darden Purcell, 703-993-1380,
Ensemble.
Contact: Danielle Arnold, 585-274-1060; dpurcel2@gmu.edu.
Auditions: No auditions.
darnold@esm.rochester.edu.
84.61% of undergraduates received
Financial Aid:
The Hartt School
Fordham University financial aid. Visit fordham.edu.
New York, New York Scholarships: See fordham.edu. West Hartford, Connecticut
Student Body: 16,000; 55 jazz. Apply by: Jan. 1. Student Body: 2,800; 495 music students; 29 jazz
students.
Tuition: Visit fordham.edu Contact: Dr. Matt Buttermann,
mbuttermann@fordham.edu. Tuition: Undergraduate, $42,851; DMA &
MM, $28,697; GPD, AD, $21,654.
Jazz Degrees: BM, MM.
George Mason University
Faculty: Javon Jackson, Sam Blakeslee,
Fairfax, Virginia Abraham Burton, Chris Casey,
Student Body: 39,150 (students from all 50 states Zaccai Curtis, Matt DeChamplain,
and 130 countries); 350 music Rick Germanson, Richard Goldstein,
students. 30–40 jazz students. Karrin Schoonover, David Smith,
Michael Thomas, Jason Tiemann.
Tuition: Undergraduate: studentaccounts.
gmu.edu/wp-content/uploads/ Jazz Bands: Big Band, Jazz Ensemble (6).
AY2023-24Undergraduate.pdf. Alumni: Sue Terry, Jimmy Greene, Nat
Graduate: studentaccounts.gmu. Reeves, Steve Davis.
edu/wp-content/uploads/AY2023- Auditions: Application and audition.
24CVPA.pdf.
Financial Aid: Katherine Presutti, VP for Financial
Jazz Degrees: Minor, BM, MM, DMA (Jazz Aid, 860-768-4300, kpresutti@
Emphasis). hartford.edu.
Faculty: Wade Beach, Graham Breedlove, Scholarships: Katherine Presutti, VP for Financial
Jim Carroll, Aaron Eckert, John Aid, 860-768-4300, kpresutti@
Kocur, Dr. Kevin McDonald, Dr. hartford.edu.
Juan Megna, Xavier Perez, Victor
Apply by: Jan. 1.
Provost, Dr. Darden Purcell, Dr.
Shawn Purcell, Rick Whitehead. Contact : Javon Jackson, program director,
860-768-5797,
Jazz Bands: Mason Jazz Ensemble (big band),
javjackso@hartford.edu.
Jazz Workshop (lab band), Combos,
Latin American Ensemble, Steel
Pan Ensemble, Mason Jazz Vocal The Juilliard School
Ensemble, Braddock Road Brass
Band. New York City, New York
Alumni: Victor Provost, Leigh Pilzer, Regan Student Body: 850; 692 music students; 53 jazz
Brough. students (as of fall 2022).
Auditions: music.gmu.edu/admissions/ Tuition: $53,300.
apply-and-audition. Jazz Degrees: BM, MM, Artist Diploma
Financial Aid: gmu.edu/financial-aid. (post-graduate).
Scholarships: Merit-based scholarships available Faculty: Wynton Marsalis, director of
by audition, Dr. Darden Purcell, Juilliard Jazz; Aaron Flagg, chair
dpurcel2@gmu.edu. and associate director.

Jazz Bands: Juilliard Jazz Orchestra, Artist Jazz Group, Long Island Sound Ana Guigui, Chris Klaxton, Charlie
Diploma Ensemble, Small Jazz Vocal Jazz Group, Post-Modern Kohlhase, John Lockwood, Nando
Ensembles. Contemporary Ensembles. Michelin, Anastassiya Petrova,
Alumni: Aaron Diehl, Anthony Hervey, Alumni: Brandon Rivas, Isaiah Johnson, Al Randall Pingrey, Noah Preminger,
Immanuel Wilkins, Olivia Marino. Matt Savage, Ben Schwendener,
Chindamo, Russell Hall, Isaiah J Neal Smith, Nikola Tomić, Sylvie
Auditions: In-person and online auditions Zakarian.
Thompson, TJ Reddick. available on select dates
Auditions: Prescreening required; live audition January to March 2024. Jazz Bands: Jazz Immersions Ensembles, Folk
on campus in New York City. Visit liu.edu/post/academics/ Tradition Ensemble, The JCM Vocal
school-of-performing-arts/ Workshop, Harmolodic Ensemble,
Financial Aid: financialaid@juilliard.edu Modern Standard Ensemble,
music-audition.
Scholarships: Awarded based on a combination South American Jazz Ensemble,
of need and merit, financialaid@ Financial Aid: Visit liu.edu/enrollment-services/ The Art of the Duo/Trio Ensemble,
juilliard.edu. financial-aid. The JCM Art Ensemble, African
Scholarships: Limited music scholarships and Jazz (including Abdullah Ibrahim,
Apply by: Dec. 1.
academic scholarships available. Johnny Dyani and Dudu Pukwana),
Contact: 212-799-5000, ext. 223; Visit liu.edu/Global/~/link.aspx? Modern Times Ensemble, The No
admissions@juilliard.edu. Boundaries Ensemble, Ensemble-in-
Apply by: Rolling admissions.
Residence: Imagine Orchestra.
Long Island University, Post Campus Contact: Jeff Lederer, 516-299-2474, jeffrey.
Alumni: Tucker Antell, Sadie Gustafson-
lederer@liu.edu.
Brookville, New York Zook, David Harewood, Lawrence
Student Body: 15,066; 150 music students; 45 jazz Ku, Miki Matsuki.
students. Longy School of Music of Bard College Auditions: Online application and audition
$39,290. (live or video recorded). Visit longy.
Tuition:
Cambridge. Massachusetts edu/admissions/how-to-apply.
Jazz Degrees: BFA MTEP(Music Technology, Student Body: 325 music students;
Entrepreneurship and Production), Financial Aid: Lauren Flaherty
26 jazz students. lflaherty@longy.edu.
BS Music, BM (Mus Ed).
Tuition: $51,725 Tyler Reece treece@longy.edu.
Faculty: Jeff Lederer, director of Jazz Scholarships:
Studies, Curtis Hasselbring, Rich Jazz Degrees: MM, Graduate Performance Apply by: Nov. 1, 2023, for Spring 2024; Dec. 1
Lacona, Jennifer Miceli, Tavonna Diploma, Graduate Diploma in for Early Action, Fall 2024; Regular
Miller, Mark Marino, John Ray, Kaz Composition. Action: Jan. 5, 2024.
Takemura, Steve Blutman. Faculty: Eric Hofbauer, Naseem Alatrash, Contact: Zishi Liu, 617-831-1804,
Jazz Bands: LIU Jazz Sharks Big Band, Jazz Sara Bielanski, Leo Blanco, Dave
combos, Los Tiburones Latin Bryant, Peter Cassino, Peter Evans, zliu@longy.edu.

Student Music Guide
CASSANDRA ROSHU
JOSEPH V. LABOLITO
Syracuse University Orange Juice Jazz Ensemble Temple University Jazz Band Holiday Concert
Manhattan School of Music Roach, Christian Sands, Joe Saylor,

Kimberly Thompson, Joe Wilder,
Auditions: marshall.edu/music/jazz/audition.
Financial Aid: marshall.edu/sfa.
New York, New York Bernie Williams, Phil Woods,
Scholarships: Tuition waivers and endowed
Miguel Zenón.
Student Body: 1,040 music students; 135 jazz scholarships available. Contact Jeff
students. Auditions: Applicants must submit an online Wolfe, wolfe9@marshall.edu.
application at apply.msmnyc.
Tuition: $53,500. Apply by: Rolling deadline, visit marshall.edu/
edu/apply. The application opens
Jazz Degrees: BM, MM, Doctoral Jazz Arts on Sept. 1, and closes on Dec. 1. admissions/apply.
Advancement Program (DMA). MSM offers in-person auditions on Contact: Jeff Wolfe, director of jazz studies,
Majors: Alto Saxophone, Baritone campus from late February through 304-696-3613,
Saxophone, Bass Trombone, Cello, early March. Virtual auditions may wolfe9@marshall.edu.
Clarinet, Composition (MM only), also be available. See msmnyc.
Double Bass, Drum Set, Electric edu/admission/what-youll-need-
Bass, Flute, Guitar, Harmonica, to-apply-to-msm-college. Some John J. Cali School of Music
Piano, Tenor Saxophone, Tenor programs require applicants to at Montclair State University
Trombone, Trumpet, Vibraphone, submit prescreening videos in order
Viola, Violin, Voice (MM & DMA to be invited to audition in person. Montclair, New Jersey
only). See msmnyc.edu/programs/ Student Body: 20,000; 450 at the Cali School; 50
jazz-arts/prescreening-audition- jazz studies majors.
Faculty: Ingrid Jensen, Jay Anderson, Darcy procedures to view requirements
James Argue, Jamie Baum, Jean for your major of interest. Tuition: $13,000.
Baylor, Theo Bleckmann, Rogério Jazz Degrees: BM in Jazz Studies, BM in Music
Boccato, Regina Carter, Marc Financial Aid: Available.
Education with Jazz Concentration,
Cary, Sara Caswell, Jon Faddis, Scholarships: Scholarships are awarded based BA in Music Therapy with Jazz
Edward Green, Chris Hajian, on financial need and talent, Concentration, MM in Jazz Studies,
Vincent Herring, Matt Holman, as captured by the entrance Artist Diploma in Jazz Studies.
Mike Holober, Tammy Huynh, Ryan audition, application, academic
Keberle, Bill Kirchner, Frank Lacy, records, and social and community Faculty: Marcus Printup, Mike Rodriguez,
Jeremy Manasia, Phil Markowitz, engagement. See msmnyc.edu/ Billy Hart, Rachel Z, Steve Nelson,
Donny McCaslin, Mike Moreno, admission/scholarships-financial- Dave Stryker, Mike Lee, Aubrey
Aaron Parks, John Riley, Sherisse aid. Contact Ellen Segarra, senior Johnson, Bruce Williams, Oscar
Rogers, Christopher Rosenberg, associate director for financial aid, Perez, Steve Johns, Bill Moring,
Ted Rosenthal, Joel Ross, Harvie S, finaid@msmnyc.edu. Alan Ferber, Mike Boschen, Nate
James Saltzman, Kendrick Scott, Mayland, David Cook, Stephen
Apply by: Dec. 1. Benson, Jerome Jennings, Kevin
Jaleel Shaw, Damien Sneed, Mark
Soskin; Dayna Stephens; Joan Contact: admission@msmnyc.edu; Bene, Kate Cosco, Dylan Pramuk.
Stiles, David Taylor, Steve Turre, 917-493-4436. Jazz Bands: MSU Jazz Ensemble, Red Hawk Jazz
Elio Villafranca, Scott Wendholt, Band, Vocamotion Vocal Ensemble,
Buster Williams. Marshall University Guitar Ensemble, 14 jazz combos.
Jazz Bands: Jazz Orchestra, Jazz Studio Huntington, West Virginia Auditions: Video submission or live audition.
Orchestra, Chamber Jazz Ensemble, Student Body: 10,835; 150 music students; 40 jazz Financial Aid: Loans, talent and merit scholarships
Repertoire and Reading Big Band. students. available.
More than 20 small combos:
traditional, contemporary, Tuition: Resident, $8,942; Non-resident, Scholarships: Visit montclair.edu or
experimental, swing, bebop, Latin, $20,294. redhawkcentral@montclair.edu.
Brazilian, Indian, electronic and Jazz Degrees: BFA–Jazz Studies, MA–Jazz Studies, Apply by: Feb. 1 to be considered for
more BA–Commercial Music. scholarship, otherwise rolling
Alumni: Ambrose Akinmusire, Fabian Faculty: Jeff Wolfe, Ed Bingham, Mike admissions.
Almazan, Patrick Bartley, Donald Stroeher, Nick Vassar, Danny Cecil, Contact: Oscar Perez, coordinator of jazz
Byrd, Ron Carter, Harry Connick Steve Hall. studies, perezo@montclair.edu.
Jr., Kate Davis, Justin DiCioccio,
Jazz Bands: Two large jazz ensembles, three
Sullivan Fortner, Herbie Hancock,
Stefon Harris, Yusef Lateef, John
jazz combos, commercial music New England Conservatory
ensemble.
Lewis, Hugh Masekela, Jane Boston, Massachusetts
Monheit, Jason Moran, Adam Alumni: Craig Burletic, Rod Elkins, Paul
O’Farrill, Linda May Han Oh, Jennings, Jimmy Lykens, Student Body: 806; 80 Jazz Studies; 40 CMA .
Aaron Parks, Chris Potter, Max Austin Seybert. Tuition $56,780/year.

JAZZ STUDIES Roberta Gambarini, Matthew World Music, A capella Vocal
Jazz Degrees: BM, five-year, Dual-Degree Schipp, Bruce Barth, Jerome Harris, Ensemble, and Composition/
options with Tufts and Harvard; Roger Kellaway, Sunny Kim, Brian Improvisation.
Undergraduate Diploma; MM; Landrus, Jo Lawry, Noah Preminger, CMA Alums: Sarah Jarosz, Aoife O’Donovan, Mat
Graduate Diploma; DMA in jazz Sara Serpa, George Schuller, Maneri, Frank Carlberg, Michael
performance or jazz composition. Luciana Souza, Daniel Tepfer, Ryan Winograd, Don Byron, Dave
Truesdell, Rachel Z. Fiuczynski, Nedelka Prescod, John
Faculty: Anna Webber, Ken Schaphorst,
Jason Moran, Dominique Eade, CONTEMPORARY MUSICAL ARTS (CMA) Medeski, Dominique Eade, Christine
Ethan Iverson, Donny McCaslin, CMA Degrees: BM, five-year, Dual-Degree Correa, Magdalena Abrego, C.B.
Nasheet Waits, Dave Holland, options with Tufts and Harvard; Calloway Brooks, Okkyung Lee.
Billy Hart, Ran Blake, Cecil McBee, Undergraduate Diploma; MM, JAZZ STUDIES & CONTEMPORARY MUSICAL ARTS
Jerry Bergonzi, Marshall Gilkes, Graduate Diploma; DMA in Auditions: Recorded video audition (pre-
John Lockwood, Jason Palmer, Contemporary Musical Arts. screening). Students who pass
Joe Morris, Robert Nieske, Ben
CMA Faculty: Hankus Netsky & Eden MacAdam- pre-screening will be notified
Schwendener, Frank Carlberg,
Somer, co-chairs; Ran Blake; mid-late December and will be
Anthony Coleman, Mark Zaleski,
Dominique Eade; Anthony invited to a final audition in late
Jorrit Dijkstra, Henrique Eisenmann,
Coleman; Carla Kihlstedt; Balla January–February. Final auditions
Jerry Leake, Mark Walker, Norman
Kouyaté; Liz Knowles; Mike Block; will be performed in-person for a
M.E. Zocher.
Nedelka Prescod; Greg Liszt; faculty panel on our campus in
Jazz Bands: NEC Jazz Orchestra, Jazz Composers Joe Morris; Farayi Malek; Nima Boston. Recorded final auditions
Workshop Orchestra and 27 Janmohammadi; Steve Netsky; (also acceptable) are reviewed
faculty-coached small ensembles Hui Weng; Mal Barsamian; Linda by the same faculty and given
including ensembles focused on Chase; Jerry Leake; Cristi Catt; equal consideration. Pre-screening
free jazz, early jazz, gospel, Brazilian Ted Reichman; Mark Zaleski; Dave and final audition repertoire are
and songwriting as well as more Zoffer; Lautaro Mantilla; Warren outlined on our website in the
traditional approaches to jazz Senders. “Audition Information” section.
performance.
CMA Ensembles: 26 faculty-coached ensembles Financial Aid: NEC awards federal and state
Alumni: Cecil Taylor, Fred Hersch, Rachael including Mandé West African, funding to eligible students based
Price, Darcy James Argue, Regina Contemporary Chamber Music, on financial need. Institutional
Carter, Dave Douglas, Matana American Roots, Ceól (Irish), Open funding is awarded based on
Roberts, Michael Mayo, Satoko Fujii, Form/Graphic Scores, Songwriter’s student talent/merit as well as
Antonio Sanchez, Richie Barshay, Workshop, Jewish Music, R&B, Early demonstrated financial need.
Marilyn Crispell, Freddy Cole, Jazz, Contemporary Rock, Persian Institutional funding is available to
Jamie Baum, Marty Ehrlich, Anton Music, Middle Eastern Music, all students — both domestic and
Fig, Ricky Ford, Bernie Worrell, Interdisciplinary Connections, international — who complete the

Student Music Guide
Horn, Larry Goldings, Lakecia

HARTT SCHOOL OF MUSIC
MIKE PETERS
Benjamin, Greg Kurstin.
Auditions: Live auditions in New York,
Portland, Tel Aviv; recorded.
Financial Aid: Contact performingarts@
newschool.edu.
Scholarships: performingarts@newschool.edu.
Apply by: Jan. 15.
Contact: performingarts@newschool.edu.
New York Jazz Academy

New York, New York
Student Body: 600 jazz students.
Tuition: $2,000–$10,000/year.
Jazz vocals at Hartt Jazz band rehearsal at Montclair State Jazz Degrees: No degrees offered.
Faculty: Javier Arau, David Engelhard,
NEC financial aid application within Tuition: 52,000/year. Daniel Bennett, Michael Webster,
the online application. Jazz Degrees: BFA, MM. Peck Allmond, Tom Dempsey, Ron
Scholarships: More than 90% of NEC students McClure, Sirintip, Carolyn Leonhart.
Faculty: Reggie Workman, Jane Ira Bloom,
receive renewable scholarships. Arturo O’Farrill, Julian Lage, Mary Jazz Bands: Big bands, small ensembles, vocal
Contact finaid@necmusic.edu. Halvorson, Peter Bernstein, Joanne programs, more.
Apply by: Dec. 1. Brackeen, Buster Williams, George Alumni: Sam Butler, Gaston Kaisin, Esteban
Cables, Anat Cohen, Andrew Castro.
Contact: Austin Comerford, enrollment Cyrille, Joel Ross, James Francies,
counselor for contemporary Immanuel Wilkins, Allison Miller, Auditions: Auditions are required for select
musical arts, jazz and voice; austin. Matt Wilson, Brandee Younger, programs, but not all programs.
comerford@necmusic.edu. Dave Douglas, Caroline Davis, Nir Financial Aid: Available.
Felder, Wendy Eisenberg, more Scholarships: Tuition subsidies are available.
than 125 classroom faculty.
The New School Apply by: Rolling admissions.
Jazz Bands: 90 per semester.
New York, New York Alumni: Brad Mehldau, Peter Bernstein,
Contact: Javier Arau, 718-426-0633,
nyja@nyjazzacademy.com.
Student Body: 10,000; 800 music students; 300 Robert Glasper, Joel Ross, James
jazz students. Francies, Becca Stevens, Jazzmeia Website: nyjazzacademy.com

Student Music Guide
Jazz Bands: Brazilian Music Ensemble, Brazilian

ANNA YATSKEVICH
ANDREW HURLBUT
Percussion Ensemble, Patricia
Brennan Ensemble, Dezron Douglas
Ensemble, Billy Drewes Ensemble
I & II, Drew Gress Ensemble,
World Percussion Ensemble, Dave
Liebman Ensemble, Ron McClure
Ensemble, Tony Moreno Ensembles
I & II, Lenny Pickett Block Party
Band, The NYU Wayne Shorter
Ensemble, Chris Potter Ensemble,
The Mingus Ensemble, Latin Music
Ensemble, Michael Rodriguez
Ensemble, Adam Rogers Ensemble,
John Scofield Guitar Ensemble, NYU
Jazz Orchestra, NYU All-University
Jazz Orchestra, Brad Shepik
Ensemble, World Music Ensemble,
High-fiving at Manhattan School Jason Moran speaking at NEC
Lenny White Ensemble, Martin
Wind Ensemble, Michael Wolff
Ensemble.
New York University (NYU Steinhardt) Patricia Brennan, Alan Alumni: Wayne Shorter, Brian Lynch, Dave
Broadbent, Sara Caswell, Dezron
New York, New York Douglas, Billy Drewes, Billy
Pietro, Martin Wind, Ron Blake,
51,123; 100 jazz students. Patricia Brennan, Adam Stoler,
Student Body: Drummond, Alan Ferber, Drew Timo Vollbrecht, Tuffus Zimbabwe,
Tuition: Undergraduate, $60,438/year; Gress, John Hadfield, Ari Hoenig, Charlotte Greve, Steven Feifke,
Graduate, $37,332/year. Tim Keiper, Brandon Lee, Dave Marta Sanchez, Joe Alterman,
Liebman, Ron McClure, Tony Marike Wiening, Ray Mason, Mike
Jazz Degrees: BM in Instrumental Performance Moreno, Ed Neumeister, Tivon
with a Sequence in Jazz; MM in Eckroth, Antonio Figura, Eva Klesse,
Pennicott, Rich Perry, Lenny John Gunther, Davy Mooney, David
Instrumental Performance, Jazz Pickett, Chris Potter, Michael
Instrumental Performance; Artist Meder, Marike van Dijk, Glenn
Richmond, Michael Rodriguez, Zaleski.
Diploma in Jazz Instrumental Adam Rogers, John Scofield,
Performance, and PhD in Music Rich Shemaria, Brad Shepik, Auditions: Undergraduate, visit steinhardt.
Performance and Composition. Dion Tucker, Manuel Valera, nyu.edu/degree/bm-jazz-studies/
Faculty: Dave Pietro, Dr. Dave Schroeder, Lenny White, Martin Wind, how-audition. Graduate, visit
Peter Bernstein, Rogerio Boccato, Michael Wolff. steinhardt.nyu.edu/degree/

Student Music Guide
mm-jazz-studies/how-apply. Winslow, Delandria Mills, Russell auditions at the beginning of the

Financial Aid: 212-998-4444, Kirk, Jacob Yoffee, Daniel Marcellus. school year.
financial.aid@nyu.edu. Audition: Visit peabody.jhu.edu/auditions. Financial Aid: Visit admission.princeton.edu/
Scholarships: Office of Undergraduate Financial Aid: Available, contact peabodyfinaid@ cost-aid/apply-financial-aid.
Admissions, 212-998-4500; jhu.edu; 667-208-6590. Scholarships: No Scholarships. Upon admission,
Office of Graduate Admissions, Scholarships: Contact peabodyfinaid@jhu.edu; Princeton meets all demonstrated
212-998-5030. 667-208-6590. financial need.
Apply by: Regular decision, Jan. 5; Early Apply by: Dec. 1. Apply by: Nov. 1, Jan. 1.
Decision I, Nov. 1; Early Decision II,
Contact: 667-208-6600; Contact: Rudresh Mahanthappa, jazz@
Jan. 1; Master’s/Artist Diploma, Jan.
peabodyadmissions@jhu.edu; princeton.edu; facebook.com;
6; PhD, Dec. 1.
peabody.jhu.edu. jazzatprinceton; twitter.com/
Contact: Dave Pietro, director of jazz studies, jazzatprinceton; jazzatprinceton.
212-998-5252, dap224@nyu.edu, com.
steinhardt.nyu.edu/programs/ Princeton University
jazz-studies. Queens College
Princeton, New Jersey Queens, New York
Peabody Institute of the Student Body 5,548; 55 jazz students.
Student Body: 18,700; 400 music students; 30 jazz
Johns Hopkins University Tuition: $59,710. students.
BA in Music, Minor in Music, Minor In-state, $470 per credit; Out-of-
Baltimore, Maryland Jazz Degrees:
in Music Performance.
Tuition:
state/international, $855.
Student Body: 750 music students; 35 jazz
students. Faculty: Rudresh Mahanthappa, Darcy Jazz Degrees: MM, Jazz Performance; MM, Jazz
James Argue, Nicole Glover, Composition.
Tuition: $62,380. Trineice Robinson-Martin, Matthew
Faculty: Antonio Hart, David Berkman,
Jazz Degrees: BM, MM, GPD. Clayton, Miles Okazaki, Ted Chubb,
Michael Mossman, Dennis Mackrel.
Dave Miller, Matthew Parrish, Elio
Faculty: Sean Jones, Nasar Abadey, Javier
Villafranca, Vince Ector. Jazz Bands: 4–6 each year.
Nero, Kristopher Funn, Tim Green,
Richard D. Johnson, Marvin Sewell, Jazz Bands: Creative Large Ensemble, Small Alumni: Conrad Herwig, Arturo O’Farrill,
Fran Vielma, Charenee Wade, Group I, Small Group A, Small Marvin Hamlisch, Tito Munoz,
Warren Wolf. Group X, Small Group Z, Jazz Vocal Carole King, Paul Simon.
Collective. None.
Jazz Bands: Peabody Jazz Ensemble, Pan Financial Aid:
American Jazz Ensemble, Peabody Alumni: Stanley Jordan, Alex Laurenzi, Maya Scholarships: Contact Teresa Sanchez, jazz
Super Sax Ensemble, Peabody Keren, Maya Stepansky. program coordinator; teresa.
Jazz Combos. Auditions: Arts Supplement application along sanchez@qc.cuny.edu.
Alumni: Chelsey Green, Alex Norris, Dontae with University application. Live Apply by: Feb. 1 for Fall 2024. Nov. 1 for Spring
2024.
Contact: Dennis Mackrel, 718-997-3858,
dennis.mackrel@qc.cuny.edu.
Rutgers University
Mason Gross School of the Arts
New Brunswick, New Jersey
Student Body: 36,000; 1,150 in School of the
Arts; 300 music students (250
undergraduate, 50 graduate); 60
jazz students.
Tuition: Undergraduate/In-state, $12,900/
year; Undergraduate/Out-of-State
(and international), $30,600;
Graduate/In-state, $843 per credit.
Graduate/Out-of-state, $1,334 per
credit.
Jazz Degrees: BM Jazz Studies, BM Jazz and Music
Education, MM Jazz Studies.
Faculty: Robby Ameen, Ralph Bowen,
Anthony Branker, Abraham Burton,
Kenny Davis, Orrin Evans, Conrad
Herwig, Victor Lewis, Alex Norris,
Marc Stasio, Dave Stryker.
Jazz Bands: 14-plus jazz ensembles — large,
semi-large and smaller ensembles
— including Jazz Ensemble I and
RU Scarlet Knight Jazz Trombone
Ensembles directed by Conrad
Herwig, the Jazz Lab Big Band and
Avant Garde Ensembles directed
by Dr. Anthony Branker, the RU
Mingus Ensemble directed by
Abraham Burton, the RU Afro-
Caribbean Ensemble directed by

Student Music Guide
Robbie Ameen, the RU Jazz Guitar or recorded audition. Auditions Through the FAFSA, students are
Ensemble directed by Dave Stryker, include aural skills assessment, awarded need-based aid in the
the WR Jazz Fusion Ensemble music education interview (if form of grants, scholarships and
directed by Kenny Davis, various applying to jazz and music ed) loans. Rutgers recently announced
jazz faculty-led smaller chamber and the audition. Students are the Scarlet Guarantee, which,
jazz groups. primarily evaluated in sight- when paired with the Garden
Alumni: Terence Blanchard, Terell Stafford, reading, improvisation and overall State Guarantee, provides free or
Michael Mossman, Andy Hunter, performance/musicianship. reduced tuition for low- and middle-
Orrin Evans, Ralph Peterson Jr., Auditions typically include income New Jersey students.
Yoron Israel, Adam Cruz, Mike demonstrations of chord, scale Contact New Brunswick Office
Baggetta, Kenny Davis, Steve and jazz theory knowledge. of Financial Aid: 848-932-7057;
Nelson, Kuumba Frank Lacy, Jimmy Applicants who audition in person questions@admissions.rutgers.edu.
Bosch, Tanya Darby, Johnathon perform with live accompaniment Scholarships: Automatically consider all
Blake, Rudy Royston. (if applicable). undergraduate applicants for merit-
Auditions: Applicants can choose in-person Financial Aid: Rutgers is a public university. based scholarships. The average
Mason Gross scholarship ranges
between $3,500 and $10,000
annually. Most can be renewed
provided that the student remains
in good standing artistically
and academically. Graduate
scholarships are awarded directly
from the Music department.
Contact: Mason Gross Office
of Admissions: 848-932-5241;
admissions@mgsa.rutgers.edu.
Apply by: Recommended Rutgers application
deadline: Dec. 1.
Contact: 848-932-5211; ethompson@mgsa.
rutgers.edu.
Shenandoah Conservatory
Winchester, Virginia
Student Body: 380 music students, 25 jazz
students.
Tuition: $33,790.
Jazz Degrees: Jazz & Commercial Music, Music
Education, Music Production and
Recording Technology, Music
Therapy.
Faculty: Matthew Niess, Craig Fraedrich,
Luis Hernandez, Donovan Stokes,
Richard Whitehead, Alphonso
Young, Daryl Brenzel, Eric Byrd.
Jazz Bands: Jazz Ensemble, Jazz Combos, Little
Big Band.
Auditions: Contact: 540-665-4581.
Financial Aid: Available: finaid@su.edu.
Scholarships: Conservatory Award (talent plus
academic), Presidential Scholarship.
Contact: finaid@su.edu.
Apply by: Rolling admissions. For scholarship
consideration: Feb. 14.
Contact: Matt Niess, mniess@su.edu.
Skidmore Jazz Institute

Saratoga Springs, New York
Student Body: 70–80 jazz students.
Tuition: $3069.60, including room and
board.
Jazz Degrees: Undergraduate credit available.
Faculty: Todd Coolman, Bill Cunliffe, Steve
Davis, Michael Dease, Mimi Fox,
Jimmy Greene, Bob Halek, Clay
Jenkins, Dennis Mackrel, Michael
Rodriguez, Dave Stryker, Steve
Wilson, Brian Carucci, director.
Jazz Bands: Combos.

Student Music Guide
Alumni: Troy “Trombone Shorty” Andrews, SUNY Fredonia Auditions: Visit fredonia.edu.
Richie Barshay, Jonathan Batiste,
Ryan Cohan, Sullivan Fortner, Fredonia, New York Financial Aid: Available. Visit fredonia.edu.
James Francies, Brandon Lee, Student Body: 500 music majors, 20–25 jazz majors. Scholarships: Merit-based.
Christian Scott, Kendrick Scott, Tuition: In-state (includes Pennsylvania and Apply by: Visit fredonia.edu.
Walter Smith III, Burniss Earl Travis, Ohio), $7,000/year; Out-of-state,
Myron Walden. Contact: Dr. Nick Weiser, 716-673-4640,
$16,980/year. weiser@fredonia.
Auditions: skidmore.edu/summerjazz/apply.php. Jazz Degrees: BA in Jazz Studies.
Financial Aid: Coleen Stephenson, 518-580-5447; Faculty: Dr. Nick Weiser, Dr. John Bacon, Crane School of Music, SUNY Potsdam
cstephen@skidmore.edu. Alec Dube, Kieran Hanlon, Elliot Potsdam, New York
Scholarships: Need-based. Coleen Stephenson, Scozzaro, Kim Nazarian. Student Body: 500 music students.
518-580-5447; cstephen@skidmore. Jazz Bands: Fredonia Jazz Orchestra, Fredonia
edu. Tuition: In-state, $7,070; Out-of-state,
New Jazz Ensemble, Fredonia Jazz $16,980.
Apply by: March 15. Flextet, Instrumental Jazz Combos,
Vocal Jazz Combo. Jazz Degrees: Undergraduate music degree
Contact: Coleen Stephenson, 518-580-5447; students can opt for a Jazz Minor.
cstephen@skidmore.edu; skidmore. Alumni: Don Menza, Joe Magnarelli, Bob
edu/summerjazz. McChesney. Faculty: Dr. Michael Dudley, John Geggie,
Timothy Sullivan.
Jazz Bands: Jazz Ensemble, Jazz Band, Jazz
Combos, including the Giroux
Honors Jazz Combo.
Alumni: Larry Ham, Lisa Vroman, Thomas
Palmatier, Renée Fleming, David
Allen Conner.
Auditions: See potsdam.edu/academics/crane/
admissions.
Financial Aid: Available. Contact admissions@
potsdam.edu.
Scholarships: Both merit- and need-based, and
both music and academic are
available. Contact admissions@
potsdam.edu.
Apply by: Feb. 18 (last day to register for
an audition).
Contact: Dr. David Heuser, associate
dean, auditions@potsdam.edu,
315-267-2417.
SUNY Schenectady School of Music

Schenectady, New York
students.
Tuition: In-state: $4,824/year; Out-of-state,
$7,236/year.
Jazz Degrees: Music (AS); Music Audio Technology
(AAS); Digital Music and Beats
Production (certificate); Music
(certificate).
Faculty: Brian Patneaude, Dylan
Canterbury, Phil Pandori, Kevin
Grudecki, David Gleason, Bobby
Kendall, Bob Halek.
Jazz Bands: Jazz Ensemble, Jazz Combos.
Alumni: Eric Binder, Kevin Grudecki, Bob
Halek, Rob Lindquist, Nick Mancini,
Keith Pray.
Auditions: Visit unysccc.edu/academics/
school-of-music/audition-
requirements.html.
Financial Aid: Mark Bessette,
bessetma@sunysccc.edu.
Scholarships: Dr. Christopher Brellochs,
brellocc@sunysccc.edu.
Apply By: Rolling.
Contact: 518-381-1231;
schoolofmusic@sunysccc.edu.

Student Music Guide
NEW YORK UNIVERSITY
Gigging with an NYU student quartet
Approximately 80 jazz students.

Syracuse University
Setnor School of Music Tuition: Undergraduate in-state, $19,992;
Out-of-state, $34,704; Graduate
Syracuse, New York in-state, $1,380/credit; Graduate
Student Body: 291 music students, 95 jazz out-of-state, $1,515/credit.
students (music and non-music Jazz Degrees: BM Jazz Studies Performance,
majors). BM Jazz Studies Composition, BM
Tuition: $61,310. Music Therapy Jazz, BM Music
Education Jazz.
Jazz Degrees: BS, BM (Music Education, Music
Industry or Sound Recording Faculty: Terell Stafford, Tim Warfield,
Technology). All options are Richard Oatts.
compatible with jazz and Jazz Bands: Multiple big bands and jazz
commercial music applied study, combos, both large and small.
jazz performance honors, and/ Auditions: Apply to Temple University via the
or a jazz performance minor. The Common App, then schedule and
jazz performance minor is also audition with the Boyer College
compatible with non-music majors. of Music and Dance or submit a
Faculty: John Coggiola, Marianne Solivan, recorded audition via Acceptd.
Mike Dubaniewicz, John Hasselback Financial Aid: Available. Visit sfs.temple.edu.
III, Daniel Mach-Holt, Rick Balestra,
Josh Dekaney. Scholarships: Available. Contact boyer@temple.
edu.
Jazz Bands: The Morton Schiff Jazz Ensemble,
Orange Collective and Orange Apply by: Undergraduate, Feb. 1; Graduate,
Syndicate Vocal Jazz Ensembles, March 1; Transfer students, May 15.
Orange Unified, Citrus Punch Rock Contact: Kristina Lang, associate director of
Ensemble, Syracuse University Jazz- admissions and recruitment, 215-
Funk Ensemble, Syracuse University 204-6810, boyer@temple.edu.
Jazz Guitar Ensemble, Orange Juice
Jazz Ensemble, various jazz combos.
Towson University
Joyce DiCamillo, Andy Fusco,
Alumni:
Charlie Burg.
Towson, Maryland
Student Body: 19,793 (16,861 undergraduate
Auditions: Required. Visit vpa.syr.edu/ students and 2,932 graduate
music-requirements. students); 254 music students; 30
Financial Aid: Available. Visit financialaid.syr.edu. jazz students.
Scholarships: Merit scholarships, need-based aid, Tuition: In-state, $11,306; Out-of-state,
graduate assistantships in jazz and $28,326.
commercial music.
Jazz Degrees: BM Jazz Commercial Performance;
Apply by: Early Decision, Nov. 15; Regular BM Jazz Commercial Composition;
Decision, Jan. 5. Other music degrees: BS in
Contact: College of Visual and Performing Music Education (Vocal/General
Arts, Office of Recruitment and Concentration and Instrumental
Admissions, 315-443-2769, Concentration); BM Composition;
admissu@syr.edu; vpa.syr.edu/ BM Guitar Performance; BM
academics/music. Voice Performance; BM Winds/
Strings/Percussion Performance;
BM Keyboard Performance; BS
Temple University in Music. Combined BS in Music
Boyer College of Music and Dance Education and one of the following:
BM Jazz Commercial Performance,
Philadelphia, Pennsylvania BM Jazz Commercial Composition,
Student Body: 33,606; 500 music students; BM Composition, BM Guitar

Performance, BM Voice Performance, BM Winds/Strings/
Percussion Performance or BM Keyboard Performance.
Two minors: Music Minor with emphasis on performance or
Music Industry.
Faculty: Dave Ballou, Jim McFalls, Jason Rigby, John M. Lee, Eric
Kennedy, Michael Kuhl, Jeff Reed, John Dierker, John
Waugh, Lafayette Gilchrist.
Jazz Bands: Jazz Orchestra, Latin Jazz Ensemble (fall terms), popular
Music Ensemble (spring terms), Vocal Jazz Ensemble,
Improvisation Ensemble (usually three sections), Combos
(usually five to six sections).
Alumni: Drew Gress, Ellery Eskelin, Darius Christian, Patrick McAvinue,
Jordan Tice.
Auditions: Students apply to the university and the department.
Department of Music application located at towson.edu/
music (found under Prospective Students link). Audition
requirements and recommendation forms are also listed
under that link. Four audition dates: Jan. 6, Feb. 3, Feb.
10 and April 6. To be considered for music scholarships,
prospective music majors must audition in January or on one
of the February dates.
Financial Aid: finaid@towson.edu; 410-704-4236; towson.edu/admissions/
financialaid/resources.html.
Scholarships: Contact Mary Ann Criss, assistant to the chairperson and
academic program coordinator, mcriss@towson.edu; 410-
704-2836. Also, visit towson.edu/admissions/financialaid/
programs/scholarships.
Apply by: University Application, Nov. 15 (Early Action for Scholarship
Consideration and Honors College), Feb. 1; Transfers
(for Spring 2024), Nov. 15; for Fall, March 1 (Early Action
for Scholarship Consideration and Honors College) and
June 1. For Department of Music, visit towson.edu/cofac/
departments/music/prospective/undergrad. Note that
students interested in beginning in the spring term must
audition on the January date.
Contact: Mary Ann Criss, 410-704-2836, mcriss@towson.edu.
University of Connecticut
Storrs, Connecticut
Student Body: 32,000; 200 music students; 25 jazz students.
Tuition: In-state: $16,332; Out-of-state, $39,000; New
England Region, $25,350. Visit bursar.uconn.edu/
incoming-UConn-students.
Jazz Degrees: BM–Jazz Performance, BA–Jazz Emphasis; Graduate-Level
Performer’s Certificate–Jazz; Music Minor–Jazz Emphasis.
Faculty: Earl MacDonald, John Mastroianni, Sean Nelson, Jonathan
Barber, Christopher Morrison, Steven Bulmer.
Jazz Bands: UConn Jazz Ensemble, UConn Jazz 10tet, Jazz Lab Band, Afro
Latin Jazz Orchestra, jazz combos (organized by theme).
Alumni: Alexandra Eckhardt, Brian Charette, Mark Small, Gary
Versace, William Longo, Colin Walters, Lexi Bodick.
Auditions: music.uconn.edu/programs/apply.
Financial Aid: admissions.uconn.edu/cost-aid/financial-aid.
Scholarships: admissions.uconn.edu/cost-aid/scholarship. The Department
of Music also offers scholarship opportunities based on
talent, departmental need and special donor-specified
scholarships.
Apply by: Dec. 1, priority application deadline for merit & honors
consideration or Jan. 15 for the Storrs Campus application
deadline.
Contact: Emily Cole, educational program assistant music@uconn.
edu; 860-486-3728.
University of Delaware School of Music

Newark, Delaware
Student Body: 24,000; 700 music students. 40 jazz students.
Tuition: In-state, $14,040; Out-of-state, $37,680.
Jazz Degrees: BM Jazz and Improvisation.

Student Music Guide
WILLIAM PATERSON U.
NICK SEITZ
Performing at the VCU Jazz4Justice event William Paterson Jazz Orchestra
Faculty: Tom Palmer, Todd Groves, Dave Bozenhard, Bruce Tychinski, Tuition: $12,000/year.
Miles Brown. Jazz Degrees: BM in Contemporary and Popular Music, AS in
Jazz Bands: Jazz Ensemble I, Jazz Ensemble II, Jazz Chamber Ensembles, Contemporary and Popular Music.
UD Jazz Singers. Faculty: Anita Jerosch, Christine Letcher, Noah Cole, John Mehrmann,
Auditions: Apply by Jan. 15; Auditions Jan. 24–26. Joseph Corcoran, Pam Jenkins, Scott Hughes, Duane
Edwards, Linda Theriault, Brian Shankar Adler,
Financial Aid: Visit udel.edu/students/student-financial-services. Contact
Richard Nelson.
sfs-mail@udel.edu.
Jazz Bands: Studio Ensemble (R&B/Funk), Jazz Combos, Prog Rock, Rock,
Scholarships: Completed applications and auditions receive consideration
Latin, Envok (vocal ensemble), Modern Chamber Ensemble,
for music merit. Contact musicadmissions@udel.edu.
Alumni: Steve Grover, Kenya Hall, Nhyla Reid, Chris Dzengelewski.
Apply by: Jan. 15.
Auditions: Upload video to uma.edu/academics/programs/music/
Contact: Adrienne Harding, music admissions program coordinator,
details.
musicadmissions@udel.edu; 302-831-2567.
Financial Aid: uma.edu/financial.
University of Maine at Augusta Scholarships: uma.edu/financial.
Augusta, Maine Apply by: Rolling admission until May.
Student Body: 5,606, 140 music students. Contact: Dr. Anita Jerosch, anita.jerosch@maine.edu.
University of Maine
Orono, Maine
Student Body: 11,571, 130 music majors.
Tuition: In-state/Canada, $12,000; NEBHE, $21,000, Out-of-state,
$34,740.
Jazz Degrees: BA with concentration in Jazz Studies; Minor in Jazz Studies.
Faculty: Dan Barrett, Mike Bennett, Jay Bregman, Scott Cleveland,
Daniel Fisher-Lochhead, Ross Gallagher, Mark Tipton, Jim
Winters.
Jazz Bands: Two big bands, six combos.
Alumni: David Demsey, Mike Bennett, Melissa Hamilton.
Auditions: Live or recorded auditions are accepted.
Financial Aid: FAFSA required; umaine.edu/stuaid.
Scholarships: Available: umaine.edu/spa/audition/scholarships.
Apply by: Rolling admission.
Contact: Dan Barrett, dan.barrett@maine.edu.
University of Maryland School of Music

College Park, Maryland
Jazz Degrees: BM, BM Education, BA, MM, DMA.
Faculty: Tim Powell, Thomas Baldwin, Steve Fidyk, Chris Gekker,
Jennifer Krupa, Gerard Kunkel, Jon Ozment. Leigh Pilzer.
Jazz Bands: Jazz Ensemble, Jazz Lab Band, University Jazz Band,
Chamber Jazz Combos.
Alumni: Reginald Cyntje, Terell Stafford, Tomeka Reid.
Auditions: Audition live or via recording. Early Action auditions in
December, all other programs in February.

Financial Aid: Academic merit aid and need-based funding. Contact
umdfinaid@umd.edu; 301-314-8377.
Scholarships: Music Merit Aid. Contact musicadmissions@umd.edu,
301-405-8435.
Apply by: Nov. 1 for Early Action, all others Dec. 1.
Contact: Lauren McDonald, musicadmissions@umd.edu;
301-405-8435.
University of Massachusetts Amherst

Amherst, Massachusetts
Student Body: 24,000 undergraduate, 7,000 graduate; Music students:
206 undergraduate, 67 graduate; 40 jazz students.
Tuition: Undergraduate tuition/fees: In-state, $17,364; Out-of-state,
$39,300. Graduate tuition/fees (full-time): In-state, $8,502;
out-of-state, $17,357.
Jazz Degrees: Undergraduate: BM or BA in Music with concentration in
Jazz & African-American Music Studies; Minor in Music.
Graduate: MM and graduate certificates with concentrations
in Jazz Composition/Arranging and Jazz Performance.
Faculty: Jeffrey W. Holmes, Felipe Salles, Catherine Jensen-Hole, Tom
Giampietro, Fumi Tomita, Bob Ferrier, Ben Griffin.
Jazz Bands: Jazz Ensemble I, Studio Orchestra, Chapel Jazz Ensemble,
Jazz Lab Ensemble, Vocal Jazz Ensemble, Chamber Jazz
Ensembles.
Alumni: Billy Taylor, Avery Sharpe, Kate McGarry, Makaya McCraven.
Auditions: Live Auditions Days held in February 2024. Remote and
specially arranged auditions available.
Financial Aid: Contact finaid@finaid.umass.edu; 413-545-0801.
Scholarships: University merit scholarships available. Department
scholarships awarded to undergraduate music majors based
on audition. Teaching Assistantships available for graduate
students.
Apply by: Jan. 15 for incoming freshmen; April 15 for transfer students;
Dec. 1 priority deadline for graduate students.
Contact: Nathaniel Gowen, 413-545-6048; musicadmissions@umass.edu.
University of the Arts

Philadelphia, Pennsylvania
Student Body: 1,443; 121 jazz students.
Tuition: $54,010
Jazz Degrees: Instrumental Performance BM, Vocal Performance BM, Jazz
Studies MM.
Faculty: Micah Jones, Liz Radigonda, Matt Gallagher, Mark Allen,
Matt Davis, Steve Beskrone, Steve Fidyk, Nick Lombardelli,
Don Glanden, Chris Farr, Tony Miceli, Sherrie Maricle, John
Swana, V. Shayne Frederick.
Jazz Bands: “Z” Big Band, Transfusion Ensemble, John Swana Ensemble,
Jazz Composers, Director’s Ensemble, Arranged Standards,
Femme Ensemble.
Alumni: Stanley Clarke, Robin Eubanks, Ed Simon, Adam Blackstone.
Auditions: Visit uarts.edu/music-auditions.
Financial Aid: Nearly 98% of our undergraduate students receive
some type of need-based aid, including work-study jobs,
scholarships, loans and grants. Contact finaid@uarts.edu or
215-717-6170.
Scholarships: Contact finaid@uarts.edu or 215-717-6170. Visit uarts.edu/
about/scholarships.
Apply by: Mid-February 2024.
Contact: University of the Arts Admissions, admissions@uarts.edu or
800-616-ARTS.
University of Rhode Island

Kingston, Rhode Island
Student Body 16,572, 135 music students; 38 jazz students.

Student Music Guide
Tuition: In-state, $16,408; NE Regional, Goods, emmettgoods@uri.edu. no instrumental audition required.

$26,995; Out-of-state, $35,804. Apply by: Dec. 1 (early admission), Dec. 2, Jan. Financial Aid: Contact Ryan Pontillas, associate
Jazz Degrees: BA Jazz Studies; BM Jazz 27, Feb. 17, March 2. director of student services, ryan.
Performance Music Education, Contact: Rhonda Gannon, music@uri.edu; pontillas@vcfa.edu.
Music Therapy and Jazz Studio 401-874-2431. Scholarships: Contact Ryan Pontillas, ryan.
Composition; Minor in Music with pontillas@vcfa.edu.
Jazz Studies emphasis.
Faculty: Jay Azzolina, Mark Berney, Zaccai Vermont College of Fine Arts Apply by: Feb. 1.
Curtis, Atla DeChamplain, Emmett Contact: Annie Sklar, director of
Montpelier Vermont, Colorado Springs admissions, annie.sklar@vcfa.edu,
Goods, John McKenna, Jocelyn Colorado, and Selinsgrove, Pennsylvania
Pleasant, David Zinno. 802-595-4854.
Student Body: 350; 25 music students; 8 jazz
Jazz Bands: One big band, four combos, one students.
jazz vocal ensemble.
$61,931.
Wells School of Music
Auditions: Visit uri.edu/music/auditions.
Tuition:
West Chester University, Pennsylvania
Jazz Degrees: Low Residency MFA in Music
Financial Aid: Visit uri.edu/financial-aid. Composition. West Chester, Pennsylvania
Scholarships: Merit-based scholarships available Faculty: Andy Jaffe, Lisa Mezzacappa. Student Body: 300 music students; 50 jazz
for undergraduate music majors. students.
Audition by Feb. 17 for scholarship Alumni: Ingrid Laubrock, Aruan Ortiz.
Tuition: In-state, full-time, $7,716; Part-time,
consideration. Contact Dr. Emmett Auditions: Submit portfolio of compositions; $322 per credit. Out-of-state, full-
time, $19,290; Part-time: $805 per
credit. (Costs do not include room-
and-board or fees.)
Jazz Degrees: BM in Performance, Jazz Studies,
Jazz Studies Minor.
Faculty: Jonathan Ragonese, John Swana,
Peter Paulsen, Chris Hanning,
Marc Jacoby, Jeremy Jordan, Dave
Cullen, Dan Cherry.
Jazz Bands: Two Large Ensembles, Latin Jazz
Ensemble, three Combos, Jazz
Choir, Chamber Ensemble.
Alumni: Bob Curnow, Ernie Watts.
Auditions: Submit application, sign up for
in-person audition at wcupa.edu/
music/undergradProgram.aspx.
Financial Aid: Contact finaid@wcupa.edu;
610-436-2627.
Scholarships: Contact musicinfo@wcupa.edu;
610-436-3042.
Apply by: Rolling admission. Students may
apply any time after Aug. 1 of their
senior year. We encourage music
students to apply by Feb. 1 in order
to schedule music auditions.
Contact: Brittany Grason, associate director
of music admissions, bgrason@
wcupa.edu, 610-436-3042.
West Virginia University

Morgantown, West Virginia
Student Body: 370 music students; 62 jazz
students.
Tuition: $24,000/year.
Jazz Degrees: BM in Jazz and Commercial Music,
MM in Jazz Pedagogy.
Faculty: Jared Sims, Robert Sears, Jeff
Siegfried, Lisa Bleil, Alton Merrell,
Paul Thompson, Brian Wolfe.
Jazz Bands: Big band, instrumental and vocal
jazz combos.
Alumni: Allison Miller, Jay Chattaway, James
Moore, Scott Simons.
Auditions: See ccarts.wvu.edu/future-students/
undergraduate-audition-and-
portfolio-reviews.
Financial Aid: Available. See mountaineerhub.
wvu.edu.

Scholarships: Academic and artistic-merit
scholarships are available. Music
scholarship deadline is March 1.
Apply by: May 1.
Contact: James Froemel, recruitment
specialist, jfroemel@mail.wvu.edu;
(304) 293-4339.
William Paterson University

Wayne, New Jersey
Student Body: 11,000; 280 music majors; 65
undergrad jazz majors; 23 graduate
jazz students.
Tuition: Undergraduate: $14,624/year;
Graduate: $14,798/year. All
qualified students pay in-state
amount.
Jazz Degrees: Undergraduate Degrees: BM in
Jazz Studies; concentrations in
Performance, Sound Engineering
Arts, Music Entertainment Industry,
Music Education, and Jazz/Classical
Performance. Graduate Degrees: MM
in Jazz Studies; tracks in Performance
and Composition/Arranging.
Faculty: Bill Charlap, David Demsey, Tim
Newman, Pete McGuinness,
Vincent Herring, Rich Perry, Dayna
Stephens, Jeremy Pelt, John Mosca,
Russell Malone, Karrin Allyson,
Steve LaSpina, Marcus McLaurine,
Ed Neumeister, Cecil Bridgewater,
Mike LeDonne, Bruce Barth,
Johnathan Blake, Bill Goodwin,
Chico Mendoza, Steve Myerson.
Jazz Bands: 24 small jazz groups from trios to
septets; 18-piece Jazz Orchestra,
Latin Jazz Ensemble, 8-voice Jazz
Vocal Workshop. Specialized
student-designed Concept Groups,
with approval.
Alumni: Carl Allen, Bill Stewart, Johnathan
Blake, Jaimeo Brown, Tyshawn
Sorey, Joe Farnsworth, Mark
Guiliana, Dana Hall, Curtis
Chambers, Tommy Igoe, Nathan
Webb, Paul Wells, Eric Alexander,
Roxy Coss, Bill Evans, Dan Faulk,
Tony Malaby, Adam Niewood,
Bruce Williams, Matt Vashlishan,
Eddie Allen, Freddie Hendrix,
Crystal Torres, Nate Eklund, John
Hébert, Doug Weiss, Anat Fort.
Auditions: Online file upload only.
Requirements vary. Visit wpunj.
edu/jazz.
Financial Aid: Available for undergrads. Visit
wpunj.edu/admissions or call 973-
720-2901. Full tuition graduate
assistantships available for
graduate students.
Scholarships: Undergrad: major academic, honors
and talent scholarships available.
Graduate: Full tuition graduate assistantships
and other scholarships available.
Apply by: Feb. 1.
Contact: David Demsey, jazz studies
coordinator, 973-720-3466,
musicadmissions@wpunj.edu;
wpunj.edu/jazz.

ADRIANA TOMEU
Rodney Jordan Josiah Boornazian
FINDING THE RIGHT SCHOOL

Experts chime in on how to handle the journey of selecting
a college or university By Yoshi Kato
A
fter choosing an instrument, one of — have experience both applying to under- ies programs are offered around the world
the biggest decisions a musician graduate and graduate programs during their to meet the needs of nearly every student.
can make is where to attend college own student days and subsequently advising Jordan suggests reverse engineering by com-
or university. DownBeat conducted phone next generation music majors. ing up with a list of your favorite musicians
interviews with four individuals currently and doing some simple research to learn
involved in undergraduate music education Finding Potential Schools where they studied. Once a school has been
and compiled a guide for high school stu- “There are several schools that would be a identified, continue with the detective work.
dents (and their parents or guardians) who good choice for most people, so how do you “Seek out other students who graduated,”
are interested in pursuing a degree in jazz. decide between them?” Boornazian queried. he advised. “If parents come in and meet with
All four experts — trumpeter Terell “There are tons of great schools out there me at my office, I’ll usually give them about
Stafford, chair of instrumental studies and and probably for every student, a number of eight phone numbers or Facebook addresses
director jazz studies at Temple University’s different schools that can serve them well and so they can contact graduates from our pro-
Boyer College of Music and Dance in meet their needs,” Smith concurred. “So don’t gram directly.”
Philadelphia; bassist Rodney Jordan, profes- get attached to there being only one perfect “The internet is your friend,” Smith pro-
sor of jazz studies at Florida State University; school, because that can be really stressful.” claimed. “There are lots of college search
saxophonist Josiah Boornazian, assistant There are a small handfuls of known engines where you can put in criteria that
professor and director of jazz studies at the schools such as Berklee College of Music, the you’re looking for, and it’ll probably turn up
University of Utah; and violinist Mary Kate Juilliard School of Music and the University a list of schools that surprise you or schools
E. Smith, interim dean of admissions at of North Texas. But as DownBeat’s annual that you haven’t heard of.”
Lawrence University in Appleton, Wisconsin Where to Study Jazz Guide shows, jazz stud- She went on to give majoringinmusic.

COURTESY OF LAWRENCE COLLEGE
COURTESY OF TERREL STAFFORD

Mary Kate E. Smith Terell Stafford
com as an example and suggested other ed out. “Some students choose smaller uni- Visit, Visit, Visit
on-the-ground methods such as seeking out versities because they may be closer to home.” After determining a list of potential
school recruiting booths at all-state confer- Jordan tells future jazz majors to learn schools, all four educators agreed that cam-
ences and attending college fairs and jazz whether or not a school has a recording pus visits are key. It’s similar to what your
festivals. studio — “both audio and video. As a jazz non-music major classmates are doing on
Another online resource is the Music musician, that’s a big part of what we do,” he their trips but with some specific criteria.
Admissions Roundtable (musicadmissions said. And see if there’s a film program at the “An in-person visit will give you an
roundtable.org). “That will host virtual col- school that’ll give you the opportunity to opportunity to see the campus: the dorms,
lege fairs, typically in the fall,” she said. “Also, score student projects and set yourself up for all of the musical facilities, performance ven-
your private teacher, your school music teach- future opportunities, à la Terence Blanchard ues, etc.,” Jordan shared. “That will really
er and your ensemble director often have net- or Kris Bowers.” help shape your vision of the school. I would
works of colleagues and friends and peers Going from the macro to the micro, the suggest you visit and take a look at what’s
who are teaching at some of these programs, importance of finding the right teacher on happening throughout the entire campus,
which may be lesser known to students.” one’s instrument was a consistent piece of like at the student center. You want to get a
advice. “Find a teacher you connect with,” well-rounded picture of what it’s going to be
What — and Who — to Look for in a Stafford declared. “I think that’s the most like. And, ultimately, you just want to find a
Program important factor in the whole search, place that really makes you feel like, ‘Well,
From her desk in Lawrence’s admissions because that’s the closest relationship you’re this is home.’”
department, Smith has specific insight and going to have for the four years that you’re in “I was surprised at how much getting on a
presented this initial criteria: “Do a little bit school. That teacher can be not only a great campus gave me like a gut feeling about
of self-reflecting and start figuring out what I mentor and a great friend, but that teacher whether it was a place that I liked or not,”
call your non-negotiables. ‘Is it crucial to me can be a great person when it comes to rec- reflected Smith back on her own searches.
that I stay in state or that I get as far away from ommending you for jobs and other things “So I really encourage students to try and
home as possible? Is it crucial to me that the right after college. meet with as many different members of the
school offers a specific degree program?’ And “If you enjoy the sound of a particular campus community as possible.”
I always joke with students, ‘If you’re non-ne- player, and they happen to teach you, you Boornazian had a checklist for scouting
gotiable is that there’s a Starbucks around the can learn, firsthand, how this person’s put campuses. “Do you like the students? Do
corner, put that on your list because you want in this kind of work and that they’ve done you like the way they dress? Do you like the
to be happy for the next four years.’” this and that,” he said. “So establishing that way they behave? And how do they inter-
“It’s really about the environment that the relationship with the teacher is a lifelong act with each other? Most schools offer a
school creates for the student,” Jordan point- mentorship.” lot on the educational side. But what’s real-

ly going to help you thrive is that aspect for music majors. So a little self-knowledge is “We have them play along with some of
of things. And it’s something people don’t key here. our current students,” Jordan revealed. “So
think about.” “Sure, having a big name on your resume if the kid comes in on saxophone, they will
“Do the students seem like your people?” is not going to hurt you,” Smith acknowl- audition with our student rhythm station.
Smith added. edged. “But I also always caution students It’s good for our prospective students, and it’s
Though choosing one’s future advisor is that if they go to a big name school, and good for our students in the rhythm section.”
key, don’t forget other teachers. “You want to they’re the weakest player there and never get
get an idea for what all their teaching styles any attention from their faculty member and Finances
are,” Jordan observed. “Learn how the faculty are always last chair and never have a solo, “One of the standard things I tell every-
body is to make absolutely sure that you don’t
‘Do a little bit of self-

get into more debt for your undergraduate
degree than you can reasonably expect to
make in your first year salary,” Boornazian
stated. “That’s a common economic metric.”
reflecting and start

“Talk to an admissions or financial aid
counselor and ask what scholarships and finan-
cial aid are available,” Smith offered. “Then
have a budget conversation with your family.”
figuring out what I call

“I tell students, ‘Come into your audition,
and blow the roof off,’” Stafford concluded.
“Because there’s scholarship money from the
music school and also other sources.”
your non-negotiables.’
Pro Tips
“A lot schools have summer camps now. Those
are a really great way to go and introduce your-
self to schools and vice-versa. And if you can get
—Mary Kate E. Smith

into a middle school camp, students can learn
about how testing and grades are important
and understand early that those can definitely
influence their ability to get into a college.”
interact with the student body and also with they may end up getting less playing experi- —Rodney Jordan
each other,” counseled Boornazian. ence and not advancing as far.”
And the opposite is true, too, Boornazian “I always tell students that the admissions
Experience Undergraduate Life warned: “If you’re a really advanced player, office and admissions counselors are abso-
Everyone suggested that you take in you don’t want to go where there’s nobody lutely your allies in this process. We love to
everyday life as a student during your visit. there, faculty — or student-wise — who can hear from students. We are connected across
Check out big band and combo rehearsals challenge you and help you grow.” campus and we can help you get access to a fac-
and, if possible, student jam sessions. Attend Give yourself some grace, though. “Some ulty member or an ensemble director or a cur-
a student or a faculty concert and take in the of my most talented students came in with rent student. Applicants should never hesitate
atmosphere. And see if there are performance a lower skill level, but they were hard work- to reach out to an admissions officer. It makes
opportunities in town at restaurants, cafés or ers,” Stafford said. “And some of the students a good impression when students ask questions
clubs. Those might be your future gigs or at that come in are at really high levels but lazy,” and are actively engaged in the process.”
least chances to learn off campus. So I see the hard workers surpassing the lazy —Mary Kate E. Smith
“Do a trial lesson with a faculty member. ones, and the hard workers are easier to be
You’ll spend a lot of time working with your around, to be honest with you.” “I think sometimes students get caught up in
studio faculty member, so you want to make Consulting with your private teacher or the semantics of whether it’s called a school
sure that that person is a good fit for you and band director will give you an informed per- of music or department of music or a conser-
that there’s good chemistry there,” Smith spective. Witnessing combo and big band vatory of music. My one piece of advice there
said. “Some schools will charge a fee, so stu- rehearsals during campus visits will also for students is they’re just names. And all of
dents should definitely ask if that is offered offer you a sense of the playing level at a par- the above can have really great music offerings
gratis, or if there’s a fee involved. ticular school. and programs.” —Smith
“And that can happen really, at any And examining the audition require-
point,” she continued. “Some students like ments and seeing if it’s in line with what “Have the conversation about ‘What do you
to do it before the audition so they have a you’re currently playing or “a monumental actually want out of your music, your career?’
chance to show the faculty member that ask,” as Smith put it. and go through the conversation of expecta-
they’ve taken on feedback. Other students tions. Are you more interested in performing
prefer to wait until they know where they’ve Auditioning and composing? Or are you more interested in
been admitted.” Utilize your peers as well as your band composing and teaching? Or music technolo-
director and private teacher as informal gy and recording? What’s the particular blend
Assess Your Skill Level judging panels. Find out if auditions can be of things that you see yourself doing? But ulti-
Unlike traditional academics or athletics, conducted remotely, if your travel budget is mately, the point of university is to learn and
there aren’t test scores, stats or other metrics an issue, and what the on-campus setup is. explore.” —Josiah Boornazian

Student Music Guide
BELMONT UNIVERSITY
CLIFF HOLLIS
Vocal jazz at Belmont University Getting ready to play at East Carolina
Jazz Bands: Two big bands, three jazz combos, MM with a concentration in jazz
jazz choir, gospel choir, bluegrass
SOUTH ensemble, country ensemble, rock
Faculty:
performance.
Dr. Jeff Bair, Carroll V. Dashiell Jr.,
ensemble, contemporary top-40
ensemble, show choir. Kobie Watkins, Andrew Berinson,
Augusta University Auditions: Visit belmont.edu/cmpa/
Evan Roberson.
Augusta, Georgia auditions-scholarship. Jazz Bands: Jazz Ensemble A, Jazz Ensemble B,

numerous combos.
Student Body: 9,813; 60 music students; 10 jazz Financial Aid: belmont.edu/sfs/scholarships.
students. Auditions: Apply at admissions.ecu.edu/
Scholarships: belmont.edu/sfs/scholarships. apply or app.getacceptd.com/
Tuition: $4,416 per semester. ecuschoolofmusic.
Apply by: July 1. For scholarship consideration,
Jazz Degrees: BM Jazz Studies. March 1. Financial Aid: Visit admissions.ecu.edu/afford/
Faculty: Wycliffe Gordon and Robert Foster. Contact: Alex Graham, coordinator of financial-aid.
Jazz Bands: AU Jazz Ensemble and AU Jazz commercial music, alex.graham@ Scholarships: Visit scholarships.ecu.edu. For
Combo. belmont.edu; 615-460-5996. School of Music, contact Judy
In person or online. Visit augusta. Barber, barberju@ecu.edu.
Davidson College
Auditions:
edu/pamplin/music/apply.php. Apply by: Visit admissions.ecu.edu/apply. For
Financial Aid: Visit augusta.edu/finaid. Contact Davidson, North Carolina the School of Music, March 16 is
Dr. Angela Morgan, amorgan1@ Student Body: 1,973; 175 music students; 20 jazz recommended; Aug. 1 is firm.
augusta.edu; 706-737-1453. students. Contact: Judy Barber, assistant director for
Scholarships: For music scholarships, visit Tuition: $60,050. student services, barberju@ecu.
augusta.edu/pampin/music/ edu; 252-328-4281.
Jazz Degrees : BA Music and Music Minor.
scholarships.php. Contact Dr.
Dr. Patrick Brown, Lovell Bradford,
Angela Morgan, amorgan1@ Faculty:
Jay Meachum, Al Sergel, Matthew FIU Wertheim School
augusta.edu; 706-737-1453.
Rybicki and Christopher Jones. of Music & Performing Arts
Apply by: July 1.
Jazz Bands: Jazz Ensemble and two Miami, Florida
Contact: Wycliffe Gordon, wgordon@ Jazz Combos. Student Body: 58,836.
augusta.edu; 706-737-1453.
Auditions: Auditions are open to all students, Tuition: Undergraduate, In-state, $6,168;
regardless of major, in the fall of
Belmont University each academic year.
Undergraduate, Out-of-state,
$18,566.
Nashville, Tennessee financialaidoffice@davidson.edu.
Student Body: 9,500; 880 music students; 500
Financial Aid: Jazz Degrees: BM in Jazz Performance Studies,
Commercial Music majors; 250 Scholarships: scholarships@davidson.edu. MM in Jazz Performance Studies,
seriously interested in jazz. Concentration.
Apply by: Nov. 15 (Early Decision I), Jan. 8
Tuition: $41,320. (Early Decision II), Jan. 11 (Regular Faculty: Jamie Ousley, Gary Campbell,
Decision). Michael Eckroth, Lisanne Lyons.
Jazz Degrees: BM and MM.
Contact: davidson.edu/ Jazz Bands: Jazz Combos, Jazz Guitar Ensemble,
Faculty: Anthony Belfiglio, Bruce Bennet, Jazz Vocal Ensemble, Jazz Big Band,
admission-and-financial-aid/apply.
Billy Contrares, Bruce Dudley, Latin Jazz Ensemble.
Sandra Dudley, Marcus Finnie,
Alex Graham, Ryan Joseph, Jeff East Carolina University School of Music Auditions: Prescreen required.
Kirk, Todd London, Keith Mason, Greenville, North Carolina Financial Aid: Available for both university-wide
Adam McPhail, Bethany Merritt, Student Body: 28,000; 250 music students; 40 jazz and School of Music: music@fiu.edu.
Tony Moreira, Carter Murphey, students. Scholarships: Available for both university-wide
Paulo Oliveira, Nick Palmer, and School of Music:
Kate Paradise, Jeff Phillips, Carl Tuition: In-state, $7,600.
music@fiu.edu.
Rydlund, Jim Riley, Alan Robinson, Jazz Degrees: BM with music performance
Tracy Silverman, Henry Smiley, concentration and emphasis Apply by: admissions.fiu.edu.
Roy Vogt, Michael Valeras, Jack in several areas: jazz studies, Contact: music@fiu.edu, Jamie Ousley,
Wengrosky. instrumental; jazz studies, vocal; coordinator of Jazz Performance

Student Music Guide
coordinator, rjordan@fsu.edu;
FLORIDA INTL.
850-644-6102.
Frost School of Music

at the University of Miami
Coral Gables, Florida
Student Body: 19,000; 800 students in Frost
School of Music; 143 jazz students.
Tuition: Undergraduate tuition, $58,104;
Graduate tuition, $20,790.
Jazz Degrees: BM in Studio Music and Jazz
Instrumental, BM in Studio
Music and Jazz Voice, MM in Jazz
Performance, Instrumental, MM
in Jazz Performance, Vocal, MM in
Studio Jazz Writing, DMA in Jazz
Performance Instrumental/Vocal,
Florida International Latin Jazz Ensemble performs on Miami Beach DMA in Jazz Composition.
Faculty: John Daversa (chair), Martin
Studies, lousley@fiu.edu; Jazz Bands: FSC Jazz Ensemble (Big Band), Bejerano, Charles Bergeron, Josh
305-348-1605. Chamber Jazz Ensemble Bermudez, Etienne Charles, David
(Combo), Jazz Workshop Chiverton, Stephen Guerra Jr., John
Ensemble (Combo), and FSC Hart, Dante Luciani, Brian Lynch,
Florida A&M University Studio Orchestra (Big Band, Harvel Nakundi, Dafnis Prieto,
plus Orchestra). Franchesca Romero, Nick Rosen,
Tallahassee, Florida Kate Reid, Gonzalo Rubalcaba,
10,000; 120 music majors; 80 music Auditions: Visit flsouthern.edu/undergraduate/
Student Body:
visit/events/music-auditions.aspx. Marcus Strickland, Will Wulfeck,
industry/jazz. John Yarling.
In-state, $11,531; Out-of-state, Financial Aid: Visit flsouthern.edu/undergraduate/
Tuition:
financial-aid.aspx. Jazz Bands: Art Blakey Ensemble, Bass Desires,
$17,504. Billy Strayhorn Ensemble, Blue
Jazz Degrees: BS and BA in Music with Scholarships: Available based on need, merit Note Ensemble, Brian Lynch Artist
Concentration in Jazz Studies; BS in and auditions. Visit flsouthern.edu/ Ensemble, Creole Ensemble,
Music Industry Studies. undergraduate/financial-aid.aspx. Dafnis Prieto Artist Ensemble,
Apply by: Early action and Early decision, Nov. David Chiverton Group, Duo/Trio
Faculty: Lindsey Sarjeant, Longineu Parsons, Ensemble, Horace Silver Ensemble,
Carlos Vega, Robert Griffin, Brian 1. Rolling, space-available-basis
admissions Dec. 1 through March 1. Funk/Fusion 1, Funk/Fusion 2, Frost
Hall, Darryl Tookes. Extensions, Frost Jazz Orchestra,
Jazz Bands: Jazz Ensemble, Latin Jazz Ensemble, Contact: Dr. Jeffrey Benatar, director of jazz Frost Sextet, Gospel Ensemble, Jazz
Jazz Combo. studies and coordinator of music Octet, Jazz Guitar 1, Jazz Guitar
management, jbenatar@flsouthern. 2, Jazz Vocal 1, Jazz Vocal 2, Jazz
Auditions: January through March. Contact edu; 863-680-4136.
robert.griffin@famu.edu. Trumpet Ensemble, Jazz Saxophone
Ensemble, Latin Jazz Ensemble,
Available. Priority filing deadline is
Financial Aid:
Jan. 1. Contact Office of Financial
Florida State University College of Music Latin Jazz Orchestra, Melba Liston
Ensemble, Miles Davis Ensemble,
Aid, financialaid@famu.edu; Tallahassee, Florida Monk/Mingus Ensemble, New
850-599-3730. Music Ensemble, R&B Ensemble,
Student Body: 45,000; 1,050 music students; 80
Scholarships: Based on audition and merit. jazz students. Recording Ensemble, Roy Hargrove
Contact Dept. of Music, Ensemble, Seek the Source, Stamps
850-599-3024. Tuition: Undergraduate, In-state, $6,516; Jazz Quintet, Studio Jazz Band,
Out-of-state, $21,683. Wayne Shorter Ensemble, XJB.
Apply by: April 1; visit admissions.famu.edu.
Jazz Degrees: BA in Music (Jazz or Commercial Auditions: Visit frost.miami.edu/programs/
Contact: Robert Griffin, robert.griffin@famu. Music), BM in Jazz Performance, degrees/index.html.
edu; 850-412-7144; or Department MM in Jazz.
of Music Office, 850-599-3024; Financial Aid: Need-based financial aid. Visit
famu.edu. Faculty: Leon Anderson, Scotty Barnhart, finaid.miami.edu.
David Detweiler, Kevin Jones,
Rodney Jordan, William Peterson, Scholarships: Merit-based scholarships.
Florida Southern College Marcus Roberts. Undergraduates visit admissions.
Lakeland, Florida frost.miami.edu/undergraduate/
Jazz Bands: Three big bands, combos, vocal jazz scholarships-and-financial-
Student Body: 3,500; 90 music majors or minors; ensemble. support/index.html. Graduates
20 jazz students. visit admissions.frost.miami.
Auditions: In-person, Jan. 27, Feb. 10, Feb. 24.
Tuition: $41,500. Also accept recorded auditions. edu/graduate/scholarships-and-
Jazz Degrees: BM in Performance (with financial-support/index.html.
Financial Aid: Available. Contact financialaid.fsu.
Jazz Track); BS in Music edu, 850-644-0539. Apply by: Dec. 1.
with Concentration in Music Contact: Karen Kerr, music.admission@
Management; BM Education; BA Scholarships: Available. Merit- and talent-based.
Out-of-state scholarships for miami.edu; 305-284-6168.
in Music. Jazz courses open to all
students. all undergraduates, graduate
teaching assistantships. Contact
Faculty: Dr. Jeffrey Benatar (director of Kristopher Watson, assistant dean Georgia State University
jazz studies), Dr. Martha Placeres, of admissions; krwatson@fsu.edu.
Valerie Gillespie, Dr. Jonathan Atlanta, Georgia
Godfrey, Jay Mueller, Ian Goodman, Apply by: Dec. 1 (priority); Feb. 1 (final). Student Body: 28,299. 432 music students; 45 jazz
Dr. Brian Brink. Contact: Rodney Jordan, jazz area students.

Student Music Guide
Etienne Charles and Brian Lynch perform with students at the Frost School Auditions: In-person and video submission.
FROST SCHOOL OF MUSIC

Visit admissions/how-apply/
college-music-media-applicants.
Financial Aid: Visit admissions/
tuition-financial-aid/financial-aid.
Scholarships: Visit admissions/
tuition-financial-aid/scholarships.
Apply by: April 15.
Contact: Gordon Towell, DME, gltowell@
loyno.edu; 504 865-2164.
Michael and Anne Greenwood School of

Music, Oklahoma State University
Stillwater, Oklahoma
Student Body: 24,600; 220 music majors; 55 jazz
students.
Tuition: Undergraduate, in-state, $24,920;
Out-of-state, $40,440; Graduate,
in-state, $20,210; Out-of-state,
Tuition: Visit sfs.gsu.edu/resources/tuition/ jsu.edu/finaid/scholarships/index. $30,550.
tuition-breakdown. html. Jazz Degrees: BM Jazz Performance, Jazz Minor.
Jazz Degrees: BM in Jazz Studies, MM in Jazz Apply by: Feb. 1 for scholarship consideration. Faculty: Dr. Tommy Poole, Dr. Howard
Studies, Artist Certificate in Jazz Contact: Dr. Andy Nevala, anevala@jsu.edu. Potter, Glenn Dewey, Brian Belanus,
Studies. Michael Bremo, Paul Compton, Joe
Faculty: Gordon Vernick (jazz studies Cooper.
coordinator), Tim Aucoin, Kevin Jacksonville University Jazz Bands: Jazz Orchestra, Jazz Ensemble,
Bales, Robert Boone, David jazz combos.
Frackenpohl, Jose (David) Sánchez, Jacksonville, Florida
Auditions: Students must be admitted by the
Randall Hoexter, Audrey Shakir. Student Body: 3,500; 110 music majors; 10 jazz university before scheduling an
Jazz Bands: Five-plus combos. students. audition. Visit music.okstate.edu.
Students must apply to both the Tuition: $57,570.
Auditions: Financial Aid: Available. Visit go.okstate.edu/
university and the School of Music. Jazz Degrees: Jazz and Commercial Music. scholarships-financial-aid.
The School of Music application John Ricci, Scott Giddens, Chris
can be found at app.getacceptd.
Faculty: Scholarships: Need- and merit-based
Creswell, Stan Piper, David undergraduate plus graduate
com/gsu.Students must audition in Champagne.
person or through video submission. assistantships. For priority
All audition requirements and Jazz Bands: Jazz Orchestra, Combos I, II, III. scholarship consideration,
suggested repertoire can be found undergraduate students must
Auditions: Virtual submitted throughout the complete their audition by March 1.
on the link above. year, scheduled open audition
Financial Aid: Visit sfs.gsu.edu; 404-413-2600. dates as posted. Private auditions Apply by: Rolling admissions. Visit go.okstate.
can also be scheduled. edu/admissions.
Scholarships: Visit success.students.gsu.edu;
404-413-2611. Financial Aid: ju.edu/financialservices. Contact: Dr. Tommy Poole, tommy.poole@
okstate.edu.
Apply by: July 31. Scholarships: kbeasle@ju.edu.
Contact: Gordon Vernick, gvernick@gsu.edu. Apply by: Rolling admissions. Middle Tennessee State University
Contact: James Demps, jdemps1@ju.edu. Murfreesboro, Tennessee
Jacksonville State University 20,086; 223 music students; 15 jazz
Loyola University New Orleans
Student Body:
Jacksonville, Alabama students.
Student Body: 9,500; 85 music students; 16 jazz New Orleans, Louisiana Tuition: $9,694.
majors. Student Body: 4,000; 280 music students; 65 jazz
students. Jazz Degrees: BM in Music Industry; BM
Tuition: $5,145. Performance in Jazz Studies.
Jazz Degrees: Jazz Performance, Jazz Minor, Tuition: $47,240.
Faculty: Don Aliquo, Pat Coil, Lalo Davila,
Music Education, General Music, Jazz Degrees: BM Jazz Studies, BM Music Cedric Dent, Chip Henderson, David
Music Performance, MA, MM Industry, BME jazz emphasis, BMT Loucky, Brian Mueller, Julia Rich,
Education. Jazz Emphasis, BM with elective Jamey Simmons.
Faculty: Dr. Andy Nevala (director of jazz studies.
Jazz Bands: Jazz Ensembles I and II, combos,
studies), Dr. Chris Probst, Blair Faculty: Wess Anderson, Jason Mingledorff, MTSU Singers (vocal Jazz),
Calloway, Chris Enghauser, Emrah Khari Allen Lee, Oscar Rossignoli, Salsa Band, Steel Drum bands,
Kotan, Jamel Mitchel, Nigel Yancy, Matt Lemmler, Adam Bock, Amina Commercial Music Ensemble.
Ben Weatherford. Scott, Ed Wise, Wayne Maureau, Dr.
Nick Volz, John Mahoney, Meryla Auditions: In-person: Feb. 3 and Feb. 24.
Jazz Bands: Four jazz bands, seven combos, Virtual, visit mtsu.edu/music/
Latin ensemble, drumset ensemble, Zimmerman, Leah Chase Kamata,
Kate Duncan. musicadmissions.php.
contemporary ensemble.
Five Combos, Trad Combo, Free Financial Aid: Available: need- and merit-based.
Auditions: In person or by video submission Jazz Bands:
mtsu.edu/financial-aid. Contact
(Feb. 1). Combo, Afro Cuban Ensemble,
Jazz Guitar Ensemble, Crescent Angela Satterfield, 615-898-2469.
Financial Aid: Visit jsu.edu/finaid/index.html. Collective (Vocal), Jazz Ensemble, Scholarships: Music scholarships available based
Scholarships: Contact Dr. Andy Nevala, anevala@ Jazz Workshop Band, Jazz Training on audition. Contact Jennifer
jsu.edu. General scholarships: Visit Band, Studio Orchestra. Vannatta-Hall, 615-898-2487.

Apply by: Dec. 1 for guaranteed academic Jazz Combos I, II and III, Vocal Jazz Jazz Degrees: BM in Jazz Studies, BME —
awards. Feb. 24 for School of Music Combo, Guitar Ensemble. Instrumental, Composition;
scholarships. BM Commercial Music/Audio
Auditions: Begin with the undergraduate Production.
Contact: Jamey Simmons, james.simmons@ admission application. Applicants
mtsu.edu; 615-898-2724. may submit a recorded audio or Faculty: William Brian Hogg, John Zappa,
video file, but a live audition is Brandon Coleman, Kelly Mackenzie-
Thurley, Jim Connerley, Matt Wiles,
North Carolina Central University preferred. Visit nccu.edu/cash/
John Taylor, Zach Granger.
music/jazz-studies.
Durham, North Carolina Financial Aid: Apply for financial aid through Jazz Bands: Jazz Ensemble, Jazz Combo,
Student Body: 7,553; 100 music majors (70 the admissions portal. Graduate Commercial Music Ensemble, Vocal
undergraduate, 30 graduate); 58 assistantships are competitive. Jazz Ensemble, Latin Jazz Ensemble.
jazz studies majors. Auditions: app.getacceptd.com/nkumusic.
Scholarships: Visit nccu.edu/cash/music. NCCU
Tuition: Undergraduate, in-state, $6,290/ Jazz Studies has several competitive Financial Aid: Scholarships, grants and awards;
semester, plus room and board; Jazz specific scholarships. NCCU Student and parent loans; Veterans
Out-of-state, $18,630.10/semester, is an Ella Fitzgerald Charitable benefits; Student employment.
plus room and board; Graduate, Foundation Memorial Scholars in Contact the Office of Student
in-state, $12,580.80, plus room Jazz school. Financial Assistance, 859-572-5143.
and board; Out-of-state tuition,
Apply by: Undergraduate, first priority, Scholarships: Music Scholarship. Contact Joan
$19,234.80, plus room and board.
July 15; Second priority, Nov. 15; Brummer, brummerj1@nku.edu.
Jazz Degrees: BM in Jazz Performance, MM in Jazz Graduate, July 1, but March 31 is
Studies (Performance or Arranging/
Composition); Online MM in Jazz
recommended. Southeastern Louisiana University
Studies (Performance or Arranging/ Contact: Dr. Lenora Helm Hammonds, Hammond, Louisiana
Composition). lhelm@nccu.edu; 919-830-6653.
Robert Trowers, rtrowers@nccu.
Faculty: Branford Marsalis (artist in students.
edu; 919-530-7217.
residence), Joey Calderazzo (artist Tuition: In-state, $8,890; Out-of-state,
in residence), Dr. Lenora Helm
Hammonds, Robert Trowers, Albert
Northern Kentucky University $21,368. Out-of-state waivers
available.
Strong, Jim Crew, Damon Brown, Highland Heights, Kentucky
Jazz Degrees: BM, Concentration in Jazz Studies.
Thomas Taylor, Maurice Myers, J.C. Student Body: 15,738; 101 music students; 17 jazz
Martin, Keenan McKenzie, Camille students. Faculty: Michael Brothers, Dr. John Bishop,
Thurman-Green. Dr. John Madere, Dr. Vasil Cvetkov.
Tuition: In-state, $5,104/semester
Jazz Bands: Jazz Ensembles I and II, Vocal Jazz (includes surrounding Ohio and Jazz Bands: University Jazz Ensemble, University
Ensemble, Percussion Ensemble, Indiana counties.) Jazz Lab Band, Advanced Jazz

Student Music Guide
University of Arkansas
UNIVERSITY OF ALABAMA
Fayetteville, Arkansas
students.
Tuition: In-state, $250/credit hour; Out-of-
state, $800/credit hour.
Jazz Degrees: BM in Performance with a
Concentration in Jazz Studies.
Faculty: Dr. Jake Hertzog, Dr. Rick Salonen,
Fernando Valencia, Lauren Clare,
Claudia Burson, Nikola Radan, Dr.
Susumu Watanabe .
Jazz Bands: University of Arkansas Jazz
Orchestra, Jazz Combos, Latin
American Music Ensemble, World
Music Ensemble, Arkansas Soul
Band, Songwriter’s Ensemble, Vocal
University of Alabama Jazz Ensemble Jazz Ensemble.
Auditions: All Bachelor of Music applicants
Combo, Beginner Jazz Combo. Jazz Studies, Jazz Certificate, MM must audition for placement into
in Jazz Performance. an applied studio. Jazz students
Alumni: Bill Evans, Craig Klein, Durand may audition into any applied
Jones, Zakk Garner. Faculty: Stephen Jones, Dr. Ben Haugland, Dr. area at the University of
Auditions: Visit southeastern.edu/music. Kevin Whalen, Dr. Fabio Augustinis, Arkansas. Visit fulbright.uark.edu/
Jim Decker, Dr. Mark Morton. musicapp.
Financial Aid: Visit southeastern.edu/financialaid.
Jazz Bands: Jazz Bands I, II; Jazz Combos I, II, III; Financial Aid: Visit finaid.uark.edu.
Scholarships: Merit-based scholarships (audition Latin Jazz Ensemble.
required), academic scholarships Scholarships: Merit-based scholarships available.
awarded on combination of ACT Auditions: Visit depts.ttu.edu/music/programs/ Visit fulbright.uark.edu/musicapp.
score and GPA. Contact Michael study/jazz-studies.php. Audition
dates: Feb. 17 and March 2. Apply by: For best consideration, apply by
Brothers, michael.brothers@ Feb. 15.
southeastern.edu. Financial Aid: Available. See depts.ttu.edu/
financialaid. Contact: Dr. Jake Hertzog, jhertzog@uark.edu.
Apply by: Jan. 15 for priority application
deadline for academic scholarships. Scholarships: Available. Contact ben.haugland@
Michael Brothers, director of ttu.edu. University of Central Florida
School of Performing Arts
Contact:
jazz studies, michael.brothers@ Apply by: May 1 for Fall, Nov. 1 for Spring.
southeastern.edu, 985-549-3825. Contact: Dr. Ben Haugland, 806-834-6023, Orlando, Florida
ben.haugland@ttu.edu. 68,406; 281 music students; 35 jazz
Texas State University
Student Body:
students
San Marcos, Texas University of Alabama Tuition: About $6,400 per year.
Student Body: 38,000; 600 music students; 50 Tuscaloosa, Alabama Jazz Degrees: BM in Jazz Studies, BM in
jazz majors.
Student Body: 37,000; 400 music students; 17 Composition, BM in Education, BM
Tuition: $11,000. jazz majors; 73 students in jazz in Music Performance, BA in Music
Jazz Degrees: BM in Performance–Jazz ensembles or combos. Studies, MM with a Conducting
Concentration, MM in Tuition: Visit financialaid.ua.edu/cost. Concentration, MA in Music Studies,
Performance–Jazz Concentration MM for OPUS Scholars, MA with a
Jazz Degrees: BM in Jazz Studies, MM in String Quartet Assistantship.
Faculty: Dr. Utah Hamrick, Tito Carillo, Dr. Arranging.
Joey Colarusso, Arthur Latin II, Faculty: Jeff M Rupert (director of jazz
Faculty: Tom Wolfe, Jonathan Noffsinger, studies), Per A Danielsson, Richard
Carter Arrington, Hank Hehmsoth,
Christopher Kozak, Mark Lanter, Drexler, Bobby Koelble, Jason
Randy Zimmerman.
Jon Whitaker, Eric Yates, Andrew Marsalis, Tom Parmerter.
Jazz Bands: Three big bands, five combos, two Dewar, Daniel Western, Rob Alley,
salsa bands. Matt Wiley, Andrew Lynge. Jazz Bands: Flying Horse Big Band, Jazz
Ensemble II, Jazz Workshops I and
Auditions: txstate.edu/jazzstudies. Jazz Bands: UA Jazz Ensemble, UA Jazz Lab II, Jazz Chamber Group I and II.
Financial Aid: music.txst.edu/scholarships/ Band, UA Chamber Jazz, UA Jazz
Standards Combo, Crimson Slides. Auditions: Apply to UCF Undergraduate
universityfinancialaid.html.
UA Jazz Combo. Admissions. Apply for Music
Scholarships: txstate.edu/jazzstudies. Audition. Ask any teachers whom
Auditions: Visit jazz.music.ua.edu and jazz. you have studied music with to
Apply by: March 1. music.ua.edu/undergraduate-jazz- complete the Teacher Evaluation
Contact: Dr. Utah Hamrick, ulh1@txstate.edu. studies-audition-requirements; call Form and bring it to your audition.
205-348-7112 or 205-348-6333.
Contact finaid@ucf.edu,
Texas Tech University Financial Aid: Visit ua.edu/about/quickfacts#cost.
Financial Aid:
844-376-9160.
Lubbock, Texas Contact Pam Hewitt, pwoodard@
Scholarships: Scholarship awards are considered
ua.edu; 205-348-7112.
Student Body: 42,452; 460 music students; 40 jazz during certain audition days, and
students. Scholarships: Available. Merit based. Contact there are other departmental
Pam Hewitt, pwoodard@ua.edu; scholarships awarded in Spring
205-348-7112. for various accomplishments and
out-of-state, $24,122. Graduate,
in-state, $9,518; out-of-state, Apply by: Rolling. achievements. Contact Kirk Gay,
$17,698. Contact: Chris Kozak, ckozak@ua.edu, kirk.gay@ucf.edu, 407-823-5968.
Jazz Degrees: BM in Jazz Performance, Minor in 205-348-6333. Apply by: Intent to Audition, May 1; Digital

Audition, May 1; Freshmen, May admissions, musicad@uga.edu; with Jazz Track, Bachelor of Music
1; Transfer, July 1; International, 706-542-2005. Therapy with optional Jazz Track,
March 1. BA with Emphasis in Jazz Studies.
Contact: Jeff M. Rupert, jeffrupert@ucf.edu, University of Kentucky Faculty: David Clark (director), Jerry Tolson,
407-823-5411. Ansyn Banks, Chris Fitzgerald,
Lexington, Kentucky Gabe Evens, Craig Wagner, Terry
Student Body: 26,000; 75 jazz students. O’Mahoney.
University Of Central Oklahoma Jazz Bands: Jazz Ensemble I, Jazz Lab,
Tuition: Contact laurie.flewwellin@uky.edu.
Oklahoma City Metro—Central Oklahoma Repertoire Ensembles — Brazilian
Jazz Degrees: BA, BM, BMME, MM, DMA, Ph.D (no and Contemporary, Jazz Lab II,
Student body: 375 music majors, 80-plus specific jazz degree). International Combo, six or more
undergraduate jazz students, 20- combos, guitar and saxophone
plus graduate jazz students. Faculty: Miles Osland, Raleigh Dailey, Brad
Kerns, Jason Dovel, Alan Robinson, ensembles.
Tuition: Undergraduate, in-state, $301/credit Eli Utal-Veroff, Paul Deatherage. Alumni: Delfeayo Marsalis, Renato
hour; Undergraduate, out-of-state Vasconcellos, Jim Lewis, Chris
$664/credit hour. Graduate, in- Jazz Bands: Three jazz bands, three combos.
Fitzgerald, Jonathan Epley, Anderson
state, $368/credit hour; Graduate, Auditions: Contact miles.osland@uky.edu. Pessoa, Colby Inzer, Lorenzo Trujillo,
out-of-state, $785/ credit hour. Financial Aid: joanne.filkins@uky.edu. Ochion Jewell, Terry O’Mahoney,
Jazz Degrees: Minor in Jazz Studies, BM in Jazz Scholarships: miles.osland@uky.edu. Jimmy Walker, Mike Tracy.
Performance; MM in Jazz Auditions: Dec. 2, Jan. 20, Feb. 3, Feb. 17.
Studies–Performance, Music Apply by: Contact laurie.flewwellin@uky.edu.
roduction Majors. Contact: Miles Osland, miles.osland@uky.edu. Financial Aid: Available. Visit louisville.edu/
financialaid.
Faculty: Brian Gorrell, Lee Rucker, Jeff
Kidwell, Grant Goldstein, Clint Rohr, University of Louisville Scholarships: Available. Merit and talent-based
Bill Repavich, Michael Geib, Garrett Jazz Studies Program available.
Jacobson, Zachary Lee, Ryan Sharp, Louisville, Kentucky Apply by: Feb. 15 priority deadline.
Jack Helsley.
Student Body: 375 in the school of music; up to 50 Contact: Laura Angermeier, 502-852-1623,
Jazz Bands: Large Jazz Ensembles 1, 2, 3 and 4; jazz students. laura.angermeier@louisville.
Jazz Composers Combo, 5th Street edu. Visit louisville.edu/music/
Strutters Dixieland Combo, Conjunto Tuition: Undergraduate, in-state $12,324;
out-of-state, $28,670; Graduate, in- academics/areas-of-study/jazz.
de Jazz Latino Combo, Jazz Repertory
state, $13,944; out-of-state, $28,340.
Combos 1, 2 and 3; Chamber Singers The University of Memphis
Vocal Jazz Ensemble. Jazz Degrees: MM–Concentration in Jazz
Performance, MM–Concentration
Rudi E. Scheidt School of Music
National auditions held first
Auditions:
in Jazz Composition/Arranging, BM Memphis, Tennessee
Saturday in February and March
and by appointment all year; in Jazz Performance, BM Education Student Body: 22,000; 400-plus; 55 jazz students.
contact bgorrell@uco.edu.
Financial Aid: Available. Contact Financial Aid
Office, 405-974-3334.
Scholarships: Substantial Tuition Waiver and
Cash Awards available to highly
qualified applicants. Contact
bgorrell@uco.edu for details.
Apply by: Aug. 1 for Fall; Dec. 1 for Spring.
Contact: Brian Gorrell, director of jazz
studies, 405-974-5285, bgorrell@
uco.edu. Visit ucojazzlab.com.
University of Georgia
Hugh Hodgson School of Music
Athens, Georgia
students.
Tuition: osfa.uga.edu/costs.
Jazz Degrees: Music Minor in Jazz.
Faculty: Dave D’Angelo, James Weidman,
Greg Satterthwaite.
Jazz Bands: Two jazz ensembles, combos, jazz
improv I and II, jazz harmony, jazz
private applied lessons.
Auditions: Visit music.uga.edu/
admissions-overview.
Financial Aid: Visit osfa.uga.edu. Office of Student
Financial Aid, osfa@uga.edu,
706-542-8217.
Scholarships: Office of Undergraduate
Admissions, 762-400-8800.
Apply by: July 31, preferably by April 1.
Contact: Marshall Williams, director of music

Student Music Guide
Tuition: In-state, $19,495; Out-of-state concentration in Performance, University of North Carolina Asheville
$24,536. BA with a concentration in
Composition, MM Jazz Studies, MM Asheville, North Carolina
Jazz Degrees: BM Jazz Studies (performance),
Composition, MM Performance. Student Body: 3,539; 100 music students; 30 jazz
BM jazz studies (composition), BM
students.
Commercial Music, MM Jazz Studies Faculty: Brian Seeger, Victor Atkins, Brent
performance or composition, DMA Rose, Herlin Riley, Ricky Sebastian, Tuition: In-state: $7,667; Out-of-state:
in performance with jazz studies Amina Scott, Jenna McSwain, Jesse $24,667.
cognate. McBride, Wess Anderson, Chris Jazz Degrees: BFA in Jazz & Contemporary
Faculty: Dr. Jack Cooper (director of jazz Adkins, Byron Asher, Matt Perrine, Music, BA in Music, BS in Music
studies), Sam Shoup, Dr. Michael Mark Braud, Ashlin Parker, Derek Technology.
Shults, Dr. Martin McCain, Dr. David Douget, Meryl Zimmerman, Eric
Merchant. Faculty: William Bares, Brian Felix, Jonathan
Spencer. (Toby) King, Matthew Richmond,
Jazz Bands: Southern Comfort Jazz Orchestra, Jazz Bands: UNO specializes in small group Melodie Galloway, Christine Boone,
Jazz Singers, 901 Jazz, Jazz Bones, performance, and has a number of Emily Eng, Jude Weinberg, Hwa-Jin
8–10 combos per semester. four- to eight-piece ensembles. Kim, Carolina Perez.
Alumni: James Williams, Donald Brown, Alumni: Brian Blade, Brice Winston, Jamison Jazz Bands: Large jazz band, X-Tet, Rotating
Tony Reedus, Mulgrew Miller, Ross, Neal Caine, John Ellis, themed jazz and contemporary
David Parks, Marc Franklin, Jeremy Nicholas Payton, Jesse Lewis. ensembles, Studio 18 Vocal Jazz
Warren. Auditions: Auditions are conducted on a Ensemble, Bluegrass Ensemble,
rolling basis through applicant Contemporary Guitar Ensemble.
Auditions: Admission audition and ensemble
audition. video submissions. Students should Auditions: In-person, Nov. 11 and Jan. 27.
submit videos of themselves Visit music.unca.edu/learn/
Financial Aid: Dr. George Palton, recruitment playing jazz standards, as well as audition-requirements or contact
& enrollment coordinator, a performing a solo transcription. Carolina Perez, cperez4@unca.edu,
musicadmissions@memphis.edu. Guitarists should also present a 828-251-6465.
Scholarships: Dr. George Palton, recruitment chord melody arrangement, and
drummers should include examples Financial Aid: Visit new.unca.edu/admission/
& enrollment coordinator,
of themselves playing a variety of financial-aid or call 828-251-6535.
musicadmissions@memphis.edu.
grooves. A short application form is Scholarships: Available. Based on audition.
Apply by: July 1. also part of the application process,
Apply by: Visit new.unca.edu/admission/
Contact: Dr. George Palton, recruitment as well as a standard application to
how-to-apply.
& enrollment coordinator, the University.
musicadmissions@memphis.edu, Contact: Dr. Toby King, jking6@unca.edu,
Financial Aid: Visit uno.edu/financial-aid.
901-678-2541. 828-251-6431.
Scholarships: All applicants are automatically
University of New Orleans considered for Music Department University of North Carolina at
scholarships, with no additional
New Orleans, Louisiana steps required to apply. Out-of-
Chapel Hill
Student Body: 8,000; 80 music students; 50 jazz state waivers are automatic for Chapel Hill, North Carolina
students. applicants from Texas, Mississippi, Student Body: 29,469; over 200 music majors; 40
Tuition: In-state, $9,454/year; Out-of-state, Alabama and Florida. Visit uno.edu/ jazz students.
$14,290/year. financial-aid/types/scholarships-
Tuition: In-state, $9,028; Out-of-state,
and-awards#undergrad.
Jazz Degrees: BA with a concentration in Jazz $36,891.
Studies, BA with a concentration Apply by: July 1.
Jazz Degrees: BM and BA with an Emphasis in
in Music Studies, BA with a Contact: Brian Seeger, bseeger1@uno.edu. Jazz Studies
Faculty: Dr. Stephen Anderson (director of
jazz studies), Dr. Rahsaan Barber,
Dr. Juan Alamo, JC Martin, Jason
Foureman, Dan Davis, Brevan
Hampden (artist in residence).
Jazz Bands: Big band, four to seven combos.
Auditions: Scholarship auditions take place in
the fall and early spring the year
before admittance.
Financial Aid: Available. Visit studentaid.unc.edu.
Scholarships: Available. Kenan Music Scholarship
(full scholarship) and other smaller
scholarships.
Apply by: Early decision, Oct. 15; Regular
decision, Jan. 15; Transfer students,
Feb. 15.
Contact: Dr. Stephen Anderson, director of
jazz studies, anderssr@email.unc.
edu, 919.537.1358. Visit music.unc.
edu/jazz.
University of North Carolina at Greensboro

Miles Davis Jazz Studies Program
Greensboro, North Carolina
Student Body: 20,000 total student body, 30 jazz
majors (undergraduate only).

Tuition: $7,593 annual In-state, $23,339 Performance; Jazz Studies Jazz Degrees: BM in Jazz Studies, MM in
Out-of-state. Concentration. Jazz Studies, Graduate Artists
Jazz Degrees: Bachelor of Music in Jazz Faculty: Lynne Arriale, Todd DelGiudice, Certificate in Jazz Studies, DMA
Performance, Bachelor of Music Marc Dickman, Danny Gottlieb, in Performance, Jazz Studies
in Music Education with a Jazz Barry Greene, Clarence Hines, Concentration. Emphasis
Concentration, Post-Baccalaureate Dennis Marks, J.B. Scott. available in instrumental or vocal
Certificate in Jazz Studies. performance, music business,
Jazz Bands: Three jazz ensembles, six jazz combos. composition and arranging or
Faculty: Steve Haines, Chad Eby, Thomas Alumni: Marcus Printup, Vincent Gardner, popular and commercial music.
Heflin, Ernest Turner, Greg Hyslop, Doug Wamble, Paul Silkivie, John
Brevan Hampden, J.C. Martin. Faculty: Robert Parton, José Aponte,
Davis, Brian Hogans. Jennifer Barnes, Alan Baylock,
Jazz Bands: Jazz Ensemble I, Jazz Ensemble Auditions: Jan. 27, Feb. 18 and March 2 for Rodney Booth, Craig Crafton,
II, 4–6 Combos, Spartan Jazz scholarship consideration; April 6. Quincy Davis, Richard DeRosa,
Collective. Philip Dizack, Rosana Eckert, Nick
Financial Aid: Available. Visit unf.edu/onestop. Finzer, Noel Johnston, Brad Leali,
Auditions: See jazz.uncg.edu.
Scholarships: Need- and merit-based; Out-of- Federico Llach, Dave Meder, Paul
Scholarships: Available. Need- and merit-based. state tuition waivers also available. Metzger, Davy Mooney, Jessica
Visit fia.uncg.edu. Visit unf.edu/admissions/reduced- Muñiz-Collado, Lynn Seaton, Kim
Apply by: Early action, Nov. 1; Regular tuition.html. Teal, Scott Tixier.
decision, March 1. Apply by: Visit unf.edu/admissions/ Jazz Bands: Eight big bands including the
Contact: Steve Haines, sjhaines@uncg.edu. deadlines.html. One O’Clock Lab Band, Latin
Contact: Visit schoolofmusic@unf.edu; 904- Jazz Lab, and the Two through
620-2961. Visit unf.edu/coas/music. Seven O’Clock Lab Bands;
12 small groups, Four vocal
University of North Florida jazz ensembles, Two guitar
University of North Texas ensembles, Commercial Music
Jacksonville, Florida Denton, Texas Lab, The U-Tubes (Jazz trombone
Student Body: 16,517; 280 music students; 40 jazz ensemble), Jazz String Lab.
Student Body: 42,200; 1,565 music students; up to
students.
250 jazz students. Alumni: Michael League, Norah Jones, Lyle
Tuition: Undergraduate, in-state, $213/ Mays, Jeff Coffin, Dan Higgins,
Tuition: Total cost (tuition, fees, room
credit hour; Undergraduate, Keith Carlock, Yumiko Sunami,
and board, transportation):
out-of-state, $693/credit hour; Jim Rotondi, Conrad Herwig, Jami
Undergraduate, in-state: $26,554;
Graduate, in-state, $494/credit Dauber, Jim Snidero.
Undergraduate, out-of-state,
hour; Graduate, out-of-state,
$38,794; Graduate, in-state: Auditions: On-campus auditions preferred;
$1,044/credit hour.
$22,568; Graduate, out-of-state: Recorded and virtual auditions also
Jazz Degrees: BM in Jazz Studies, MM in $31,530. available.

Student Music Guide
Financial Aid: Available. Visit financialaid.unt.edu/ Tuition: In-state, $12,688/year, Out-of-state, Scholarships: Available. Contact Matt White,
apply-aid and email financialaid@ $33,928. chair, mattwhite@sc.edu.
unt.edu. Jazz Degrees: BM in Jazz Studies, MM in Apply by: Dec. 1.
Scholarships: Need- and merit-based. Jazz Performance, MM in Jazz Contact: Matt White, chair, mattwhite@
Composition, DMA concentration in sc.edu.
Apply by: Dec. 1 (for full priority Jazz Studies.
consideration); Applications are
accepted after that date. Faculty: Matthew White (chair), University of South Florida
See music.unt.edu/admissions. Colleen Clark, Craig Butterfield,
Lauren Meccia, Michael Wilkinson, Tampa, Florida
Contact: Rob Parton, chair, division of jazz, Aletha Jacobs, Adam Knight, Student Body: 40,000; 400 music students. 35
jazz@unt.edu. Bert Ligon (emeritus). jazz students.
Jazz Bands: Two big bands, four combos, jazz Tuition: Visit unf.edu/tuition.
The University of South Carolina strings, Carolina Alive (vocal jazz
School of Music ensemble).
Jazz Degrees: BM–Jazz Performance, BA–
Emphasis in Jazz, MM–Jazz
Columbia, South Carolina Auditions: In-person and video submission. Performance.
Student Body: 35,000; 400 music students. 35 Financial Aid: Available. Contact Matt White, Faculty: Jack Wilkins (director of jazz
jazz students. chair, mattwhite@sc.edu. studies), Tom Brantley, James
Suggs, Ross Strauser, LaRue
Nickelson, Dave Rudolph, Pablo
Arencibia, Mark Neunschwander.
Jazz Bands: Two Big Bands, up to eight combos.
Auditions: Online and/or live auditions.
Financial Aid: Available. Visit the USF Admissions
website: usf.edu/admissions.
Scholarships: Scholarships and graduate
assistantships available. Visit music.
arts.usf.edu.
Apply by: Open Aug. 1. School of Music
application/audition should be
submitted by February to be
considered for scholarships and
assistantships. See School of Music
application/audition information for
specific audition dates: usf.edu/arts/
music/apply/index.aspx.
University of Texas at Arlington

Arlington, Texas
jazz students.
Undergraduate, out-of-state,
$27,000. Graduate, in-state,
$11,000; Graduate, non-resident,
$23,000.
Jazz Degrees: BM Jazz Performance, MM Jazz
Composition.
Faculty: Tim Ishii, Mike Drake, Brian
Mulholland, Pete Clagett, Peter
Rioux, Chris McGuire, Mike
Morrison, Tom Burchill, Christian
Valdes, Ryan Haines.
Jazz Bands: Three big bands, six combos.
Alumni: Caroline Davis, Alan Morrissey, Ken
Edwards, Stephen Morris.
Auditions: uta.edu/music/jazz.
Financial Aid: Contact Tim Ishii, tishii@uta.edu.
Scholarships: Contact Tim Ishii, tishii@uta.edu
Apply by: Apply/audition by March 15 to receive
scholarship consideration, late
applications accepted until August.
Contact: tishi@uta.edu; 817-272-3471.
The University of Texas at Austin

Austin, Texas
Student Body: 52,384; 650 music student; 40 jazz
students.

Tuition: Visit onestop.utexas.edu/managing-costs.
Jazz Degrees: BM in Jazz (Performance or Composition), MM in Jazz
Performance, MM in Jazz Composition, DMA in Jazz
Performance, DMA in Jazz Composition, DMA in Music &
Human Learning, Jazz Pedagogy Emphasis.
Faculty: Diego Rivera (director of jazz studies), Paul Deemer,
John Fremgen, Sean Giddings, Adam Jackson,
John Mills, Michael Sailors, Bruce Saunders,
Omar Thomas.
Jazz Bands: Jazz Orchestra, Jazz Ensemble, Jazz Combos, Alternative
Improvisation Music Ensemble (AIME).
Auditions: Visit music.utexas.edu.
Financial Aid: Merit- and need-based. Visit finaid.utexas.edu.
Scholarships: Merit-based. Graduate assistantships available. Visit music.
utexas.edu/apply/financial-aid.
Apply by: Dec. 1.
Contact: Sarah Goerg, sarahgoerg@austin.utexas.edu,
512-471-0504.
Vanderbilt University’s Blair School of Music

Nashville, Tennessee
Student Body: 235 music students; 16 jazz majors and 125 students
participating in jazz.
Tuition: $61,618.
Jazz Degrees: BM in Jazz Studies; BMA in Jazz Studies; Jazz Studies as a
2nd Major; Minor or Concentration offered in Jazz Studies.
Faculty: Buchanan, Pat Coil, Jerry Kimbrough, Rob Linton, Nick
Laufer, Marc Widenhofer.
Jazz Bands: Blair Big Band Ensemble, up to four Jazz Combos, Blair Jazz
Choir, Special Ensemble in Jazz and Global Music.
Alumni: David Rogers, Roy Agee, Michael Rinne, Sarah Williams.
Auditions: Visit blair.vanderbilt.edu/admissions/apply.php. Auditions
for Jazz ensembles, lessons or minor/concentrations
take place once an admitted student begins studies at
Vanderbilt.
Financial Aid: Visit vu.edu/finaid.
Scholarships: Merit-based music scholarships are awarded to Blair
majors based on audition and academic achievement. Visit
vu.edu/scholarships.
Apply by: Early Decision 1, Nov. 1; Early Decision 2 and Regular
Decision, Jan. 1.
Contact: Visit Blair.inquiries@vanderbilt.edu, or call 615-322-6181.
Virginia Commonwealth University

Richmond, Virginia
Student Body: 30,000, 200 music students, 25 jazz majors.
Tuition: In-state, $16,233; Out-of-state: $38,817.
Jazz Degrees: BM in Performance: Jazz Studies; BA Music.
Faculty: Taylor Barnett, Rex Richardson, Eric Wheeler, Marlysse
Simmons, Trey Pollard, Wells Hanley, Tony Martucci, J.C.
Kuhl, Filipe Leitão, “FAT Thomi” Hairston.
Jazz Bands: Jazz Orchestra, Afro-Latin Jazz Orchestra, five small jazz
ensembles.
Alumni: Nate Smith, Steve Wilson, James Genus, Victor Goines,
Clarence Penn, Matthew E. White.
Auditions: In-person: Nov. 11, Jan. 27, Feb. 3.
Financial Aid: Call 804-828-6669.
Scholarships: Sizeable, four-year Singleton Scholarships available.
Contact barnettt@vcu.edu.
Apply by: Nov. 1 for university academic scholarships, rolling
admissions thereafter.
Contact: apply4music@vcu.edu; arts.vcu.edu/admissions/how-to-
apply; 804-828-1167.

ADRIMICHAEL GOLDMAN
MICHAEL JACKSON
Terri Lyne Carrington Kris Davis
THE MARCH TOWARD

EQUITY & INCLUSION
While some say change has come, new data suggests it’s
slow moving. By Kira Grunenberg
T
he idea that someone isn’t just a num- ing disproportion around the reality of equi- progress, and I don’t think we’ll ever be able
ber in a class is often interpreted as a ty in jazz. to claim equity unless we have a place to start
teacher’s ability to connect with stu- This curiosity led to a multi-year research measuring from.”
dents beyond the bare minimum. It’s about project wherein Pellegrinelli and a team The fruit of these questions grew over two
simply being accounted for versus being of independent reporters analyzed every years (2019–21) from Pellegrinelli’s Music
acknowledged for more of one’s personhood. recording given a vote in polls for 2017–19. Journalism and Criticism course at The New
Yet sometimes a statistic is the very form of The results from that study, “Equal At Last? School’s Eugene Lang College. Pellegrinelli
identification that can lead to deeper levels Women In Jazz, By The Numbers,” and the worked with students on a methodology for
of acknowledgment in a social demographic. thought process that created it, inspired collecting quantitative data on faculty with-
Lara Pellegrinelli — freelance journalist, Pellegrinelli to contemplate similar questions in jazz-specific educational roles along with
educator and ethnomusicologist — recog- regarding gender equity around jazz, higher gender data derived from public information.
nized one such valuable opportunity for education and administration. Due to the lack of existing data accounting
analyzing statistical data in 2018. Reflecting “It’s systemic inequity. … How can you for these aspects together, DownBeat mag-
on the NPR Music Jazz Critics Poll led move the dial on gender, on equity, if you azine’s annual jazz education guide “Where
Pellegrinelli to question the definitive status don’t even know where you’re starting?” says To Study Jazz” served as a core source. With
of gender equity in jazz performance, outside Pellegrinelli. “What do I need? In this case, 222 schools listed across 44 states, including
of a timeframe that may have been perpetuat- we need numbers or else we can never claim Historically Black Colleges and Universities

JERRIS MADISON
COURTESY HALLEY ELWELL

KAY GRIGAR
Lara Pellegrinelli
Aja Burrell Wood Halley Elwell
(HBCUs), the list served as the foundation for was in their bio and they said they were a jazz gender justice or racial justice or any of that
3,014 individual entries. Those entries are the musician … then it was good enough for us. without thinking about ableism or environ-
foundation for an analysis of gender equity in We were trying to cast the widest net possi- mental justice because what kind of person
jazz education that Pellegrinelli says is much ble and try to get a picture of female-identi- are you if you’re only concerned about your
needed — notably due to a tendency of writ- fied artists. If anything, the parameters prob- own group?’”
ers and readers to latch onto a false sense of ably helped the numbers.” Noticing the nuances of different social
change. Though the study focuses on women in groups is a skill and value almost signature
“[Jazz writers] will either say, ‘Women are jazz higher education and administration, to Carrington, as her 40-year performing
so embattled,’ or say, ‘Things are getting Pellegrinelli and the institute are aware other career has given her what she describes as a
better for women,’ and it’s not at all evi- conversations exist, which would examine “cross-generation of experience.”
dence-based and that’s highly problemat- challenges faced by individuals across gen- “It has given me the understanding of
ic,” Pellegrinelli says. “You have a duty as a der and minority spectrums. Aja Burrell where [and] how gender fits in, [and] the
reporter to make sure that what you’re saying Wood, managing director of the Institute, problems with it in jazz because I’ve had such
is actually true.” notes the significance of students identifying vast experience with so many different peo-
Wanting the study to reach more people with educators and administrators in their ple from different sides,” Carrington says.
and leave a stronger impression, Pellegrinelli daily studies. While Carrington accrued a first-hand
approached the Berklee Institute of Jazz and “It’s really important that students see connection with musicians across genera-
Gender Justice, proposing collaboration and themselves and faculty in leadership,” Burrell tions, the Institute’s staff carries an abun-
funding for the study, the findings for which Wood says. “It’s also important that it’s not dance of their own experiences, highlight-
Pellegrinelli and the Institute are in the pro- only that female identifying students that ing the disparity in jazz and jazz education
cess of developing. Still, numbers for some of need to see female-identified faculty and for women. Ironically, for Kris Davis, asso-
the study’s most prominent categories illumi- staff. Male-identified students also need to ciate program director of creative develop-
nate immediate need for improvement — 6% see female-identified faculty and staff. It ben- ment, her attempt at ignoring gender entire-
of people who are directors of jazz programs efits all because it normalizes that.” ly acted as an obstacle rather than a way to
are female-identifying individuals; only 16% Terri Lyne Carrington, the Institute’s not only stand beside men but do so in a fully
of women are administrators of higher edu- founder and artistic director, expands on this actualized way.
cation. Considering a world where the ratio mentality directly with her students, stress- “For so long I just ignored the idea of gen-
of men to women is roughly 50-50, the pic- ing solidarity for all societal shortcomings. der and music,” Davis says. “I tried to avoid
ture is disparaging, even knowing parame- “I think everyone has to look in the mir- it. I remember, JazzTimes had done like a
ters were kept rather open. ror and look at their values and understand ‘Women in Jazz’ feature, and I was so upset
“We were not going to decide if someone intersectionality,” Carrington says. “I [tell] that I was included. I just wanted to be far
is a jazz musician,” Pellegrinelli says. “If it my students, ‘You can’t be concerned with away from connecting my gender to the

music in any way.” shouldn’t be left alone.” ger picture and what data like this can teach.
Similarly, Carrington said she “wasn’t Carrington points out that motiva- “[The study] was a very good lesson that
really seeing gender” early in her career. tion and mindset are the true corner- we can’t be complacent, and we have to keep
While perhaps not as conscious of a bound- stone to change. thinking critically. We can’t take [prog-
ary as Davis, Carrington became aware that “What needs to happen is really a shift in ress] for granted,” she says. “Hopefully [the
perseverance in spite of reactions to gender is perception, in thinking about the issue,” she study] is something that has much broader
often what made it possible for women to suc- says. “You have to look past the numbers of implications.”
ceed in an environment unsupportive of non- who you’ve hired, [and] you have to really One might think advocating for the
male musicians. look at how you’re educated. You could just Institute’s systems would be the right idea
but just as statistics are influenced by motiva-
‘How can you move the dial

tion, it’s not as simple as making blueprints to
open Berklee Institutes worldwide, as Burrell
Wood and Carrington emphasize.
“Every campus has its particular culture
on gender, on equity, if you

and need,” Burrell Wood says. “When you
come from a standpoint of gender justice
and racial justice, essentially we’re looking at
equity in education.”
don’t even know where

“I have to believe that if you really want
change, you figure out what you can do to
push your institution to be more progres-
sive,” Carrington says.
you’re starting?’ —Lara Pellegrinelli

Inspiring enduring improvement contin-
ually returns to the notion of systemic change
— changing the minds and hearts of those
in authority and those not driven to change
things for the benefit of others.
“Most of the women that I know who are hire women who are somewhat patriarchal “People will have to decide, do they real-
successful, they don’t want to deal with gen- themselves, carrying on the same traditions.” ly want change? Are they protecting their
der at all because they’ve had to just plow Thankfully, the institute’s entire mission own interests?” asks Carrington. “And you
through, let it roll off their back like water, and culture revolves around pursuing gen- have to be willing to do extra work. It’s extra
ignore it and just be as good as they can be,” der equity in every facet of jazz. “The point labor, it’s more time, and you’re not going to
says Carrington. of the Institute [of Jazz and Gender Justice] get paid for it so you have to be passionate
Halley Elwell, program coordinator for is to educate young people who are going to about it.”
the Institute, encountered many hurdles be creating these opportunities, to consider Burrell Wood sees the depth of these
in her pursuit of a jazz performance career, diversity in gender and race, in terms of put- goals but finds strength in the united mental-
driven by ingrained gender norms and asso- ting their groups together and having suc- ity of the institute’s team.
ciated expectations. cessful careers in the music,” Davis says. “With Terri Lyne Carrington, Kris
“[There] wasn’t much encouragement,” It’s a lofty goal but the Institute doesn’t Davis, Linda May Han Oh, our adminis-
says Elwell. “People didn’t really want to do shy away from what’s needed to attain equi- trative staff, and even some of our students
original stuff. They mostly just wanted me to ty for women in educational roles, even employees as well, we’re able to be in com-
sing standards. It’s hard when you’re like, ‘OK, considering the existing disadvantages, as munity, to work collectively. [And] when
where would I rehearse?’” she says. “You get Elwell notes. you’re doing the work of trying to realize
invited back to somebody’s house to rehearse “The structures are so old that it’s going an equitable and present future for all, that
and that’s fine for a lot of people but, if you’re to be a lot easier for somebody to walk into work has to be done collectively, no one per-
by yourself in a city, and you’re not sure, it’s [an institution] if it was built for you,” Elwell son can do it by themselves.”
like, ‘I don’t know if I feel safe rehearsing says. “When we think about the origin of how Davis looks to the folks who may need to
at your house,’ Stuff like that where I could a lot of these institutions are set up, how can be shown why equity is a net gain for all. “It’s
never really be sure. And because of that, I [the systems] not be these hierarchies?” important for everybody to have access to
wasn’t ultimately that comfortable.” Davis adds, “As there’s a shift and trying different people,” she says.
The study being led by Pellegrinelli to create more diverse mentorship in the And while Terri Lyne Carrington contin-
could certainly help deter these and other institution of jazz education, that’s a slow-go- ues to lead the Institute, conceiving of new
instances of difficulty, social pressure and ing process. The only chance for change in ways to move the needle of jazz toward a
denial for non-male jazz performers and terms of mentorship in institutions is when more equitable existence, she emphasizes yet
educators. However, Carrington says subtler someone leaves a position or there’s a new another concept alongside the idea that one
problems can persist, despite appearances of position created, and it seems like a lot of must want change because with growth can
increased inclusion. the new positions are being opened up for come pain. But if everyone works together,
“There are people that in their heart of women and people of color, which I think is the task at hand might not be so intimidating.
hearts will say and believe, ‘I’ll hire a woman great. In a way, I see education being more “Sometimes [change] is painful. It’s not
in a heartbeat if she can play — if she’s good.’ responsive to the moment.” always easy but you have to have that desire
You’re basically saying, ‘If she’s as good as the The question becomes, what needs to because that’s what makes us function in the
next guy.’ [Male jazz musicians] have a sys- happen for change to occur? Is the answer world at our highest level — when we’re ready
tem that’s unfair, and that’s the thing that more data studies? Pellegrinelli sees the big- and willing and able to expand.” DB

Student Music Guide
RICK GRANLUND
BGSU, MARIAH STADEL

Ball State Jazz Ensemble at Dizzy’s Club in New York City Performance time at Bowling Green
Jazz Degrees: BM in Jazz Studies; MM in Jazz Alumni: Brandon Douthitt.
MIDWEST Faculty:
Studies; Jazz Studies Minor.
David Bixler (director of jazz
Auditions: On-campus auditions in January
and February. Virtual auditions
activities), Jeff Halsey, Ariel Kasler, available. See butler.edu/music.
Ball State University Daniel Piccolo, Charles Saenz. Financial Aid: Available. Contact finaid@butler.
Muncie, Indiana Jazz Bands: Two jazz lab bands, multiple jazz edu or 877-940-8200.
combos/chamber ensembles, jazz Merit-based academic and music
Student Body: 20,319, 450 music students, 21 jazz guitar ensemble.
Scholarships:
students. scholarships available up to full
Alumni: Tim Hagans, Rich Perry. tuition. Contact music@butler.edu.
Tuition: In-state, $10,290. Out-of-state,
$27,524. Auditions: First apply to university, then sign- Apply by: Nov. 1 (Preferred/Early Action, non-
up for audition. Three methods binding), Feb. 1 (Regular Decision).
Jazz Degrees: BM in Jazz Studies, Minor in Music of audition: In-person — highly
with Jazz Studies emphasis. Contact: Courtney Trachsel, coordinator
preferred, live virtual, recorded of outreach and recruitment or
Faculty: Mark Buselli, Cassius Goens, Sean video submission (if no other Matt Pivec, director of jazz studies:
Imboden, Scott Routenberg, Joel dates work). Audition Dates for music@butler.edu, 317-940-9246.
Tucker. Fall 2024: Jan. 24 (in-person), Jan.
26 (virtual), Feb. 17 (in-person),
Jazz Bands: Three big bands, six jazz combos,
Feb 24 (in-person; also scholarship College of DuPage
one Studio band.
consideration deadline), April 13 (in- Glen Ellyn, Illinois
Alumni: Eric Tewalt, Lyman Medeiros, Lori person; also audition day for high Student Body: 26,000, 50 jazz students.
Mechem, Jordan West. school juniors).
Tuition: In-district, $140/credit hour; Out-of-
Auditions: Auditions for majors are held Financial Aid: Available. Need-based, contact: district, $327/credit hour.
in the late Fall and early Spring 419-372-2651. General university
semesters. Ensemble auditions are and music scholarships available. Jazz Degrees: Associate of Fine Arts–Music,
held the week before classes begin Contact: musicadmissions@bgsu. Associate in Arts–Music, Associate
in August. Visit bsu.edu/academics/ edu; 419-372-8577. in Applied Science–Music Business,
collegesanddepartments/music/ Audio Production Certificate.
auditions-and-admissions. Apply by: Rolling admission. Scholarship
deadline, Feb 15. Faculty: Matt Shevitz, Dave Rice, Rich
Financial aid: Available. Contact the Financial Aid Armandi, Ben Wahlund, Steve
Office, cardinalcentral@bsu.edu, Contact: David Bixler, director of jazz Ramsdell.
765-285-2222 or 800-227-4017. activities, dbixler@bgsu.edu, 419-
372-2953. General Admissions: Jazz Bands: College of DuPage Jazz/Pop
Scholarships: Available. Jazz graduate choosebgsu@bgsu.edu, 419-372- Ensembles, DuPage Community
assistant position available. 2478. Jazz link: bgsu.edu/musical- Jazz Ensemble.
Three jazz scholarships. arts/area/jazz.html. Alumni: Mike Aquino, Anthony Perry, Josh
Visit bsu.edu/academics/ Berman, Josh Gumina.
collegesanddepartments/music/
scholarships-and-assistantships/
Butler University School of Music Auditions: Contact Matt Shevitz.
undergraduate. Indianapolis, Indiana Financial Aid: Visit cod.edu/costs/financial_aid.
Apply by: Dec. 1, rolling admissions thereafter. Student Body: 4,500; 150 music majors; 25 jazz Scholarships: $1,000 annual merit-based
students. scholarships are available. Contact
Contact: School of Music, 765-285-
5400; visit bsu.edu/academics/ Tuition: 44,990/year. Matt Shevitz for information.
collegesanddepartments/music. Jazz Degrees: BM in Jazz Studies, Emphasis in Apply by: Visit cod.edu/registration.
Jazz Studies, Minor in Jazz Studies Contact: Dr. Matt Shevitz, shevitzm@cod.
(for non-music majors). edu, 630-942-2369, 630-791-0196,
Bowling Green State University Faculty: Matt Pivec, Sean Imboden, Rob shevitzm@cod.edu.
Dixon, Kenny Phelps, Sandy
Bowling Green, Ohio Williams, Jesse Wittman, Rich
Student Body: 20,000, 475 music students, 30 jazz Dole, Jon Crabiel, Kent Hickey, Erin Columbia College Chicago
students. Benedict, Ellie Pruneau.
Tuition: In-state, $24,936; Out-of-state, Jazz Bands: Instrumental and vocal jazz Chicago, Illinois
$32,924.40. ensembles and combos. Student Body: 6,646.

Student Music Guide
NORTH PARK UNIVERSITY

DOUG MCGOLDRICK
DePaul University Vocal Jazz Ensemble in concert Blue & Gold Day at North Park University
Tuition: $32,520. Kathryn Sherman,

Jazz Degrees: BA and BM in Contemporary,
Cuyahoga Community College Jim Trompeter.
Jazz, and Popular Music; BM in DePaul Jazz Workshop, DePaul Jazz
Composition and Production. Tri-C Jazz Studies Program Jazz Bands:
Orchestra, DePaul Jazz Ensemble,
Faculty: Scott Hall, Gary Yerkins, Sebastian Cleveland, Ohio DePaul Vocal Jazz Ensemble.
Huydts (chair), Bill Boris (associate Student Body: 18,754, 125 music students, 25 jazz Alumni: Orbert Davis, Dana Hall, Marquis
chair), Sharel Cassity, Peter Saxe, students. Hill, Rudresh Mahanthappa.
Cassandra O’Neal, Raphael Tuition: In-state, $4,472; Out-of-state Auditions: All jazz applicants submit a
Crawford, Charles Heath III, $8,586. pre-screen audition by Dec. 1.
Typhanie Monique Coller, Thomas
Jazz Degrees: AA Degree with transfer/ Auditions occur during weekends
Allen, Diane Delin, Chuck Webb,
articulations with the Berklee in February.
Jarrett Hicks, Mike Harvey, Chris
Forte, Nick Tremulis, Josh Lava, College of Music and the Jackie Financial Aid: Available. Contact:
Kubilay Uner (director, MFA McLean Jazz Institute at the Hartt musicadmissions@depaul.edu.
track Music Composition for the School of Music.
Scholarships: 99% of all students receive aid.
Screen). Faculty: Steve Enos, Dave Sterner, Brian Contact: musicadmissions@depaul.
Jazz Bands: Jazz combos, Columbia College Kozak, Demetrius Steinmetz, edu. Apply by Dec 1.
Jazz Ensemble (big band), Chicago Jackie Warren, Anthony Taddeo,
Dominick Farinacci (Jazz Prep). Contact: Admissions Department:
Vox (vocal jazz ensemble), Fusion musicadmissions@depaul.edu,
Ensemble, Guitar Ensemble, Latin Jazz Bands: Jazz Ensembles, Jazz and Pop 773-325-7444.
Ensemble, Pop/Rock Ensemble, Combos.
Blues Ensemble, R&B Ensemble,
Hip Hop Ensemble, Gospel Band,
Alumni: Dominick Farinacci, Curtis Taylor, Eastern Illinois University
Recording and Performance
Aaron Kleinstub. Charleston, Illinois, USA
Ensemble (original music Auditions: Complete College Application and Student Body: 8,600, 150 music majors, 40
projects), New Music Ensemble Assessment no later than Aug. 1. students in jazz groups.
(original music projects). Financial Aid: Available. Visit tri-c. Tuition: $24,000/year, including all fees
Alumni:  Aaron Koppel, Sarah Marie Young, edu/paying-for-college/ and room and board.
Sam Trump, Sam Cerniglia, financial-aid-and-scholarships.
Jazz Degrees: BM in Jazz Studies Performance,
Jonathan McReynolds, Endre Scholarships: Visit tri-c.edu/paying-for-college/ Jazz Studies Minor, MA in Music
Rice, Isaiah Oby, Parris Fleming, financial-aid-and-scholarships/ Performance.
Milton Suggs, Reggie Drake, Jalen scholarships/index.html.
Baker, Rebecca Bruner, Jackson Faculty: Sam Fagaly, Paul Johnston, Ben
Shepard, Imani Williams, Michael Apply by: Aug. 1. Carrasquillo, Jamie V. Ryan, Andre
Hilgendorf. Contact: Steve Enos, stephen.enos@tri-c.edu, Goncalves, Jose Gobo.
Auditions: BM prescreen deadline, Dec. 1; BA 216-986-4256. Jazz Bands: EIU Jazz Ensemble, EIU Jazz Lab
scholarship deadline, mid-January. Band, EIU Jazz Combos I, II, III.
Visit colum.edu/bfa. DePaul University School of Music Alumni: Brian Shaw, Jonathan Schwabe,
Financial Aid: Contact the Admissions Office at Tim Stanley, Kevin Hart, Mark
312-369-7130. Chicago, Illinois Maegdlin, Mark O’Connor, Aaron
Student Body: 21,000, 400 music students, 50 jazz Eckert, Jeff Pellaton, Joe Ott, Eric
Scholarships: Both need- and merit-based Allen, David Perez Delgado, Mike
scholarships are available. students.
Block.
Accepted students are eligible Tuition: Undergraduate: $45,030.
for merit scholarships based live Auditions: Visit eiu.edu/music/auditions_
Jazz Degrees: Bachelor’s and Master’s degrees. general_information.php.
audition or video submission.
Faculty: Dana Hall, Scott Burns, Financial Aid: Visit eiu.edu/finaid/cost.php.
Apply by: Rolling admissions with a May 1 Dennis Carroll, Sharel Cassity,
priority date. Raphael Crawford, Scott Hesse, Scholarships: Visit eiu.edu/scholarships.
Contact: Scott Hall, shall@colum.edu, or Gary Thomas Matta, Chad McCullough, Apply by: Some academic scholarships
Yerkins, gyerkins@colum.edu. Bob Palmieri, Abigail Riccards, require applying in early January.

Student Music Guide
Financial Aid: Available. Visit studentcentral.
KCK COMMUNITY COLLEGE

indiana.edu/index.html.
Scholarships: Available. Visit music.indiana.edu/
admissions/tuition. Limited number
of merit-based scholarships
and assistantships available for
graduate students. Contact Office
of Music Admissions, musicadm@
indiana.edu.
Apply by: Dec. 1.
Contact: Espen Jensen, director of music
admissions; Helena Walsh, jazz
studies administrative assistant.
Music Admissions: musicadm@
indiana.edu or jazz@indiana.edu;
Call 812-855-7998 or 812-855-7560;
Kansas City Kansas Community College Blue Devil Funk Band Visit music.indiana.edu/jazz.
Auditions must be completed by
March 1 for Music Scholarship
Auditions: On-campus audition, March 5.
Online and in-person auditions by
Kansas City Kansas Community College
consideration. appointment. Kansas City, Kansas
Contact: Sam Fagaly, swfagaly@eiu.edu. Financial Aid: Contact crystal_roach@friends.edu. Student Body: 5,148, 35 music majors, 65 audio
engineering majors, 50 jazz
Scholarships: Contact nicholas_schroeder@ students.
Elmhurst University friends.edu.
Tuition: In-State, $3,648; Out-of-State,
Apply by: Feb. 15 for scholarship and grant $7,168.
Elmhurst, Illinois priority.
Student Body: 3,400; 200 music students; 35 jazz Jazz Degrees: AA in Music, AAS in Audio
Contact: lauren_betts@friends.edu, Engineering, and Associate
students. 316-295-5536. of General Studies in Music
Tuition: $39,900. Technology.
Jazz Degrees: BM in Jazz Studies, Minor in Jazz Indiana University Jacobs School of Music Faculty: Dr. Justin Binek, Dr. Ian Corbett,
Studies, Minor in Music Production. John Stafford, Dr. Geoffrey
Faculty: Neal Alger, Gayle Bisesi, Carey Bloomington, Indiana Wilcken, Dr. Regina Tanujaya, Dr.
Deadman, Tom Garling, Kirk Student Body: 1,600 music students (850 Spencer Hutson, Dr. Michael Miller,
Garrison, Jeremy Kahn, Larry Kohut, graduate, 750 undergraduate), 65 Aaron Crawford, Brett Jackson,
Dan Nicholson, Abigail Riccards jazz students. James Albright, Rod Fleeman,
Healy, Bob Rummage, Chris Daniel Dissmore, Jason Goudeau,
Tuition: Undergraduate, in-state, $5,156.23/ Raymond Demarchi, Mike Ning,
Siebold, Marshall Vente. semester; Out-of-state, $19,502.01/ Suzanne Hatcher, Mark Ferrell, Julia
Jazz Bands: Two big bands, eight jazz combos, semester; Graduate, in-state $719/ Scozzafava, Lauren Auge.
two electric guitar ensembles, two credit hour; Out-of-state, $2,251/
vocal jazz ensembles. credit hour. Jazz Bands: Blue Devil Funk Band, The Standard
Vocal Jazz Ensemble, Fusion Vocal
Alumni: Fred Gretsch, Kris Myers, Chris Jazz Degrees: BM and DM in Jazz Studies, BS in Jazz Ensemble, Community Vocal
Siebold, Typhanie Monique. Music/Outside Field. Undergraduate Jazz Ensemble, Community Jazz
Auditions: By appointment. Visit elmhurst.edu/ and Graduate minor in Jazz Studies. Band, Jazz Combo 1, Jazz Combo
music. Faculty: Natalie Boeyink, Rachel Caswell, 2, Saxophone Ensemble, Chamber
Financial Aid: Available. Christian Dillingham, Sean Dobbins, Choir.
Luke Gillespie, Joe Galvin, John Alumni: Bobby Watson, Lisa Henry, Tim
Scholarships: Both need- and merit-based. Raymond, Dave Stryker, Sachal Bailey, Chris Hazelton, Wayne
Apply by: Visit elmhurst.edu/music. Vasandani, Wayne Wallace, Brent Hawkins, John Cushon, Adam
Wallarab, Tom Walsh, Greg Ward. Strick, Andrew Bergthold.
Contact: Gayle Bisesi, music.admission@
elmhurst.edu, 630-617-3524. Jazz Bands: Three big bands, Latin Jazz Auditions: By appointment only (both in-
Ensemble, eight combos including person and virtual).
the Plummer Jazz Group.
Friends University Alumni: Jamey Aebersold, Eric Alexander,
Financial Aid: Many academic scholarships
offered by the college through
Wichita, Kansas David Baker, Rahsaan and Roland the financial aid and foundation
Barber, Jim Beard, Chris Botti, Ralph departments.
Bowen, Randy Brecker, Sara Caswell,
majors; 50 jazz participants. Jerry Coker, Peter Erskine, John Scholarships: Full-tuition music scholarships are
Tuition: $32,000. Clayton, Todd Coolman, Amanda available. Contact John Stafford,
Gardier, Robert Hurst, Shannon coordinator of music department,
Jazz Degrees: BM Music Performance, Jazz jstafford@kckcc.edu.
Concentration. LeClaire, Hannah Marks, Shawn
Pelton, Jeff Hamilton, Matt Mitchell, Apply by: Open enrollment until Aug. 1.
Faculty: Dr. Nick Schroeder, Neal Allsup, Ashley Summers, Scott Wendholt,
Andy Slater, Renea Abdallah, Matt Alan Pasqua, Pharez Whitted. Contact: John Stafford, jstafford@kckcc.
Koehn, John Goering, Kurt Aiken. edu, 913-288-7137; Dr. Justin Binek,
Auditions: Three annual audition weekends jbinek@kckcc.edu, 913-288-7347.
Jazz Bands: Two big bands, Latin Jazz in January, February and March;
Ensemble, Vocal Jazz Ensemble, recordings accepted by the
two combos. application deadline. Pre-screening Lawrence University Conservatory of Music
Alumni: Nathan Williams, Jason Whitmore, audition may be necessary.
Rich Mullens, Zach Rich, Nathan Requirements vary by instrument. Appleton, Wisconsin
Borton, Josh Davis, Miguel Santana Visit music.indiana.edu/admissions/ Student Body: 1,500; 350 music students; 70 jazz
Morales. index.html. students.

Student Music Guide
Tuition: $55,149. Auditions: In-person audition or musicadmissions@lawrence.edu;

Jazz Degrees: BM (with Jazz Emphasis), BMA self-recorded video. Visit 920-832-7067.
in Jazz and Contemporary lawrence.edu/admissions-aid/
Improvisation, BA in Music, BM/BA conservatory-admissions/ Lindenwood University
apply-audition.
Double Degree. St. Charles, Missouri, USA
Faculty: Tim Albright, Bill Carrothers, Financial Aid: Need-based financial aid available. Student Body: 6,992; 60 music students.
John Daniel, Patty Darling, José Mary Kate Smith, 920-832-7067.
Tuition: $19,900.
Encarnación, Steve Peplin, Janet Scholarships: All students automatically
Planet, Matt Turner, Mark Urness. considered for merit scholarships. Jazz Degrees: BA Music in Music Business &
Visit lawrence.edu/admissions- Entrepreneurship with emphasis
Jazz Bands: Lawrence University Jazz Ensemble, in Jazz & Contemporary Music,
Jazz Band, Jazz Workshop, six-to- aid/conservatory-admissions/
apply-audition. BA Music with emphasis in Jazz &
eight combos per year. Contemporary Music.
Alumni: Fred Sturm, Javier Arau, Patty Apply by: Early Decision/Early Action: Nov. 1,
Regular Decision: Jan. 15. Faculty: Dr. Matt Hoormann, Adam
Darling, Matt Turner, Kurt Dietrich, Donohue, Justin DiCenzo, Cara
Jonathan Fagan. Contact: Mary Kate Smith, Dineen, Ken Kehner, Bernard Long
Jr., Matthew von Doran.
Jazz Bands: Multiple combos, experimental jazz
combo, big band.
Alumni: David Gomez, A.J. Griffin, Mason N.
Williams.
Auditions: In-person or virtual/recorded.
Financial Aid: Visit sfs@lindenwood.edu.
Scholarships: Performing arts scholarships
available, contact mhoormann@
lindenwood.edu.
Apply by: Rolling admissions.
Contact: Dr. Matt Hoormann, mhoormann@
lindenwood.edu, 636-949-4740.
Michigan State University

East Lansing, Michigan
jazz students.
$48,000.
Jazz Degrees: BM, MM.
Faculty: Xavier Davis, Michael Dease,
Randy Gelispie, Randy Napoleon,
Walter Blanding, Rodney Whitaker,
Department Chair.
Jazz Bands: Four jazz octets, 12 jazz combos.
Alumni: Markus Howell, Endea Owens,
Jocelyn Gould, Anthony Stanco,
Zack Adleman, Altin Sencalar,
Pierre Charles.
Auditions: Visit music.msu.edu/admissions.
Financial Aid: Yes.
Scholarships: Yes.
Apply by: Dec 1.
Contact: music.admissions@msu.edu,
517-355-2140,
music.admissions@msu.edu.
North Park University

Chicago, Illinois
students.
Tuition: $34,685.
Jazz Degrees: BME, BA in Music with
concentrations in Jazz Studies,
Composition, Performance and
general studies.
Faculty: Joe Lill, Christopher White,
Darren Scorza.

Student Music Guide
Jazz Bands: Jazz ensemble, two jazz combos. Contact: Erin Matonte, ematonte@ Bradfield, Bobby Broom, Rodrigo
Alumni: Anders Nordstrom, Deborah northpark.edu, 773-244-4583. Villanueva, Pharez Whitted, Tom
Wanderly dos Santos, An Tran, Garling, Marlene Rosenberg.
Michele Thomas, Matt Lundgren, Northern Illinois University Jazz Bands: NIU Jazz Orchestra and NIU Jazz
Wei Yu, Marvin Curtis. DeKalb, Illinois Ensemble, Graduate Jazztet, up to
Auditions: Auditions Feb. 10 and Feb. 24. Visit Student Body: 300 music students; 50 jazz seven jazz combos.
northpark.edu/auditions. students. Alumni: Marquis Hill, Greg Ward, Doug
Financial Aid: Erin Matonte, ematonte@ Tuition: $24,252 (includes room and board). Stone, Dan Nimmer, Tito Carrillo,
northpark.edu. Victor Garcia, Mike Allemana.
Jazz Degrees: BM–Jazz Performance; BM–Music
Scholarships: Academic and talent-based Education; BM–Composition; BA in Auditions: Students must apply for general
scholarships. Erin Matonte, Music; MM–Individualized Study admission and then complete a
ematonte@northpark.edu. (Jazz). music application and audition.
Auditions are held on campus in
Apply by: Rolling admissions. Faculty: Reggie Thomas (coordinator), Geof February. Private auditions may
also be scheduled. Email avmenk@
niu.edu for more information.
Financial Aid: Available. Contact finaid@niu.edu
or visit niu.edu/financial-aid.
Scholarships: NIU offers merit-based scholarships
(Dec. 1 priority deadline) and other
need-based financial aid. Contact
finaid@niu.edu or go to niu.edu/
financial-aid/scholarships. Music
talent scholarships and graduate
funding offers are awarded after
February auditions.
Apply by: Dec. 1 for priority general
admissions deadline; Feb. 21 for
Music Application & Audition.
Contact: Reggie Thomas, director of jazz
studies, reggiethomas@niu.edu;
or Austyn Menk, music admissions
coordinator, avmenk@niu.edu.
Northwestern University
Bienen School of Music
Evanston, Illinois
Student Body: 600 music students; 25 jazz.
Tuition: $64,887.
Jazz Degrees: BM in Jazz Studies, MM in Jazz
Studies.
Faculty: Derrick Gardner (director), Jeremy
Kahn, Rob Dixon, John Moulder,
Willie Jones III, Carlos Henriquez,
Tom Garling, Darius Hampton,
Kevin Fort.
Jazz Bands: Jazz Orchestra, Jazz Small
Ensembles.
Alumni: David Sanborn, Orbert Davis,
Vernice “Bunky” Green, Rufus Reid.
Auditions: Prescreening materials required.
Auditions by invitation only and
will take place in November (Early
Decision undergraduate only and
mid-February undergraduate
Regular Decision/MM. Visit music.
northwestern.edu/admission.
Financial Aid: Available. Contact musiclife@
northwestern.edu or call
847-491-3141.
Scholarships: Contact musiclife@northwestern.
edu or 847-491-3141.
Apply by: BM Early Decision prescreening
and supplement due Oct. 15; BM
Regular Decision prescreening
and supplement due Dec. 1;
MM prescreening videos and
application due Dec. 1.

Student Music Guide
Contact: Michelle Tschirhart, mtschirhart@
NATHAN MANDELL
COLUMBIA COLLEGE CHICAGO

oakland.edu, 248-370-2039.
Oberlin College & Conservatory

Oberlin, Ohio
Student Body: 2,900; 580 conservatory students;
85 jazz students.
Tuition: $62,024.
Jazz Degrees: BM in jazz performance; BM in jazz
composition.
Faculty: Jay Ashby, Gary Bartz, Gerald
Cannon, Bobby Ferrazza, Jamey
Haddad, La Tanya Hall, Billy Hart,
Eddie Henderson, Dan Wall, John
Petrucelli.
Jazz Bands: Oberlin Jazz Ensemble, Oberlin
A Jazzfest Showcase at Roosevelt University Singing strong at Columbia College Chicago Sonny Rollins Jazz Ensemble,
small jazz ensembles, Oberlin Jazz
Contact: Laura Sauer-Shah, laura.sauer- Jazz Ensemble, Jazz Singers, Lab, Genre Nova, Oberlin Gospel
shah@northwestern.edu. Jazz Combos, World Percussion Ensemble, Djembe Orchestra.
Ensemble. Alumni: Sullivan Fortner, Theo Croker, Peter
Oakland University Auditions: January, February and March Evans, Moppa Elliott, Ben Jaffe,
Rochester, Michigan audition dates. Visit oakland.edu/ Michael Mossman, Stanley Cowell.
Student Body: 16,110. 180 music students. smtd/admissions-and-auditions. Auditions: Common Application and pre-
Jazz Degrees: Jazz Studies Minor, World Music Financial Aid: Contact Student Financial Services, screening materials are due Dec. 1.
Minor, MM in World Percussion finservices@oakland.edu. Jazz Performance applicants must
Performance. submit a pre-screening audition
Scholarships: Contact video. Jazz Composition applicants
Faculty: Enrique Rios-Ellis, Scott Gwinnell, smtdadmissions@oakland.edu. must submit audio recordings and
Mark Stone, Marion Hayden, Apply by: March 1 to qualify for academic scores, as well as instrumental
Gayelynn McKinney, Anthony and merit-based scholarships. auditions. Auditions will be held
Buccilli, Mark Kieme. Otherwise, rolling admissions on campus in January (dates TBA).
Jazz Bands: Jazz Band, Jazz Ensemble, Creative through August. Recorded auditions are accepted as

Student Music Guide
well and due on Feb. 1. Scholarships: Conservatory Dean Merit The Ohio State University School of Music
Scholarships are available and
Financial Aid: Financial aid packages meet 100
awarded by the Conservatory Columbus, Ohio
percent of the demonstrated need Student Body: 390 music students.
for every admitted student, as Office of Admissions, based on
calculated by the Office of Financial audition ratings and ensemble Tuition: In-state, undergraduate: $12,485; out-
Aid. Grants typically make up about needs. of-state, undergraduate $36,722.
75 percent of a student’s award, with Contact: Visit conservatory.admissions@ Jazz Degrees: BM in Jazz Performance or Jazz
the balance composed of work-study oberlin.edu. Composition, Minor in Music or
and low-interest loans. The $10,000 Music, Media and Enterprise.
Oberlin Commitment Scholarship is Apply by: Dec. 1.
guaranteed for all admitted students. Faculty: Michael Smith (head of jazz
Contact: Josh Teaster, director of studies), Shawn Wallace, Kevin
All students are guaranteed $5,000 conservatory admissions,
of internship/summer program Turner, Jim Rupp, Dave Powers,
conservatory.admissions@oberlin. Robert Brooks, John Douglas,
support. Contact conservatory. edu, 440-775-8413, go.oberlin.edu/
admissions@oberlin.edu. Milton Ruffin, Chris Anderson,
con/apply. Kristopher Keith.
Jazz Bands: Three big bands, six combos.
Auditions: Students must be accepted to
the university and accepted to
the School of Music by a separate
application and successful audition.
Auditions are held Dec. 2, Jan. 20
and Feb. 10.
Financial Aid: Visit sfa.osu.edu.
Scholarships: All prospective students are
automatically considered for music
scholarships based on audition.
Apply by: University Scholarship and early
action deadline, Nov. 1; otherwise,
Feb. 1. School of Music application
deadline is Jan. 27. If applying to
the university by the Nov. 1 early
action deadline, a December
audition is strongly encouraged.
Contact: Tanya Sparks, sparks.348@osu.edu,
614-688-0372.
Ottawa University–Kansas City

Ottawa, Kansas
students.
Tuition: $36,000.
Jazz Degrees: BM Jazz Studies, Music Education,
Performance and Music Minor.
Faculty: Dan Thomas, Bobby Watson,
Brian Ward, Chuck, Mackinnon,
Brian Ward, Forest Stewart, Sam
Copeland, Aaron Linscheid, Brian
Steever.
Jazz Bands: Primarily focused on small groups.
Auditions: In person and online, ottawa.edu/
bravesmusic.
Financial Aid: Contact Lisa Rossman, associate
director of financial aid, lisa.
rossman@ottawa.edu.
Scholarships: Contact David Tyner, assistant
director of admissions, david.
tyner@ottawa.edu.
Apply by: Rolling application. Preference given
to those that apply prior to Jan. 15.
Contact: Dan Thomas, director of jazz
studies, dan.thomas@ottawa.edu.
Chicago College of Performing Arts

at Roosevelt University
Chicago, Illinois
Student Body: 4,239; 365 performing arts, 175
music students, 20 jazz students.

Tuition: $30,450 for Jazz and Contemporary
Music Studies/Undergraduate.
Jazz Degrees: BM in Jazz and Contemporary
Music Studies, Music Education/
Jazz and Contemporary Music
Studies, double-major.
Faculty: Alejandro Cortés (program director),
Paul Wertico, Marlene Rosenberg,
Neal Alger, Henry Johnson,
John Moulder, Fred Simon, Jim
Trompeter, Jim Gailloreto, Natalie
Scharf, Mike Smith, Constantine
Alexander, Victor Garcia, Stephen
Berry, Tom Garling, Cheryl Wilson.
Jazz Bands: Jazz combos (by genre): swing,
bebop, hard-bop, avant-garde,
ECM, Brazilian, motown, neo-soul.
Large ensembles: Puentes Afro-
Cuban Jazz Ensemble, New Deal
Vocal Jazz Ensemble, Large Jazz
Ensemble (big band).
Auditions: Written Application and Live/Virtual
Audition.
Financial Aid: Amanda Horvath-Adair, assistant
dean of enrollment management,
ahorvath@roosevelt.edu.
Scholarships: Amanda Horvath-Adair, assistant
dean of enrollment management,
ahorvath@roosevelt.edu.
Apply by: Dec. 1.
Contact: Jessica Meaux, music admission
counselor, jmeaux@roosevelt.edu.
St. Olaf College

Northfield, Minnesota
Student Body: 3,100; 275 music majors; 1,000
involved in music.
Tuition: $54,650.
Jazz Degrees: BA in Music, BM in Jazz Piano
Performance.
Faculty: Joseph L. Jefferson (director), Sarah
Burk, Phil Hey, Pete Whitman.
Jazz Bands: Three big bands, combos vary by
semester.
Auditions: Music application and video
screenings due Nov. 1 or Jan. 15.
Visit stolaf.edu/musicadm.
Financial Aid: 100% demonstrated financial need
met, stolaf.edu/admissions/afford.
Scholarships: Music scholarships are merit-based
and open to students of any major;
can be stacked with academic merit
awards. Visit stolaf.edu/admissions/
scholarships.
Apply by: Early Decision 1 and Early Action,
Nov. 1; Early Decision 2 and Regular
Decision, Jan. 15.
Contact: Molly Boes Ganza, music@stolaf.
edu, 507-786-3297.
The School for Music Vocations (SMV)

at Southwestern Community College
Creston, Iowa
Student Body: 30 music students.
Tuition: $8,500.
Jazz Degrees: Associate of Applied Arts in
Professional Music.
Faculty: Tobi Crawford, Dr. Tyler Thomas,

Student Music Guide
Faculty: Jason Swagler, Garrett Schmidt,
THE OHIO STATE UNIVERSITY

Miles Vandiver, Zebadiah
Briskovich, Brett Stamps, Rick
Haydon.
Jazz Bands: Concert Jazz Band, Jazz Lab Band,
Guitar Ensemble, Jazz Combos.
Auditions: Held in February, siue.edu/music.
Financial Aid: Available, siue.edu/financialaid.
Scholarships: Available, siue.edu/music.
Apply by: Priority Deadline: Dec. 1, Final
Deadline: May 1.
Contact: Jason Swagler, jswagle@siue.edu.
University of Akron
Akron, Ohio
students.
The Ohio State University Jazz Ensemble
Tuition: Visit uakron.edu/finaid/
Dr. Lauren Brown-Powell, Anna Apply by: April. cost-of-attendance.
Chen, Dr. Jeremy Fox, Kyler Boss, Contact: Tobi Crawford, tcrawford@
Alan Hsiao, Justina Shandler, Carlos Jazz Degrees: BA in Music, BM in Brass
swcciowa.edu, or visit Performance (Horn, Trombone,
Mata-Alvarez, Kathryn Fox, Michael schoolformusicvocations.com.
Peters, Cindy Taylor, Doug Greene. Trumpet, Tuba), BM in Composition,
BM in Music Education–Choral
Jazz Bands: Vocal jazz ensembles, instrumental Southern Illinois University Edwardsville (voice, keyboard or guitar), BM in
combo, songwriter ensemble, pop
ensemble.
Edwardsville, Illinois Music Education–Orchestra (violin,
Student Body: 13,000; 120 music students; 30 jazz viola, cello, string bass), BM in Music
Auditions: Two or three stylistically varied students. Education–Instrumental Band
selections on major instrument, (wind instruments, percussion),
plus formal interview with faculty. Tuition: $12,923. BM in Guitar Performance,
Jazz Degrees: BM in Jazz Performance, MM in BM in Jazz Studies, BM in
Financial Aid: Contact Tobi Crawford, tcrawford@ Percussion Performance, BM in
swcciowa.edu. Performance (jazz emphasis), BA in
Music (jazz emphasis), BM in Music Performance–Collaborative Piano,
Scholarships: Contact Tobi Crawford, Business, Minor in Music BM in Piano Performance, BM in
tcrawford@swcciowa.edu. (jazz emphasis). String Performance, BM in Voice
Performance, BM in Woodwind
Performance, Minor in Music, MM–
Accompanying, MM–Composition,
MM–Education (choral emphasis,
general emphasis or instrumental
emphasis), MM–Performance, MM–
Technology (admission suspended
pending curriculum revisions), MM
Theory.
Faculty: Chris Coles, Theron Brown, James
Marron, Dr. Galen S. Karriker, Dr.
Marc Reed.
Auditions: Audition is required on the
student’s primary instrument. A
theory placement exam is required
for placement into an appropriate
theory class. Recorded auditions
are accepted. Audition Dates: TBD.
Auditions may also be conducted
by appointment.
Financial Aid: Contact Jennifer Harpham,
jharpham@uakron.edu. All students
who apply are automatically
considered for the Smart Choice
Scholarship, which awards $1,000–
$7,000. Outside of the Smart Choice
Scholarship, there are a variety of
other scholarships. Visit uakron.
edu/finaid or contact Jennifer
Brooks, financial aid administrative
assistant, jbrooks@uakron.edu.
Scholarships: The School of Music offers
scholarship opportunities to
all students who are accepted
and apply. Contact Dr. Marc
Reed, school of music director,
marcreed@uakron.edu.

Apply by: April 1. Apply by: Rolling admission. University of Illinois Chicago
Contact: Amy Mellinger, amm384@uakron.edu. Contact: David Aaberg, aaberg@ucmo.edu, School of Theatre and Music
660-543-4909. Chicago, Illinois
University of Central Missouri Student Body: 115 music students, 52 jazz students.
Warrensburg, Missouri University of Illinois
Tuition: In-state tuition and fees, $18,716; Out-
Student Body: 11,600; 170 music students; 38 in Urbana, Illinois of-state tuition and fees, $33,738.
ensembles. Student Body: 50,000; 700 music students; 80 Jazz Degrees: BM in Jazz Studies; BA in Music; BA
Tuition: Undergraduate, in-state, $277.50/ jazz students. in Music Business.
credit hour; undergraduate, out-of- Tuition: Visit admissions.illinois.edu/invest/ Faculty: Michael Stryker (director of
state, $555/credit hour; graduate, tuition. jazz studies), Andy Baker, Mike
in-state, $356/credit hour; graduate, Allemana, Jon Irabagon, Marques
Jazz Degrees: BM, BME, MM, DMA, AD.
out-of-state, $712/credit hour. Carroll, Larry Kohut, Cheryl Wilson,
Faculty: Barrington L. Coleman, Larry Gray,
Jazz Degrees: BM in Music Technology & Charles “Rick” Heath IV, Carey
Joan Hickey, Charles (Chip) McNeill,
Commercial Music. Deadman, Alyssa Allgood.
Jim Pugh, Joel Spencer, Chip
Faculty: David Aaberg (director), James Stephens. Jazz Bands: Jazz Ensemble, Jazz Workshop,
Isaac, Tom Pender, Alex Smith, Alan Vocal Jazz Ensemble, jazz combos,
Jazz Bands: Concert Jazz Band, Repertory Jazz
Wenger. Pop/Rock Ensemble.
Orchestra, Jazz Guitar Ensemble,
Jazz Bands: Two big bands, various combos. Jazz Saxophone Ensembles, Jazz Alumni: Ramsey Lewis, Andrew Vogt, Shaun
Auditions: On campus auditions Feb. 17 and Trombone Ensemble, Jazz Vocal Johnson, Danny Andrade.
Feb. 19, other dates available upon Ensembles, Latin Jazz Ensembles, Auditions: theatreandmusic.uic.edu/
request. Virtual auditions are also Small Jazz Ensembles. admissions/degree-auditions.
available. Auditions: On-Campus auditions in November, Financial Aid: Available. Visit financialaid.uic.edu.
Financial Aid: Student Financial Services: ucmo. January and February. Recordings
accepted. Scholarships: All music degree applicants
edu/offices/student-financial- who complete an audition are
services/index.php; 660-543-8266. Financial Aid: Visit osfa.illinois.edu. automatically considered for music
Scholarships: Students living in one of the eight Scholarships: Merit-based aid available including scholarships. UIC offers scholarships
bordering states, plus the Mid- graduate assistantships and based on academic merit as well.
America Intercollegiate Athletic fellowships. Contact Ben Kenis, bkenis2@uic.
Association Conference (MIAA) edu, 312-355-1735.
border states, may qualify for in- Apply by: Dec. 1 for graduate, Jan. 5 for
undergraduate. Apply by: Early Action, Nov. 1; Regular
state tuition. Call 660-543-4530 or
Decision, Feb. 1.
visit ucmmusic.com. Call 800-729- Contact: Music Admissions,
2678 or visit finaid@ucmo.edu for musicadmissions@illinois.edu, Contact: Ben Kenis, bkenis2@uic.edu;
academic scholarship information. 217-244-7899. 312-355-1735.

Student Music Guide
Tuition: In-State, $14,600; Out-of-State,
UNIVERSITY ORF NORTHERN IOWA
KATHERINE LI ZEA
$36,000.
Jazz Degrees: BM, BA, MA in Jazz Studies,
Undergraduate minor, Doctoral
Secondary Area.
Faculty: Dr. Damani Phillips, Dr. William
Menefield, Curtis Taylor, Steve
Grismore.
Jazz Bands: Two big bands, Black Pop Music
Ensemble and 3–5 jazz combos.
Auditions: Several formal audition days
held weekly from late January to
mid-February. Also welcome are
students auditioning on other days
(by appointment) before Feb. 15.
Visit music.uiowa.edu/jazz.
Financial Aid: Available. Visit music.uiowa.edu/
future-students.
Solo time at the University of Northern Iowa Deep grooves at University of Illinois Chicago Scholarships: Both need- and merit-based
scholarships and graduate
University of Indianapolis Auditions: uindy.edu/cas/music/auditions-scho
larships#auditionrequirements.
assistantships/fellowships are
available.
Indianapolis, Indiana Financial Aid: uindy.edu/financial-aid Apply by: Dec. 1, 2023.
Scholarships: Dr. Mark O’Connor, oconnorm@ Contact: Dr. Damani Phillips, jazz studies
Tuition: $34,821. uindy.edu or visit uindy.edu/ area head, damani-phillips@uiowa.
Jazz Degrees: BM in Jazz Studies, BA or BS in financial-aid. edu, 319-384-2835.
Music with a Jazz Concentration. Apply by: Feb. 1.
Faculty: Mark O’Connor (director of jazz Contact: Dr. Mark O’Connor, University of Michigan
studies); upcoming guest artist: oconnorm@uindy.edu, 317-788-3385. School of Music, Theatre & Dance
Isaiah Thompson (2023 APA Jazz
Piano Competition winner). The University of Iowa Ann Arbor, Michigan
Jazz Bands: UIndy Jazz Ensemble, Jazz Combo Iowa City, Iowa Student Body: 1,135 arts students; 808 music
I, Jazz Combo II, UIndy Latin Funk students; 46 jazz students.
Jazz Ensemble. students. Tuition: Undergraduate, in-state, $16,736;

Undergraduate, out-of-state, Scholarships: All applicants automatically Tuition: In-state, $12,600/year; Heartland
$55,334. considered for merit-based rate, $17,850/year; Out-of-state,
Jazz Degrees: BFA in Jazz & Contemplative scholarships. Email: smtd- $30,600/year.
Studies, BM in Jazz & Contemporary scholarships@umich.edu. Jazz Degrees: BM in Jazz Studies; Music MA with
Improvisation, BM in Jazz & Apply by: Dec. 1. Jazz Concentration.
Contemporary Improvisation, Contact: Corrie Bird, cnbird@umich.edu. Faculty: Carl Allen, Eric Hitt, Stan Kessler,
BM Music Education, MM in Marcus Lewis, Peter Schlamb, Adam
Improvisation, MM in Improvisation University of Minnesota Duluth Schlozman, Roger Wilder.
w/Teacher Certification, DMA
in Jazz & Contemporary Duluth, Minnesota Jazz Bands: Two big bands, several combos.
Improvisation. Student Body: 11,000; 150 music students; 35 jazz
Auditions: In-person: Feb. 3, Feb. 19, March 1.
students.
Faculty: Andrew Bishop, Ellen Rowe, Michael Virtual auditions by request.
Tuition: Visit https://admissions.d.umn.edu.
Gould, David Alvarez III, Chris Financial Aid: Available through the UMKC
Buzzelli, Marion Hayden, Robert Jazz Degrees: BM in Jazz Studies, BM in Jazz Financial Aid and Scholarships
Hurst, Dennis Wilson, Bill Lucas, Studies Minor. Office, finaid.umkc.edu.
Andy Milne, Ed Sarath, Marcus Faculty: Ryan Frane.
Elliot, Martha Travers. Scholarships: UMKC Conservatory scholarships
Jazz Bands: Combos I, II, II. are awarded on merit.
Jazz Bands: Jazz Ensemble, Jazz Lab Ensemble,
Small Jazz Ensembles, Creative Arts Alumni: Billy Barnard, Ryan Frane. Apply by: Dec. 15.
Orchestra, Digital Music Ensemble. Auditions: Contact Dee Charles, dcharles@d. Contact: Carl Allen, admissions@umkc.edu
Alumni: Gerald Cleaver, Jason Stein, David umn.edu. or carlallen@umkc.edu.
Cook, Sachal Vasandani. Financial Aid: Available. Contact Dee Charles,
Application materials (Common dcharles@d.umn.edu. University of Nebraska–Lincoln
Auditions:
Application and Artistic Profile) Scholarships: Contact Dee Charles, dcharles@d.
Lincoln, Nebraska
due by Dec. 1, audition invitations umn.edu, 218-726-7890. Student body: 25,000; 450 music students; 6 jazz
students.
sent out to students that qualify Apply by: Dec. 15.
by the end of December, auditions Tuition: Undergraduate, in-state: $9,800;
occur on select dates in January Contact: Dee Charles, 218-726-7890, Out-of-state, $27,000; Graduate, in-
and February, admissions decisions dcharles@d.umn.edu. state, $7,700; out-of-state, $19,500.
released by mid-March. Jazz Degrees: MM and DMA in Jazz Performance,
Need-based financial aid is available. University of Missouri–Kansas City Jazz Composition.
Conservatory
Financial Aid:
Students must complete their FAFSA Faculty: Tom Larson, Hans Sturm, Greg
and/or CSS Profile to qualify. Contact Kansas City, Missouri Simon, Paul Haar, Darryl White,
the Office of Financial Aid at the Student Body: 6,000, 600 conservatory students, Suna Gunther, David von Kampen,
University of Michigan. 30 jazz students. Peter Bouffard.

Student Music Guide
UNIVERSITY OF INDIANAPOLIS
Rehearsal with Emmet Cohen at University of Indianapolis
Jazz Bands: Jazz Orchestra, Repertory Jazz Ensemble, up to five combos.

Auditions: Visit arts.unl.edu/music/
graduate-application-and-audition-guide.
Financial Aid: Available. Contact Kirsten Drennon kdrennon@unl.edu.
Apply by: Dec. 15.
Contact: Tom Larson, tlarson3@unl.edu, 402-890-2289.
University of Nebraska Omaha

Omaha, Nebraska
Jazz Degrees: BA in Jazz Studies, MM in Jazz Studies.
Faculty: Pete Madsen, Darren Pettit, Jason Johnson, Chris Leach,
Bobby Scharmann, Doug Montera, Brad Thomson, Jesse
McBee, Matthew Storie.
Jazz Bands: Two big bands, five combos.
Alumni: Karrin Allyson, Marcus Lewis, Ben Tweedt.
Auditions: Live preferred, video accepted.
Financial Aid: Contact Pete Madsen, petermadsen@unomaha.edu.
Scholarships: Contact Pete Madsen, petermadsen@unomaha.edu.
Apply by: March 1.
Contact: Pete Madsen, petermadsen@unomaha.edu,
402-554-2297.
University of Northern Iowa

Cedar Falls, Iowa
Student Body: Visit ie.uni.edu/uni-facts.
Tuition: Undergraduate, in-state, $8,111; Out-of-state, $19,265.
Jazz Degrees: BA Jazz Studies, BM Music Education with jazz specialization,
Jazz minor, MM Jazz Pedagogy.
Faculty: Christopher Merz, Michael Conrad, Alexander Pershounin,
Luke Sanders and Anthony Williams.
Jazz Bands: Three large ensembles, several combos.
Auditions: Visit music.uni.edu/apply.
Financial Aid: Visit admissions.uni.edu/financial-aid.
Scholarships: Visit music.uni.edu/apply.
Apply by: Ongoing.
Contact: Christopher Merz, chris.merz@uni.edu,
319-273-2024.

University of Toledo Tuition : $6,698.
Toledo, Ohio Jazz Degrees: BM–Jazz Studies. Webster University
15,000; 10 jazz students. Faculty: Mathew Buchman, Tim Buchholz,
Student Body:
Myles Boothroyd, Brent Turney, St. Louis, Missouri
Tuition: In-state, $11,885; Out-of-state, Pat Lawrence, Kelvin Kaspar, Dave Student Body: 100 music students, 20 jazz
$21,245. Story, Ryan Korb. students.
Jazz Degrees: BM Instrumental Jazz or BM Vocal Jazz Bands: Two jazz ensembles, four combos. Tuition: $30,530/year (BA, BM, BMEd), $730/
Jazz. credit hour (MA, MM).
Auditions: Visit uwsp.edu/music/Pages/
Faculty: Gunnar Mossblad, Norman ForStudents/auditions.aspx. Jazz Degrees: BA in Music, BM in Performance
Damschroder, Jay Weik, Olman with an Emphasis in Jazz, BM in
Piedra. Financial Aid: Contact finaid@uwsp.edu.
Composition with an Emphasis in
Jazz Bands: Jazz Ensemble, Jazz Combo, Latin Scholarships: Contact Andrew Slembarski, Concert Music or Songwriting, BM
Jazz Combo, Vocalstra. aslembar@uwsp.edu. in Music Education, MA in Music,
Apply by: Ongoing. MM in Jazz Studies.
Auditions: Visit utoledo.edu/al/music/degrees/
audition.html. Contact: Mathew Buchman, mbuchman@ Faculty: Bennett Wood, director of jazz
uwsp.edu, 715-346-3107. studies; Kim Portnoy.
Financial Aid: Visit utoledo.edu/financialaid.
Scholarships: Music scholarships available. Other
university and federal financial
aid is possible. Visit utoledo.edu/
financialaid and utoledo.edu/
programs/undergrad/music.
Apply by: Applications/Auditions are accepted
through August 2024. Scholarship
preference given to those who
audition during the February/March
2024 audition dates.
Contact: Jason Stumbo,
utmusic@utoledo.edu.
University of Wisconsin–Madison
Madison, Wisconsin
Student Body: 45,177; 310 music majors.
Tuition: In-state, $11,215; Minnesota
residents, $15,058; Out-of-state,
$40,611.
Jazz Degrees: BM in Jazz Studies; BA in Jazz
Studies; jazz minor available in DMA
and Ph.D music degrees.
Faculty: Johannes Wallmann, Peter
Dominguez, Matt Endres, Les
Thimmig, Chad McCullough, Louka
Patenaude, Nick Moran, Dan
Cavanagh, Luci Mok, Mark Hetzler.
Jazz Bands: UW Jazz Orchestra, Blue Note
Ensemble, Contemporary Jazz, Jazz
Composers Group, Afro-Cuban
Jazz Ensemble, Jazz Standards
Ensemble.
Auditions: Undergraduate: Nov. 18, Jan. 27,
Feb. 24. For graduate student
audition dates, visit music.wisc.
edu, or contact Jared Jellison,
admissions@music.wisc.edu.
Financial Aid: Available, visit finaid.wisc.edu.
Scholarships: Program applicants are
automatically considered for merit-
based music scholarships.
Apply by: Oct. 31, Dec. 31 and Jan. 31 (see
music.wisc.edu).
Contact: Johannes Wallmann, director of
jazz studies, wallmann@wisc.edu,
or visit music.wisc.edu.
UW–Stevens Point
Stevens Point, Wisconsin
students.

Student Music Guide
Jazz Bands: Jazz combos, big band (Jazz Western Illinois University Auditions: Auditions can be either in-person
Collective), Jazz Singers. or online.
Macomb Illinois
Auditions: On-campus on virtual auditions Student Body: 7,643, 150 music. Financial Aid: Anneliese Land, a-land2@wiu.edu.
occur several times annually. Visit Scholarships: Anneliese Land, a-land2@wiu.edu.
webster.edu/music/admissions. Tuition: wiu.edu/business_services/tuition.
Jazz Degrees: Both bachelors and masters in jazz Apply by: Feb. 1.
Financial Aid: Need- and merit-based available.
studies are offered. The graduate- Contact: Dr. Whitney Ashe, we-ashe@wiu.
Visit webster.edu/financialaid.
level has tracks in both composition edu, 347-512-8969.
Scholarships: Academic scholarships available. and performance as well as a jazz
Music scholarships based on
audition. Contact Carla Colletti,
studies minor. Western Michigan University
department chair,
Faculty: Dr. Whitney Ashe (director of Kalamazoo, Michigan
jazz studies), Dr. George Turner, Student Body: 19,000, 540 music students.
carlacolletti88@webster.edu.
Professor Matt Hughes,
Apply by: Rolling, applywu.webster.edu/apply. Dr. Charlie Chadwell, Tuition: Undergraduate, in-state: $13,000;
Dr. Kevin Nichols. Out-of-state, $16,000; Graduate,
Contact: Bennett Wood, In-state, $17,200; Out-of-state,
music@webster.edu, Jazz Bands: Four jazz combos and two big $31,300.
314-968-7032. bands.
Jazz Degrees: BM jazz studies, MM jazz studies.
Faculty: Scott Cowan, Matthew Fries, Keith
Hall, John Hébert, Greg, Jasperse,
Matthew Landon, Andrew Rathbun
(chair).
Jazz Bands: Advanced Jazz Ensemble, Gold
Company, GCII, University Jazz
Orchestra, Jazz Lab Band (big band)
Songbird, Drum Choir, eight to 14
combos per semester.
Alumni: Jennifer Barnes, Quincy Davis,
Xavier Davis, Jeff Lederer, Lyman
Medeiros, John Proulx, Jay Sawyer,
Kate Reid, Alison Wedding, John
Wojciechowski.
Auditions: Jan. 26 on campus, Feb. 3 on campus,
Feb. 16 on campus, Feb. 23 virtual.
Financial Aid: Visit wmich.edu/music/apply.
Scholarships: Available, both scholarship (need-
and merit-based) and graduate
assistantships. Visit wmich.edu/
music/apply.
Apply by: wmich.edu/apply/deadlines.
Contact: wmich.edu/music/apply, 269-387-
4672. Undergraduate: musugrd@
wmich. Graduate: music-grad@
wmich.edu
Youngstown State University

Youngstown, Ohio
students.
Tuition: $11,000.
Jazz Degrees: BM Jazz Performance, BME
Instrumental Jazz, MM Jazz Studies.
Faculty: Kent J. Engelhardt, David Morgan,
Glenn Schaft, Francois Fowler,
David Kana, Jackie Warren.
Jazz Bands: Jazz Ensemble, Jazz Combos,
Musical Theater Ensemble,
Contemporary Ensemble.
Alumni: Harold Danko, Ralph Lalama, Sean
Jones, Jason Rigby, Melissa Slocum,
James Weidman, Darryl White,
James Suggs, Greg Parnell.
Auditions: kjengelhardt@ysu.edu.
Financial Aid: ysu.edu/tuition-financial-aid.
Scholarships: Contact kjengelhardt@ysu.edu.
Apply by: August.
Contact: Kent J. Engelhardt, kjengelhardt@
ysu.edu.

Student Music Guide
JIMMY EMERZIAN
RON MCCARLEY
Cal State Long Beach big band Cuesta College Jazz Ensemble
Apply by: now Contact: David Roitstein, jazz program

WEST Contact: Zach Mondlick, zach@cjc.edu,
admissions@cjc.edu, 510-845-5373.
director, roit@calarts.edu or
Julie Reames, music admissions
counselor, jreames@calarts.edu,
661-255-1050.
California Institute of the Arts (CalArts)
California Jazz Conservatory Valencia, California California State University East Bay
Student Body: Up to 280 music students, Up to 35
Berkeley, California, USA jazz majors. Hayward, California
approx. 30 Student Body: 15,000; 60 music students; 10 jazz
Student Body: Tuition: $56,074.
students.
Tuition: AA/BM in Jazz Studies: $22,700/ Jazz degrees: BFA, MFA.
year; MM in Jazz Studies: $40,000/ Tuition: In-state, $6,995; Out-of-state,
Faculty: Steve Lehman, Jonathan Pinson, $18,875.
year.
Larry Koonse, Darek Oles, Edwin
Jazz Degrees: AA, BM, and MM in Jazz Studies Livingston, Vinny Golia, Vardan Jazz Degrees: BA.
Faculty: Matt Clark, Frank Martin, Dr. Ovsepian, Luciana Souza, Cathlene Faculty: Dann Zinn, Colin Hogan, Kai Lyons.
Susan Muscarella, Marcos Silva, Pineda, Jeff Parker, Joey De Leon, Jazz Bands: Big band and combos.
and Edward Simon (piano); Dr. David Roitstein.
Alumni: Mike Olmos, Doug Beavers, Steve
Jeff Denson, Kai Eckhart, and Saúl Jazz Bands: Focus on small ensembles. Faculty Moretti, Dan Parentis.
Sierra (bass); Gerald Cleaver and plays together with students
Akira Tana (drums); Josh Jones in all ensembles, with frequent Auditions: Live.
& Jim Santi Owen (percussion); performance and recording Financial Aid: Available. Contact Renuka
Mimi Fox, Liberty Ellman and opportunities. Thirty-one years of Asirvatham, 510-885-3135.
Romain Pilon (guitar); Dr. Hafez original compositions by CalArts
Modirzadeh, Dr. Michael Zilber students recorded at Capitol Scholarships: Available. Contact Renuka
and Dann Zinn (saxophone); Erik Records, visit jazzarchive.calarts. Asirvatham, 510-885-3135.
Jekabson (trumpet); John Gove edu. Apply by: Oct. 1–Feb. 15.
(trombone); Kate McGarry (voice);
Alumni: Ralph Alessi, Tony Austin, Lauren Contact: Renuka Asirvatham,
Mads Tolling (violin); Paul Hanson
Baba, Amino Belyamani, Adam 510-885-3135, renuka.asirvatham@
(bassoon); Dr. Anthony Brown
Benjamin, Michael Cain, Scott csueastbay.edu.
(History of Jazz); Rebeca Mauleon
Colley, Ravi Coltrane, Gene Coye,
(Latin Music History); Dr. Jason Levis
John Daversa, Peter Epstein,
and Dr. Aaron Mobley (Western
Pedro Eustache, Danny Grissett, California State University, Fresno
Music Studies); Amikaeyla Gaston
Barbara Gruska, Willie Jones III, (Fresno State)
(Humanities); Reto Peter (audio
production); Lee Brenkman, Todd
Greg Kurstin, James Brandon Lewis, Fresno, California
Sam Minaie, Qasim Naqvi, Tina
Gascon and Sheryl Lynn Thomas Student Body: 22,000; 300 music students; 12 jazz
Raymond, Stephanie Richards,
(Business of Music); Dr. Philippa students.
Todd Sickafoose, Asdru Sierra, Clark
Kelly (English Communication); Undergraduate, $6,643/year;
Sommers, Gavin Templeton, Yunior Tuition:
Michael Valdez (Mathematics); Graduate, $8,023/year.
Terry, Nedra Wheeler, Nate Wood,
Terry Buehler (Physical Sciences)
Marcelo Zarvos. Jazz Degrees: BM in Music, Jazz Studies option;
Jazz Bands: Small and large ensembles MA Performance, Jazz Studies
Auditions: Recorded auditions only. Find out
Alumni: Michael Echaniz; Chris Sullivan; Lu more at calarts.edu/apply. emphasis.
Salcedo; Dillon Vado; Dan Neville; Richard Lloyd Giddens Jr. (director
Financial Aid: Contact Julie Reames, music Faculty:
Shimpei Ogawa; Isaiah Hardwood; of jazz studies), Dr. Benjamin
admissions counselor, jreames@
Casey Mattson; Susana Pineda. Boone, Dr. Alan Durst, Mark Ferber,
calarts.edu, or visit finaid@calarts.
Auditions: in-person or via Zoom edu. Max Hembd, Craig VonBerg.
Financial Aid: Availability and Contact Info: Scholarships: Contact Julie Reames, music Jazz Bands: Two big bands and several jazz
contact Karen Shepherd, Financial admissions counselor, jreames@ combos.
Aid Director at: karen@cjc.edu calarts.edu. Alumni: Barb Catlin-Bergeron, Justin
Scholarships: Contact Dr. Jeff Denson, Dean of Apply By: Dec. 1 priority deadline; Jan. 4 Copeland, Mike Dana, Brian
Instruction jdenson@cjc.edu. regular deadline. Hamada, Paul Lucckesi, Les Nunes,

Student Music Guide
JEROME THOMAS
HERBIE HANCOCK INSTITUTE

Jammin’ at Long Beach City College Ambrose Akinmusire, the Hancock Institute’s new artistic director
Paul Shaghoian, Tim Shaghoian, Apply by: Nov. 30. Apply by: Nov. 30.
Benny Torres. Contact: Jeff Jarvis, director of jazz studies, Contact: Tina Raymond, director of jazz
Auditions: Required. Visit fresnostate.edu/ jeff.jarvis@csulb.edu. Visit csulb. studies, tina.raymond@csun.edu.
artshum/music/degrees-programs. edu/~music.
Visit fresnostate.edu/studentaffairs/ California State University, Sacramento
(Sacramento State)
Financial Aid:
financialaid. California State University, Northridge
Scholarships: Need- and merit-based. Sacramento, California
Contact Thomas Loewenheim, Northridge, California Student Body: 30,000; 300 music students; 40
tloewenheim@mail.fresnostate.edu. Student Body: 38,400; 70 jazz students; 60 jazz students.
undergraduate; 10 graduate. Undergraduate, $6,900/year;
Apply by: Visit fresnostate.edu/studentaffairs/ Tuition:
are/apply/fall.html. Tuition: In-State, $7,069; Out-of-state, Graduate, $7,200 year.
$18,949.
Contact: Richard Lloyd Giddens Jr., director Jazz Degrees: BM Jazz Studies, BM Jazz
of jazz studies, rgiddensjr@mail. Jazz Degrees: BM Jazz Studies, MM Jazz Studies, Education, MM Performance Jazz
fresnostate.edu. BM Commercial and Media Writing, Emphasis.
BA Music Industry Studies, BA
Faculty: Dr. Steve Roach, Dr. Greg Johnson,
Music Therapy, BA Music
California State University Education, MA Music Industry
Dr. Joe Gilman, Gaw Vang Williams,
Long Beach Bob Cole Conservatory Administration.
Mike Rocha, Duncan McElman, Rick
Long Beach, California Lotter, Mike Souliere, Steve Homan,
Faculty: Tina Raymond, Gary Fukushima, Gerry Pineda.
Student Body: 38,000; 500 music majors; 70 jazz Wayne Bergeron, Eric Revis, Scott
studies majors; 100 participating in Whitfield, Michael Mull, Shai Golan, Jazz Bands: Two jazz ensembles, three vocal jazz
jazz ensembles and courses. Ido Meshulam, Jamie Rosenn, Gene ensembles, multiple jazz combos.
Tuition: Undergraduate, $6,884/year; Coye, Jason Harnell, Erin Bentlage. Alumni: Steve Turre, Bobby McFerrin,
Graduate, $8,318 per year. Jazz Bands: A Band, B Band, C Band, faculty Molly Redfield, Joe Berry, Duncan
directed combos, Latin jazz McElman.
Jazz Degrees: BM and MM in Jazz Studies.
ensemble, jazz trombone choir, Auditions: Visit csus.edu/college/arts-letters/
Faculty: Jeff Jarvis, Christine Guter, Chad jazz guitar ensemble, vocal jazz music/admissions.html.
Wackerman, Jimmy Emerzian, ensemble.
Francisco Torres, Kye Palmer, Sal Financial Aid: Available. Contact Mark Allen,
Lozano, Jay Mason, Eric Marienthal, Alumni: Gordon Goodwin, Clayton mallen@csus.edu.
Bruce Lett, Andy Langham, Mike Cameron, Ralph Humphrey, Scholarships: Available. Contact Steve Roach,
Higgins, Dr. Ray Briggs. Ron Blake, George Stone, Josef Director of Jazz Studies, roach@
Zimmerman, Genevieve Artadi, Shai csus.edu.
Jazz Bands: Concert Jazz Orchestra, Studio Golan, Leland Sklar, Andy Summers,
Jazz Band & Jazz Lab Band; Pacific Diane Warren, Nick Grinder, and Apply by: Nov. 30.
Standard Time, Jazz and Tonic & Tim Weisberg.
Corner Pocket (vocal groups); six Contact: Dr. Steve Roach, roach@csus.edu,
jazz combos. Auditions: Pre-screen videos due in January; 916-278-7987.
Live auditions February and March
Alumni: Mark Turner, John Patitucci, Tom
Kubis, Larry Carlton, Eric Marienthal,
by invitation. Visit csun.edu/music. Central Washington University
FAFSA, Private Education Loans,
Chad Wackerman, Andy Martin, Financial Aid:
California Dream Act. Contact
Ellensburg, Washington
Cecelia Coleman, Jay Anderson,
Jeff Kashiwa, Sal Lozano, Financial Aid & Scholarship Student Body: 11,500; 350 music students; 90 jazz
Jay Mason. Department, financial.aid@csun. students.
edu, 818-677-4085. Tuition: In-state, $8,685; out-of-state,
Auditions: Pre-screening videos due Jan.
15. Undergraduate and graduate Scholarships: Herb Alpert Foundation, Ella $25,213.
auditions in February. Contact the Fitzgerald Foundation, Chuck Jazz Degrees: BM Performance, Education,
Music Department Office, web. Anderson, Garth Brooks, Chuck Composition, Jazz Certificate.
csulb.edu/depts/music/prospective- Niles, Jazz Scholarship Endowment,
Weinpahl, Sandy and Ron Zacky, Faculty: Dr. Keith Karns, Vijay Singh, John
students; 562-985-4781. Harbaugh, Norm Wallen.
and Benny Golbin. Contact
Financial Aid: Available. Financial Aid & Scholarship Jazz Bands: Three big bands, Afro Cuban
Scholarships: Available. merit-based awards, Department, financial.aid@csun. Ensemble, five combos, two vocal
graduate assistantship. edu, 1-818-677-4085. jazz ensembles.

Student Music Guide
MIRACOSTA COLLEGE
RIVERSIDE CITY COLLEGE

MiraCosta Oceanside Jazz Orchestra Riverside City College big band
Alumni: Dave Barduhn, Gary Hobbs, Chris Tuition: $46/unit. Idyllwild Arts Academy
Bruya, John Wikan, Michelle Wier,
Skylar Floe.
Jazz Degrees: AA in Music with Emphasis on Idyllwild, California
Jazz Studies. Student Body: 250; 50 music students; 8 jazz
Auditions: Rolling admissions. Audition at any Faculty: Bruce Babad, Coordinator of Jazz students.
time. For scholarship consideration, Studies; Jamie Shew; Mike Scott;
audition by March 1. Visit cwu.edu/ Tuition: $73,700.
Jeremy Siskind; Lyman Medeiros;
music. Matt Johnson. Jazz Degrees: High School Diploma and
Financial Aid: Kirsten Boldt-Neurhor, music@cwu. Certificate in Art Major.
Jazz Bands: Two jazz bands, three combos, two
edu. vocal jazz ensembles. Faculty: Marshall Hawkins, Paul Carman,
Scholarships: Keith Karns, keith.karns@cwu.edu. Clayton Powell, Alexander
Alumni: Dave Carpenter, Kye Palmer, McLaughlin.
Apply by: March 1. Sheila Gonzalez, Mike Scott,
Francisco Torres, Alan Palmer, Jazz Bands: Jazz ensemble, two jazz combos.
Contact: Dr. Keith Karns, keith.karns@cwu.
edu, 509-963-1426. Steve Dillard, Matt Johnson, Alumni: Casey Abrams, Shepard Fairey,
Wendell Kelly, Charlie Peterson. Dakota Shapiro, Liang Wang.
Cuesta College Auditions: Held during the first week of the fall Auditions: In-person or submitted online.
semester.
San Luis Obispo, California Financial Aid: Call Admission Office, 951-659-
Student Body: Up to 9,000 students, 200 music Financial Aid: Available. Visit fullcoll.edu. 2171, ext. 2223.
students, 120 jazz students. Scholarships: Available. Visit fullcoll.edu. Scholarships: Call Admission Office, 951-659-
Tuition: $48/unit or Free with “Cuesta Apply by: Open Enrollment. 2171, ext. 2223.
Promise.” Contact: Mike Scott, mscott@fullcoll.edu. Apply by: Rolling admissions.
Jazz Degrees: Jazz Studies AA, Music AA, Music Contact: Dominique Trammell,
AAT, Music Certificate, Recording Herbie Hancock Institute of Jazz dtrammell@idyllwildarts.org,
Arts Certificate Performance at UCLA 951-659-2171, ext. 2347.
Ron McCarley (jazz studies director),
Faculty:
Los Angeles, California Long Beach City College
John Knutson, Jenn Martin, George
Stone, David Becker, Bob Bennett, Student Body: Up to eight students every two
years. Long Beach, California
Mike Dana, Ken Hustad, Dylan
Johnson, Marshall Otwell, Inga Student Body: 25,000; up to 50 music majors.
Tuition: N/A. Full scholarship program.
Swearingen, Darrell Voss. Tuition: $46/unit.
Jazz Degrees: MM from UCLA.
Jazz Bands: Jazz Ensemble (Big Band), Jazz Jazz Degrees: AA in Music, ADT in Music,
Faculty: Herbie Hancock, Ambrose
Workshop (Combos), Voce (Vocal Commercial Music Certificate.
Akinmusire, Terri Lyne Carrington,
Jazz Ensemble), CWE (Wind Billy Childs, Dick Oatts. Faculty: Andrea Calderwood, Mike Higgins,
Ensemble) Kevin Kearney, Phil Keene, Dean
Jazz Bands: One ensemble.
Alumni: Josh Collins, Andrew Conrad, Blane Koba, Drew Ninmer, Andreas
McCurdy, Wes Smith, Mark Adam Alumni: Ambrose Akinmusire, Preponis, Anthony Shadduck, Pat
Watkins, Will Wulfec, Darrell Voss. Lionel Loueke, Gretchen Parlato, Sheng, Jim Simmons.
Walter Smith III, Helen Sung, Dayna
Auditions: Contact ensemble director. Jazz Bands: Two big bands, up to eight
Stephens.
Financial Aid: Visit cuesta.edu/student/ combos, two vocal jazz ensembles.
Auditions: Application including recorded
studentservices/finaid/index.html. Alumni: Wayne Bergeron, Rickey Minor,
submission followed by a second
Contact ensemble director. Rich Bullock, Luca Pino.
Scholarships: round of live auditions.
Aug. 15 at cuesta.edu. Auditions: Visit lbcc.edu/music-majors.
Apply by: Financial Aid: N/A. Full scholarship program.
Ron McCarley, rmccarle@cuesta. Financial Aid: Visit lbcc.edu/financial-aid.
Contact: Scholarships: N/A. Full scholarship program.
edu. Scholarships: merit-based and audition-based.
Apply by: December 2024 for class entering
Fall 2025. Apply by: Anytime before the first week of
Fullerton College Contact: Daniel Seef, dseeff@
classes, but earlier is better.
Fullerton, California hancockinstitute.org, Contact: Pat Sheng for instrumentalists;
Student Body: 18,000; 50 jazz students. 310-206-9700. psheng@lbcc.edu; Andrea

Student Music Guide
SADDLEBACK COLLEGE
SANTA ROSA JUNIOR COLLEGE

Melissa Aldana with the Saddleback College Big Band Swingin’ at Santa Rosa Junior College
Calderwood for vocalists, to those who perform or submit an Faculty: Dan Davey (director of jazz studies),
acalderwood@lbcc.edu. audition before March 1. Also many John Nastos, Thomas Barber, Tim
merit-based music scholarships Gilson, Ryan Meagher, Kyle Smith,
Lower Columbia College to current and incoming students Tim Rap, Clay Giberson, John Savage.
applying between Dec. 1 and March
Longview, Washington 1. Visit msudenver.edu/music/
Jazz Bands: Large Jazz Ensemble, Jazz Lab
Student Body: 2,200. Band, five jazz combos.
students/music-scholarships.
Tuition: $4,000. Alumni: Chris Botti, Phil Baker, Dave
Apply by: July 1. Barduhn, Steve Christofferson, Tom
Jazz Degrees: AA for Transfer. Contact: Christine Devine, Music DeLibero, Peter Dyer, Essiet Essiet,
Faculty: Ryan Meagher, Tim Willcox. Department Admissions, Gary Hobbs, Keller Koker, Patrick
collinch@msudenver.edu; or visit Lamb, Terry Layne, Martin Mueller,
Jazz Bands: Jazz Ensemble, Improvised Music msudenver.edu/music. Donny Osborne, Dick Sarpola, Jeff
Ensemble. Uusitalo, Ben Wolfe, Alan Yankee.
Auditions: Zoom only. MiraCosta College Auditions: By appointment. Contact Dan
Financial Aid: Visit lowercolumbia.edu/ Oceanside, California Davey, Daniel.Davey@mhcc.edu.
student-financial-help. Visit mhcc.edu/financialaid.
Student Body: 60 music students; 30 jazz Financial Aid:
Scholarships: Rob Davis, rdavis@lowercolumbia. students. Scholarships: Visit mhcc.edu/scholarships.
edu, 360-442-2680.
Tuition: $46/unit. Apply by: Visit mhcc.edu/register.
Apply by: Aug. 7.
Jazz Degrees: AA in Music Performance (Jazz/ Contact: Dan Davey, director of jazz
Contact: Ryan Meagher (pronounced Commercial Music Emphasis), AA studies, daniel.davey@mhcc.edu,
Marr), rmeagher@lcc.ctc.edu, and/or Certificates in Recording, 503-491-7010.
917-971-2775. Sound Reinforcement and Music
Business. Riverside City College
Metropolitan State University of Denver Faculty: Steve Torok, Matt Falker, Dan (Coil School for the Arts)
Denver, Colorado Siegel, Francisco Torres, Dylan Riverside, California
Student Body: 220 Music; 35 Jazz. Caligiuri, Jaeryoung Lee, Mackenzie
Leighton. Student Body: 18,000, 400 music students, 150
Tuition: In-state, $4,626; Out-of-state, jazz students.
$10,510. Jazz Bands: MOJO-MiraCosta Oceanside
Jazz Orchestra (big band), Jazz Tuition: $1,246/year.
Jazz Degrees: BM in Jazz & American Improvised Collective (combo), Frequency Jazz Degrees: AA.
Music Performance, BM in Vocal Jazz (jazz choir).
Composition, BME, BA in Music, BA Faculty: Charlie Richard, Kevin Mayse,
in Music Theory. Auditions: Visit miracosta.edu/music; or email James Rocillo, Steve Schmidt,
music@miracosta.edu. Jeffrey Benedict, Bob Dominguez,
Faculty: Dawn Clement, Dave Devine, Jody Fisher, Alex Henderson, Joel
Shane Endsley, Mark Harris, Adam Financial Aid: Visit miracosta.edu/music or email
music@miracosta.edu. Paat, Steven Ragsdale, Rick Shaw.
Bartczak, Dru Heller, LaDamion
Massey, Patrick McDevitt, Jocelyn Scholarships: Visit miracosta.edu/music or email Jazz Bands: Seven big bands and eight combos.
Medina, Carmen Sandim. music@miracosta.edu. Alumni: Jeff Ellwood, Saul Miller, Bill
Jazz Bands: MSU Denver Big Band, jazz combos. Apply by: Aug. 14. Brendle, Brian Mantz, Charlie
Richard, Kraig Williams, Kelly
Auditions: Pre-recorded auditions accepted Contact: Professor Steve Torok, Corbin, Marcus Wilcher.
on a continuous basis or sign up for 760-575-2121, ext. 6438;
an in-person audition during our playjazz@miracosta.edu. Auditions: rccjazz.com/new-student-info.html.
Audition Days: Jan. 6, Feb. 10 and Financial Aid: rcc.edu/become-a-student/how-to-
Aug. 10. Mt. Hood Community College pay-for-school/index.html. Contact
Contact the MSU Denver Office Charlie Richard, charles.richard@
Financial Aid:
Gresham, Oregon rcc.edu.
of Financial Aid and Scholarships,
msudenver.edu/financial-aid. Student Body: 30,000 students; 90 music majors.
Scholarships: rcc.edu/become-a-student/how-to-
Scholarships: All auditionees are considered for Tuition: In-state, $125.50/credit hour; Out-of- pay-for-school/index.html.
a Music Talent Award scholarship, state, $233/credit hour. Contact Charlie Richard;
with priority consideration given Jazz Degrees: AGS in Music. charles.richard@rcc.edu.

UNIVERSITY OF THE PACIFIC
Students at University of the Pacific
Apply by: Aug. 21.

Contact: Charlie Richard; charles.richard@rcc.edu, 951-222-8331.
Saddleback College
Mission Viejo, California
Tuition: $500/semester.
Jazz Degrees: AA Music, CTE Commercial Music; Certificates in Jazz,
Commercial, Composition, Choral, Keyboard Studies.
Faculty: Joey Sellers, Ron Stout, Jerry Pinter, Jamie Rosenn, Adam
Bravo, Luther Hughes, Matt Smith.
Jazz Bands: Big band, eight combos, Jazz Lab Ensemble.
Alumni: Ron Stout, Paul Carman, Ryan Dragon, Ryan DeWeese, Steve
Crum, Steven Morris, Tyler McGeough, Dan Rowe, Luke
Reeder, Craig Cammell, Matt Heath, Lauren Baba, Rodrigo
Moreno, Teryn Re (Carter).
Auditions: Contact Joey Sellers, jsellers@saddleback.edu.
Financial Aid: Available. scfinaid@saddleback.edu; 949-582-4860.
Scholarships: Visit saddleback.edu/apply-pay/financial-aid/
types-financial-aid/scholarship-information.
Apply by: Aug. 21.
Contact: Joey Sellers, jsellers@saddleback.edu, 949-582-4629.
San Diego State University

San Diego, California
Jazz Degrees: BM Jazz Studies Performance, MM Jazz Studies,
Performance, Jazz Minor, Jazz Performance Certificate.
Faculty: Dr. Brian Levy, Karl Soukup, Anthony Smith, Bill Yeager,
Richard Thompson, Christopher Hollyday, Mackenzie
Leighton, Tim McMahon, Louis Valenzuela, Markus Burger,
Derek Cannon.
Jazz Bands: Two large jazz ensembles, five jazz combos.
Alumni: Christopher Hollyday, Anthony Smith, Mike Holguin, Brad
Steinwehe, Louis Valenzuela, Mackenzie Leighton, Alex
Ciavarelli, Ian Harland, Matt Hall, Charlie Arbelaez.
Auditions: In-person auditions preferred.
Financial Aid: Visit sacd.sdsu.edu/financial-aid.
Scholarships: Visit sacd.sdsu.edu/financial-aid.
Apply by: Applications accepted between Oct. 1 and Nov. 30. Visit
calstate.edu/apply.
Contact: Dr. Brian Levy, director of jazz studies, blevy@sdsu.edu.
San Francisco Conservatory of Music

San Francisco, California
Student Body: 450 music students; 40 jazz students.

UNIVERSITY OF MONTANA
Jazz out West at University of Montana
Tuition: $52,800/year.
Jazz Degrees: BM–Jazz Performance, BM–Jazz Composition, Professional
Studies Certificate.
Faculty: Jason Hainsworth, Joshua Redman, Amelie-Anna Hinman,
Benny Benack III, Matt Brewer, Jeff Cressman, Nicole Glover,
Mario Guarneri, Andre Hayward, Tony Peebles, David
Sánchez, Keith Saunders, Kristen Strom, Helen Sung, Akira
Tana, Randy Vincent, Anthony Wilson, Matt Wilson, Warren
Wolf, Patrick Wolff.
Jazz Bands: Six combos (seminar ensembles), big band, Latin Jazz
Ensemble. Performances are Side-by-Side Concerts featuring
students and faculty in combined ensembles.
Alumni: Program just completed its sixth year.
Auditions: Live auditions (after prescreening) on campus in January
and February.
Financial Aid: Contact Kellie Gaines, director of financial aid,
finaid@sfcm.edu.
Scholarships: 99% of students receive SFCM Scholarship. Contact Kellie
Gaines, director of financial aid, finaid@sfcm.edu.
Apply by: Dec. 1.
Contact: Contact the Office of Admission, apply@sfcm.edu.
San Jose State University

San Jose, California
Student Body: 33,000; 400 music majors; 50 jazz majors.
Tuition: In-state, $7,800/year.
Jazz Degrees: BM Jazz Studies; MM with emphasis in Jazz Studies.
Faculty: Dr. Aaron Lington, Jeff Lewis, John Gove, Rick Vandivier,
Dahveed Behroozi, Dan Robbins, Jason Lewis, Ren Geisick,
Jon Dryden, Tom Langan.
Jazz Bands: Two big bands, Afro-Latin Jazz Band, numerous jazz combos.
Auditions: Visit sjsu.edu/music/admissions/how-to-apply.php.
Financial Aid: Available. Visit sjsu.edu/faso.
Scholarships: Visit sjsu.edu/music/admissions/scholarships/index.php.
Apply by: Nov. 30. Visit sjsu.edu/admissions.
Contact: Dr. Aaron Lington, 408-924-4636, aaron.lington@sjsu.edu.
Santa Rosa Junior College

Santa Rosa, California
Student Body: 24,000.
Tuition: $46/unit.
Jazz Degrees: AA in Jazz Studies.
Faculty: Mark Anderman, Jody Benecke, Rudolf Budginas, Jerome
Fleg, Bennett Friedman.
Jazz Bands: Big band, three combos.
Alumni: Liberty Ellman, David Balakrishnan, Jeff Carney, Eric Crystal,
Rob Sudduth.

Student Music Guide
UNIVERSITY OF WASHINGTON
USC THORTON SCHOOL

Guitarist Bill Frisell and drummer Steve Korn at University of Washington L.A.-ready at USC’s Thornton School of Music
Auditions: At the beginning of semester. Afro-Latin Jazz Ensemble, jazz Rosenboom, Otmaro Ruíz, Luciana
Financial Aid: Call 707-527-4471; Fax combo program. Souza, Arturo J. Stable, Mark F.
707-527-4499. Alumni: Charles Altura, Ray Drummond, Turner, Michele A. Weir, Alison S.
Larry Grenadier, Tom Harrell. Deane, Roberto Miranda, Ruth Price.
Scholarships: Merit-based: $28,600 available in
music scholarships, by audition. Auditions: Ensemble and lesson auditions for Jazz Bands: The UCLA Gluck Jazz Ensemble,
Contact Jody Benecke, scholarship admitted students in first week of quarterly jazz combos,
chair, jbenecke@santarosa.edu. autumn quarter or by arrangement. Contemporary Jazz Ensemble,
Optional, non-binding, arts Charles Mingus Ensemble, UCLA
Apply by: Aug. 11. Jazz Orchestra, UCLA Afro Latin
supplement for applicants to
Contact: Bennett Friedman, director of jazz Stanford through Admission. Jazz Orchestra, World Jazz and
studies: bfriedman@santarosa.edu Intercultural Improvisation
707-527-4255. Financial Aid: Available. Contact Financial Aid, Ensemble, Commercial Music
financialaid.stanford.edu. Studio Ensemble.
Sonoma State University Scholarships: Need-based lesson scholarships for Alumni: Cameron Graves, Dan Marschak,
admitted students:
Rohnert Park, California music.stanford.edu.
Gretchen Parlato, Hitomi Oba,
Student Body: 7,000; 100 music students; 20 jazz Kamasi Washington, Keschia Potter,
students. Apply by: Oct. 15 for Early Action with arts Kiefer, John Daversa.
supplement, Nov. 1 for Early Action Auditions: UC application; UCLA Herb Alpert
Tuition: $8,060/year. with no arts supplement, Dec. 1 School of music supplemental
Jazz Degrees: BM Jazz Studies; BM Music for Regular Decision with no arts application; pre-screening, audition
Education Jazz Track. supplement. and/or interview; admissions
Faculty: Doug Leibinger, Raffi Garabedian, Contact: Rowen Leigh, undergraduate decision.
Ian Carey, Randy Vincent, Ken student services officer, musicinfo@ Financial Aid: Visit the UCLA Financial Aid and
Cook, Andrew Emer, George Marsh, stanford.edu, 650-725-1932, or visit Scholarship, financialaid.ucla.edu.
Kendrick Freeman. music.stanford.edu.
Scholarships: Visit the UCLA Financial Aid and
Jazz Bands: Jazz Orchestra; jazz combos; Latin
band.
The UCLA Herb Alpert School of Music Scholarship, financialaid.ucla.edu.
Los Angeles, California Apply by: UC application deadline, Nov. 30.
Alumni: Liberty Ellman, Tyler Blanton, Adam Student Body: 46,430; 581 music students; 70 jazz UCLA Herb Alpert School of Music
Theis. students. Deadline, Dec. 5.
Auditions: Visit music.sonoma.edu/ Tuition: In-state, $14,478. Out-of-state, Contact: admissions@schoolofmusic.ucla.edu.
prospective-students. $32,574.
Financial Aid: Visit financialaid.sonoma.edu. Jazz Degrees: Global Jazz Studies BA, Music University of Colorado Denver
Scholarships: Visit scholarships.sonoma.edu. Composition BA, Music Education Denver, Colorado
BA, Music Performance BM, Student Body: 500 music students.
Apply by: November.
Ethnomusicology BA, Music Tuition: Undergraduate, in-state, $5,670/
Contact: Doug Leibinger, 707-664-4149, Industry BA, Musicology BA, semester; Out-of-state, $14,010/
douglas.leibinger@sonoma.edu. Music MM, DMA in Conducting semester.
or Music Performance, Music MA,
Stanford University Ph.D in Music Composition, Music Jazz Degrees: BS in Music with concentration in
MM through the Herbie Hancock Music Business, Recording Arts,
Stanford, California Institute of Jazz Performance, Singer/Songwriter, Performance.
Student Body: 8,049. Ethnomusicology MA, Ph.D, Faculty: David Bondelevitch, Leslie Soich,
Tuition: $61,731/year. Musicology MA, Ph.D. Sean McGowan, Paul Musso, Todd
Jazz Degrees: BA in Music with a concentration Faculty: Robin D.G. Kelley, Cheryl L. Keyes, Reid, Storm Gloor, Erin Hackel.
in Performance (jazz options Steven J. Loza, Arturo O’Farrill, Jazz Bands: Jazz Combo, Claim Jumpers, Voz de
available), Minor in Music. Salim Washington, Duane C. la Clave.
Michael Galisatus, Murray Low, Benjamin, Clayton Cameron, Jésus
Faculty: Auditions: Pre-screening audition video
A. Guzmán, Charles A. Harrison,
James Nadel. through the website.
Tamir Hendelman, T. Jacques
Jazz Bands: Stanford Jazz Orchestra, Stanford Lesure, Hitomi M. Oba, Daniel A. Financial Aid: Call 303-315-5969.

Scholarships: Available. One-time audition for awards based on musical talent Financial Aid: Available. Visit uidaho.edu/
entering freshmen. and academic merit. Financial financial-aid.
Apply by: April 15. need considered if student applies Scholarships: Available, merit-based. Visit uidaho.
for DU need-based financial aid. edu/class/music/future-students.
Contact: Music and Entertainment Industry Awards range from $1,000 to full
Studies Dept., meis.dept@ tuition. Contact Stephen Campbell, Apply by: Feb. 25 for priority consideration.
ucdenver.edu, caminfo@ucdenver. stephen.l.campbell@du.edu. Contact: Vern Sielert, director of jazz, 208-
edu, 303-315-7450. 885-4955, verns@uidaho.edu.
Scholarships: Contact Stephen Campbell,
stephen.l.campbell@du.edu.
University of Montana
University of Denver Apply by: Jan. 15.
Missoula, Montana
Lamont School of Music Contact: Andrew Ferdig, andrew.ferdig@
du.edu, 303-871-6973. Student Body: 10,450; 225 music students; 70 jazz
Denver, Colorado students.
Student Body: 12,000; 275 music students; 60 jazz Tuition: Undergraduate, in-state: $4,100.
students. University of Idaho Undergraduate, non-resident,
Tuition: $76,389. Lionel Hampton School of Music $15,900. Graduate, in-state, $4,800.
Graduate, non-resident, $17,700.
Jazz Degrees: BM, BA in Music.
Moscow, Idaho Jazz Degrees: BA Instrumental Jazz,
Faculty: Remy Le Boeuf, Mike Abbott, Bijoux Student Body: 11,780; 130 music majors. Undergraduate Jazz Certificate.
Barbosa, Annie Booth, Art Bouton,
Mike Marlier, Tatiana Mayfield Tuition: In-state, $8,430; Out-of-state Faculty: Johan Eriksson, Tommy Sciple, John
Brown, Gabriel Mervine, Zach Rich, $27,540; Western Undergraduate Wicks, Owen Ross, Connor Racicot,
Peter Stoltzman. Exchange and Invitation to Idaho Rob Tapper.
out-of-state tuition, $11,431. Jazz Bands: Jazz Ensemble I, Jazz Band II, Lab
Jazz Bands: Jazz Orchestra, Jazz Ensemble,
Small groups, Vocal Jazztet, Jazz Degrees: Minor in Jazz Studies, may be Jazz Band III, six small groups,
Vocal Rep Ensemble, Xperimental attached to any major. Commercial Music Ensemble.
Jazz Ensemble, Jazz Guitar Faculty: Vern Seilert, Vanessa Sielert, Dan Auditions: Visit umt.edu/music/
Ensemble. Bukvich, Kate Skinner, Josh Skinner, future-students/
Auditions: Apply to the University of Denver Daniel Pinilla, Spencer Martin. audition-requirements.
via the Common Application. Jazz Bands: Three big bands, several jazz Financial Aid: Contact James Smart, james.
Audition for Lamont either in combos, three jazz choirs. smart@mso.umt.edu.
person or with a recording. Rob Tapper, director of jazz studies,
Auditions: Live auditions preferred, recorded Scholarships:
Financial Aid: Comprehensive scholarship auditions accepted. robert.tapper@umontana.edu.

Student Music Guide
Composition, MM with a Jazz and Commercial Music
WSU PHOTO SERVICES

Performance/Composition Emphasis, DMA of the Jazz
Subplan in Performance.
Faculty: Dave Loeb, Adam Schroeder, Nathan Tanouye.
Jazz Bands: Three large jazz ensembles; Latin, contemporary, guitar and
vocal jazz ensembles; 12 combos.
Auditions: Contact Dave Loeb at dave.loeb@unlv.edu.
Financial Aid: Visit unlv.edu/finaid.
Scholarships: Substantial Scholarships available. Contact Dave Loeb at
dave.loeb@unlv.edu.
Apply by: Dec. 1 (priority); visit unlv.edu/admissions/first-year.
Contact: Dave Loeb, dave.loeb@unlv.edu, 702-895-3739.
University of Northern Colorado

Greeley, Colorado
Tuition: Undergraduate, in-state, $11,000; Western States (WUE),
$18,500; Out-of-state, $24,000. Masters, in-state and WUE,
$12,000; Out-of-state, $22,000. Doctoral, in-state and WUE,
$13,000; Out-of-state, $24,000.
EWI soloing at Washington State University
Jazz Degrees: BM–Jazz Studies, BM–Business (jazz track), BME (jazz track),
BA in Latinx Music, Graduate Performance Certificate (Jazz),
Apply by: Priority acceptance/scholarships: Feb. 1.
MM–Jazz Studies, DMA–Jazz Studies.
Contact: Rob Tapper, 509-280-2284.
Faculty: Dana Landry (director of jazz studies), Jim White, Erik Applegate,
Dr. Socrates Garcia, Steve Kovalcheck, Dr. Brian Casey, Drew
University of Nevada, Las Vegas Zaremba, Dr. Shawn Williams, Dr. Brian Claxton (artist-in-
residence), Dr. Andrew Janak (artist-in-residence), Marion
Las Vegas, Nevada Powers (artist-in-residence), Gonzalo Teppa (artist-in-residence).
Student Body: 30,000; 400 music students; 90 jazz students. Jazz Bands: Three big bands, one studio orchestra, Funk/Soul Band, 12
Tuition: In-state, $8,737; Out-of-state tuition $24,828. combos, three vocal jazz ensembles.
Jazz Degrees: BM in Jazz and Commercial Music Performance/ Alumni: Bill Frisell, Connaitre Miller, Ryan Middagh, Angela Parrish.
Auditions: Visit: arts.unco.edu/music.
Financial Aid: Visit unco.edu/financial-aid.
Scholarships: Contact Tessa.Espinosa@unco.edu.
Apply by: Open. Auditions in November, January and early March.
Contact: Dana Landry, dana.landry@unco.edu.
University of Oregon
Eugene, Oregon
Student Body: 23,202; 450 music majors; 40 jazz studies majors.
Jazz Degrees: BM Jazz Studies, MM Jazz Studies (Performance Emphasis),
MM Jazz Studies (Composition/Arranging Emphasis),
Graduate Specialization in Jazz Pedagogy.
Faculty: Paul Krueger, Keith Brown, Steve Owen, Idit Shner, Tyler
Abbott, Ken Mastrogiovanni, Avery Scanlon, Joe Manis,
Torrey Newhart.
Jazz Bands: Three big bands, up to 12 combos, Latin Jazz Ensemble, Jazz
Guitar Ensemble.
Auditions: In-person auditions Feb. 4, Feb. 10 and Feb. 24. Live auditions
preferred, but recorded/online auditions allowed. Graduate
students required to submit pre-screening auditions.Visit
musicanddance.uoregon.edu.
Financial Aid: Available. Visit financialaid.uoregon.edu.
Scholarships: Available, merit-based. Contact somdadmit@uoregon.edu.
Apply by: Graduate students, Dec. 10; Undergraduates, Jan. 15.
Contact: Paul Krueger, director of jazz studies, kruegerp@uoregon.
edu. Visit jazz.uoregon.edu.
University of the Pacific

Stockton, California
Student Body: 6,277, 226 music students, 13 jazz students.

Tuition: $54,506. graduate programs. U.S. citizens,
Jazz Degrees: BM Jazz Studies (performance permanent residents and some
track), BM Jazz Studies eligible non-citizens can qualify for
(composition track), BM Jazz student loans up to the total cost of
Studies Honors (3-year accelerated). attendance as well as work-study
Minor in Jazz Studies. Visit pacific. funding.
edu/jazzstudies. Scholarships: music.usc.edu/admission/finaid.
Faculty: Patrick Langham, Joe Mazzaferro, Apply by: Dec. 1. Visit music.usc.edu/
Jamie Dubberly, Barry Finnerty, admission.
Melissa Fulkerson, Aaron Garner, Contact: Undergraduates: Brittany Jimenez,
Brian Kendrick, Alex Reyes. seits@usc.edu, 213-740-8986.
Jazz Bands: Big Band, Vocal Jazz Ensemble, Graduates: Kit Bellamy, keb@usc.
combos (Pacific Jazz Ambassadors, edu, 213-740-8986. Admission
Pacific Jazz Collective & others). Office: uscmusic@usc.edu. Visit
Alumni: Dave Brubeck, Lucas Pino, Glenn music.usc.edu/admission/contact or
Zaleski, Mark Zaleski, Cory Cox, music.usc.edu.
Chad Lefkowitz-Brown.
Auditions: Early action, Dec. 2; Jan. 27, Feb. 10,
University of Utah School of Music
Feb. 18. Live auditions preferred; Salt Lake City, Utah
video recordings accepted. Student Body: 34,705; 344 music students; 20 jazz
students.
Financial Aid: Available. Visit pacific.edu/
financial-aid. Tuition: Undergraduate, in-state, $11,644/
year; Out-of-state, $34,691/year;
Scholarships: Available. Contact Jessica Siena; Graduate, in-state, $9,698/year;
jsiena@pacific.edu. Out-of-state, $28,306/year.
Apply by: Feb. 18. Jazz Degrees: BM in jazz composition or Jazz
Contact: Jessica Siena, jsiena@pacific.edu, Performance, M.M. in Jazz Studies.
209-946-2418. Faculty: Josiah Boornazian (director of
jazz studies), Brian Booth, Todd
USC Thornton School of Music Campbell, Randal Clark, Willis
Clow, David Halliday, David Hall,
Los Angeles, California Chris Hough, Kurt Reeder, Alex
Student Body: 49,000; 1,000 Thornton students; Rowe, Donn Schaefer, Patrick Terry,
90 jazz students. Dan Waldis, Kelly Wallis, Brian
Woodbury.
Tuition: Undergraduate, $66,640/year;
Graduate, $35,904/year. Visit music. Jazz Bands: Jazz Ensemble, Jazz Repertory
usc.edu/admission/finaid. Ensemble, Jazz Guitar Ensemble,
jazz combos.
Jazz Degrees: BM (instrumental and vocal).
Graduate MM, Graduate Certificate, Auditions: Jan. 27, Feb. 10. Visit music.
DMA. utah.edu/students/admissions-
scholarships.php.
Faculty: David Arnay, Adam del Monte,
Bruce Forman, Sara Gazarek, Financial Aid: Contact Financial Aid Office,
Jason Goldman (chair), Kathleen financialaid.utah.edu.
Grace, Jon Hatamiya, Tim Kobza, Scholarships: Need- and merit-based. Visit
Edwin Livingston, Andy Martin, financialaid.utah.edu/types-of-aid/
Ronald C. McCurdy, Roy McCurdy, scholarships/index.php. For info
Vince Mendoza, Molly Miller, Bob on School of Music scholarship,
Mintzer, Josh Nelson, Darek Oles, visit music.utah.edu/students/
Clarence Penn, Otmaro Ruiz, Aarón admissions-scholarships.php.
Serfaty, Bob Sheppard, Richard
Apply by: Undergraduate, priority deadline,
Smith, Michael Stever, Nick Stoubis,
Dec. 1; need-based scholarships,
Katie Thiroux, John Thomas, Steve
Feb. 1; transfer students, Feb.
Trovato.
1 for scholarship priority; Final
Jazz Bands: Jazz Orchestra, Concert Jazz deadline, April 1. For international
Orchestra, ALAJE (Afro Latin admissions, visit admissions.
American Jazz Ensemble), utah.edu/apply/#international.
CreSCendo Vocal Jazz Ensemble, Graduate admissions, Feb. 15;
Jazz Chamber Music. visit music.utah.edu/students/
Alumni: Ambrose Akinmusire, Billy Childs, admissions-scholarships.php;
Gerald Clayton, Louis Cole, Sara international graduate applicants,
Gazarek, Gretchen Parlato. Jan. 15.
Auditions: Prescreen audition due Dec. 1. Live Contact: Josiah Boornazian,
auditions (by invitation only) in director of jazz studies,
January and early February. Visit josiah.boornazian@utah.edu.
music.usc.edu/admission.
Financial Aid: Visit music.usc.edu/admission/ University of Washington School of Music
finaid. Undergraduate: USC Seattle, Washington
Admission Merit Scholarships, Fed
Student Body: 47,000; 300 music majors.
Title IV Aid (grants, loans and work-
study) and institutional grants. Tuition: Visit admit.washington.edu/
Graduate: Available for most costs/coa.

Student Music Guide
Jazz Degrees: BM and MM in Jazz Studies & University of Wyoming Utah State University
Improvised Music.
Laramie, Wyoming Logan, Utah
Faculty: Cuong Vu, Marc Seales, Steve 28,000; 350 music students; 40
Student Body: 200 music students; 40 jazz Student Body:
Rodby, Ted Poor. jazz students.
students.
Jazz Bands: Small ensembles, Modern Band, Visit usu.edu/admissions/
Tuition: In-state, $18,682, Out-of-state Tuition:
Big Band. costs-and-aid/#cost.
$33,832.
Auditions: Auditions held in January BA Music, BM Music Education or
Jazz Degrees: BM–Jazz Studies, M.M. Jazz Degrees:
and February for admission Performance, BS Music Therapy,
the following autumn. Visit Faculty: Andy Wheelock (director of jazz
MM, music minors.
music.washington.edu/ studies), Ben Markley, Seth Lewis,
undergraduate-graduate-auditions. Heath Walton, Ryan Fourt, David Faculty: Jon Gudmundson, Greg Wheeler,
Mesquitic. Max Matzen, Ryan Conger,
Financial Aid: Available. Visit washington.edu/ Corey Christiansen, Braun Khan,
financialaid. Jazz Bands: Four combos, two big bands.
Jason Nicholson.
Scholarships: Merit-based scholarships Auditions: Visit uwyo.edu/music/auditionsand-
Jazz Bands: Two big bands, up to five combos.
and assistantships available. scholarships/index.html.
Visit music.washington.edu/ Auditions: Live auditions Feb. 10, Feb. 24.
Financial Aid: Visit uwyo.edu/sfa.
scholarships-and-financial-aid. Video auditions can be accepted.
Scholarships: Visit uwyo.edu/music/auditionsand-
Apply by: Undergraduate, Nov. 15; Graduate, Financial Aid: Visit cca.usu.edu/music/students/
scholarships/index.html.
Dec. 1. scholarships; cca.usu.edu/music/
Apply by: February. apply/index.
Contact: School of Music Admissions,
somadmit@uw.edu. Contact: Andy Wheelock, awheeloc@uwyo.edu. Scholarships: Visit cca.usu.edu/music/apply/
index.
Apply by: Dec. 1 for priority financial aid
consideration.
Contact: Jon Gudmundson, jon.
gudmundson@usu.edu.
Washington State University

Pullman, Washington
$14,192.
Jazz Degrees: Jazz Minor, BM with an Emphasis in
Jazz, MA with a Jazz Emphasis.
Faculty: Aaron Hill, Darryl Singleton, César
Haas, Jake Svendsen, Christian Kim,
Dave Bjur, David Turnbull, Billie
Feather, Sarah Miller, A. J. Miller,
Melissa Parkhurst.
Jazz Bands: Two big bands, five combos, World
Music Ensemble.
Alumni: Horace Alexander Young, Brent
Jensen, Brent Edstrom, Eugene
Jablonsky, Cindy Browne-
Rosefeld, Dave Hagelganz,
Gary Wittner, Zac Matthews,
Jamie Shew, Julie Silvera, John
Gronberg, Adam Donohue, Tim
Devine, F. David Snider, David
Jarvis, Raúl E. Blanco.
Auditions: Visit music.wsu.edu/how-
to-apply or music.wsu.edu/
area-information/jazz-studies/
jazz-ensembles/jazz-big-bands.
Financial Aid: Visit financialaid.wsu.edu.
Scholarships: Merit- and need-based, visit
financialaid.wsu.edu/scholarships.
For School of Music Scholarships,
visit music.wsu.edu/how-to-apply.
Apply by: First-year students, March 31
(Jan. 31 for priority scholarship
consideration); Transfer students,
Aug. 5; Graduate students,
Jan. 10.
Contact: Darryl Singleton,
darryl.singleton@wsu.edu,
509-335-3962.
Visit music.wsu.edu.

Student Music Guide
DOMINICK GRAVEL
ROYAL CONSERVATOIRE
One of the many jazz ensembles at McGill Students presentations at Royal Conservatoire, the Hague
student-affairs/financial-matters/ Thomas Francis, Amanda Tosoff,
INTERNATIONAL Jazz Degrees:

tuition-fees.
Bachelor’s and Master’s degrees. Jazz Bands:
Justin Gray.
30 large and small ensembles
Faculty: Jesse van Ruller, Reinier Baas, covering a variety of specialties
Capilano University Ben van Gelder, Jasper Blom, including big band, combo and
doubling in a range of styles such
North Vancouver, British Columbia, Canada Ruud Breuls, Ilja Reijngoud, Bert
Boeren, Martijn Vink, Lucas van as jazz, fusion, Latin, R&B, world
Student Body: 12,500; 145 music students; 130 jazz Merwijk, Rob van Bavel, Harmen and classical.
students. Fraanje, John Clayton (artist- Alumni: Allison Au, Emilie-Claire Barlow,
Tuition: $12,000. in-residence), Peter Bernstein Laila Biali, Eli Bennett, Matthew
Jazz Degrees: BM Jazz Studies. (artist-in-residence), Terell Stafford Burnett, Jon Challoner, Brad
(artist-in-residence), Dick Oatts Cheeseman, Brandi Disterheft,
Faculty: Daniel Hersog, Brad Turner, Steve (artist-in-residence), Aaron Parks Lauren Falls, Caity Gyorgy, Andrew
Kaldestad, Andre Lachance, Bill (artista-in-residence). Kesler, Alan Han, Jesse Ryan, Greg
Coon, Bradshaw Pack, Chad Wells.
Makela, Chris Sigerson, Craig Scott, Jazz Bands: Various jazz and improvisation
Darren Radtke, Dave Robbins, groups, big bands and choirs; Auditions: Visit wearehumbermusic.com.
Dennis Esson, Dylan van der Schyff, rhythm and blues, Brazilian, Financial Aid: Visit humber.ca/admissions/
James Danderfer, Jared Burrows, Afro-Cuban, flamenco, pop and financial-aid.html.
Jennifer Scott, Jill Townsend, John crossover groups.
Scholarships: Visit humber.ca/admissions/
Korsrud, J.S. Kofi Gbolonyo, Laura Alumni: Jesse van Ruller, Tineke Postma, financial-aid.html.
Harrison, Jillian Lebeck, Mary Jo Ben van Gelder, Reinier Baas, Joris
Bischoff, Ron Samworth, Siri Olesen, Roelofs. Apply by: Equal Consideration deadline,
Steve Maddock. Feb. 1. Post-Feb. 1 applications will
Auditions: Visit conservatoriumvanamsterdam. be considered on a first-come,
Jazz Bands: Three jazz big bands, three jazz nl/en/application-and-admission. first-served.
choirs, two guitar bass ensembles, Financial Aid: See scholarships.
one jazz fusion ensemble, one Contact: Andrew Scott, program co-
world music ensemble and two Scholarships: The CvA offers scholarships to ordinator, andrew.scott@humber.
percussion ensembles. students who need financial ca@humber.ca, 416-675-6622, ext.
support and to exceptionally 3444.
Alumni: Bria Skonberg, Evan Arntzen, gifted students. Visit
Gordon Grdina, Cory Weeds,
Daniel Hersog, Sharon Minemoto,
conservatoriumvanamsterdam. IMEP • Paris College of Music
nl/en/study/studying-at-the-cva/
Neelamjit Dhillon, Amanda Tosoff. scholarships. Paris, France
Auditions: Video and in-person. Student body 250.
Apply by: January.
Financial Aid: Contact Daniel Hersog, Tuition: €3,300 to €4,000/year.
Contact: Annemiek de Jager, cva-
danielhersog@capilanou.ca. studadmin@ahk.nl, +315277550. Jazz Degrees: Five-year Diploma in Jazz and
Scholarships: Contact Daniel Hersog, Contemporary Music Studies,
danielhersog@capilanou.ca. Humber College Three-Year Diploma in Jazz and
Contemporary Music (first degree).
Apply by: June 15. Toronto, Ontario, Canada Credits transfer possible with
Contact: Daniel Hersog, jazz@capilanou.ca, Student Body: 86,000; 300 jazz students. Berklee College of Music.
604-986-1911. Tuition: Between $7,240 (domestic tuition) Faculty: Rick Margitza, Peter Giron, Manuel
and $21,081 (international tuition). Rocheman, Chris Culpo, Phil
Conservatorium van Amsterdam Jazz Degrees: BM. Hilfiker, Josiah Woodson, Romain
Pilon, Michael Felberbaum.
Amsterdam, The Netherlands (Europe) Faculty: Hilario Durán, Jocelyn Gould, Robi
Botos, Kelsley Grant, Larnell Lewis, Jazz Bands: Jazz Ensemble, Big Band, Vocal
Student Body: 1,200; 350 music students. Kirk MacDonald, Lisa Martinelli, Ensemble.
Tuition: €5,615. Visit ahk.nl/en/facilities/ Brian O’Kane, Shirantha Beddage, Alumni: Lionel Loueke, Stephane Wrembel,

Lou Tavano, Sélène Saint-Aimé. Faculty: Rob van Bavel, Wolfert Brederode, Tuition: In EU, €2.083/year; Outside EU, €
Auditions: In-person or online via Zoom or Wim Bronnenberg, Benjamin 7.700.
Skype. Visit imep.pro. Herman, Gulli Gudmundsson, Jazz Degrees: Preparatory Program, Bachelor’s
Aram Kersbergen, Miro Herak, and Master’s degrees.
Financial Aid: Available. Contact info@imep.pro. Eric Ineke, Martijn van Iterson,
Scholarships: Available. Merit-based. Contact Yiannis Marinos, David Linx, Anka Faculty: Some based in New York and some
info@imep.pro. Koziel, Stefan Kruger, Rik Mol, based in Holland; Billy Hart, Don
Tony Overwater, Toon Roos, John Braden, Joris Teepe, Mark Gross,
Apply by: January to July. Ruocco, Felix Schlarmann, Yvonne Helen Sung, David Berkman, JD
Contact: Fabienne Pluss, info@imep.pro. Smeets, Juraj Stanik. Walter, Steve Nelson, Conrad
Herwig, Rogerio Boccato.
Jazz Bands: 15 bands.
Jazz Music Institute Alumni: Juraj Stanik, Stefan Kruger, Benny
Jazz Bands: Big Band, Latin, Bebop, numerous
Brisbane, Queensland, Australia others.
Sings, Wolfert Brederode.
Student Body: 80 jazz students. Alumni: Tarek Yamani, Kaja Draksler, Alina
Auditions: Video application with theory test Engibaryian, Alex Simu, Rose Ellis.
Tuition: Domestic, $20,000/year; and live audition.
International, $35,000/year. Auditions: Visit hanze.nl/admissionpcc.
Financial Aid: For EER students, contact Bart Suèr,
Jazz Degrees: BM in Jazz Performance, Diploma of kcjazz@koncon.nl. Financial Aid: Contact prinsclausconservatorium@
Music in Jazz Performance. org.hanze.nl.
Scholarships: Scholarships for Excellence
Faculty: Dan Quigley, Paula Girvan, Ben program (master’s only), contact Scholarships: Contact prinsclausconservatorium@
Hauptmann, Graeme Norris, Dr Rob Bart Suèr, kcjazz@koncon.nl. org.hanze.nl.
McWilliams. Apply by: May.
Apply by: Feb. 29.
Jazz Bands: JMI Jazz Orchestra. Contact: Jan-Gerd Krüger, head of Jazz
Contact: Bart Suèr, head of KC Jazz,
Alumni: Lachlan McKenzie, Elliott Parker, Department, j.kruger@pl.hanze.nl.
kcjazz@koncon.nl.
Aaron Jansz.
Conservatory of Music of Puerto Rico
Auditions: Visit jazz.qld.edu.au/how-to-apply. McGill University, Schulich School of Music San Juan, Puerto Rico
Financial Aid: FEE-HELP Available for Australia Montreal, Quebec, Canada Student Body: 282; 94 jazz students.
citizens. Student Body: 850 music students; 130 jazz
N/A. Tuition: $105/credit. Visit cmpr.edu/
Scholarships: students.
admisiones/costos-estudios/.
Apply by: Auditions open until January. Tuition: Undergraduate, in Quebec, $6,700/
Jazz Degrees: BM Performance in Jazz and
Nick Quigley, nquigley@jazz.qld. year; Undergraduate, out-of-
Contact: Caribbean Music: Voice, Piano,
edu.au, +61 7 3216 1110. province, $13,000; undergraduate,
Bass, Electric Guitar, Cuatro
international $31,000.
Puertorriqueño, Sax, Trombone,
JAZZCAMPUS Jazz Degrees: BM in Jazz Performance, Trumpet, Drums and Latin
University of Applied Sciences and Arts Licentiate of Music in Jazz, BM, Percussion.
Northwestern Switzerland Jazz Faculty Program, Minor in
Faculty: Gabriel Rodríguez (department
Jazz Performance, Minor is Jazz
Basel, Switzerland Arranging and Composition,
director), Norberto Ortiz, Angel
13,000; 720 music students; 120 Mattos, Elías Santos Celpa, Emanuel
Student Body: MM, DM, Graduate Diploma in
jazz students. O. Navarro Romero, Fernando
Performance.
Mattina, Fidel Morales, Antonio
Tuition: Tuition fee per year is CHF 2,500. Faculty: Remi Bolduc, Ira Coleman, Rivera, Marcos Javier Rodríguez
Jazz Degrees: BA, MA in Music Pedagogy Jazz, Kevin Dean, Darrell Green, John Curet, Raúl Rodríguez, Hommy
MA in Performance with focus on Hollenbeck, Ranee Lee, Jean-Michel Ramos Vizcarrondo, Pedro Pérez,
Performance or Composition or Pilc, Joe Sullivan, Camille Thurman, Jean Lou Treboux, Laura Rey.
Production. Andre White.
Jazz Bands: Jazz Drumming Ensemble, Jazz
Faculty: Larry Grenadier, Mark Turner, Jazz Bands: Jazz Orchestra I and II, Chamber Combo Básico, Intermedio,
Jeff Ballard, Brad Mehldau, Lionel Jazz Ensemble I, II and III, Vocal Jazz Avanzado; Jazz Percussion
Loueke, Wolfgang Muthspiel, Jorge Choir, 25 combos Ensemble, Latin Jazz Cambo Básico,
Rossy, Guillermo Klein and more. Alumni: Darcy James Argue, Nico Dann, Joel Intermedio, Avanzado; Conjunto
Miller, Anna Webber, Ric’Key Pageot, Criollo Clásico; Conjunto Criollo
Jazz Bands: Small and large ensembles, drum Experimental; Concert Jazz Band.
and bass lab, singers lab, big band. Jordan Officer, Rafael Zaldivar.
Alumni: Visit cmpr.edu/egresados.
Auditions: Preselection with videos, live Auditions: Live or recorded auditions.
audition. Auditions: Auditions will be held on Feb.
Financial Aid: Available. Visit mcgill.ca/music/ 9. Visit cmpr.edu/admisiones/
Financial Aid: None. admissions/undergraduate/ requisitos/bachilleratos.
finances.
Scholarships: Susanne Abbuehl, susanne. Financial Aid: Visit cmpr.edu/asistencia. Contact
abbuehl@fhnw.ch. Scholarships: Available. Music Entrance Sr. Luis Díaz, financial aid director
Scholarships based on merit 787-751-0160, ext. 231.
Apply by: Feb. 15.
and in-course scholarships.
Contact: Susanne Abbuehl, susanne. Academic entrance and renewable Scholarships: Contact Sr. Luis Díaz, financial aid
abbuehl@fhnw.ch, jazzcampus. scholarships available. director, 787-751-0160, ext. 231.
com/en.html, +41 61 333 13 12. Apply by: Dec. 8.
Apply by: Undergraduate, Jan. 15; Graduate,
Dec. 1. Admissions Office, admisiones@
KC Jazz at the Royal Conservatoire Contact:
cmpr.edu, 787-751-0160, ext. 280 or
Melanie Collins, recruitment.
The Hague Contact:
music@mcgill.ca. ext. 275; Visit cmpr.edu.
The Hague, the Netherlands
Student Body: 1,000 music students; 100 jazz. Prins Claus Conservatory St. Francis Xavier University
Tuition: Visit koncon.nl/en/ Groningen, The Netherlands Antigonish, Nova Scotia, Canada
application-process/tuitionfees. Student Body: 450 music students; 100 jazz Student Body: 5,500; 50 jazz students.
Jazz Degrees: Minor, Bachelor’s, Master’s degrees. students. Tuition: Visit stfx.ca/admissions/tuition-fees.

Student Music Guide
JAZZCAMIP BASIL
ANTHONY LAZARO
Lionel Loueke teaching at Jazzcampus Basel Lesson time at Jazz Music Institute
Jazz Degrees: BM–Jazz Studies, BA–Music, Minor Jazz Bands: Université de Montréal Big Band, University of Manitoba
Music. Jazz Chamber Orchestra, Jazz Desautels Faculty of Music
Paul Tynan, Kevin Brunkhorst, Kenji Choir, Jazz Combos, Jazz Guitar
Faculty:
Ensembles. Winnipeg, Manitoba, Canada
Omae, Adrean Farrugia, Anthony
Michelli, Paul Rushka, Jake Hanlon, Alumni: David Carbonneau, Jean Fréchette, Student Body: 30,000; 250 music students; 50
Ryan Billington. Felix Leblanc, André Leroux, Patrice jazz students.
Jazz Bands: Little Big Band, Vocal Jazz Luneau, Dany Roy, Malika Tirolien, Tuition: Undergraduate, Canadians/
Ensemble, guitar ensembles, small Rafael Zaldivar. permanent residents/residents
combos. Auditions: Live or recorded auditions. Visit of Minnesota, $7,000 (CAD);
musique.umontreal.ca/en/study/ Undergraduate, international,
Alumni: Ted Warren, John Nugent, Steve $21,400 (CAD). Graduate students
Haines, Ryan Davidson, Breagh auditions.
visit umanitoba.ca/student/records/
MacKinnon, Josh Hanlon. Financial Aid: Available. Visit musique.umontreal. fees.
Auditions: In-person or submitted video. ca/en/study/financial-assistance-
and-scholarships. Jazz Degrees: Bachelor of Jazz Studies, Post-
Financial Aid: Visit financialaid@stfx.ca. Baccalaureate in Performance
Scholarships: Available. Visit musique.umontreal.
Scholarships: For performance scholarships, (Specializing in Jazz), MM
ca/en/study/financial-assistance-
contact music@stfx.ca. For (Specializing in Jazz).
and-scholarships.
academic scholarships, contact Faculty: Will Bonness, Jon Challoner, Karly
scholarships@stfx.ca. Apply by: Aug. 15 to March 1.
Epp, Jon Gordon, Karl Kohut, Fabio
Apply by: May 2024. Contact: Dany Roy, program head/student Ragnelli.
affairs–Jazz, dany.roy@umontreal.
Contact: Paul Tynan, music@stfx.ca, Jazz Bands: Small ensembles, Jazz Orchestra,
ca or Jean-Nicolas Trottier, program
902-867-2106 Jazz Vocal Ensemble, Rhythm
head/faculty members–Jazz, jean-
Section Ensemble.
nicolas.trottier@umontreal.ca. Visit
music.umontreal.ca. Alumni: Jocelyn Gould, Joanna Majoko,
Université de Montréal Curtis Nowosad, Luke Sellick.
Faculty of Music University of Guelph Auditions: Varies by degree. Visit umanitoba.
Montréal, Québec, Canada Guelph, Ontario, Canada ca/music/programs-of-study.

Student Body: 25,000; 117 music students; 40 jazz Financial Aid: Available. Visit umanitoba.ca/
Student Body: 650 music students; 110 jazz financial-aid-and-awards.
students.
students.
Tuition: Visit uoguelph.ca/registrar/ Scholarships: Available. Visit umanitoba.ca/music/
Tuition: 1st cycle: $26,682.26 (CAD); 2nd student-experience/financial-aid-
studentfinance/fees/index.
cycle: $13,583.30 (CAD); 3rd cycle: awards-and-competitions.
$9,159.43 (CAD). Jazz Degrees: BA Music Major or Minor.
Apply by: Undergraduates, Jan. 15; Post-
Jazz Degrees: Bachelor’s degree, jazz Faculty: Dr. Howard Spring, Al Gorman ,
Baccalaureate, Feb. 15; MM (Fall
performance; Major, jazz and world Brent Rowan, Joe Orlando, Adam
Entry), Dec. 1; MM (Winter Entry),
music; Minor, jazz composition and Bowman, Jason White, Dorothy
June 15.
arrangement; Master’s degree, jazz Vreeswyk-Kidd.
performance and composition; Contact: Louella Yambot, Faculty of Music
Jazz Bands: University of Guelph Big Band,
Doctorate in music. admissions coordinator, louella.
various small ensembles.
yambot@umanitoba.ca,
Faculty: Frédéric Alarie, Luc Beaugrand, Auditions: N/A. 204-474-9915.
Kenny Bibace, Luc Boivin, Paul
Brochu, Alain Caron, Reno De Financial Aid: 519-824-4120, ext. 58715.
Stefano, Michel Donato, Gilbert Scholarships: awards@uoguelph.ca. University of Music and Performing Arts
Fradette, Michael Gauthier, Tommy
Apply by: Recommended by Jan. 1; Accepted
Graz (KUG)
Gauthier, Julian Gutierrez, John Graz, Austria
until April.
Roney, Dany Roy, Simon Stone,
Malika Tirolien, Jean-Nicolas Contact: Admissions Office, Student Body: 2,200 music students; 110 jazz
Trottier, Manoel Vieira, João admission@uoguelph.ca, students.
Lenhari. 519-824-4120, ext. 58721. Tuition: €750/semester; free for EU-citizens.

Student Music Guide
Jazz Degrees: BA, MA, PhD. Jazz Bands: Jazz Orchestra, 12Tet, Octet, Studies, MA with concentration
Faculty: Julian Arguelles, Luis Bonilla, Vocal Jazz Ensemble, Hybrid in Jazz Studies, Ph.D. with
Renato Chicco, Dena DeRose, Guido (Classical and Jazz), DOG concentration in Jazz Studies.
Jeszenszky, Heinrich von Kalnein, Improvising Ensemble, 20 small jazz Faculty: Barry Romberg, Matt Brubeck,
Ed Partyka, Olaf Polziehn, Morten ensembles. Karen Burke, Corey Butler, Mike
Ramsbøl, Jim Rotondi, Chris Smith, Alumni: Kris Davis, David Braid, Quinsin Cado, Robb Cappelletto, Tara
Wolfgang Tozzi. Nachoff, Andrew Downing, Davidson, Rita di Ghent, Al
Jazz Bands: 10 combos, two big bands, Lina Allemano, Nancy Walker, Henderson, Kelly Jefferson, Brian
Latin ensemble, pop ensemble, Ernesto Cervini. Katz, Steve Koven, Noam Lemish,
composers ensemble. Auditions: Video Pre-Screening. Live Auditions Lorne Lofsky, Sherie Marshall,
in February (Recorded auditions Roy Patterson, Artie Roth, Kevin
Auditions: Two-stage process: submission of Turcotte, Sundar Viswanathan, Ron
video and live audition. based on distance/program).
Westray, Sacha Williamson.
Apply by: Feb. 1. Financial Aid: Available. Visit future.utoronto.ca/
finances/financial-aid. Jazz Bands: Small jazz ensembles, including
Contact: Eva Matlschweiger, jazz@kug.ac.at, global jazz and gospel, jazz
+43 316 389 3080. Scholarships: Available. Need- and merit- orchestra, R&B ensemble.
based. Visit music.utoronto.ca/
scholarships-fellowships.php. Alumni: Don Breithaupt, Michael Davidson,
University of Toronto, Faculty of Music Matt Dusk, Barry Elmes, Adrean
Tuition: Visit planningandbudget.utoronto. Farrugia, Al Henderson, Lorne
Toronto, Ontario, Canada ca/tuition-fee-lookup-tool. Lofsky, Kirk McDonald, Andy Milne,
Student Body: 900 music students, 125 jazz Mike Murley, Michael Occhipinti,
students. Apply by: Graduates, Nov. 24;
Undergraduates, Jan. 15. Sarah Thawer, Felicity Williams.
Tuition: Undergraduate, domestic, Auditions: Virtual, online and on-campus
$6,100/$6,590; Undergraduate, Contact: Visit uoftjazz.ca. Contact Jim Lewis,
jim.lewis@utoronto.ca. Contact auditions.
international, $45,800; MM,
domestic, $10,350; MM, Graduate Office, grad.music@ Financial Aid: Visit futurestudents.yorku.ca/
international, $41,850; DMA, utoronto.ca, 416-978-5772. Contact funding.
domestic, $9,540; DMA, Undergraduate Office, undergrad.
music@utoronto.ca, 416-978-3741. Scholarships: Oscar Peterson Scholarship
International $30,350. ($40,000). Visit futurestudents.
yorku.ca/financialsupport/
Jazz Degrees: BM in Jazz Performance, Jazz York University awards-apply.
Comprehensive Studies and
Jazz Music Education; Masters in
Toronto, Ontario, Canada
Apply by: Undergraduate, Jan. 15; Graduate,
Student Body: More than 100 jazz students.
Jazz Performance; DMA in Jazz Jan. 15.
Performance. Tuition: Domestic, $7,000 (CAN); Contact: musicprg@yorku.ca , 416-736-5186,
International, $35,000 (CAN). or Laura Sykes, lsykes@yorku.ca,
Faculty: Jim Lewis, Andrew Downing, Kelly
Jefferson, Rich Brown. Jazz Degrees: BFA and BA with pathways in Jazz 416-736-2100, ext. 20838.

For Rates: call (630) 941-2030. All ads are prepaid, no agency commission. Check, money order, and all major
DB Music Shop credit cards are accepted. Deadline: Ad copy and full payment must arrive 2 months prior to DB cover date.
Send your advertisement by MAIL: DownBeat Classifieds, 188 W. Industrial Drive, Ste. 310, Elmhurst, Illinois, 60126,
EMAIL: dank@downbeat.com.
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JAZZWEST, Email: lessons@jeffharrington.com.
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DB Buyers Guide
AES Educaitonal Carnegie Hall............................110 Eastman Winds...........................11
Foundation................................ 31 carnegiehall.org eastmanwinds.com
aeseducationalfoundation.org Casio............................................9 ECM Records..............................43
April Records.............................65 casiomusicgear.com ecmrecords.com
aprilrecords.com Catfood Records........................ 51 Elmhurst University..................133
Arbors Records.......................... 35 catfoodrecords.com elmhurst.edu/music
arborsrecords.com Cellar Live.................................. 37 ESP-Disk’....................................67
Bari............................................42 cellarlive.com espdisk.com
bariwoodwind.com City College of New York...........92 Florida A&M University........... 126
Bart Marantz........................... 150 jazz.ccnysites.cuny.edu famu.edu
bartmarantz.com Columbia College Chicago........135 Florida International University....127
Berklee College of Music......... 102 colum.edu/music music.fiu.edu
berklee.edu Conservatorium van Florida State University............ 117
Blue Note Records.......................5 Amsterdam...............................173 music.fsu.edu
bluenote.com conservatoriumvanamsterdam.nl Friends University.................... 148
Bob Holz Band........................... 41 Creative Perspective Music.........4 friends.edu/finearts
bobholzband.com donbraden.com Gator.......................................... 21
Bowling Green State Cuyahoga Community College gatorco.com
University................................ 152 (Tri-C)............................................. 146 George Mason University..........97
bgsu.edu tri-c.edu/music music.gmu.edu/jazz-studies
California Jazz DePaul University.................... 147 Georgia State University......... 126
Conservatory.................... 162, 163 music.depaul.edu music.gsu.edu
cjc.edu DownBeat.............. 79, 81, 153, 169 Ghost Note Records...................42
California State University, downbeat.com ghostnoterecords.com
Northridge............................... 155 Duquense University.................89 Greenleaf Music........................69
csun.edu/music duq.edu/downbeat greenleafmusic.com
Cannonball Music........................7 Eastman School of Music......... 109 Hal Leonard............................... 63
cannonballmusic.com esm.rochester.edu/jazz halleonard.com

Hypnote Records.......................69 Nonesuch Records.....................59 University of Denver – Lamont
hypnoterecords.com nonesuch.com School of Music....................... 168
Indiana University North Carolina Central du.edu/lamont
Jacobs School of Music............ 145 University................................. 115 University of Hartford
music.indiana.edu nccu.edu/jazz The Hartt School...................... 104
J Mood Records.........................69 Northwestern University hartford.edu/hartt
jmoodrecords.com Bienen School of Music........... 142 University of Idaho – Lionel
Jacksonville University........... 125 music.northwestern.edu Hampton Jazz Festival............. 167
ju.edu/steincollege NS Design.................................. 19 uidaho.edu/jazzfest
JEN – Jazz Education thinkns.com University of Kentucky............ 124
Network....................................175 Oberlin Conservatory finearts.uky.edu/music
jazzednet.org of Music................................... 144 University of Maryland............ 103
JJ Babbitt.................................. 25 oberlin.edu/con umd.edu
jjbabbitt.com Ottawa University................... 139 University of Massachusetts,
JMARQ Records.........................69 ottawa.edu/bravesmusic Amherst......................................95
jmarqrecords.com P. Mauriat................................ 179 umass.edu
JodyJazz.................................. 180 pmauriatmusic.com University of Miami
jodyjazz.com Paul Marinaro............................67 Frost School of Music................119
The Juilliard School................. 105 paulmarinaro.com frost.miami.edu
juilliard.edu/jazz Peabody Institute......................96 University of Michigan.............141
Lawrence University................ 149 peabody.jhu.edu smtd.umich.edu
lawrence.edu/conservatory Princeton University..................98 University of Nevada, Las
Légère........................................ 23 jazzatprinceton.com Vegas....................................... 168
legere.com Roosevelt University unlv.edu/music
Lennie Moore...............................8 Chicago College of University of North Florida.......123
lenniemoore.com Performing Arts....................... 150 unf.edu/coas/music
Litchfield Performing Arts....... 138 roosevelt.edu/ccpa University of Northern
litchfieldjazzcamp.com Rovner....................................... 61 Colorado.................................. 159
Longy School of Music at rovnerproducts.com jazz.unco.edu
Bard College................................ 93 Rutgers University University of Rhode Island...... 100
longy.edu Mason Gross School of Arts....... 111 uri.edu
Manhattan School of Music...... 91 masongross.rutgers.edu University of the Pacific...........161
msmnyc.edu Ryan Meagher........................... 51 pacific.edu/conservatory
Matthew Barber........................69 ryanmeagher.com University of Wisconsin,
mattbarberexperience.com Sam Martinelli...........................67 Madison – Mead Witter School
MCG Jazz...................................48 samuelmartinelli.com of Music................................... 152
mcgjazz.org San Francisco Conservatory of music.wisc.edu/jazz
Melvin Smith.............................67 Music........................................157 University of Southern California
melvinsmithsax.com sfcm.edu Thornton School of Music........ 165
Michigan State University........137 Shifting Paradigm music.usc.edu
music.msu.edu Recoreds....................................65 Vandoren..................................... 3
Midwest Clinic......................... 143 shiftingparadigmrecords.com dansr.com
midwestclinic.org Stanford Jazz Workshop.......... 166 Vermont College
Miho Hazama.............................29 stanfordjazz.org of Fine Arts...............................110
mihohazama.com SteepleChase vcfa.edu
Monika Ryan.............................67 Productions............................... 61 Victory Musical
monikaryan.com steeplechase.dk Instruments............................... 57
Montclair State University Syracuse University................. 108 victorymusical.com
Cali School of Music................. 106 vpa.syr.edu/setnor Webster University.................. 140
montclair.edu/music Ted Klum Mouthpieces.............. 10 webster.edu/music
MVD Entertainment Group........ 55 tedklum.com West Chester University
mvdshop.com Temple University – Boyer of Pennsylvania.........................99
MVD Entertainment Group College of Music.......................101 wcupa.edu
Ozella Music................................4 boyer.temple.edu WETF The Jazz Station.............. 151
ozellamusic.com UCF School of jazzradiowetf.org
New England Conservatory.......82 Performing Arts........................ 131 William Paterson
necmusic.edu performingarts.cah.ucf.edu University................................ 107
The New School.........................85 Université de Montréal............ 174 wpunj.edu/jazz
newschool.edu/jazz music.umontreal.ca XO Brass..................................... 15
NJPAC – New Jersey Performing University of Central xobrass.com
Arts Center................................ 12 Oklahoma................................. 121 Yamaha.......................................2
njpac.org ucojazzlab.com usa.yamaha.com

HANS TAK
Blindfold Test BY ASHLEY KAHN
Endea Owens
A t this early stage of her career, the bassist and bandleader Endea
Owens — a product of the Detroit music scene (Michigan State
University ’15) and Juilliard Master’s jazz graduate — can be seen almost
nightly performing in the The Late Show with Stephen Colbert house
band. Her debut album, Feel Good Music, was recently released, featur-
ing her group The Cookout. At the helm of that band, Owens has head-
lined major jazz clubs and festivals, and a memorable Tiny Desk appear-
ance on NPR, delivering an uplifting mix of jazz, gospel and neo-soul
energy. On the day of her debut headlining gig at the North Sea Jazz
Festival in Rotterdam this summer, she made time for her first Blindfold Endea Owens with writer Ashley Kahn at this year’s North Sea Jazz Festival.
Test on the nearby Central Park talk stage.

warm and grounded. It’s going to anchor the whole band. 5 stars.
Christian McBride Trio
“Car Wash” (Live At The Village Vanguard, Mack Avenue, 2014) McBride, bass; Christian Marcus Miller
Sands, piano; Ulysses Owens, drums. “Mr. Clean” (Renaissance, Mack Avenue, 2012) Miller, electric bass; Alex Han, alto saxo-
I knew it when I first heard it — the “Car Wash” cover, and also he’s from phone; Sean Jones, trumpet; Adam Rogers, electric guitar; Bobby Sparks, organ; Fred-
erico Gonzalez Peña, electric piano; Louis Cato, drums.
Philly. This is screaming Christian McBride so much. [Later] He has a
I’m hearing all the funk. All that Larry Graham stuff. That is beautiful
tendency to start in hot, even on a ballad like “Stars Fell On Alabama.”
bass playing — from the slides and the slapping of the bass, down to the
Also, he’s coming from the school of Ray Brown, but the recording is
tone. It’s a mixture of lows and highs, and just a touch bright but not too
newer so it gives it a crisper sound. Christian has an incredible groove, so
bright, which makes me feel it’s Marcus Miller playing. The slides remind
I know I’m going to hear a little bit of ring from the fingerboard because
me of Luther Vandross [recordings]. It’s also Marcus’ kind of arranging:
he’s pulling those strings. Whew! 5 stars.
these big, grand arrangements like this tune. Another 5 stars.
Meshell Ndgeocello Rodney Whittaker
“Burn Progression” (The Omnichord Real Book, Blue Note, 2022) Ambrose Akinmusire,
trumpet; Ndgeocello, electric bass; Hanna Benn, vocals. “Just Squeeze Me” (All Too Soon: The Music Of Duke Ellington, Origin, 2017) Whittaker,
bass; Brian Lynch, trumpet; Michael Dease, trombone; Diego Rivera, tenor saxophone;
At first it sounded like Ben Williams on electric bass. If it’s not, then it Richard Roe, piano; Karriem Riggins, drums.
sounds like someone from the school of Meshell Ndgeocello, but I don’t This sounds like Rodney [pause] Whittaker. The best bass player ever.
think it’s her because she plays behind the beat a little bit more. This is He’s from the east side of Detroit. I met him when I was 15, and he’s basi-
her whole style. Her fill is like no other. Her bass playing is so melodic cally the reason why I play bass. I saw him when he came to my high
and her sound is so deep, almost like an Anthony Jackson kind of depth. school and he played solo bass — also I know this album. His groove, his
[Later] Oh, this is the new one. I actually got a chance to play with her on beat and his sound are so deep. 5 stars.
The Late Show. I played upright and she played electric. I told her I’m such
a fan. We talked about life and how to make it better. She also taught me Thundercat
how to just relax and focus on the melody and the bass line and how they “Unrequited Love” (It Is What It Is, Brainfeeder, 2019) Thundercat, vocals, electric bass,.
interact with each other, how to get that really big sound. 5 stars. Thundercat, of course. He plays a six-string bass and he has the tendency
to play really high and still get that super clean tone in his playing. His
Oscar Peterson Trio playing is remarkable, and you can hear everything that he’s studied: the
“How High The Moon”(At The Stratford Shakespearean Festival, Verve, 1956) Peterson, bebop, the funk, the R&B, the classical aspect. He’s like a gumbo pot of
piano; Ray Brown, bass; Herb Ellis, electric guitar.
bass playing. Shout-out to Thundercat — give me a lesson! 5 stars.
Wow. The quarter note fill is so — it’s in the middle but it’s just a touch on
top, which I love. My first thought was Ray Brown. It sounds like early Cory Wong & Friends
Ray, like [Oscar Peterson’s 1964 album] We Get Requests. [Later] This “Separado” (Ask For Chaos, YouTube video, 2021) Wong, electric guitars; Louis Cato,
was one of the first albums that my first bass teacher, Rodney Whitaker, electric bass; Eric Finland, keyboards; Jordan Rose, drums.
taught me with. This is an album that all bass players should know, just From the first line, it sounded like something Richard Bona would play.
pure magic. 5 stars. But then I heard the tone of the bass and his singing along and I thought,
that’s all church. It sounds like Louis Cato, my new boss, the bandlead-
Brandee Younger er on The Late Show with Stephen Colbert. What can I say about his play-
“Save The Children”(Soul Awakening, Independent Release, 2019) Younger, harp; Dez-
ing? Honestly, Louis is like a savant. The way he hears music is just sec-
ron Douglas, acoustic bass; E.J. Strickland, drums; Niia, vocals.
ond nature, and he’s been playing the bass since he was 4 years old. Also,
I’m hearing some deep, deep bass notes. The tone is beautiful, but also
Louis is from North Carolina. He does a lot of those churchy lines and
they’re really focused on holding it down and not playing any chord-
he also uses the whole facility of the bass. That’s what sets him apart.
al things, just playing the line and letting everyone else have the colors,
Nothing less than 5 stars. DB
which makes it more difficult to ID. But it takes a lot of discipline to do
that as a bass player. [Later] I forget that Dezron doubles on upright and
The “Blindfold Test” is a listening test that challenges the featured artist to discuss and identify
electric. He’s equally amazing on both. If you ever see him live, he’s going the music and musicians who performed on selected recordings. The artist is then asked to rate
to play the notes, not going to embellish too much, and it’s going to sound each tune using a 5-star system. No information is given to the artist prior to the test.


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OCTOBER 2023

President Kevin Maher

Musical Instruments & East Coast Schools

Record Companies & Schools

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Jack Maher, President 1970-2003

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4 DOWNBEAT OCTOBER 2023

When tenor saxophonist Joshua

49 Ambrose Akinmusire 52 Matthew Halsall 58 John Coltrane 59 Aja Monet

THE COLLEGE GUIDE 8 First Take 76 Transcription

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PETER MICHAEL DUFORE

Redman Comes Full Circle

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All About Alice tice. Referring to the Tawhid as “a tedious

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Alfredo Rodriguez Taps

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Rhiannon Giddens turned in an inspired set with

Umbria’s 50th Blow-out!

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McCree: You picked up the trumpet when you

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OCTOBER 2023 DOWNBEAT 19

Project Fosters Healing

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Le Boeuf Brothers Find

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ly and directly addresses or makes a certain

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‘The kind of games that

Ellington plays with the

in Blue” are unlike

anything I’ve ever heard.’

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‘There were moments when

I was wondering, “How am I