MARCH 2021

THE JAZZ EDUCATOR’S MAGAZINE

Bebop, ‘Bird’ and Keeping

Pandemic Blues at Bay

INSIDE
Basic Training

The Shape of Melody

OUTLIER’S BLUES
jazzedmagazine.com Team Playing
 Designed by professionals... for professionals.

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Contents MARCH 2021 14
features
BASIC TRAINING
THE SHAPE OF MELODY – VISUALIZATION: THE
SECRET TO IMPROVISING 12
Bandleader, sax player, and educator Miles Donahue lays
out a method for visualizing melodic shapes in service of
teaching oneself the art of improvisation.

SPOTLIGHT
JIM SNIDERO: BEBOP, ‘BIRD,’ AND KEEPING
18
PANDEMIC BLUES AT BAY 14
Though it was a challenging year, 2020 was far from
uneventful for alto saxophonist, recording artist, and
music educator Jim Snidero who released both a live
album and a book series.

LESSONS LEARNED
TEACHING ACTIVISM THROUGH JAZZ 18
Multi-instrumentalist, composer, and educator Daniel Editor’s Note ...................................................................2
Blake, Ph.D. shares the importance of harnessing the
power of jazz music to educate younger generations Noteworthy .....................................................................4
departments

about the history behind the culture – beyond just

What’s On Your Playlist? ...............................................10
“sticking to the music.”

OUTLIER’S BLUES Gearcheck.....................................................................21

TEAM PLAYING 20
Examining how Art Tatum, keyboard Backbeat.......................................................................24
giant, wasn’t necessarily adept at
Ad Index........................................................................24
“playing well with others.”
Cover Image by John Rogers
JAZZed® Volume 16, Number 2, March 2021, is published six times annually by Timeless Communications Corp., 6000 South Eastern Ave., Suite 14-J, Las Vegas, NV 89119, (702) 479-1879, publisher of Musical Merchandise Review, School Band
& Orchestra, and Choral Director. Standard Mail Postage Paid at Las Vegas, NV and additional mailing offices. Subscriptions to JAZZed are available through our website, www.jazzedmagazine.com/subscribe. POSTMASTER: Send all UAA to CFS.
NON-POSTAL AND MILITARY FACILITIES: send address corrections to JAZZed, PO Box 16655, North Hollywood, CA 91615-6655. The publishers of this magazine do not accept responsibility for statements made by their advertisers in business
competition. No portion of this issue may be reproduced without the written permission of the publisher. Copyright ©2021 by Timeless Communications Corp., all rights reserved. Printed in USA.

March 2021 • JAZZed 1

editor’sletter CHRISTIAN WISSMULLER

Mentally Correct MARCH 2021

Volume 16, Number 2

S
o I just got back from walking my dog and, on the final
PRESIDENT Terry Lowe
block of this morning’s jaunt, I was greeted by the sounds tlowe@timelesscom.com
of two dudes playing and singing along to Zep’s “Tangerine”
on their third-floor balcony. To provide further context, it’s a little before 11am and it’s PUBLISHER Greg Gallardo
gregg@timelesscom.com
12 degrees out, with snow on the way.
Much has been made – including within the pages of this magazine – of the Editorial
increased embrace of musical instruments in the past year and, while it’s certainly EXECUTIVE EDITOR Christian Wissmuller
anecdotal and in no way a metric that could serve as the basis for any business model cwissmuller@timelesscom.com
or curriculum, my own neighborhood is a living, breathing (singing, somewhat flat)
ASSOCIATE EDITOR Frank Hammel
example of this trend. fhammel@timelesscom.com
It is now a daily “thing” to hear the folks in an apartment on the street behind my
ASSOCIATE EDITOR Mike Lawson
place practicing (I’m being generous with the term) at around 1pm – amplified guitar
mlawson@timelesscom.com
and drums making all those detractors who scoffed at Meg White’s (The White Stripes)
abilities a few years ago seem way overly harsh. This is “the city” – one with amongst the Art
highest population densities in the nation (Somerville, Mass. – look it up!) – and we’ve ART DIRECTOR/PRODUCTION MANAGER
got people bashing away loudly, inelegantly in the middle of week/work days, and no- Mike Street
mstreet@timelesscom.com
body complains. I, myself, have “jammed” (hate that term…) with neighbors I had never,
prior to 2020, had any connection with beyond a junior-high-level head-nod as we SENIOR GRAPHIC DESIGNER Angela Marlett
passed one another on the street. My buddy and former bandmate has been giving his amarlett@timelesscom.com

downstairs neighbor’s son guitar lessons (kid’s just gotten The Stones’ “Dead Flowers”
under his belt. I had nothing to do with this, but I’m bursting with pride, nonetheless) Advertising

and my father, down in Florida, entertains the neighbors and residents of the nearby ACCOUNT MANAGER Matt King
mking@timelesscom.com
assisted living facility with impromptu classical guitar recitals.
Where am I going with this? Good question (wish I knew!). It’s a fair point that neither ACCOUNT MANAGER
Led Zeppelin nor The Rolling Stones have all that much to do with jazz, so what’s the Jeff Donnenwerth
jdonnenwerth@timelesscom.com
relevance to JAZZed readers? Well, while my music-playing/listening neighbors, family,
and friends aren’t necessarily carrying the torch for jazz culture, I’d wager that in the ACCOUNT MANAGER Matt Huber
past year more kids (and adults) wound up being exposed to “Take Five” or “So What” mh@timelesscom.com
than in a “normal” 12-month span, due to lockdown.
GREATER CHINA
I guess I am – like many of us are – trying to find and amplify silver linings during a Judy Wang
complex, challenging, and, for all too many, tragic time. Can you amplify silver linings? Worldwide Focus Media
C: 0086-13810325171
Mixed metaphors, perhaps.
E: judy@timelesscom.com
I suppose the point is: difficult times direct us towards sources of comfort, relief, and
joy – and for many, many people that source has been, and remains, music. Business
Back to my own reality: as I type this I’ve got tunes spinning on my turntable at loud VICE PRESIDENT William Hamilton Vanyo
volume and my downstairs neighbor is listening to Maroon 5 (boo!) on her own system, wvanyo@timelesscom.com

neither of us complaining. I’ll almost certainly (pffft – “almost”…) be plugging in and CIRCULATION MANAGER Naomi Crews
playing guitar loudly/badly along to some favorite records later this afternoon – and, ncrews@timelesscom.com
again, I never get complaints these days (that was not the case in previous years).
Making music, playing music, and learning music are some of the most cathartic,
community-fostering, therapeutic endeavors that exist. Screw that – the most uplifting
endeavors and activities there are. Every reader of JAZZed helps to further this culture
and should get no small degree of satisfaction from helping to keep others happy, 6000 South Eastern Ave., #14-J
creative, and sane as so many things in the world seem to be upended. Las Vegas, NV 89119
Here’s to joyful, safer, healthier days to come and hat’s off to all in the music educa- 702-479-1879
Fax: 702-554-5340
tion community who are contributing to keeping everyone mentally correct and safe in
the meantime.

RPMDA
JAZZ EDUCATION NETWORK

Christian Wissmuller
cwissmuller@timelesscom.com
2 JAZZed • March 2021
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Alfred’s Manus PracticeFirst and Excelcia Music
Receives NAMM’s Publishing Announce Collaboration
To provide their subscribers with a portunity to provide music educators
2021 Believe in robust selection of educational con-
tent, music software company Music-
with supplemental resources to assist
with virtual learning. “It’s so important
Music Award First has entered into a new collabora-
tion with educational music publisher,
for students to continue working on
ensemble repertoire, even if in- person
Alfred Music announced that Excelcia Music Publishing. This joint rehearsals have been temporarily lim-
Ron Manus has been honored with effort allows MusicFirst customers who ited,” said Rachel L’Heureux, director of
NAMM’s annual Believe in Music have subscribed to their performance marketing, MusicFirst. “By expanding
Award, which recognizes the dedica- assessment software, PracticeFirst, to the PracticeFirst content library to in-
tion of individuals and businesses that access Excelcia Music Publishing’s con- clude Excelcia Music Publishing titles,
demonstrate a commitment to music cert band, orchestra, and choral titles we’ve been able to add a wealth of
and music-making. Joe Lamond, pres- in the app at no additional cost. new choral, band, and orchestra titles
ident and CEO of NAMM and Dan Del As a composer-led publisher, Ex- for teachers to choose from. We’re in-
Fiorentino, music historian at NAMM, celcia Music Publishing provides new credibly happy to be able to increase
presented the 2021 Awards. flexible and full-version school perfor- access to repertoire, especially now.”
Lamond and Del Fiorentino praised mance music, as well as solo, chamber These new inclusions in the Prac-
Manus for his contributions to the in- music and resources for music edu- ticeFirst content library answer a
dustry and NAMM’s Oral History pro- cators. “Excelcia Music Publishing is popular request from teachers: pieces
gram. “It’s been fantastic to work with thrilled our music is now accessible to with flexible instrumentation. Excelcia
him,” they said, noting that Manus has educators in the PracticeFirst content Music Publishing’s Flexcel Concert
dedicated his life to music education, library,” said Larry Clark, president, Ex- Works series is scored by key rather
has served on the NAMM board, and celcia Music Publishing. “Excelcia Mu- than instrument and provides genuine
advocated for the industry in Washing- sic Publishing’s catalog is filled with flexibility to the modern classroom. Fl-
ton DC. “Ron is a part of the family and new pieces from outstanding and ded- excel band works can be played with
we look forward to many, many great icated composers at all grade levels, any combination of wind, string & per-
years ahead.” and PracticeFirst provides an invalu- cussion instruments. Flexcel orchestra
“NAMM is such a great organiza- able tool to keep students engaged, works can be played with any combo
tion – it’s hard to imagine where we practicing and learning our fantastic of string instruments and optional pi-
would all be navigating this crazy year pieces. We look forward to a long and ano.
without their help and guidance,” said wonderful collaboration with Practice- These pieces provide teachers with
Manus. “I want to thank Joe, Dan, Eric, First to provide their subscribers with more flexibility to create dynamic
and the entire NAMM team, who do Excelcia Music Publishing’s dynamic chamber ensembles during hybrid
so much to make this industry a better and educationally-sound music, and and virtual learning, and then expand
place. together I know we will enhance cur- to fully-scored versions of the pieces
“I feel truly lucky to receive an award ricula and inspire students.” once full rehearsals resume.
for doing something that I love in an With widespread adoption of the For more information, visit MusicFirst
industry that I love,” Manus continued. PracticeFirst app during the COVID-19 at musicfirst.com and Excelcia at excelci-
“My grandfather, Sam Manus, started pandemic, MusicFirst saw this as an op- amusic.com
Alfred Music in 1922, 99 years ago, and
I feel so blessed to be able to continue
to be a part of the dream he started. I
owe so much to my awesome parents New Rousseau Mouthpieces Website is Now Live
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with our partnership with MakeMusic, support it with a more active and contemporary marketing campaign. Visitors to the
Alfred is once again evolving and writ- all-new Rousseau Mouthpieces website can see the result of that commitment with the
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4 JAZZed • March 2021

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noteworthy
Georgia Southern University Establishes the Fred and
Dinah Gretsch School of Music Gretsch Company owners Fred and Dinah

GPA PHOTO/STEPHEN B. MORTON

Gretsch at the corporate headquarters
With approval from the University System of Georgia Board of
Regents, Georgia Southern University has established the Fred and
Dinah Gretsch School of Music. The university’s music program be-
comes the newest addition to the Gretsch family, which includes
country music icon Chet Atkins, legendary rock drummer Charlie
Watts, the Beatles’ George Harrison, the late great Malcolm Young
of AC/DC, rockabilly and swing king Brian Setzer, the Country Music
Hall of Fame and Museum, and more.
Naming the university’s school of music comes after Fred and
Dinah Gretsch pledged substantial funding plus their Gretsch Col- • The Distinguished Scholar in Guitar/Music Industry, an assistant
lection of historic drums, guitars, and company archives to Geor- professor in the music school’s new music industry program who
gia Southern. While the school of music will now bear the Gretsch will also work closely with the museum and library to document,
name, the company’s influence will be felt across all campuses and curate and promote the Gretsch Collection.
in several academic departments, the museums and the library. • The Gretsch Collection Curator of Permanent Collections, a po-
Georgia Southern will be able to catalog and display Gretsch’s sto- sition in the Georgia Southern Museum who will provide all aspects
ried instruments – a collection estimated to be valued in the mil- of cataloguing, registration, collection management, maintenance
lions – that tell a compelling story of musical history from Ameri- and upkeep duties including activities involving the permanent
can jazz to English-born rock to popular modern worship bands in Gretsch Collection, loans and exhibitions, access to collections for
Australia. scholarly research, and in support of university classes and day-to-
Downtown Savannah has already been identified as an exhibit day operations.
venue for the Gretsch Collection. Georgia Southern is establishing • A project archivist for the Gretsch Archival Records, a three-year
the Fred and Dinah Gretsch School of Music Performance Stage at position in University Libraries who would primarily be responsible
the Atlantic Building of the new downtown Plant Riverside District. for the arrangement and description of the Gretsch archival re-
Within that building, exhibit space will highlight Gretsch instru- cords, to include print, photographic, audiovisual and digitally born
ments and storyboards with QR code links to the Gretsch history materials.
and legacy. Similar exhibits will be planned at the Georgia Southern • Two graduate assistantships in the Department of History for
Museum in Statesboro, as well as the Fine Arts Hall at the Armstrong students who will help in organizing, cataloguing, researching, and
Campus, and can be packaged for partner shows around the world. preserving the Gretsch family’s collections, exhibits, documenta-
With the agreement, Georgia Southern will create the following tion, and digitization.
positions: For more information, visit https://cah.georgiasouthern.edu/music.

Applications for JEN’s 13th

Ten U.S. Schools Named ‘Yamaha Institutions of Annual Conference Now Open
Excellence’ The Jazz Education Network (JEN)
Yamaha has named 10 distinguished colleges and universities to its inaugural invites those who are interested
Yamaha Institution of Excellence program, recognizing extraordinary commitment in performing or presenting at the
to innovation in the study of music. This year’s recipients are: group’s 13th annual conference to
• Auburn University apply. The conference is set for Jan.
• Berklee College of Music 5-8, 2022. Applications are being ac-
• Eastman School of Music, University of Rochester cepted in the following categories:
• Southeast Missouri State University – Holland College of Arts and Media Performances (School, Community,
• SUNY Potsdam’s Crane School of Music Professional); Clinic Presentations
• The New School – The College of Performing Arts (Classroom Teaching/Education,
• University of Alabama in Huntsville Composition/Arranging, Technol-
• University of Kentucky School of Music ogy, Improvisation, Instrument
• University of North Texas Technique, Jazz Industry/Business/
• University of Southern California – Thornton School of Music Artist Development); Research Pre-
The Yamaha Institutions of Excellence were chosen for their dedication to pro- sentations (Presentations, Posters).
viding unique and challenging experiences to music students through diversity of Applicants must be JEN Individual
thought and curriculum. They are also recognized for exposing students to a wider Members, Chapter Organizers, or
variety of voices and opportunities and preparing them for the modern world of Corporate/Institutional Members. To
music. apply, go to jazzednet.org/applynow.

6 JAZZed • March 2021

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noteworthy
Guitar Center Music Foundation Raises More than $500K to Assist Music Programs in Need
The Guitar Center Mu-
sic Foundation (GCMF), a
non-profit organization
focused on granting instru-
ments and equipment to
music education and music
therapy programs, has re-
ceived more than $500,000
via a series of Guitar Center’s
in-store and online fundrais-
ing initiatives known as the
“Round Up Your Change”
program with all funds used Students from Upperman High School in Baxter, TN holding their new guitars. Upperman High School also received a new DW drum kit.
to help keep music education programs alive. gram has been so well received by the customers of Guitar Center.
During these fundraising drives, Guitar Center customers were Despite the financial and personal challenges in this country due
given the option of donating to the Guitar Center Music Founda- to the pandemic, people are still reaching into their pockets to
tion by rounding up their purchase to the nearest dollar, giving help support music education and music therapy. It is a real testa-
customers an easy way to support music education during the ment to the kindness and compassionate of the public for music,
challenging times of the current pandemic crisis. music education and our foundation.”
From July 5 to Aug. 1, and then from Sept. 7-Dec. 31, the “Round Wayne Colwell, Guitar Center EVP, Store Operations, re-
Up Your Change” programs encouraged 52 percent of Guitar Cen- marked, “Music participation is an essential element in the fabric
ter customers to donate, with a total of 829,320 transactions at of our society. At Guitar Center, we learned that more than ever
an average donation of 61 cents. With these donations, 28 music this past year. In support of music programs around the country,
programs across the country were able to receive grants so far, we worked with the Guitar Center Music Foundation to devel-
with more planned for 2021. op the ‘Round Up Your Change’ program in our retail stores and
Among the music programs that benefited from the “Round online as a means to deliver the emotional healing experience
Up” donations include Upperman High School in Baxter, Tenn.; one receives through that gift. A simple concept of ‘rounding up’
Newton County Middle School in Decatur, Miss.; Jordan High to the nearest dollar when checking out is helping to keep mu-
School in Los Angeles, Calif.; Norfolk Middle School in Norfolk, sic education alive and available in our nation’s underprivileged
Nebr.; and others. schools and communities. We are grateful to the over 800,000
The musicians at Upperman High School were able to ease customers who helped us raise more than $500k in 2020. Guitar
some of the pain of a particularly difficult 2020 with its recent Center is dedicated to ensuring that music is an integral part of
grant from GCMF – in addition to the pandemic, the school’s com- as many lives as possible.”
munity of Baxter, TN was also ravaged by tornadoes on March 3, A subsequent Guitar Center “Round Up Your Change” initia-
2020, and a number of other tragedies resulted in the loss of mul- tive ran from Feb. 28 to March 27. Music programs in need that
tiple members of the school’s tight family. would like to be considered for a grant from the Guitar Center
The school’s choir director and commercial music instructor, Music Foundation should visit guitarcenterfoundation.org/grants/
Emily Phillips was especially thankful for the instrument grant grants-info.
which included new guitars, new keyboards for the practice
rooms, and a full complement of drums and practice pads where
before they were using buckets for the percussion units to keep
Fiona Ross Launches Women in Jazz
the young musicians uplifted, inspired and engaged. Media Organization
“This past year has been devastating, with natural disasters, Jazz musician, editor, and journalist
the pandemic, and personal tragedy framing these months with Fiona Ross announced the launch of an
heaviness and grief. But we know music is a healer, so there was new organization, Women in Jazz Me-
no choice, but to keep at it,” said Phillips. “You can tell from the dia. Ross describes this new and grow-
students’ demeanors how stressful this year has been, with funer- ing digital network as a place to explore,
als in our community being a regular occurrence and quarantines discuss and collaborate with women
due to pandemic exposure making any sort of routine a non-re- who work in jazz media, whether that be
ality. But then the truck from the Guitar Center Music Foundation journalists, photographers, publishers, editors or musicians.
showed up literally a week before the one-year anniversary of the “This shows that people feel there is a need for some-
major tornado, and it provided not only instruments and excite- thing like this,” Ross noted. “I have received emails from peo-
ment, but also just the perfect distraction at the right moment ple across the world wanting to be involved and loving the
for us. I don’t have the words to express my gratitude to all who idea of a platform such as this.” She also noted the upcoming
contributed.” launch of a monthly podcast and webinar series. For more, go
David Helfant, chairman of the Board of the Guitar Center Mu- to womeninjazzmedia.com.
sic Foundation, added, “I am delighted that the ‘Round Up’ pro-

8 JAZZed • March 2021

playlist TONY GLAUSI

WHAT’S ON YOUR PLAYLIST?

ALE PATRON
BY CHRISTIAN WISSMULLER

N
ew York- based trumpeter, keyboardist, vocalist, composer, producer, and ed-
ucator Tony Glausi has made a name for himself collaborating with the likes
of Randy Porter, Peter Cincotti, and Halie Loren, amongst others. Winning
the 2017 Laurie Fink Career Grant afforded him the opportunity to be mentored by
Wynton Marsalis, while other accolades include top honors in the ITG Internation-
al Trumpet Competition, first-place at the 2017 Carmine Caruso Solo International
Trumpet Competition, and a win at the 2014 National Trumpet Competition.
Glausi has produced six well-received albums of his
own music and continues to foster ever-growing buzz

ALE PATRON
amongst fans of all ages across social media platforms.
He has toured globally, playing at renowned festivals and
clubs including the Montreux Jazz Festival in Switzerland,
the Leopolis Jazz Festival in Ukraine, the New Morning in
Paris, and the Blue Note in New York, while also having
performed as a featured guest artist with ensembles such
as the United States Marine Corps All Star Jazz Band, the Eugene Symphony, and
many others.
Tony Glausi is on teaching staff at The New School for Jazz and Contemporary
Music in New York and has also held teaching positions at the University of Oregon
(where he completed his degrees), and the John G. Shedd Institute for the Arts,
where he founded the Shedd Youth Jazz Orchestras.

1. “Heaven is 10 Zillion Light Years Away” 3. “Freddie Freeloader”

Stevie Wonder – Fulfillingness’ First Finale Miles Davis – Kind of Blue
My dad got me into Stevie when I When I was 10 years old, I started play-
was super little. I used to bounce up and ing the trumpet – began early on the pia-
down in the living room, dancing to all no – and for Christmas that year my uncle
his records from the early-mid ‘70s, and gave me a copy of Kind of Blue. It was the
to this day he is still my favorite musical first CD I’d ever been gifted and the first
artist. I remember listening to this album, Miles [album] I’d ever paid attention to. I
in particular, for hours on repeat while had heard my older sister practicing sax-
in the basement playing with Legos and ophone along with Bird and Dizzy albums, but it wasn’t until get-
what-not. Every tune on here is an absolute hit in my mind, but ting into Kind of Blue that improvisation really spoke to me. To this
this song really gets me. Read the lyric by itself as a poem and day I recommend all trumpet players learn Miles’ solo on this tune,
you’ll see what I mean. A few other artists and bands I grew up lis- and I frequently use this track when referring to favorite swing
tening to, from which I continue to draw inspiration, include Are- feels.
tha Franklin, Tracy Chapman, Earth Wind & Fire, Michael Jackson,
Queen, Paul Simon, and The Beatles. 4. “I Think, I Love”
Jamie Cullum – The Pursuit
2. “Moonlight Serenade” – Glenn Miller Orchestra One day my aunt dropped off a copy
My mom always had Glenn Miller play- of Jamie Cullum’s Catching Tales and I was
ing in the car. Her dad (also a trumpet immediately hooked. The songs were
player) had raised his family on big band magical and his voice and piano playing
music and, so the tradition was passed were very inspiring to me as a young pi-
down. My siblings and I had all the solos anist and singer-songwriter. I was in high
memorized and would sing along in the school when he came out with The Pursuit
back seat on long road trips and going and this particular song from that album – another bright and col-
to and from dance class or whatever. My orful mixtape – remains my favorite. It’s an absolute gem.
parents were also deep into classical music, my favorites being
Tchaikovsky, Shostakovich, and Chopin.

10 JAZZed • March 2021

5. “You and the Night and the Music” 8. “Dust it Off” – The Dø
Bill Evans – Interplay I first heard this in the film “I Origins.”
This Freddie Hubbard solo was the This song helped me get back into sing-
first full trumpet solo I ever transcribed – I ing and songwriting after years spent fo-
think I was 16 years old. I remember be- cusing more on the trumpet. Mesmerizing
ing particularly drawn to his time feel and melody, unique production, and the mov-
big sweeping lines. And what a band! Bill ie itself very inspiring. I grew up in a film
Evans on piano with Jim Hall on guitar, family, the kind that watched one almost
Freddie on trumpet, Percy Heath on bass, every night together. Some of my favorite film wcomposers in-
and Philly Joe Jones on drums. These are some of my very favorite clude Thomas Newman, John Williams, Alexandre Desplat, Ennio
players on each instrument and the tune selection, mix, and over- Morricone, and Michael Giacchino.
all production make the album a real treat all the way through.
9. “What If I Go?”
6. “Potato Head Blues” – Louis Armstrong Mura Masa – Mura Masa
It took me a while to get into early re- I happened upon this track and subse-
cordings, but when I finally heard this I quently got lost in a new world of modern
was in – all the way in. In a way, I haven’t music quite unlike the swing, symphonies,
been able to get past Pops since falling in and R&B I had grown up with. This song
love with him… the king of swing! What a (and Mura Masa’s whole debut album)
joyful soul. Masterful melodies and phras- lit my life up at a time when I desperate-
ing all the way through this song, and ly needed something new. It influenced
from here, of course, I found more and more to sift through and my writing and took me into a phase of listening, including other
study. Some of my other favorites include Cornet Chop Suey, Hotter contemporaries such as Louis Cole, Gabriel Garzon-Montano, and
Than That, I Double Dare You, Basin Street Blues, and Struttin’ With Terrace Martin.
Some Barbeque.
10. “CAP.X CORDURA – Maldición”
7. “Wesley’s Theory” Rosalía – El Mal Querer
Kendrick Lamar – To Pimp a Butterfly Rosalía is my favorite new artist of the
I heard the singles from this album, past several years. This album in particular
but didn’t think much of it until months synthesizes so many styles I love and her
later when enough people had asked me voice is angelic. The record takes you from
why I hadn’t listened through the whole the club through the streets of Spain to
record. Of course I finally did and I was the cathedral and back. I often start here
struck right from the start of the first track. at chapters 10-11 before listening again
I’d always enjoyed the music of J Dilla, Jay from the top. I’ve spent a lot of time in Spain and this music (along
Z, D’Angelo, and earlier hip hop artists, but TPAB covers different with that of Alejandro Sanz) keeps me at bay while I’m home in
ground and the production is unparalleled. I listened to the whole New York.
album two or three times a day for months until it lifted me out of
a deep emotional rut of my own. Powerful. Got me into producing Tony Glausi’s latest album, When it All Comes Crashing Down
for the first time, too. (Outside in Music), dropped on November 17, 2020.
www.tonyglausi.com

JAZZed is the PREMIER MAGAZINE about jazz and jazz

education that you do not want to be without.

GO ONLINE TO SUBSCRIBE:
JAZZEDMAGAZINE.COM/SUBSCRIBE
March 2021 • JAZZed 11
basictraining

Visualization:
The Secret to Improvising
BY MILES DONAHUE

I
mprovising is an autodidactic (self-taught) skill. The most viable you play the solo, if there is a mistake you can correct it and under-
way to teach oneself to improvise is to visualize melodic shapes stand why the note selected was wrong. Because you know the
through the understanding of music theory. You must be able sound of the solo, by using the graph, you can visualize and hear
to hear the sound of these shapes and execute them on whatever the transcription as it unfolds in all the keys.
instrument you play. Then, through trial and error, a person can After doing a few of these 12-bar blues solos in every key, there
teach oneself the art of improvising. will be no need to write them out since you will have learned to vi-
Now, there are some supremely talented people who learn to sualize by thinking of the chords and the improvised melody that
improvise without this ability and, if you are one of them, this ar- implies them. By singing the solo, you are doing ear training and
ticle is not for you. Musicians learn to improvise by imitating the you will develop perfect relative pitch.
masters of improvisation and then developing their own style The transcribed solo that follows is a section of Charlie Parker’s
through practice and invention. To learn to improvise at a high 1951 recording of “Au Privave.”
level, wait to improvise until you understand some of the tools
that are employed by those masters of improvisation. I have in- In a career spanning over 50 years, New
vented a graph to help achieve this skill. In a master class at an England-based bandleader, sax player,
Aebersold clinic, Chris Potter said that when he comes up with a and jazz educator Miles Donahue has
complicated musical line he will write it out in one key and then performed on and recorded 14 albums.
use his mind to play it all of the keys. His third album with Mike Stern is coming
Usually when a student tries to play something in different keys out in 2020 on Whaling City Sound.
and makes mistakes, they correct it using only their ears – they Donahue is currently a visiting professor
know what sounds correct, but they don’t know why. The way my at Middlebury College, teaching a class
graph works is first you will play along with the 12 bar transcribed on the music of Motown and popular
solo by a master musician. When you can sing it and play it per- piano styles. His site, www.jazzwork-
fectly you go to the graph. The graph shows the shape of the im- book.com, offers an effective course for new players to learn jazz
provised solo, using numbers that relate to each chord. Next, you improvisation and for seasoned players to learn fresh approaches to
fill in the boxes with the correct notes in a different key. Now when soloing.

12 JAZZed • March 2021

Charlie Parker, Au Privave | Loop 31–42

*
I I7 IV

5 5 3
3 4 3 4 4 3 1
2 1 2 1 2 5 6
1 7 7

í6 5 í5 5

IV7 IVm6 Imaj7 IV7

5 5 7
í
7 6
í6 7
3
3
1
3 3
3 5 í6 5 í6 5 4 3 ½
6 5 6 6
7 1 í2 7
step
app

**

IIm7 V7 I
1 1
7
9
7 5 ì5 3
5 5
3 3

5 5 6
2

* maj pentatonic (12345) anticipate the IV chord

** chromatic scale
© Miles Donahue, Jazz Workbook

Live purposefully

music.luther.edu Luther College Music

Generous, renewable scholarships and an abundance musicatluther

of performance opportunities, regardless of major.

March 2021 • JAZZed 13

spotlight
JOHN ROGERS

Bebop, ‘Bird’, and Keeping Pandemic Blues at Bay

BY VICTORIA WASYLAK

2
020 could have been a “nothing” year for Jim Snidero, and it of who I am as a jazz musician,” the foreword of the book explains),
would have been totally understandable. For many musicians, and Live at the Deer Head Inn exemplifies a special kind of musical
last year was exactly that – a period of little time spent with fortitude: the kind that comes after a months-long creative-stand-
bandmates (if any at all), and little time devoted to performing. With sill-turned-practicing-spree, spurred on by a pandemic. Despite the
the COVID-19 pandemic putting most musical ways of life on hold, eerie silence of 2020 (especially regarding cancelled celebrations
how could 2020 have gone any other way? for Charlie Parker’s much-anticipated 100th birthday), each project
Yet it was far from an uneventful year for the alto saxophonist, is an exercise in raising joyful noise despite the circumstances.
recording artist, and music educator, who released not only a live Snidero likely needs no introduction for fellow music educa-
album, but also a book series in 2020. Both Live at the Deer Head tors, but his many credits in the jazz world bear repeating. Raised
Inn and The Essence of Bebop draw from places of inspiration and in Camp Springs, Maryland, he knows how to play and teach be-
awe, even in these darker times. The Essence of Bebop is just as much cause he himself learned both skills from another jazz standout:
an homage as it is an educational tool (“Bebop is the foundation Phil Woods. His time at the University of North Texas brought

14 JAZZed • March 2021

 at The New School in New York, and has been a visiting professor at
The real game changer for me Princeton University and Indiana University.
was when I moved to New York and “I couldn’t have done it alone, that’s for sure,” he reflects. “There
are great people at Advance Music and Savant Records that believe
started touring and recording with in my work, and helped me see these projects through. It’s import-
ant to have vision and a strong work ethic, but you’re always better
organist Jack McDuff. Here I was working as a team with talented people, and that of course includes
traveling around the country with a all the fantastic musicians involved in these two projects.”
“As for 2020, I’m a longtime New Yorker, and my heart was com-
jazz legend, working like 300 days a pletely shattered seeing all the death and suffering in the city,” he
adds. “It was just so scary and real, even worse than 9/11. I just hap-
year making a living playing real jazz. pened to be able to find a certain amount of solace in my music.”
But the gig mostly called for bebop Read on to learn more about both Live at the Deer Head Inn and
The Essence of Bebop.
and hard bop, very little “outside”
Was working on this series a natural progression for you, after
music, so I had to dig deeper. releasing The Essence of the Blues? How long have you been
working on this series?
In 2017, my long-time publishing company Advance Music
asked me to write an etude book focused on the blues. There are
many ways to play a blues, but it’s still a fairly specialized subject
with mostly the same song form. So yes, it seemed logical and nat-
ural for me to expand the scope to bebop and hard bop. It’s some-
thing that I’ve studied and thought about for a long time, and have
had a lot of experience both playing and teaching, so I felt com-
fortable with the subject matter and was actually quite enthusiastic
about the project.
In the summer of 2019 I began composing, then recorded all the
play alongs that are included with the series in December at a great
studio in New York. The series currently has six different instrument
editions- alto sax, tenor sax, trumpet, trombone, flute and clarinet
- so it’s a pretty involved recording process (a piano/guitar edition
will be released this summer). Fortunately, we completed the play
alongs before the pandemic, and the musicians sound incredible.
It’s just so fun to play along with these tracks, very swinging and
real.
Somewhere along the line it hit me that if I wrote a fairly in-
depth analysis for each etude focused on improvisation that it
might be more useful to both individuals and improvisation classes,
so I finished up writing all of that in January 2020, then went on tour
for a month with both my own group and Veronica Swift. When I
returned home in March, all hell broke loose in New York with the
pandemic.

Did the pandemic impact the rollout or creation of this series

The Essence of Bebop
at all?
him play as a member of One O’Clock Lab Band. After learning Absolutely! We were originally going to release the series around
under Dave Liebman, Snidero relocated to New York City, where Bird’s 100th birthday anniversary in August, but all production was
his career as a sideman began – and quickly skyrocketed – after halted at Advance in March, and it was questionable if the series
working with Brother Jack McDuff. Since then, he’s worked as would be produced at all in 2020. I wrote to the publisher explain-
a sideman on albums with Frank Sinatra, Toshiko Akiyoshi, the ing why I thought the project should move forward, and I was
Mingus Big Band, Eddie Palmieri, Brian Lynch, and countless oth- pleasantly surprised that they agreed. We started back up in July
ers. As a bandleader, he’s released over 20 albums, including his and released the series in December.
2020 effort Project-K.
Snidero’s career in publishing began in 1996 with his Jazz Con- The 10 etudes are inspired by bebop legends – how did you
ception series, which now spans over 40 books. His series The Essence pick who you wanted to model them after?
of the Blues was released in 2018, which set the stage for The Essence Obviously with ten etudes you’re not going to cover everything,
of Bebop. As an educator, he currently is an adjunct faculty member and the book is actually divided equally between bebop and hard

March 2021 • JAZZed 15

spotlight

Veronica Swift with Jim Snidero Jim with Kim Parker

bop, so that’s an even broader time frame. But there are a few artists the way a solo unfolds and progresses in a musical and effective
that were super influential as both improvisers and instrumental- manner. That applies to any level. It’s not a concept that is discussed
ists, which was my basic criteria, so it’s possible to cover quite a bit. much in jazz education, but many great players think about solo
Without question, Bird had a profound impact on virtually ev- construction and develop those concepts on the bandstand. And
eryone, so no matter who you chose, one way or another, Bird’s even if they haven’t consciously thought all that much about a solo
concepts are going to be part of the music. The other “pure” bebop arc, they’ve developed the instincts to put it together.
giants are Dizzy, Bud, and Monk – each of which influenced both
the music and their instrument. What first drew you to bebop as a young player? Tell us more
Miles and Rollins straddled both bebop and hard bop, and were about your relationship with this specific style.
some of the most influential musicians of the 20th century, so that Honestly, I didn’t know that much about bebop when I was a
was clear, but the last four were a little more subjective. In the end, teenager. But I loved Phil Woods, got to study with him a bit, and
I chose Trane and Freddie Hubbard, both of which were leaders of just tried to play like that, which of course is bebop. I mean, we
the hard bop movement before moving on to incredible things, and worked on basic bop chord progressions, but I didn’t really get deep
then two hugely important hard bop groups; The Jazz Messengers into it until I went to The University of North Texas, where I was in-
and Horace Silver’s quintet. So many giants passed through these troduced to all the great players and language.
two groups that are personal favorites of mine- Hank Mobley, Ken- The real game changer for me was when I moved to New York
ny Dorham, Lee Morgan, Joe Henderson, JJ Johnson- the list goes and started touring and recording with organist Jack McDuff. Here
on and on, so I felt I could include some of their concepts in these I was traveling around the country with a jazz legend, working like
two etudes. 300 days a year making a living playing real jazz. But the gig mostly
called for bebop and hard bop, very little “outside” music, so I had
I saw there were some features in the book, like alternate to dig deeper.
simple riffs, to help less advanced players. Who is the “ideal” On top of that, I was hanging out and playing with some incredi-
reader or student for this series? ble peers and older practitioners, and they were very generous with
As is the case with all of my educational materials, I strove to their knowledge. Guys like Tom Harrell, Frank Wess, Brian Lynch, and
make this series as accessible and fun to the widest range possible. many others. Between gigs and hanging out, it was a serious im-
Bebop by definition is going to have technical challenges, but we’ve mersion into the music.
included alternate riffs during double time passages and slower
versions on the play along for the two most difficult pieces, which Making a live album is absolutely an art form. You decided in
will help with technical issues. two days that this rebooked show was going to be a live al-
However, the inclusion of analysis, exercises, practice sugges- bum. What pushed you to decide that? How did you prepare?
tions and historical perspective will be helpful to virtually any lev- Well, I saw it as an opportunity to fight back against this horrific
el. The great tenor saxophonist George Coleman mentions in his pandemic. The Deer Head Inn is located in a fairly rural area just over
endorsement that he recommends the material to both students the New Jersey border in Pennsylvania and had a much lower infec-
and professionals, and I think that has some merit. It’s as much an tion rate than New York, allowing venues to operate at 50 percent
improvisation book as anything, and there’s plenty of theory, but it capacity. It’s a pretty big room, so the crowd was spread out and not
goes beyond the math. too near the stage, which gave me confidence that everyone would
For example, something I talk about is the solo “arc,” meaning be safe. The Deer Head is actually the longest continuous operating

16 JAZZed • March 2021

 JOHN HERR
We were all just so damn happy to get
in front of people, and the band is so on it,
very swinging and interactive. On a couple
of levels, it took some courage from both
the band’s and audience’s perspective to do
this live date, but it was totally worth it.
jazz venue in the country, and several live records nothing specific to prepare for, so that gave me
have been made there including Keith Jarrett the freedom to start cutting certain ideas loose
and Phil Woods. and develop new things in my playing. It was a
The thing was that it would be exactly eight unique opportunity, and honestly, I haven’t been
months since I had stepped on stage, which was this excited about growth in a while. For example,
a little scary, and the band members- Orrin Ev- there are moments on “Autumn Leaves” that are
ans, Peter Washington and Joe Farnsworth- were new for me in regards to harmony.
in a similar situation. There’s a certain flow and
confidence that comes with performing live, so What was it like to perform with Kim Parker in
to counter the lack of gigs, I went with a set of the audience?
standards, which I thought would allow us to re- Oh man, it was like God’s daughter was in at-
lax and take more liberties with the music. And tendance! There was a time when I was obsessed
man, the music is pretty good. We were all just Snidero’s 2021 album Live at the Deer Head Inn with Bird; his music, his life, his voice, you name
so damn happy to get in front of people, and the band is so on it, it. Years ago I remember strolling by old buildings in midtown Man-
very swinging and interactive. On a couple of levels, it took some hattan and thinking “Bird was probably walking here, looking at
courage from both the band’s and audience’s perspective to do this this building.” Having a person right there in front of you that shares
live date, but it was totally worth it. Bird’s genes, that was beyond description.
Kim is the sweetest lady, so encouraging and complimentary,
I was pleasantly surprised to read in the liner notes for your totally puts you at ease, and happy to talk about life with Bird.
album, that upon reflecting on all the new time you had to She was at the club all night, and you can actually hear her yell
practice once COVID-19 took hold in the states, you comment- “yeah” on the recording after we finished “My Old Flame,” one of
ed “I somehow felt inspired.” I would love to hear more about Bird’s signature ballads. After the gig, we sat around and talked
why you think that time inspired you, and what that inspira- for about an hour, a dream come true. I’ll cherish those moments
tion did for you, musically and mentally. forever.
It was about having the time and space to discover new possibili-
ties with the music. Most good musicians have periods when they’re Live at the Deer Head Inn will be released on March 26; all editions of
practicing just to maintain their chops, and periods of true growth, The Essence of Bebop are available to purchase now at
and this happened to be the latter. There were months when I had www.jimsnidero.com.

March 2021 • JAZZed 17

lessonslearned
Teaching

CHRISTOPHER DRUKKER
Activism
Through Jazz
BY DANIEL BLAKE, PhD.

I
have spent my entire professional life as a white person learn-
ing about, performing, and teaching Black improvised music.
When I first started teaching courses in jazz history, I began
by “sticking to the music” without realizing I was applying a Eu-
ro-centric principle that separates art from its social context. While
part of me intuitively knew this pedagogy was off base, there was
a certain comfort in simply teaching the way I was taught. That
comfort was shaken irreversibly one night in 2012 when I learned
backstage before a show of the tragic and senseless murder of
Trayvon Martin. I recall speaking about this with an African Amer-
ican friend and bandmate, who shared with me how the situation
made him fear for his young son. I felt at that moment a sudden
realization: my ability to play and teach jazz music was a precious
gift bestowed upon me by a community that has had to make un-
speakable sacrifices. This gift brought with it a moral obligation I
had best attend to.
As I set about re-educating myself, it became clear that even
well-known stories of jazz activism are told in a way that often
misses historical continuities with the present. If these continu-
ities were clearly perceived, students would be better positioned
to connect their music to a world beset by crisis.
Daniel Blake
Around the time I learned
of Trayvon Martin’s murder I There is also a perverse historical consonance here, given how
became interested in the sto- law enforcement impugns African American victims of police vi-
ry of Abel Meeropol, the Jew- olence as drug addicts, even creating racialized categories like
ish-American labor activist “black identity extremist” to justify the warrantless surveillance of
who cited the horrific photo protesters of color. While part of me resonates with Abel Meero-
documenting the 1930 double pol’s virtuous gesture of solidarity in writing “Strange Fruit,” I can
lynching of Thomas Shipp and also detect in myself a voice of complacency telling me I can write
Abram Smith as an impetus music as a way of “speaking out” while avoiding more active and
for writing “Strange Fruit.” The potentially costly interventions. In the classroom we must be clear
song became perhaps the most
famous example of jazz activ-
ism only after Billie Holiday delivered her iconic 1939 recording,
which she followed up with regular performances of the song
All White musicians who make a living
until her untimely death 20 years later. As depicted in the new playing Black music have a moral obliga-
film United States v. Billie Holiday and elsewhere, Holiday’s death
was almost certainly hastened by FBI agent Harry Anslinger, tion to speak about racial injustice… If you
who weaponized her struggles with substance abuse as a way
to silence her. It was Holiday, and not Meeropol, who paid dear-
benefit from being invited into Black culture,
ly for singing “Strange Fruit.” Her sacrifice plugs directly into the
anti-lynching movement forged by Ida B. Wells and other Black
your debt, your bill, is bigger than mine at
women, an important precursor to the Black Lives Matter move- the end of the day. – Nicholas Payton
ment.

18 JAZZed • March 2021

 My ability to play and teach jazz music was a precious
gift bestowed upon me by a community that has had to make Multi-instrumentalist and composer
Dan Blake has developed a wide-rang-
unspeakable sacrifices. ing career as a contemporary composer,
performer, and educator that, “regards
when discussing the example of “Strange Music Workers Alliance are busy develop- tradition as a welcoming playground best
Fruit” how it is people of color who too ing solidarity around a fight for fair wages approached with a sense of wonder and
often have to make the real sacrifices. Re- for everyday gigging musicians, the We adventure” (The Boston Globe). He has
cent history reminds us that this dynamic Have Voice Collective empowers female worked with luminaries of jazz like three-
has not changed, making plain the need and gender non-conforming musicians to time Grammy winner Esperanza Spalding,
for new innovative strategies for a plural- demand that all jazz institutions create a NEA Jazz Master Anthony Braxton, Julian
istic and multi-racial 21st century activ- safe work environment. Lage, and many others.
ism. Artists are continually innovating new On March 12, 2021
Right from the beginning of jazz in ways to occupy spaces through sound Dan Blake released Da
New Orleans, musicians have had to forge and, most importantly, through dialogue. Fé on Sunnyside Records.
a new kind of cultural space out of one We must also occupy the classroom with He also holds a Ph.D. in
created for a white patriarchy. I have been new ideas, so that we can forge a respon- composition from the City
thinking about “occupation” as a meta- sive education system for changing times. University of New York
phor for how jazz musicians have refash- I am always humbled by the fact that jazz and is currently on faculty at the New School
ioned the pop music idiom, especially activism began in the streets of New Orle- for Social Research, where he teaches courses
during the Bebop years. I am not thinking ans, and ultimately must return to street on the intersection of music and politics.
of the violent colonial occupations of the level, fueled by the improvising power of
20th century to which so many commu- the multitudes. As educators, we can har- Album order info: theaquariansuite.
nities of color were subjected, but rather ness the power of jazz music to educate a bandcamp.com/album/da-f
the subversive interference into dominant new generation of engaged citizens by al- Album release concert lives-
narratives as a form of resistance. This rev- lowing its true purpose – one that goes far tream: www.soapboxgallery.org/
olutionary impulse is heard in songs like beyond mere aesthetic beauty – to shine events/dan-blake-album-release-da-f-
“Hot House” – songs that are joyous yet through. sunnyside-records-release-speak
still contentious, hard for outsiders to re-
ally understand. Dizzy Gillespie describes
this music as a collective effort to, “create a
new dialogue among ourselves.” The true
activist vision behind the strategy Bebop
musicians undertook is best expressed by
Max Roach:
“The black musicians recognized that
the royalties were going back to these
[white] people… they began to write
parodies on the harmonic structures,
which was really revolutionary… if you
made a record, you could say, ‘This is an
JUNE 27 – JULY 9, 2021
original.’” FACULTY:
Refashioning pop tunes as a means Mark Beaubriand – Director and saxophone
to economic self-determination is a bril- Todd Coolman – Artistic Director and bass
liantly subversive move. Viewed through Bill Cunliffe – piano
a wider lens, the theme of occupation in Steve Davis – trombone
21st century social movements most re- Michael Dease – trombone
cently resurfaced with Occupy Wall Street Jimmy Greene – saxophone
in 2011. Much as Minton’s Playhouse was Clay Jenkins – trumpet
transformed from a bar into an altar of high Jonathan Kreisberg – guitar
intellectual achievement, Zuccotti Park Brian Lynch – trumpet
was transformed by a multi-racial coalition Dennis Mackrel – drums
symbolizing “the 99%” from a neutral green Walter Smith III – saxophone
space into an improvised political laborato- Jim Snidero – saxophone
ry. Just as restructuring pop tunes impact- David Stryker – guitar
ed the sampling practices of generations
of hip hop artists, the Occupy Wall Street
strategy has influenced multiple waves of
www.skidmore.edu/summerjazz | 518-580-5447
new activism. While organizations like the

March 2021 • JAZZed 19

outlier’sblues

BY STEVE FUTTERMAN

O
n a recent afternoon, a friend and I were spending qual- Tatum, I also played my friend
ity time the very best way: listening to music. Although selections from Soulville, a 1957
conversant with a wide swath of artists from disparate Webster session with Oscar Pe-
musical genres, my friend had only a passing acquaintance with terson on piano. Now the mighty
the work of the pianist Art Tatum. I played him “Willow Weep for Peterson was anything but a
Me,” one of Tatum’s benchmark virtuosic performances, and he shrinking violet, but here he pro-
was duly impressed. I then played some tracks from Tatum’s sto- vides, when called upon, beauti-
ried 1956 quartet collaboration with the saxophone titan Ben fully understated and relatively
Webster. Noting that Webster was in peak form, my friend then spare accompaniment. Listen to
made an unassuming yet pointed comment about his partner- the gorgeous “Where Are You?”
ing pianist: “He wasn’t much of a team player, was he?” for proof.)
And there you have it. Tatum – keyboard giant that he un- Do Tatum’s monologuist ten-
questionably was – didn’t exactly play well with others. A lone dencies violate a core principle of
wolf, Tatum was a brilliant showman at his best when surround- jazz? Doesn’t the very aesthetic
ed by no one else. Give him players to interact with and he’d of the music call for group inter-
do his best to mix it up with them, but you can’t help but hear action? You don’t have to wade
how his busy fingers just wanted to cut loose and leave them all that deeply into the Stanley
in the dust. His most successful group sessions – no matter Crouch-Wynton Marsalis-Ken
the spectacular musicianship they display – can make you feel Burns doctrine positing jazz as a
as if they succeed in spite of his contributions. He seemingly metaphor for American democ-
could inspire, but not comfortably integrate with fellow players. racy to at least be comforted and,
Tatum’s many stunning solo performances stand out above the ideally, brought to elation at hearing two or more musicians
crowd because the last place he wanted to be was in a crowd. finding common ground, exhibiting respect for one another, and
Has there ever been a jazz great so indifferent to the plea- ultimately pushing each other to greater levels of invention and
sures of collaboration? Keyboard virtuosos from Jelly Roll Mor- expressiveness. Isn’t that what the music is all about?
ton, Earl Hines, and Fats Waller to Bud Powell, Oscar Peterson, The listener is left with more questions. Despite his all-by-
Cecil Taylor, and more recently, Brad Mehldau display some of myself tendencies, is Tatum any less of a treasure? Aren’t his
their most impressive work in unaccompanied performances, magisterial solo performances still part of the very foundation
but each demonstrate an ability, and a willingness, to work of jazz? If no man is an island, Tatum consistently made swim-
successfully in group situations. (For example, as a contrast to ming out to him continually worth the effort.

20 JAZZed • March 2021

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Since 1970, the playing styles and ideas surrounding sound ohms.
have been expanded. With increased regularity musicians asked EHX’s Founder, Mike Matthews, said: “Dig it! The sand-
for the development of an additional set similar to DOMINANT wich-sized 15Watt Howitzer is perfect as part of a compact
that expands upon the possibilities of the existing strings. Tho- guitar rig or backup. But the thing I dig the most, is the tone that
mastik-Infeld answered this request with the launch of its latest emanates from the Howitzer. It’s super versatile and – depending
string revolution: DOMINANT PRO. This new set (DP100) was not on what kind of setup you’re running – fits into any style that’s
aimed to change the basic character of DOMINANT, but rather to your bag!”
offer an additional, contemporary repertoire of strings. The 15Watt Howitzer comes equipped with its own 24VD-
DOMINANT PRO is ideally suited for chamber musicians, C/1.0A Power Supply and features a USA street price of $127.80.
soloists, and orchestra musicians alike. The set is available in www.ehx.com

March 2021 • JAZZed 21

gearcheck

ACCESSORIES
The Phil Jones Bass PE-5 Pedal Rounding out the collection is Tricomp, a three-band com-
The Phil Jones Bass PE-5 pedal is de- pressor plug-in with automatic threshold and ratio settings, plus
signed for bass guitar and upright bass. a relative control for the low and high bands and switchable
It incorporates a sophisticated 5 band Attack and Release controls to finalize your mix or add brilliance
EQ and also offers superior function as a or punch to frequency-rich signals.
Pre-Amp, Direct Box, and signal booster. $19.95 each, or available as a five plug-in collection bundle for
The PE-5 is engineered with a unique $79.95.
switchable input impedance, which allows the pedal to match www.presonus.com
exactly to either a magnetic or piezo pickup. It achieves the full
band spectrum for either pickup source. In addition, it is a signal
booster which compensates for low output pickups and will also
BAND & ORCHESTRA
provide ample drive for any amplifier. The input level and gain New Sizes of Yamaha’s YVN Model 3 Violin
controls are designed to precisely match the pickup output to an The YVN Model 3 Violin
amplifier. The line output is strong enough to use directly into a family is comprised of the
power amplifier or a powered speaker. The PE5 can be powered YVN Model 3 and the YVN
by a standard 9-volt DC pedal adaptor or run on its own internal Model 3 three-quarter
lithium-ion battery that is charged with a standard cell phone and one-half size violins.
charger via its USB socket. The two foot switches provide a mute Each provide students
function and a true bypass. The rugged housing is constructed of of all statures with a
die cast aluminum alloy made to deliver years of service. durable, well-crafted
www.pjbworld.com starter instrument for
an exceptional playing
The Analog Effects Collection from PreSonus experience. Among the
PreSonus has innovations used to create
released five ret- the YVN Model 3 family
ro-inspired effects is the proprietary graduated “press-formed” spruce top that
with the Analog offers exceptional resonance, as well as the patented three-layer
Effects Collection. construction of the tops and backs that uses just one-third the
The collection includes Analog Delay, Analog Chorus, Red Light amount of wood previously consumed. These improvements
Distortion, Rotor, and Tricomp. Each effects plug-in in the collec- allow the violins to sing with the rich tone of a graduated carved
tion represents the apex of PreSonus craftsmanship, from State- instrument while maintaining student-proof durability for
Space Modeled drive stages with inspiring sonic textures to their renters, all at a family-friendly price for those ready to invest in a
classic, vintage-inspired user interfaces. Formerly only available quality starter violin.
in Studio One® Professional and Artist, these plug-ins are now Computer-aided design makes the Model 3 family of violins
available via PreSonus Hub in VST3, AU, and AAX format. easier to service than traditional string instruments. Each piece
Analog Delay is a classic emulation plug-in of an analog BBD is as precise as the one before it, making it both faster and
delay known for its ability to create a warm delay sound that more cost-effective to keep the violin at peak performance – an
can range from subtle modulation to spirals down a psychedelic important consideration in academic music programs. Includes a
rabbit hole. It also features a State-Space Modeled Drive control bow and sturdy-shaped ABS case.
to add analog grit to your sound for even more tonal sculpting. www.yamaha.com
Analog Chorus is a one- to three-voice chorus processor with
optional LFO delay-time modulation and stereo-width control. It
offers a wide range of effects, from subtle to extreme, with its roots
CASES & STANDS
in ‘70s-era analog guitar pedals and studio effects processors. Gator’s Utility Carts
The Red Light Distortion is an analog-distortion emulator Gator’s utility cart series includes
with six selectable distortion models plus two EQ controls, a Mix two models: a standard model with
control, and independent Drive and Distortion controls to let you non-pneumatic wheels and an All-Ter-
to design a unique, signature distortion. rain model with rugged rear tires
Rotor is a rotary-speaker emulation plug-in that simulates the meant for travel over rough gravel, dirt,
sound of a tube-powered amplifier with independently rotating grass, and uneven ground. The new
high-mid horns and a bass woofer that excels at adding a sense utility carts haul gear safely without
of motion and unique tonal character. Each speaker’s rotation the hassle, hold up to 500lbs, and are
can be set to a range of speeds, with realistic braking and accel- constructed of a rugged, welded steel
eration effects when changing speeds. State-Space Modeling frame. Constructed of a heavy-duty, welded steel frame, the carts
technology provides authentic tube emulation for extra warmth will bear the abuse of multiple trips with a maximum load capac-
and character. ity of 500 lbs. Both carts feature no-flutter locking swivel casters

22 JAZZed • March 2021

and are specially designed to counteract cart wobble and pre- The Joe Strummer
vent any unwanted noise. Engage the locking casters when on Campfire model is a
an incline to prevent your cargo from rolling away during loading small-body acous-
and unloading. The carts easily adapt to a variety of needs with tic-electric guitar
eight different configurations: Compact Dual-Handle, Extended inspired by the leg-
Dual-Handle, Compact Single-Handle, Extended Single-Handle, endary campfires that he held at Glastonbury Festival. Boasting
Compact Collapsed, Extended Collapsed, Compact Upright, and a solid spruce top with mahogany back and sides, the Campfire
Extended Upright. reflects Strummer’s legendary aesthetic with its matte black
www.gatorframeworks.com finish, nickel hardware and star inlays. Available March 2021.
www.fender.com
FRETTED Henna Dragon Ukuleles from Luna Guitars
Godin Montreal Premiere HT Trans White Luna Guitars’ Henna Dragon Ukulele Series
Godin Guitars has announced the launch of is available in three body sizes with varying
the Montreal Premiere HT Trans White as part of tonal depths. These Henna Dragon Ukuleles
its high-quality electric lineup. This is a vibrant have a laser-etched henna dragon design and
and versatile guitar for jazz, blues, and rock a slotted headstock that’s reminiscent of a
players alike. classical nylon-stringed guitar. Luna includes a
This guitar has an innovative and unique built-in pre-amp to convey the warm tones of
breathe-through carved core to enable the the all-mahogany body. The three body sizes
body to resonate like no other guitar in its class. offer different scale lengths: the 15-inch con-
What makes this model really unique is cert, the 17-inch tenor, and the 20.2” baritone.
our newly-developed acoustic-inspired finish, Each ukulele is built with an all-mahogany
which lends itself perfectly to this semi-hollow body that provides a vibrant, warm tone that
body design. Because the finish is thinner and varies in depth depending on the instrument’s
more organic in nature – like you would find on size. The henna dragon design by UK henna
a good acoustic guitar – it breathes more freely and offers even artist Alex Morgan is delicately laser-etched onto the mahogany
more sonic properties to the Montreal Premiere HT. top, which has an open-pore natural finish that further improves
While it is perfectly complemented by a classic Graph Tech the instrument’s resonance. Gig back included. Available in April,
ResoMax Hard-Tail bridge (‘HT’), this Montreal Premiere model starting at $169.
really stands out with its distinctive Trans White finish. www.lunaguitars.com.
It also has a Mahogany neck, which is complemented with
a Rosewood fretboard for added roundness and warmth to the DRUMS & PERCUSSION
overall tone. The scale is 24.75” for easy bends and plenty of
midrange, while the Canadian Wild Cherry semi-hollow body Zildjian K Sweet Series Now Available as Cymbal Pack
provides overall tonal balance with great sustain and clarity. In response to customer
Speaking of great tone pairings, the Montreal Premiere HT demand, the Avedis Zildjian
Trans White comes equipped with a Seymour Duncan Jazz SH- Company is pleased to announce
2n in the neck position and a Godin Custom Humbucker at the its K Sweet series cymbals are
bridge. now available in a new cymbal
Godin’s long-standing reputation of quality and vision is put pack, offering 15″ Hi-Hats, 17” &
on display with this new model – built entirely in Canada. 19” Crashes, and a 21” Ride.
$1,795 USD MAP price. Pushing the iconic Zildjian K sound in a new, sweet and respon-
www.godinguitars.com sive direction, these cymbals are great for all types of music. This
full set up includes some of our favorite K Sweet models, including
Chrissie Hynde and Joe Strummer Signature Models oversized 15” Hi-Hats, with a thin top and an extra heavy bottom
from Fender offering a great wash without sacrificing a satisfying and solid
Fender’s “chick”. The 17” and 19” crashes are extra thin in weight for a fast
Chrissie Hynde response with unlathed bells that create nicely balanced high
Telecaster comes frequencies. The medium-thin weight 21” ride is thin enough to be
complete with crashable but with great stick definition and a clear bell tone.
an alder body “The response to the K Sweet Pack so far has been awesome,”
finished in Faded says Andrew Tamulynas, Zildjian brand manager for Cymbals and
Ice Blue Metallic RoadWorn lacquer; vintage-style ‘50s single-coil Drumsticks. “We’ve gotten a lot of great feedback from drummers
Tele pickups voiced to match Chrissie’s original set; a 6-stainless on social media, as well as from retailers who voted the K Sweet
steel barrel saddle bridge; and much more in an incredibly faith- Pack the best cymbal product of 2020. We’re so happy that every-
ful recreation of one of the world’s most iconic guitars, Hynde’s one is as excited as we are about the new K Sweet pack!”
treasured ‘65 mode. www.zildjian.com

March 2021 • JAZZed 23

backbeat AdIndex
ADVERTISER PAGE WEB

Chick Corea Dakota Saxophones C2 saxdakota.com

1941-2021
A
rmando Anthony “Chick” Corea –
celebrated jazz keyboardist, com- J.J. Babbitt Co. Inc. 5 jjbabbitt.com
poser, and bandleader – passed
away on February 9, 2021.

SAKURAI TOSHI
Author of modern-day jazz standards
such as “500 Miles High,”“Spain,” and “Win-
dows,” Corea was one of the architects of
JodyJazz 3 jodyjazz.com
jazz fusion and amongst the greatest pia-
nists of the post-Coltrane era. His ground-
breaking work led to 23 Grammy Awards an ASTONISHING musician;” Béla Fleck
and over 60 nominations, while his effort- shared, “So sad to hear about the passing Luther College 13 luther.edu
lessly innovative playing led to notable of Chick Corea, my hero, mentor, and
collaborations throughout his career with friend. The world has lost one of the great
the likes of Miles Davis, Herbie Mann, Stan ones. I’m so honored to have known him;”
Getz, Jack DeJohnette, Al Di Meola, Gary and Yusef/Cat Stevens wrote, “God bless Manchester Craftsmen’s Guild C3 mcgjazz.org
Burton, Stanley Clarke, and Herbie Han- Chick Corea, one of the most innovative
cock among many others. and inspired musicians I ever had the
Speaking of his friend Hancock shared, privilege to work with. His musical art and
“There was never one hint of competition; genius were an education not just a per- Phaeton Trumpets C4 phaetontrumpet.com
it was all inspiration,” in a Rolling Stone formance. He has now truly returned to
Q&A published in mid-February. “Chick forever, where his soul and music leaned.
and I always felt like we were brothers. May peace be his ultimate achievement.”
We always talked that way; we always I was honored to have spoken with
Rovner Products 7 rovnerproducts.com
encouraged each other that way, and we and written about Chick Corea twice for
always just felt that way. Chick was always JAZZed – first in October, 2014 and, most
a loving person. He was always encour- recently, this past October, and found him
aging people. He always wanted to share to be consistently engaging, kind, curi-
whatever he had, especially with young ous, and passionate. “We should have a Sax Dakota C2 saxdakota.com
people.” civil relationship between a teacher and
Chick Corea’s influence extended be- a student or an instructor and a student
yond the realm of jazz, as the multitude and proceed from there,” he said in our
of online tributes following his death last conversation. “Art starts with an indi- Schott Music GmbH & Co.KG 9 xxxxx.com
demonstrated: “Corea changed the land- vidual’s own personal tastes and having
scape,” rock guitarist Vernon Reid (Living the courage and the conviction to follow
Colour) wrote on Twitter. “Many levels. that vision, or that taste, or that idea.”
He (& Herbie Hancock) made the Fender Corea embodied those beliefs and Skidmore College 19 skidmore.edu/summerjazz
Rhodes LEGIT in jazz. He literally mas- convictions. Both his musical prowess and
tered ALL Schools. He went there. Just his generosity of spirit will live on.

comingnextissue
Our April/May 2021 issue will include our Annual Director’s Resource Guide,
as well as an in-depth conversation with acclaimed saxophonist, flautist,

David Liebman
composter, and NEA Jazz Master

24 JAZZed • March 2021