Spring1995
Berklec
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y
A Forumfor Contemporary Music and Musicians
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Quinc~vJones’51: TheBestIs Yet to Come
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Musician’sIVlaladies
SPRING ¯ 1995 VOLUME ° NUMBER
VI ¯
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Con~ents
LEADSHEET by President Lee Eliot Berk . BERKLEEBEAT Encore Night honors for Joyce Kulhawik, Mardin and Parker scholarships, ’95 summerprograms, faculty notes, visiting artists, and more . MAKING BRIDGES by Steve Prosser ’79 For 30 years, Composition Professor John Bavicchi has helped Berklee students build bridges from pop and jazz to classical music
ON THE COVER: Music’s Midas, Quincy Jones ’51 speaks about his past and the future with his new multimedia company. Story begins on page 12. Cover photo by Greg Gorman.
MALDEN VOYAGE by Lauren R. Heshler Berklee students taking their groups on tour overseas reach for their dreamsand learn the business firsthand.
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THEQ’s BESTIS YETTO COME by Mark L. Small 73 Quincy Jones ’51: Composer,arranger, producer, and guiding light in American popular music for nearly five decades .....
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MUSICIAN’S INJURIESby Dr. Alan Doyle ’7g A performing arts medicine specialist presents an overview of performance injuries and where to find medical help to overcome them .
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TWOSIDESOF THEJAZZCOINby Phil Wilson Lines to connect Euro and African jazz cultural contributions
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ALUM NOTES News, quotes,
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and
CODA:by Ivan Bodley "92 Nefertiti: Queen of Denial
recordings
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note
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LEAD SHEET
Bcrklce 0
Shaping
APublication of theOfficeof Institutional Advancement Editor Mark L. Small ’73 Copy Editor Stephen Melisi
Future
EditorialBoard RobHayes Director of PublicInformation JudithLucas Director of Publications Lawrence McClellan Jr. Chair,Professional Education Division LarryMonroe "70 Chair,Professional Performance Division Donald Puluse Chair,Music Technology Division Joseph Smith "75 Chair,Professional Writing Division
Officeof InstitutionalAdvancement John Collins Dean of InstitutionalAdvancement ChikaOkamoto "87 Assistant to theDean of InstitutionalAdvancement for Donor Relations PeterGordon ’78 Director of theBerklee Center in LosAngeles Beverly Tryon "82 Director of Corporate Relations SarahBodge Assistant Director of Development for Alumni Relations
As the alumni-oriented music magazine of Berklee College of Music, Berklee to@is dedicated to informing, enriching, and serving the extended Berklee community. By sharing information of benefit to alumni about college matters, music industry events, alumni activities and accomplishments, and musical topics of interest, Berklee to@ serves as both a valuable forum for our family throughout the world and an important source of commentary in contemporary music. Berkleetoday (ISSN1052-3839)is publishedthree times a year by the BerkleeCollegeof MusicOffice of Institutional Advancement.All contents ©i995 by BerkleeCollegeof Music.Sendall addresschanges,press releases,letters to the editor, andadvertising inquiries to Berkleetoday, Box333,BerkleeCollegeof Music, 1140BoylstonStreet, Boston,MA02215-36925,(617) 266-1400, extension325.Alumni are invited to mailin details of activities suitable for feature coverage.Unsolicitedsubmissionsaccepted.
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Berkleet o d a y
Our
President
Lee Eliot
Berk
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s we celebrate the 50th anniversary year of the founding of our college and look to the future of our illustrious institution, now is a propitious time to summarize our shared vision for the period ahead. Our vision is to continue to improve the quality and value of a Berklee education for a career in professional music in a period of rapid and major change throughout our industry and society. Webelieve that our continuing vigor and success as the leader in contemporary music education will primarily depend upon our ability to: ® Meet the challenges of the continuing evolution of music by effectively integrating curriculum, teaching, technology, and assessment; ® Provide for increased student diversity through an inclusive and responsive campus environment; ® Improve campus life with quality facilities and operations, personalize service, and strengthen human resource development leading to improved productivity and fulfillment; and ® Expand access to contemporary music education by continuing to build community, national, and international relationships. This vision has emerged from a lengthy participatory process involving our entire college community, as well as music industry and music education leaders from around the world. As we celebrate our legacy as a pioneer in contemporary music education, our anniversary provides a special opportunity to prepare for the future and identify the specifics of what is required to ensure our ongoing success. The explanation of these themes and the initiatives we will undertake to accomplish them are contained in our vision statement, "Creative Musicianship for a Changing World." As we move forward, we will provide programs that meet the educational and humanistic needs of our communities in an emerging global society. But, we need to move for~vard together as an extended community of alumni and friends who join with the trustees, faculty, and staff of the college to invest in the quality of a Berklee education. With your support, we will continue to make major contributions to society as the international leader in contemporary music education. For a free copy of "Creative Musicianship for a Changing World," our vision statement, contact the Office of the President, (617) 266-1400 extension 316. Spring 1995
Berklee b e a t $25,000RAISED FOR students opportunities for a Berkleemusiceducation. JOYCEKULHAWIK(See Berklee today ]Tall, SCHOLARSHIP 1994, pages 10-11for more
public service campaign, and hosted three "You Gotta HaveArts!" specials and magazine programs. on the BCMprogram.) From1982 through 1985, PresidentLeeEliot Berk she served as coanchor of A special musical tribute in honor of WBZ-TVpresentedKulhawikwith a "Live On 4." In 1990, Kulhawikwas arts andentertainment re- custom-made award--an News of Hote porter Joyce Kulhawikwas AKGmicrophone encirthe recipient of the Boston held on November17, in cled by a pink neon ring Theater District Award, the Berklee Performance (see photo). In his intro- presented annually to a Center.PresidentLeeEli- duction, he described Kul- Bostonian whohas madea ot Berkpresentedan award hawikas an "extraordinary significant contributionto the stage, screen, and/or to Kulhawikand formally woman," and acknowlannouncedthe establishedgedher valuable support television. In 1986, the Womanof Achievement ment of a Joyce Kulhawik forthe arts. EndowedScholarship at "I amin aweof the tal- Awardwas bestowed upon the college. ent on this stage tonight," herby the BigSister AssoSeated in the audience said Kulhawik."In an. in- ciation. Since1983,she has were the numerouscorpo- creasinglyvolatile andcha- servedas honorary chair of rate and individual donors otic world wheresometer- the AmericanCancer Sociwhocontributed a total of rible stories dominateour ety’s Daffodil Daysannual $25,000to the scholarship newsairwaves,it is a relief fundraisingevent. fund. Thenewscholarship to be able to deliver the The Berklee Jazz/Rock will support the Berklee good news--and the good Ensembledelivered a highnews is right up on this energy programfeaturing City Music (BCM)program, a communityservice stage. I congratulate ev- music ranging from show effort whichprovidesBos- erybody in the Berklee tunes by Irving Berlin and ton’s at-risk high school communityfor nurturing Rogers and Hammerstein, someof the finest musical to more recent songs by talent in the world today. DavidFoster, Billy Joel, It is a privilegeto be amongMauriceWhite, and others. you anddo this work." Aspecial cameoappearance Joyce Kulhawikcovers by Livingston Taylor, reall aspectsof the: arts com- cordingartist, Berkleepromunity and reports Mon- fessor, andpersonalfriend day throughFridayo1~. the to Ms. Kulhawik,rounded WBZ-TVnews. She came out the program. to the station in 1978as an This is the second year associate producer and that the college has honweekend tipster for ored a Boston celebrity "Evening Magazine." By who has made valuable 1981,she wasthe station’s contributions to the arts arts and entertaS[nmentre- community. Last year’s porterandplayeda keyrole honoreewasviolinist, conPresident LeeEliot Berkanddoyce Kulhawik, WBZ-TV arts in launchingthe station’s ductor, andBerkleetrustee anchor at the November scholarship fundraising concert. "You Gotta Have Arts!" HarryEllis Dickson.
from about town and around the world
Spring1995
Berkleetoday
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NEWOFFERINGS ADDRHYTHM TO "95 SUMMER PROGRAMS For summer’95, Berklee plans to offer an assortment of summerprograms, including two new ones, and a reduced tuition rate in somecourses for alumni. One new offering is from the Music Technology Division, "Producing and Releasing Your Own CD--A Musician’s Guide." Running from July 21-23, the course wili detail all the steps involved in successfully releasing an independent CD. Also new is the "World Percussion Festival," an offering from the Percussion Department. Planned for August 20-25, the course is open to percussionists of any level who are interested in learning more about the percussion styles, techniques, and instruments in music from around the world. The festival includes a special track for music educators. Popular programs established in prior years will be presented again this summer. Guitar Sessions, August 20-25, is for guitarists of every level seeking to polish their skills and broaden their horizons. The International Musicians’ English Language Institute (IMELI)
program wiI1 run July 28-August 25. sionals, will again be presented from This offering provides international July 13-16, by the Music Education students interested in attending Berk- Department and Korg U.S.A. Courslee an opportunity to improve their es in sequencing and multimedia will English language skills through a be taught by renowned Korg clinimonth of intensive study. The cur- cian Don Muroand Berklee’s Assisriculum incIudes instruction in speak- tant Dean of Curriculum for Academic Technology David Mash. ing, grammar, music terminology, Berklee’s annual Jazz and Contemporary Harmony Conference, presented by the Professional Writing Division’s HarmonyDepartment, will be held July 20-22. Scheduled are lectures, demonstrations, and special presentations by Berklee’s Commercial Arranging Chair Jay Kennedy and guest clinician David Liebman. A special concert by David Liebmanfor conference attendees is slated for July 21. Berklee’s popular Five-Week SummerPerformance Program kicks off July 10, and the 12-week Program begins May 30. and writing. In addition, IMELIis For additional information or designed to address adjustment and social issues to create a smoothtran- applications,write: Berklee College of sition from a foreign country to life Music Summer Programs, Box 13, 1140 Boylston Street, Boston, MA, in the United States. The T.E.A.M. Seminar Series for 02215-3693, or call (617) 266-1400, extension 626. Music Educators and Music Profes-
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BRUHN TO BE VISITING LECTURER tion Department, and one in international marketing for the Music Business and Management Department. While serving at NAMM and the American Music Conference (AMC), Bruhn labored with a number of constituencies to bring the work of the National Coalition for Music Education to policy, and Karl Bruhn, former- was instrumental in develly a senior vice president oping the National Stanfor marketing for the dards for Arts Education Yamaha Corporation which were recently adoptand director of market ed by the U.S. Department development for the of Education National Association of He is also dedicated to Music Merchants creating greater public awareness and understand(NAMM), has been nameda visiting lecturing of the therapeutic value er for Berklee’s Profes- of music. sional Education DiviBruhn was awarded an sion during the Spring honorary doctorate from 1995 semester. Berklee in 1993 for outBruhn will be teachstandingservice to the arts, ing a course in advocacy and was presented for school music for NAMM’sMusic for Life Berklee’s Music Educa- award in 1994.
KULBAHEADING 50TH COMMITTEE In preparation for the two-year 50th Anniversary celebration at Berklee, President Lee Eliot Berk has appointed Laura L. Kulba assistant director of the 50th Anniversary Leadership Executive Committee. Formerly assistant to the president, Kulba now manages the 50th Anniversary Office, edits the quarterly 50th Anniversary News, and is chair of the 50th Anniversary Leadership Committee. Kulba joined the Berklee staff six years ago after earning her bachelor’s degree at Spring1995
Boston Conservatory. She received the President’s Cabinet Awardat Berklee’s October faculty/staff convocation for her efforts as the local arrangements coordinator for the January 1994 IAJE conference.
LauraL. Kulba
FAC~ULTY NOTES Associate Professor DavidSpeitr adapted, arranged, and conducted the score of Edvard Grieg’s Peer Gynt for a Decemberproduction of the Ibsen play of the same name at Boston Conservatory. Instructor of Guitar Jane Miller’79 released Postcard, a CDof her songs, with faculty membersTim Smith-Ray ’90 (piano) and Mill Bermejo "89 (vocals), and guitarist MickGoodrick ’67, bassist Bob Simonelli ’79, and vocalist Patty Larkin ’74. JimKelly ’73, associate professor of guitar, released The Sled Dogs--The Music of Jim Kelly. On the CDare faculty membersJim Odgren"75 (sax), BobTamagni ’73 (drums), and DavidClark (bass), and Deanof CurriculumIP, ary Burton"62 (vibes). Victor Me~d0za’81 is heard on vibes on his new CDThis is Why, also released on RamRecords. Associate Professor Charles Chapman and assistant professor J0n Finn have each published lessons in Guitar Player magazine, and are featured in "Notes On Call," a musical example phone service. Finn also composed, arranged, produced and engineered the music on his CDDon’t Look So Serious with his trio featuring faculty membersJoe Santerre’82 (bass) and DaveDiCenso’76 (drums). Associate Professor of WoodwindsWendyNolle was elected to the board of directors of the National Flute Associatiom Bass professor Bruce Gertz ’76 released the CD Third Eye, on RamRecords. Sidemen include saxophonist Jerry Bergonzi ’68, guitarist John Abercrombie ’67, and drummer AdamNussbaum. Faculty keyboardist Frank Wilkins ’78 released In Our Time, a benefit album for the American Cancer Society. Featured on saxophone are Herman Johnson "77 and Geerge Garzone "72 (of the faculty), Pat Loomis’92, and MelvinButler ’94, guitarist Bill Brinkley ’77, Alan Dawson’73 (vibes), and vocalist Wannetta Jackson’76. The After Dark CDby Artie Barsamian’s Boston Big Band, features professor Phil Wilson (trombone) and Associate Professor of Guitar John Bab0ian’77. Contributing arrangers included Wilson, Steve Piermarini ’86, and Assistant Professor of Ensemble Jerry Cecc0. Bass Instructor OscarStagnar0played on Paquito D’Rivera’s A Night in Englewood, with trumpeters Claudio Roditi ’70 and Diego Urcola ’90, trombonist William Cepeda ’85, and percussionist Bobby Sanabria ’79. Faculty authors: Jeff C0vell ’72 published Modern Method .for Piano Volume 1: Foundations of Jazz, AnthonyVilli "86 authored Sight Reading Funk Rhythms for Electric Bass, BarharaJordan wrote Songwriter’s Playground, and Steve R0chinski’80 penned The Jazz S~yle of Tal Farlow.
Berklee today
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JIMI ANDBIRD SCHOLARSHIPS AMONG NEWFUNDSESTABLISHED Six new endowed scholarships were recently established at the college as a result of significant gifts from various benefactors and friends of Berklee. The gifts will be added to the college’s endowment, and each year in perpetuity, the interest from the new funds will be granted to the scholarship recipients. Arif Mardin established the Arif Mardin EndowedScholarship which will be awarded annually to a student in the Professional Writing Division possessing outstanding arranging, composingand writing skills. The Charlie Parker Memorial Scholarship Fund was established by Leon Parker, son of the late jazz master. This fund will provide for a scholarship to be awarded each year to a student in recognition of his or her outstanding musicianship in jazz. The Jimi Hendrix Foundation created the Jimi Hendrix Memorial Scholarship fund establishing a scholarship for Berklee guitarists with an interest in Jimi Hendrix’s music.
The Matsushita Electric Corporation of American established the Technics Endowed Scholarship Fund following a concert by a Berklee student band at Panasonic’s dealer conference in Florida. The Matsushita scholarship is for outstanding pianists. John and Brenda Maher, parents of a Berklee student, in cooperation with Fromthe left, Lawrence McClellan,GaryBurton, the Samick Corporation, WilliamDavis(chairof trustees),LeeEliot Berk, established the Robert andMakotoOzoneafter a Burton-Ozone benefit Johnson Guitar Scholarconcertfor the musictherapyscholarship fund. ship Fund for outstanding guitarists/composers with a singular interest in the blues. A por- Therapy Department. The concert tion of the proceeds from the sale of was hosted by Dr. Watson Reid, a legendary bluesman Robert memberof Berklee’s board of visi.Johnson’s guitars will also be donat- tors, at his WaldenGreen recording ed to the scholarship fund. studio. Burton and Ozone performed Vibraharpist Gary Burton and piselections from their upcoming duo anist Makoto Ozone ’83 teamed up album. The Decemberconcert raised for a benefit concert launching a almost $4,000 for the Gary Burton scholarship fund for Berklee’s Music Music Therapy Scholarship Fund.
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BERKLEEAT BAM For the 1994 Barcelona Accio’ Musical, Barcelona’s annual music industry conference, three membersof the Berklee communitywere invited to Spain to sit on panels and make presentations. Don Puluse, Music Technology Division chair, gave a presentation detailing the manyroles of the record producer nowand for the future. Don Gorder, chair of the Music Business/Management Department, gave an overview of the U.S. independent record market and how European companies can get their products into it. Curtis Warner, assistant to the president for education and communitypartnerships, participated in a panel discussion moderated by Arthur Bernstein, Berklee alumnus and president of L’Aula de Musica. Curtis spoke of Berklee’s establishment of a worldwide network of international schools of music (L’Aula de Musica is a member) having an educational mission similar to Berklee’s.
Tel. (617) 266-4727 FAX(617) 266-1517 Next to Symphony Hall Contact: Lee WalkowichC/ass of ’81 Fromthe Oeft, Gorder,Bernstein,Warner, andPuluse 6
Berklee today
Spring1995
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VISITING ARTgSTS:A FEWMOMENTS WITHTHEMASTERS TomStarges, president of the Chrysalis Music Group, was invited to the college as part of the James G. Zafris [Jr. Distinguished Lecture Se, ries. His presentation was entitled "An Approach to the Music Business: Guidelines for
her poems chronicling her one year motorcycle trek to classrooms across America. Dr, Chitti Babu gave a clinic on IndiSuccess." DanielKazez,an assistant an classical David Raksin professor at Wittenberg music. Babuis Legendaryfilm composer (left) with Film Scoring Chair DonWilkins. University, presented ad- a renowned vice on how to secure an master of the instrumental or vocal veena and has released nuMulti-instrumentalist Bobby Carcasses and influteaching job at a college. merous recordings and George Young (left) andLew Atlantic Records Vice composedfilm scores. ential drummer Jos~ Luis Del Gattoof the "Saturday President Arif Mardin"61 LayneRedmond presentQuintanahosted a discusNight Live Band"performed and his son Yusef (Joe) ed a clinic on the hand-held sion on Cuban jazz, and in the NovemberBerklee Mardin’85 presentedclinframe drum of the ancient performed with faculty Woodwind Workshop. ics on producing new artMediterranean world. She members Mill Bermejo and has released recordings and Oscar Stagnaro. ists and film scoring. This fall, a large number Acoustic bassist John instructional videos on the ComposerKoichi Hattori topic, and is currently writ- gave a clinic on traditional of expert performers, com- ClaN0npresented a clinic, posers, educators, produc- master class, and perforing a book on the history and hybrid forms of Japanese music since 1868 when ers, engineers, and more manceas part of Bass Days of frame drumming. played and led discussions at Berklee. Clayton has Cofounder of the Los Japan opened its doors to with students and faculty more than 30 recordings to Angeles Songwriters the Western world. members. This exchange of his credit, and is respected Showcase John Braheny, Songwriter/entrepreinformation proved invalu- in both the classical and gave presentations about neur JoanneVictoria ’79 able, giving the students a jazz fields. career strategies for song- presented a clinic on muicloser look at the experiLos Angeles studio gui- writers, and the role of the ticareer management--balences of the pros. tarist CarlVerheyen "75 dis- publisher as the songwrit- ancing musical and nonmuIrma Constanzoshared cussed his trademark interer’s representative. sical business endeavors. ComposerDavidRaksin, Classical pianist Jeffrey insights from her career as vallic approach to rock a classical guitarist whohas guitar soloing. who began writing film Jacob, pianist-in-residence scores with Charlie Chap- at Notre Dame, discussed managed her own producBiker poet Kirsten tion company in Buenos Zanders parked her Harley fin’s Modern Times, prehis work as a 20th century outside the 1140 Boylston sented a lecture/demonAires and championed piano music specialist. works by prominent Latin Street building and recited stration on his work. Hit country songwriters Pat Alger,Jill Colucci,Jon American composers. Jim Chapin, known as Vezner, and Kostas disthe father of moderndrumcussed their avenuesto success, and presented a conming and creator of fourway independence, gave a cert of their music in the drum clinic and received a Performance Center. recognition award from the Bustan Abraham, a college at a BPCtribute group of distinguished Israeli and Arab musicians, concert in his honor. Leading acoustical and presented a concert of their unique, original music. architectural design consultant JohnSt0rykgavetips Songwriter/film composer Steve Dorff spoke on studio design. Contemporary composabout his hit songs for Whitney Houston, Kenny er Bruce MacCombie discussed his works NightLoggins, and others, as well Earl "79 offereda clinic and as his composingfor film, shade Rounds and Greeting ChickCoreabassistJimmy performed in concertwith Berkleefaculty members. TV, and Broadway. with composition students. 8
Berklee today
Spring1995
30 YEARS OF MAKING BRIDGES He loved the enthusiasm and John Bavicchi can tell you about open-mindedness of the students and stamps. Heis an expert philatelist. John can advise you about various he quickly developed many close cuisines and wines. Heis a gourmet. friendships with his fellow faculty Hecan also regale you with stories members.Most remarkably, John reabout the NewEnglandPatriots foot- alized that there wasa considerable ballteam.Heis a lifelongseasonticket commonground between classical holder. Johncan tell younearly any- and jazz musics. Herecognizedthat thing you wouldwant to knowabout by staying at Berklee he could make composition,composers,and classi- musicalbridges by bringingthe workt cal music. He is one of America’s of classical music to students who most original and prolific compos- knewmoreabout Charlie Parker than ers. AndJohnBavicchican also tell Bela Bartok. So, for 30 years John you howa professor of "serious mu- has taught composition,musichistosic" can flourish at a college known ry, conducting, and musicalanalysis as well as manypopularelectives. primarily for jazz and pop music. He has just completed his 30th John has composedcontinuously year of teachingat Berklee.Theques- during those 30 years. His works, tion comesto mind, howdoes a per- which nownumber 110, range from son makesuch seemingly opposing pieces for solo voice to symphony interests and situations coexist? The orchestra, string quartet to concert band. His music has been performed answer--bridges. Makingbridges in the face of ad- andrecordedall over the world. In 1970, a group of professional versity comesnaturally to John Bavicchi. Hewastrained as a civil engi- chamber musicians from Birmingneer andservedfour years in the U.S. ham, England, asked John if they Navyduring WorldWarII, building could nametheir group after him. airstrips and bridges while dodging The "Bavicchi Ensemble"has, since bullets from strafing enemyplanes. then, performedJohn’s worksacross After the war, John attended the New Europe. One of his most recent EnglandConservatoryand later stud- works,Fusions... Opus92, waswritied composition with Walter Piston ten as a solo feature for jazz trombonist and fellow Berklee professor at Harvard. Hedividedhis time duringthe next Phil Wilson, whoperformed it decade betweencomposing,conduct- 1992 with the North GermanRadio ing, and freelance teaching. In 1964, SymphonyOrchestra. John wasinvited by then DeanRichPeering in the windowof one of ard Bobbitt to teach compositionat John’sclasses recently, I observeda Berklee. Johnaccepted,thinking that remarkable scene, one which could he wouldwork a year at the "jazz" only happenat Berkleeand in a John school and then find somethingmore Bavicchiclass. AnAmericanstudec~t akin to his qualifications.John,to his with orangehair and a nose ring was student wearsurprise, enjoyedthe Berkleeexperi- sitting beside a German enceso muchthat he decidedto stay. ing a John Coltrane t-shirt whosat beside a Japanesepiano student with a copy of the Beethoven sonatas in her book bag, and John. All were hunchedover a score of the Bartok’s String Quartet#4 andlistening intently to the music.JohnBavicchi, ~ whois nowin his 73rd year on this earth and his 31st year at Berklee, continues to make musicalbridges. JohnBavicchi withhis students. Spring1995
--Steve Prosser’79, Assistant Chair, Ear Training
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~aiden
Voyage
Lauren R. Fleshier
~
t wasreally exciting for me. It wasmygroup, and mymusic, and myfirst trip to Europe,"exclaimed FilmScoring major Chris Gestrin ’95 about his opportunity to competein the final round of Europ’Jazz Contest Belgium’94 this past September.Gestrin and the other Berkleestudent members of his quintet were pitted against seven Europeanbands in two days of competition. Thegroup’sentry andultimate status as finalists in the contest wasdue to Gestrin’s research of scholarships
10
Berklee today
and competitionsin both the Berklee Library and Career ResourceCenter. "Youcan’t lose by sending something in," Gestrin notes. Over the past year, Berklee has helped to support several student organized and producedtours and concert appearancesin both the U.S. and abroad, with performances in NewYork, Cyprus, Germany,Scandinavia, and elsewhere. "Before, I’d been to school, played scales, and taken classes, but this wassomethingwhere I had to stand on myown," said MikaPohjoIa ’94 about his experience organizing and promotingthe Sophie DunSrOrchestra’s tour of Scandinaviathis past summer.After receivinginvitations to participate in the StockholmAll Star Jazz & Blues Festival andthe Baltic Jazz Festival, Berklee agreed to help sponsor the tour and packagethe group’s recording, Orange. Pohjola never madea conscious decision to put together a tour for the quartet; it evolvedout of a desire "to try this, to try that, andthen one thing led to another," he explains. Muchof the promotingprocess was newto Pohjola. Convincingfestival organizers and a radio station in Stockholm to book the group was not easy. SwedishRadiogave thema definitive "no" three times before they finally acceptedPohjola’spropSpring1995
osition to havethe SophieDunfrOrchestra record several tunes for the station. "Youhaveto establish that somethingis already there. Youdon’t write that you would like to play Europe, but that you are going to play Europe,"Pohjola advises. The tour, for Pohjola as well as the other membersof the group, provided invaluable experience and served as an entry into life in the music business. "Weplayed every day, andthe schedulewastight--very tight," Pohjola confessed. "But you haveto be alwayson the edgeon the road, and keep up with the musicas TheBerklee All-StarGuitarEnsemble onstage attheBratislava JazzFestival,one well as everythingelse." Alreadythinking ahead to anoth- of fiveappearances thestudent group I~ookedl in Germany, Austria,andSlovakia. er tour with his owntrio, Pohjola, nowa Berklee alum, is putting his Scandinaviantour experienceto good work," Panayiotou confessed, "but hal1, rerttal equipment, and even use. "I feel so muchmore secure Berklee has namerecognition in Eu- founda substitute rhythmsection for or Sting." one date Welsher and our drummer about mycareer from the business rope . . . like Madonna side of things. Now,I knowwhat to While Panayiotou and the members Johan Svennsoncouldn’t make." Afuture trip will bring a student do, and I knowwhatto write to save of Cyprus Tour ’94 enjoyed extengroup to Japan as part of the Massasive exposure in Cyprus, they reoneor twosteps in the process." chusetts-Hokkaido Fifth AnniversaLike Pohjola, Panos Panayiotou turned to the states to find coverage ry celebration sponsored by the Masof the event in Billboard as well. ’94, producer and promoter of the sachusetts-Hokkaido Sister State Already, Panayiotou is planning a recent Berklee CyprusTour ’94, a benefit concert for UNICEF,found follow-up concert, but expects that Association. Othersojourns are sure his international experienceinvalu- the lessons he learned planning the to follow. In supporting ambitious endeavable. "I got to put into practiceall the ’94 tour will alter his approachquite things I’ve learned [at Berklee]," he a bit. "Youhaveto trust people," he ors by someof the college’s most explained. Panayiotou, whois man- advised, "and knowthat sometimes talented and motivated young musiaging singer Rachel MacDonald ’94, other peoplecan do a job better than cians, Berkleewidensits internationis planninga career in artist manage- you. It’s important to delegate re- al reputation as the premierschoolof ment. The Cyprusevent has provid- sponsibility, to knowwhat to give contemporary music, while at the sametime providing the students an ed him the know-howto build from up and what to maintain." a small thing to muchbigger things. In October, the Berklee All-Star unforgettable,first-person experience Panayiotou’s idea to produce a Guitar Ensemble,directed by Asso- in touring and concert promotion. benefit concert cameout of his desire ciate ProfessorBret Willmott,played As Chris Gestrin noted, "Berkleehas to bring live musicto his homeland five European dates in Germany, madethe world smaller by providing and from his experience as a work- Austria, and Slovakia. They played an international atmospherein which student employeein Berklee’s Office before a crowdof 2,000 at the Brat- to gain an education and supporting islava Jazz Festival, openingfor sax- musical endeavorswhichlead to inof Public Information. "I really believe in the cause ophonist JohnnyGriffin. The everxt ternational exposure." Whileall the student impresarios [UNICEF],and thought it would be wastelecast live in Bratislava. "This wasa cooperativeeffort. The ag:ree that they wouldnot havebeen great for Berklee to be involved," Panayiotou said. Acting as Mac- studentguitarists really put it togeth- able to maketheir tours a reality withDonald’smanager, he formeda sev- er," stated Willmott. "MartinKoller out Berklee’ssupport, their successen-piece band to back her. "These arranged a concert and clinic ~.t es are wholly due to their tenacity guys got to play in ancient amphi- Klagenfurt, Austria’s Conservatory. and ambition. As Panayiotourightly theaters," Panayiotoustated, "it was Juraj Burianset up the BratislavaJazz observes,"It isn’t whatBerkleegives Festival appearance,andbassist Dav- you that matters most, but what you a rare opportunity." ~ Theconcert received sponsorship id Weisnerarrangeda gig at ClubSt. makeout of the opportunity." from a variety of Americanand Cyp- Thomas in Munich. Philipp van riot organizations including the Cy- Endertwasalso importantto the tour. prus Ministry of Educationand Cul- Hebookeda gig at the Jazzhaus in LaurenR. Fleshieris assistant to the ture and waspresentedin its entirety Freiberg, Germany,madearrange- presidentat Berkleeandassists in oron Cyprustelevision. "It wasa lot of mentsfor transportation, a rehearsal ganizingstudent tours. Spring1995
Berklee today 11
The Best Is Yet to Come, A musicindustry visionary for nearly five decades.., QuincyJones "51 stays focused on what lies ahead
T
by Mark L. Small
"73
here are manyimposing figures in the annals of American popular music history and culture, but one would be hard-pressed to find any individual who has had a greater or more enduring impact than QuincyJones. He is an impresario in the broadest, most creative sense of the word. Through five decades he has alternately worn the hats of composer, record producer, performer, arranger, conductor, TVand film producer, record executive, and now, mutimedia entrepreneur. Always looking forward, Quincy has never been content to rest on past achievements, no matter howcelebrated. He is most comfortable conquering uncharted territory. As vice president of Mercury Records in 1961, Quincy was the first high-level black executive at a major label. With the release of The Pawnbrokerin 1963, Quincy became the first African-American composer to score a major Hollywood movie. (He would ultimately score 33 before turning his attention to other pursuits.) Michael Jackson’s Thriller album, produced by Quincy in 1982, sold in excess of 40 million copies-the best selling record in history. The list of gold and platinum records Quincy has worked on seems endless and includes titles from the 31 albums he has reieased as leader. A quick PHOTO BYGREG GORMAN
Spring1995
inventory of his awards rew.’als 27 Grammies, the GrammyLegend award, an Emmy, seven honorary doctorates, five NAACPImage awards, arts prizes from three foreign governments, and ~auch more. Bo:cn Qu!incy Delight Jones Jr. in Chicago in 1933 and :caised around Seattle, Quincy was smitten by tlhe museas a child. By the time he was 14 years old, he was studying trumpet and playing locally with parturient R&Bartists BumpsBlackwell and a then-16-year-old singer named Ray Charles. The "Q" absorbed all he could pl~:ying in Seattle pickup orchestras behind touriing artists like Billie Holiday and Billy Eckstine, and studying their big-band charts over the shoulders of their arrangers. He came to Lawrence Berk’s Schillinger House [now Berklee] in an effort to slake his thirst for musical knowledge. (Today he is memberof Berklee’s board of overseers and 50th Anniw.~rsary Committees.) An offer to become trumpeter and arranger for Lionel Hamptonfollowed within a year, luring Quincy to NewYork where he met every jazz legend of the clay. During his three-year tenure with Hamp,,Quincy traversed Europe and made his first recordings. He left to freelance as arranger, producer, and trumpeter for jazz lumiBerklee
today 13
naries James Moody, Clifford Brown, Dinah Washington, Duke Ellington, Cannonball Adderley, Dizzy Gillespie, and SonnyStitt. In 1957, he relocated to Paris to arrange and conduct recording sessions for Barclay Disques. At the same time, he studied composition with famed classical pedagogue Nadia Boulanger, whose pupils included Igor Stravinsky, Aaron Copland, and Heitor Villa Lobos. The ’60s found Quincy back in NewYork and then relocating to Los Angeleswhile spinning gold with Leslie Gore ("It’s MyParty"), Frank Sinatra and Count Basic, SammyDavis Jr., and Ringo Start; and scoring for the TV show "Ironside," and top films. The ’70s unfolded with Quincy receiving a Grammyfor his own Smackwater Jack album, producing chart-bound recordings for Donny Hathaway, Aretha Franklin, the Brothers Johnson, Michael
Jackson, Ashford and Simpson, Rufus and Chaka Khan, and film and TVscores, including the soundtrack to Roots--the most watched series in television history. Quincy dominated the ’80s as the preeminent pop producer of a pair of multi-platinum albums for Michael Jackson, one for Donna Summer, and the mega-hit "We Are the World." He launched his own Qwest Records and released hit-laden discs by George Benson, James Ingram, Frank Sinatra, Patty Austin, and his own 1989 multi-Grammy winner Back on the Block. He also coproduced his first film, The Color Purple, directed by Steven Spielberg, starring Quincy’s discovery, Oprah Winfrey. His adventures for the ’90s include founding Vibe magazine, a journal of black urban culture (soon to become a weekly TV show), and Qwest Broadcasting, which is ac14 Berklee
today
quiring television properties across America. At 62, Quincy shows no sign of slowing his incredible pace. His new multimedia coventure with Time Warner, Quincy Jones-David Salzman Entertainment, will produce movies, TV shows, stage plays, recordings, and more. Q calls it his most momentousundertaking yet, one which will eclipse his past achievements. A tall order, but if he said it, oddsare he’ll deliver. What made you decide to leave Seattle and come to Schillinger House in 1951? When I was a kid, well before MTV,we could only hear about our idols through the grapevine. We’d hear what Charlie Parker, Miles, and Dizzy were doing. In Seattle I never had any close contact with them. I wanted to get closer to NewYork, the mecca. I also wanted to go to the school very badly. In Boston, I figured I could go to school and I’d be close to NewYork. I’d heard a lot about the Schillinger House being a place where you could really study jazz orchestration, technique, and soloing. It was one of the most unique schools in the country at that time. Do you remember any significant musical developments you experienced during yourtime at the school? As a student, you are at a very embryonic and impressionable stage--everything touches you. Your mouth is open about everything you’re going through. It is a great experience developing as a musician. I took 10 subjects a day, from ear training to arranging, orchestra laboratory. Herb Pomeroy and Charlie Mariano were students then too. In order to afford tuition, I had to play at a place called Izzy Oft’s, which was a real dive downin Boston’s combat zone. It was funky down there. I worked with Preston Sandiford, a pianist and arranger, and an alto player named Bunny Campbell. They were very good musicians and were influential in mymusical development. Did you continue your affiliations with the people you met at the school? Alan Dawson was the drummer in Lionel Hampton’s band. Weused to call him The Senator--a very dignified guy. Trombonist Lenny Johnson was in my band in Europe. [Johnson and Dawsonlater joined the Berklee faculty.] You toured Europe with Lionel Hampton after leaving the school andparticipated in some covert recording sessions there because Hamp didn’t want his band taking offers to record. Yeah. Wehad to write the material on trains and planes coming from Oslo. Gigi Gryce told us we had these recording sessions in StockSpring1995
holm. Wewanted to record for two reasons. Monk Montgomery [Hampton’s bassist] had been given one of the first electric basses by Leo Fender just before we went on tour. We liked the instrument a lot because its sound was so pronounced. It turned out to be one of the godfathers of rock and roll, but we used it in a jazz context. Wewere also excited about recording the players in the band--Art Farmer, Clifford Brown, Gigi Gryce, Annie Ross, and Jimmy Cleveland. Wewere warned not to record solo projects, but were determined to do these sessions. Wefigured if we left the hotel at 2:00 a.m. it wouldbe dark enoughthat no one would see us. But when we climbed out on the fire escape, it was as bright as noon because of the midnight sun and anyone could have seen us.
ve been trying to turn my
ownprojects into multimedia ones that will have moreof a life than a record will
tine band and the movement growing out of the Charlie Parker and Jay McShannbands. The Billy Eckstine band was the real spawning ground--it had great people in it---Dexter Gordon, Gene Ammons,Bird, Miles, Dizzy, Art Blakey, Sarah Vaughan.At that time, the musiIn Europe, you studied with Nadia Boulanger, were friends with Messiaen, and cians decided they didn’t want to be entertainlater visited Villa Lobos at his home in Rio ers anymore, they wanted to be pure musiduring a South American tour with Dizzy. Do cians. The consequences were grave. The you feel contact with leading classical compos- alienation and rejection that followed caused a ers had much influence on your music at that lot of musicians to get deeper into drugs. early stage? Comingfrom bebop, was it a big shift for you I was just friends with people like Messiaen and Boulez. Myprimary association was with to get into producing cmnmercial sessions for Nadia Boulanger at her home in Paris. That Barclay Disques in Paris and other companies was an experience of a lifetime. She had a big in NewYork around 195:7? It was an expansion. ]~ didn’t shift gears, I influence on meand still does to this day. just went into another territory. WhenI was What do you feel Boulanger brought out of 14, back in Seattle, working with musicians like Ernestine Anderson and Ray Charles, we you musically? She said that Americanscameto her in Paris had to play everything. We’dstart at 7:00 at the trying to learn howto write the great Ameri- Seattle Tennis Club wearing cardigans and bow ties playing dinner music and we’d try to sneak can symphony. She told me, "your own culture has the richest music in the world, and that some bebop in. At 10:00, we’d change clothes is the minethat needs to be ored and explored." and go play at the Black clubs like the Rocking That was some great advice. I had already been Chair and the Booker T. Washington Educadoing that, but she confirmedfor me that I was tional Social Club doing r&b, comedy shows, strip music, and funk. At 3:00 in the morning going in the right direction. the musicians--even the touring :musicians passWhatis your view of the vitality o f jazz since ing through town--would go to the Elks club, the revolutionary mood of the bebop era has where we’d play bebop until 7:00 a.m. That long passed and many other influences have was the ritual. Weplayed a lot of different styles of mubecomepart of the genre. Everybody keeps getting hung up with catsic-including schottishes or "Claire De Lune." egories. There are a lot of contradictions in At one point we tried to retake everything sound Black music because of categories. Black music hip because we were such beboppers. Then feels like a music that is a voice of the whole Ray Charles said we should just play each style people, so it will jumparoundto different sourc- with its ownsoul. That was a goodlesson; it all es at various times--from rhythm and blues to had its ownvitality whenwe let: it stay pure. delta blues, or jazz. There is always something Haveyou identified any universal qualities fermenting somewhereeven if it is in the rap and hip hop community. It is always going to amongthe successful musicians with whomyou be very vital to what is going on. have worked through the’ years? Yeah. A unique, God-given talent given to It has not been considered an "art music" even thougha lot of it is art music. Its creators a person whounderstands that he or slhe has an didn’t think of it that wayuntil the Billy Ecks- obligation to develop, nurture, and build it. Spring1995
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The most communicable characteristic would be sincerity--believing in what they are doing. That is what is going to communicate. That is why I am not hung up on musical categories and thinking this is going to work, or people will like this. The charts today are so diverse. Youwill find Lion King on one hand and Forrest Gumpon the other, rap stuff, or monks singing Gregorianchant. It’s pretty diversified. In recent years, you haveproducedbig events like the Clinton inaugural concert. Whatdo you think people are expecting when they hire Quincy Jones for a production ? I don’t know. I hope they expect a good showthat is interesting and has someintegrity. The inaugural was to show everyone coming together in America---the melting pot. So we dealt with a very multicultural platform and had artists representing all kinds of American music. It was a very exciting night; it all came together in very little time, but man,it was cold out there at the Lincoln Memorial. O fall the offers cominginto your office these days, what projects are you most likely to sign on for? Well, I pass on 99 percent of them because so much comes in. Nowthat we’re a multimedia company,we get hundreds of cassettes, video tapes, scripts, and any idea anyonehas for a magazine, TVspecial, mini-series, a Broadway show, a film, a video game--weget all of it. Most of what comesoff the street doesn’t work, but we get an equal amount from very reputable people. Actor Larry Fishburne, whowas in The Color Pu~le, wrote a script, which I’m getting ready to read :now. Whenyou get things from people like that: with a real commitment, it makes you want to support them.
logo describes us having one foot in the 20th century and one in the 21st. I’m enjoying it very much. Wehave done a lot of homework on the converging technologies and about how new communications systems are going to work. Weare in one of the significant technologicaI revolutions that civilization has seen since the invention of the printing press. Is there any project you have underwaythat you could discuss? Wehave a lot of movies right now, but they are hard to talk about until you get all the people signed. Actually, until the cameras are rolling, you can’t be sure that everything is going to happen the way it is planned. Be assured that we have some very exciting things going on. Oneof the films we have discussed is A Star Is Born with Whitney Houston and Denzel Washington. Do you still compose just for the sake of writing---with no project in the wings? I do it all the time. I have alwaysgot a few music projects that are myownthing. I have a basket of myideas on snippets of music paper.
Is it possible for a young musician to have a career as all-encompassing as yours, or has the industry expanded and changed too much since your early days to permit that? I think it is possible, maybemore so. A lot of the mining, so to speak, has been done. There was a tribute to BennyCarter recently, and in my speech I mentioned that not only did Bennylead us, and show us the light, but he wouldlift us on his back and take us into the light. That is the spirit that I think should be prevalent today--taking the young ones in to really see what it is about and bringing along all the history of the past with them. There are somereally beautiful things that Are you committing to produce any albums ? No. That’s one thing I can’t be promiscuous have happened in the past that should be about. It takes a lot of time. Even for Michael brought forward. Weshouldn’t deal as if we Jackson I don’t have the time. In the 80s I had have a disposable culture. it, but in the 90s it’s just not there. I could do my own album. I’ve been trying to turn my Is there one accomplishment from your five projects into multimedia ones that will have decades in the music business that stands out moreof a life than a record will. I’m writing a above the rest? street musical nowfor a record. The ones we are going to do in the next four years will stand out above everything. It is Will your new companytry to find a TV or astounding, that’s the way I feel. I have been fortunate to have been involved in a lot of very film use for all your new ventures? Yes, whenit makes a good organic fit. It is exciting things in the past. But what’s to come easier to do a project if it has moreapplications is even more exciting. This is an exciting time than one. Maybeit could be a stage play, a film, to be alive. I wouldn’ttrade the time that I got a record, and an interactive CD-ROM. But if on earth for anything--it was just right. I’ve we like something that is good for just one felt and experienceda lot of different attitudes application, we may go ahead and do it. Our and eras. I thank God for it. ~ 16
Berklee today
Spring1995
¯
¯
¯
Musician’s
Maladies
An overview of performance-inducedinjuries and whereto find the medical help to overcome’them
A
by Dr. Alan
Doyle
"78
fter graduating from Berklee in 1975, pianist Bill Gordon moved to New York to embark on the next phase of his career. After years of hard practice and study, he was ready for the next challenge. He never expected the one that confronted him though. Bill awoke one morning to discover that the second finger of his left hand would lock and his third finger would not drop when he attempted to play a simple descending scale. Unprepared to abandon his dream, Bill saw a numberof specialists before finding help at Manhattan’sMiller Institute, a clinic whichtakes musician’s maladies very seriously. There, Dr. Emil Pascarelli diagnosed Bill’s condition as focal dystonia (described below), and devised a specific therapy program. After time and considerable perseverance, Gordon has gradually overcome his problem. He performed his first solo concert
Anearly sign of carpaltunnelsy~ldrome is tingling in the fingers.In later stages,pain radiatestothefingersalongthe mediannerve.
after a hiatus of several years, and just last year, released a solo piano album titled A Little Romance. Gordon is among a growing number of musicians who have developed physical problems after many trouble-free years of practicing and perfo~ming. To help musicians suffering from such occupational hazards there is a growing numberof clinics across the United States offering specialized care to performing artists. The rela-
Alan Doyle ’78 earned his doctorate of osteopathy from Philadelphia College of Osteopathic Medicine. He is currently an assistant professor in the Physical Medicine and Rehabilitation Department at the Eastern Virginia Medical School in Norfolk, VA. Spring1995
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tively new field of performing arts medicine involves physicians from a variety of backgrounds--physiatrists, orthopedists, neurologists, and internists. Manyof these physicians are musicians themselves, others simply have a deep appreciation for the special talents of artists. A performingartist is like a professional athlete in manyrespects. Both groups comprise highly motivated individuals with specific skills and a competitive spirit. Consequently, both groups are at risk for developing a similar set of maladies. These include repetitive motion disorders, improper training injuries, entrapment neuropathies, and motor control problems.In addition, the stress associated with sustaining a sometimes disabling injury can have a profound psychological impact upon an artist. The following is an overview of the most commonconditions and some methods used in treating them.
structure. The most commonexample of this problem is entrapment of the mediannerve at the wrist, knownas carpal tunnel syndrome. The median nerve travels with nine flexor tendons of the hand under a thick fibrous structure known as the transverse carpal ligament. Certain wrist motions, particularly flexion (curling motion) and extension Improper TrainingInjuries (straightening motion), can increase Soft ti.ssue injuries often manifest pressure in the carpal tunnel and result in median nerve compression. A themselves when a performer significantly increases the amountof play- musician may first experience numbing time without proper conditionness and tingling in the fingers, later ing of the soft tissues. The usual weakness of the thenar muscles in the palm just below the thumb can scenario occurs whenone is practicing diligently for an important per- occur. At times this condition is so formance. Like a long-distance run- painful it can wakean individual at ner training for a marathon, the night out of a sound sleep. Early on, musician needs to gradually build up conservative measures, including the playing time. Without adequate prep- use of splints and anti-inflammatory aration, the soft tissues fatigue and medications, are prescribed. If these pain ensues. treatments fail, surgery is recomAnother factor causing this type mendedto incise the transverse carRepetitive MotionDisorders of injury is the design of the per- pal ligament and release pressure on The regimen of daily practice of- former/instrument interface. Most the nerve. ten entails repeated execution of dif- instruments are constructed more for Other commonnerve entrapment ficult phrases or passages to incorpo- their acoustical properties rather than problems affecting the neck, shoulrate them into a performance, placing for ergonomic concerns. To evaluate der, arms, hand, or fingers, can occur musicians at risk for repetitive mo- the musician at work, most physiat the area belowthe collarbone (thotion disorders. These problems stem cians in performingarts medicine ask racic outlet syndrome), the ulnar from chronic overuse of the muscles the artist to bring his or her instru- nerve (elbow area), and in the neck and tendons, and pain is often the mentto the initial exam.This enables (cervical radiculopathies). A thorough major symptom. In some instances the physician to observe the physical examination and diagnosis by an exthe pain can be so severe that a per- interaction between the performer perienced physician can help locate former is unable to play his or her and the instrument. the areas of entrapment, and approinstrument. A commonmistake is to Use of videography is helpful for priate treatment can begin. try and "play through the pain," analyzing the subtleties of hand powhich invariably causes the situation sition, embouchure,and posture. Sur- MotorControlDisorders face electromyography can be emto become worse. Focal dystonia (the condition Bill A soft tissue injury results from ployed to assess which muscles are Gordon overcame) is a movement micro tears in the muscles and tenbeing activated and in what sequence. disorder which results in abnormal dons. Without appropriate treatment, This involves placing tiny electrodes muscle tone and loss of voluntary the process can becomea cyclical one, over specific muscles to electrically control. The symptoms associated eventually leading to chronic impair- record their function during a per- with focal dystonia usually include a ments. Whatis needed is a period of formance. Abnormalpatterns of mus- loss of motor control, involuntary "relative rest" and medication to de- cle activation can be then recognized. flexion and extension, and difficulty crease the inflammationof the affect- The physician then recommends a relaxing and movingone’s fingers. It program for muscle reeducation and is an almost mystical malady deed tissues. After the pain subsides, the musi- monitors the patient’s progress. scribed by various authors as percian may begin a gradual return to haps the most difficult and perplexpracticing. The key to avoiding a de- Entrapment Neuropathies ing problem to treat. Formerly, most bilitating injury is early recognition An entrapment neuropathy occurs physicians believed it was morea psyof the problem followed by proper when a peripheral nerve becomes chological condition than a physical medical intervention. compressed by another anatomical one. The exact cause of focal dysto-
performing~rtist is
like professional
lete. . . bothare at risk
18 Berklee
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SELECTED LIST OF PERFORMgNG ARTSMEDICINE SPECIALISTrS Universityof California, San Francisco Health Programfor PerformingArtists Dr. Peter F. Oswald,director (415) 476-7373
Brighamand Women’sHospital PerformingArts Clinic Dr. MichaelCharness Boston, MA(617) 732-5771
SunnyvaleMedicalClinic Dr. Vivien D’Andrea Los Altos, CA (415) 968-8370
MedicalRehabilitation Dr. StevenSchultz, medicaldirector AnnArbor, MI(313) 998-7899
ContinentalRehabilitation Hospital of San Diego StacieTutsie,rehabilitationliaison (800) 637-8200,(619) 686-4651 University of Colorado, Denver Health Science Center Dr. Stuart Schenck(303) 270-7566 Yale Occupational MedicineProgram Dr. Martin Cherniak NewHaven, CT (203) 669-8853 Northwestern MemorialHospital MedicalProgramfor PerformingArtists Dr. Alice Brandfonbrener Chicago,IL (312) 908-2787 Indiana University Schoolof Medicine PerformingArts MedicineProgram Dr. KennethD. Brandt, director Indianapolis, IN (317) 274-4225 NationalRehabilitation Hospital Dr. Richard Norris Bethesda,MD(301) 654-9160,ext. 120 nia remains unknown. Some researchers believe the basal ganglia area in the brain, which has been implicated in other movement disorders, may be involved. Others suspect that nerve compression or repetitive trauma may somehow predispose an individual to focal dystonia. Interestingly, the condition is very task specific, occuring only when one is performing an activity that triggers the dystonia. At other times, the individual is able to use the affected extremity normally. A newly developed treatment involves the injection of botulinum toxin into dystonic muscles while monitoring muscular activity via electromyography. This technique allows selective weakening of certain muscle groups and improved motor function of the hand. The procedure is still considered experimental and has not yet been approved by the Food and Drug Administration. Research on this treatment and on focal dystonia in general is continuing. Spring 1995
DukeUniversity Medical Center Dr. Sam Moon Durham,NC(919) 286-3232 ClevelandClinic Foundation MedicalCenterfor PerformingArtists Dr. Richard J. Lederman Cleveland, OH(216) 444-5545
WayneState University Health Center Dr. JamesBlessman Detroit, MI(313) 577-5074
ThomasJefferson University Hospital Arts MedicineCenter Dr. RobertSataloff Philadelphia, PA(215) 545-3322
InstrumentalArtists Clinic Sister KennyInstitute Dr. JennineL. Speier, medicaldirector Minneapolis, MN(612) 863-4495
Eastern Virginia MedicalSchool Dr. Alan Doyle Norfolk, VA(804) 446-5915
Jewish Hospital MedicalProgramfor the PerformingArts Dr. JeromeGilden, director St. Louis, MO(314) 454-7827
Vanderbilt Arts MedicineProgram Dr. StevenA. Mitchell, director Nashville, TN(615) 343-7464
St. Joseph’sRehabilitationHospital Dr. Donald Vichick Albuquerque, NM(505) 244-4716
TheSports Arts Center Institute for RehabilitationandResearch Dr. Rebecca Clearman Houston, TX(713) 799-5010
Miller HealthCareInstitute for PerformingArtists Dr. EmilPascarelli NewYork, NY(212) 523-6705
TheClinic for PerformingArtists Virginia MasonMedical Center Dr. MichaelWeinstein Seattle, WA(206) 223-6885
Universityof Buffalo UniversityMedicalPractice Services Dr. Alan Lockwood Buffalo, NY(716) 829-2600
Sir Win.Osler HealthInstitute Dr. John Chong,director Hamilton, Ontario, Canada (905) 574-2875
Psychological Adjustments In recent years, sports psychologists have begun assisting today’s athletes with the psychological demands of professional competition. Today, there are a number of mental health experts working with performers to help them adjust to the stresses of a career in the arts. Whenan artist is injured and unable to perform, it has both financial and psychological implications. Very often an artist’s personal identity is intertwined with the ability to compose, dance, play an instrument, or sing. It is not uncommon for performers to become depressed over the loss of their skills after a disabling injury. In these situations, the use of anti-depressant medications and psychological counseling are necessary adjuncts to the rehabilitation process. Part of the problem is the way in which society views the arts. Some individuals, holding the view that artistic endeavors are ancillary and expendable, are insensitive to the plight
of an injured performer. This can be devastating to the artist since it is critical that he or she remain positive and focused on rehabilitative efforts. A good mental attitude is mandatory for a successful outcome after injury. Future Directions Researchers are continuing to assess which methods are best for the prevention of injuries to musicians. As; music teachers, students, and professiona]s become more aware of the problems and their remedies, the likelihood of complications will decrease. If and when problems arise, the referral to a performing arts medicine specialist can result in a more rapid return to performance. Today, we understand how physically and psychologically demanding it is to be a performer. Bill Gordon states, "Playing is more athletic than we :realize. Warmingup, stretching, exercising, resting, and a balanced diet will help maintain us for a lifetime of performing." I fully agree. ~1 Berklee
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Two Sides
o~theJazz
Coin
Teaching the African and Europeanelements in jazz
T by Phil Wilson
eachingthe tools of jazz improvisation at Berklee is a challengingexperience,largely becauseof the college’svariedcultural mix.AEuropean student is likely to be comfortablein diatonic harmonicpractices, while havinglittle experiencein the hypnosisof the African rhythmicheritage. Conversely, the entering students of African descent are often well-versed in the soundand physical properties of their rhythmicheritage, but maybe less comfortable with Europeandiatonic harmony. That is not to say that the Europeans don’t have rhythm and Africans don’t have harmony-ofcourse they do. But the indigenousside of each is generally moredeveloped.The miraclewecall jazz in the ’90s is the merging of these two great musicalcultures. What follows is an approachto teaching the basics of jazz with whichI havehad
Guidetonesare similarto theyellowlines onthe harmonichighwayof a tune.
considerable amountof success. In the first year, the student, throughtraditional study, should becomeproficient enoughon his or her instrumentto be able to control musical content (tone production,phrasing, etc.) to somedegree. Thetraditional studies should be supplemented by serious study of both the rhythmicand harmonicsides of the jazz coin. Bythe end of the
ProfessorPhil Wilsonreleased the Wizardof Oz Suite CDin 1994,andis chief arrangerfor Illinois Jacquet.Hischart of "Mercy, Mercy" appears on Nell Peart’s Burnin’ With Buddyalbumon Atlantic. 20
Berklee today
Spring1995
first year, the student should have a working knowledge of diatonic harmony, seventh chords, and guide tones.
Guide tones make up the "harmonic highway" of any diatonic piece of music since Mozart’s time. Think of the guide tones running through a tune by Gershwin, as being similar to the double yellow lines on a highway taking you across the countryside. The student should have a working knowledgeof the rhythmic values in jazz, i.e., the hypnotic properties of stacked rhythms and space inherited from the African tradition. In the second year, the student will begin working with simple tunes. Sonny Rollins’ "Doxy" works well because of the rhythmic properties of the melody and the simple harmonic structure--similar to the commonfolk song "Jada." For purposes of this article, I havewritten a "Monkish" blues which has the same properties as "Doxy"plus the story-telling form of a blues. The student must
memorizeall of the tune’s melodic, rhythmic and harmonic components. Next, the student and I play the tune to a pro-recorded rhythm section if a real one isn’t available. After the student gets really comfortable with the tune, I turn the rhythmsection off, leaving the twoof us in duet:. The student will play the melody while I groove a bass line. Next, the student must play a bass line while I play the melody. This is followed by chorus after chorus of the two of us alternating bass lines and improvising on the changes back and forth. Playing the bass line teaches the student not only how to create a groove, but also howto outline the harmonic highway of the tune. It is also enlightening to step outside of the traditional role of one’s instrument, and play the role of another. As the student develops, the tunes get more sophisticated. The developing musician begins to envision the big picture, gaining knowledge of both sides of the jazz coin.
When first approaching this tune, the studentplays the melody,the teacherplaysthe bassline. For the secondchorus, exchangeparts. After that, begintrading solos and accompaniment. Theguide tones (third and seventhof eachchord)are givenin the third staff as a referencepoint for the improvisor.
Monkish J= m.m. 60
Th e TRIJE
Spirit OF Jazz TheSledDogs THEMUSIC OFJIM KELLY JimKelly-Guitar JimOdgren - Altosax BobTamagniDrums Produced ByGaryBurton ADD - RMCD4521 VictorMendoza TltlSIS WBY VictorMendoza - Vibes JimOdgren - Altosax Alain Mallet- Piano Oscar Stagnaro - Bass Boracio"EI Negro" I-lern~ndez - Drums Gustavo Ernesto Diaz- Perc. DDD-RMCD4515 Crook/Lockwood/Gullotti
Composedby Phil Wilson / i Hal Crook-Trombone John Lockwood - Bass
MilesDonahue 5et TheGood Listener MilesOonahue - Trumpet, tenorandsoprano sax JerryBergonzi - Tenor sax Kenny Werner - Piano Bruce Gertz- Bass Adam Nussbaum - Drums DigitalLiveRecording DOD - RMCD4510 U.S.A. distribution: SPHERE MARKETING & DISTRIBUTION, INC., CargoBuilding80, Room 2A, JFKInt’l Airport,Jamaica, NY11430 Tel. 718/6566220Fax718/2441804 Worldwide Distribution (except U.S.A.): IREC S.p.A. via SanG.B.DeLaSalle,4 - 20132 Milano- Italy Tel. andFax39/2/259 2326 © Copyright1994,Phil Wilson,All Rights Reserved
Spring1995
AVAILABLE AT
Alum n o t e s Compiled
by
Ethiopian vibist Mulato Astatke ’58 released a CD Clayton Doty "95 titled Assiyo Bellema with and Negui his group EthioJazz. The Capriles band features Fasil Wuhib ’93 (bass) and Al~egassu Shi0ta ’94 (keyboards). EdwardMunger’61 is nowliving in Schenectady, NY, and has opened Ed Munger Music Studios. He is director and head guitar instructor. Roger Aldridge "68is currently living in Silver JeffGolub’78,NewYork ses- Spring, MI), and recent!y sion ace andlong-timeRod had a composition perStewart sideman,has re- formed in the 1994 ChesaleasedAvenue Blue, a jazz peake Bay Foundation benalbum on the Mesa/ efit concert held in Bluemoon recordlabel. Washington, D.C.
22
Berklee today
Pianist MasahikoSatoh ’68 was recently featured in the August issue of Cadence magazine. Trombonist John Licata ’70 lives in Boston where he is very active in the jazz scene. Last June, John played several dates at Cleveland’s Bop Stop. Saxophonist Greg Abate "71 is living in Cranston,RI, and recently released his fourth CDwith his quintet on the Candid label. The disc features Richie Cole"67 on alto saxophone. RandyKlein ’71 and his Jazzheads have released a self-titled CDand played several dates at Birdland in NYC last fall. JosephMitchell ’71 of Kingston, NY,has just released an independent CD of contemporary Christian rock entitled The Promise. Woodwindsplayer Bobby Eldridge"73 is living in NewYork playing in pit orchestras on Broadway. He has also recorded and performed with numerous artists, including Stevie Wonder, George Benson, Cab Calloway, Lyle Lovett, and manyothers. JeffreyMeyer"74is living in NYCand just released an albumtitled Best of Friends, a collection of children’s songs sung by DeniseMangiardi "91. CharlesStevens "74lives in Cambridge, MA, and teaches in the Arlington,
Bobby Eldridge’73 MA,public schools. Last September, Charles was hired by the Massachusetts Teacher’s Association as a Field Services Consultant for the Northeast Region. Jeannie Deva’75 published The Contemporary Vocalist Improvement Course--The Deva Method: A Nonclassical Approach for Singers. She was also an assistant producer for the the J. Geils Band’s latest CDBluestime. Guitarist Steve Masakowski’75 of NewOrleans, released his latest album entitled WhatIt Was which was given four and a half stars in the August1994issue of Downbeat. Michael Pellera ’75 plays keyboards on the album. Pianist/composer Wayne Francis "76 wrote a tune, "Calle Estrella," for the new CD Fast Life by saxophonist David Murray. KeithRoberts ’77 and his band the Young Dubliners Spring1995
have released their debut album Rocky Road on Scotti Bros. Records which was produced by Michael Blum. RandyWoolford’81 played electric guitar and sang backup on the album which received a three-star review in the Los Angeles
CLASSCONNECTIONS
Times.
TodCooper"78 is living in Sherman Oaks, CA, and is currently music production supervisor for Walt Disney Feature Animation. He worked with Alan Mencken on Pocahontas, The Hunchback of Notre Dame, and Hercules. The saxophone work of Peter Gordon"78 can be heard on the theme for "Lifestyles of the Rich and Famous" and on Peter Melnick’s[’851 Arctic Blue soundtrack album on Narada records. Ledell Waterman Mulvaney"78is living in Greenwich, CT, and is a music teacher for Greenwich Pnblic Schools. She received a Fulbright Scholarship to study music in Ghana, Africa, last summer. Mitch Seidman"78 released Fretware on the Brownstonelabel featuring four of his originals and several standards. Also spotlighted on the disc are bassist Harvie Swartz"70, drummer Alan Dawson, and saxophonists Charlie Kohlhase and Leonard Hochman. Collective Experience, which includes pianist Gloria Jasinski’78, vocalist LynneVadala’81, bassist TonySumbury ’85, and sax player Carl Clements ’87, is currently performing in the Boston area. VincentScrima’78 spent seven years as keyboardist for the Connie Stevens Band and recently wrote a big band chart of the Police’s "Synchronicity" for Spring1995
Alumni Chapter Presidents New York Steve Ward"87 MuMusic Int’l. (212) 929-1161 Orlando Stan Kubit "71 Orlando Music Teachers Inc. (407) 352-9702 Chicago Damon Booth ’91 ASCAP (312) 481-1194
Nashville Rich Adams’82 (615) 297-8967 Boston Jeannie Deva ’75 The Voice Studio (617) 536-4553
As Berklee begins celebrating its 50th anniversary, the year promises a lot of alumni activities. Alumnichapters around the world will be saluting Berklee in a variety of ways with reunions and showcases. Berklee International Network schools in Greece, Spain, and Israel hosted alumni receptions in December. In April, the college will present the Herb PomeroyTribute Concert featuring top guest performers, in recognition of Herb’s retirement from an illustrious 40-year teaching career. The Los Angeles Chapter hosted a January 15, brunch for 102 with President Lee Eliot Berk, membersof the faculty and staff, and alumni. Bassist Nell Sltubenhaus ’75 and Saxophonist Eric Marienthal "79 were honored for their achievements with Distinguished Alumni Awards. J.R. Robinson’75 and GaryBurton ’62 madethe presentat!ions. The newly formed Denver Chapter held a November social at the WynkoopBrewing Company. Chapter President David Hammond ’81 is planning an alumni showcase, anyone interested in helping should call him at (303) 733-5481. The Boston Chapter is making preparations for either a spring or early summeralumni showcase, those interested in working on this project should call aeannieDeva"75 at (617) 536-4553. The Nashville Chapter will host their annual AlumniSinger/ Songwriter Showcaseon March 21, at the Bluebird Care. Sparrow Recording artists Chris and Scott Dente’87 will receive distinguished alumni awards. In the works is a showcase for instrumentalists to be held in conjunction with the summer NAMM show. For informatio~t on this event or if you want help, call Chapter President Rich Adams’82 at (615) 297-8967. Other events will be happening in Orlando, San Francisco, Chicago, and Japan. Stay tuned. SarahBodge,Assistant Director of Developmentfor AlumniRelations
San Francisco Gary Boggs ’82 Guitar Studio (415) 731-6455 Los Angeles Leanne Summers ’88 Vocal Studio
(818)769-7260 Denver David Hammond ’81 Denver School of the Arts
(303)733-5481 Tokyo Alumni Coordinator Michiko Yoshino 042-241-4347
HarvieSwartz’70 (left) and Tommy Campbell’79 were honoredata NewYork Chapter receptionNovember 14.
Jezznnie9eva’75 (left) andSarah Bodgewith distinguishedalumni awardrecipient DavidRosenthal’80 at the BostoneventonNovember 6.
At the January15, L.A. brunch,Nell Stubenhaus "75 (left) and Eric Marienthal "79(right), received Distinguished AlumnusAwards. Berklee
today 23
use on Fox’s "Late Show" and the "Arsenio Hall Show." Jazz guitarist D0aald Chamberlain "79 is assistant professor of music at Grinnell College, in IA. Leo Gandelman "79 recently released a new albumentitled Madein Rio, on Verve Records. He toured the U.S. including stops in NYC, Washington, D.C., and at the Monterey Jazz Fest in Mexico. Osami Mizuno ’79 is living in Tokyoand leads his band the High Hats. Osami also teaches drums at the Mate School of Music in Tokyo, and beginning in April, will be teaching at the Percussion Gallery in Tokyo. He endorses Ludwig drums. DavidPotaao ’79 is living in Toledo, OH, and is a registered music therapist
at the St. Vincent Medical Center. Last year, he started Vibrations of Life which provides music for various health care applications. David acts as the composer, arranger and producer for the company and also is a lecturer for cardiac rehabilitation and cancer patients. Classical guitarist Ricardo Simoes ’79 of Rio de Janeiro, Brazil, released a CD featuring his original works and pieces by Bach, Villa Lobos, Tarrega, Mozart, and others. BlaineMandel "80is living in East Northport, NY, and is a composer/performer for Queens Public Television series "StorytelIing with Barbara Aliprantis." The series wona second CAPA Award for Grant Aid/Facilitation. Jazz harmonica player Hendrik Meurkens’80 has
released his fourth jazz CD entitled Slidin’ on Concord Records. The disc features four Hendrik originals as we11as standards. TonyThomas ’80 is living in SeattIe, WA,and is program director of KMPSAM/FM. In August of 1994, Tony won Billboard magazine’s Large Market Country Program/Operations Director of the Year award. ReedVerte~ney "80 lives in Van Nuys, CA, and is a staff songwriter for Sony Music Publishing. Reed was nominated for a Grammy in 1994 for Best R&B Song "Heaven Knows," cowritten with Luther Vandross. Reed has written songs for Smokey Robinson, Patty Austin, and Darryl Hall. aeremy Driesen "81is living in Norwalk, CT, and working as musical direc-
tot/drummer for singer Lou Christie. Recent performances include shows at the Royal Albert Hall in London, TNN, and Showtime. A new CDis in the works for the MCA Recordslabel. GaryEdelburg ’81 is living in Green Bay, WI, and released his debut CD Cbakra on his label Electric ShadowProductions. Cathy Gittelson "81is living in Atlanta, GA,and has worked as a music publicist for classical and jazz musicians since 1988. MarkMaxson "81 is living in Ogden, UT, and is owner/operator of Carried AwayMusic Productions, and is house guitarist at Lagoon Amusement Park. Walt Platt "81 works in Boston as a freelance trumpeter. He has backed B.B. King, Dave Weckl, the Woody Herman Orchestra
allen
trio
twentyone tonywilliams
BLUE NOTE Toorder these seli~{ions~ ;0r others fromtheBlueNotecatalogcall theMtisic.Source toll-freeat I - 8 0 0 -
24
Berklee today
....................... ..................... ~::::~:~:
Spring1995
and Cab Calloway. Liz Queler "81is living in NewYork and just released her first solo CDentitled River of Time. She has won two Billboard songwriting awards and has been touring with folk singer Cliff Eberhardt. The Cambridge-based singer/songwriter team of Jill Stein and KenSelcer "81 has released Flashpoint, a CDcontaining 11 of their original songs.
publishing companies: Festoso Music (ASCAP) and Pacato Music (BMI). Richard Price’83 visited Berklee last Novemberas a visiting artist for the Music Education Department. He has performed with the Lionel Hampton and the Count Basic Orchestras and is chair of fine arts and music at Bishop Hendricken High School in Warwick, RI. GuillermoNojechowicz’84(lelt) andproducer MichaelAbene Singer/songwriter Evyn Charles"84 is residing and KarenOosterman-Barkin performing in Los Angeles ar. The album, has gone ’84 lives in Uxbridge, MA, and was profiled in the San- multiplatinum. Drummer Guillermo and just completed a reta Monica College weekly, Nojechowicz "84 leads the cording project entitled In the Corsair. jazz ensemble El Eco. The His Name, composed for Dennie Chambers’84, group includes D0nnyMc- the 1994 Youth Unlimited president of Boston’s PiNational Youth Convenano Forte Incorporated, a Caslin ’88 on tenor sax, Division of New England Berklee student ShermaAn- tion and was recorded at MusicServices, has expand- drews on vocals, Hello Lakeside Music Services, Alves ’93 on piano, Mark owned by BradPierce ’82. ed into the international market in sales and techni- Greel ’83 on trumpet, and Steve Barkin ’79 played cal assistance, servicing ac- Fernando Huergo’92 on drums on the project. JonFinn’82 DonaldQuan"84 has recounts in Kenya. bass. The band is being produced by Michael Abene. cently been hired as keyGustavo Farias"84is livGuitarist JonFinn "82 has ing in Van Nuys, CA, and Nojechowiczrecently per- boardist/violist for a world released Don’t Look So Se- is president of Farias Pro- formed in Japan with the tour with Celtic harpist/ singer Loreena McKennitt. rious with drummer Dave ductions. Gustavo has re- Yumikonian Orchestra Dicenso’76 and bassist Joe cently produced and arwith pianist YumiknMu- The band played the Berkrakami"91 and Gustavo Gre- lee Performance Center in Santerre ’82 for the Legato ranged Juan Gabriel’s November. label. The disc features 15 album Gracias Par Esper- gorio’91 on bass. of Finn’s instrumental rock compositions. BenjaminSmeall"82 is living in Green Bay, WI, and recently returned from NEW¯ USED¯ BUY ¯ SELL ¯ TRADE a trip to Bolivia where he IN STOCK~Sclmer MARK VI and was researching his Ph.D. BalancedActionin original lacquer. dissertation. BACH RICO BOBBY DUKOFF CONN OivlEGA BERG LARSEN DavidTwiss’82 has been KInG OTTO HNK OLIV1ERI named director of music BUEFET BARI ARMSTRONG YAIvIAHABEECHI.ER VanDOREN and musical drama at the MEYER LA VOZ CLAUDELAKEY Oxford Academy in ARTLEY BRILHARTM]RAPHONE DeFORD LOREE GEMEINHARDT Northborough, MA. FOX BUESCHERCABART Michael Woods"82 is GE’E,~N FAvfERSONMTI’CHELL LURI SEI.2C~ER HOLTON SCHRH13ER composing chamber music Professional and H~3~S AL CASS KRUSPE personalservice by and recently had his music LeBI~kNCJET-TONE ALEXANDER AWA performed at Hamilton EMILIOLYONS ~E~GESC HILKE YANAGIS College in Clinton, NY. Servingprofessionalmusicians,students, musicschoolsand universitiessince 1939. ComposerAlexis Biolley "83 is living and workingin San Francisco. Robert Forrest"83is liv263 HUNTINGTON AVE., BOSTON, MA 02115 ing in Tarzana, CA, and is (NEXT TO SYMPHONY HALL) 61.7-266-4727 president of two music
IMPROVE YOUR SAX HFE
Spring1995
Berklee
today 25
L.A. NEWSBRIEFS "75and NeiB Greetings and best wishes to tion of J.R. Robinson one and all for a successful 1995. Stubenhaus ’75 was busy in 1994 The new year marks the compie- touring with Barbra Streisand. tion of the first year of operation Drummer AbeLaborielJr. ’93 is ’84 for the BerkleeCenter in Los An- ontour with Seal.ScottRoewe geles. Many satisfying results from has been touring with the Wild the center havecomein the area of (Colonialssupportingtheir latest alumni relations. Networkinghas release on Geffen Records--he’s expanded, the number of alumni featured on bass, keys, sax, and activities has grown,and a general didgeridoo!Jan Stevens’81 recentsense of Berklee’snewpresencein ly scored two commercials for L.A.is taking hold. Mattel’s Hot Wheelsproduct. Thefirst in a newseries of alumIn the worldof film andtelevini seminars,entitled "TakingCare sion . . . DarylKell ’88 servedas of Business," washeld last Octo- musiceditor for the HallmarkTV ber. The focus of the eveningwas movies RedwoodCurtain and The on musiccareers in film and tele- Ranger,the Cook,and the Holein vision and the guest speaker was the Sky. Both films were scored renownedcomposerAlanSilves- by Lawrence Shragge "77. YuvalRon tri "70(Forrest Gump,WhoFramed ’89, house composerfor SabanEnRoger Rabbit?, Back To The Fu- tertainment, has beenscoring the ture). It wasan exciting evening-- secondand third parts of the PowAlan provedto be an entertaining er Rangertrilogy. MishaSegal’75 speaker providing anecdotes, ob- scored the ABCanimated feature servations, and advicewith a good "The Secret Garden"and the NBC measure of humor. Attendance movie She Led Two Lives. Phi~ Giffin"76scored the NBC "Movie of the Week" Escape from Terror, and has just completed an ABC "Movie of the Week" The Computer Wore Tennis Shoes. Peter Melnick’s (’861 soundtrack for PeterGordon ’78, left, andfilm composer AlanSilvestri the movie Arc"70aftertheOctober "Taking Careof Business" seminar. tic Blueis available on CD wasexcellent and the audiencewas from Narada. He is workingon a very enthusiastic. Details on the new Oliver Stone production for next seminarin the series will soon HBO.Andrew Keresztes"86 arbe announced. rangedand producedsix tracks for As for alumni names in the the "Tales from the Crypt" album news. . . TigerOkoshi ’75 wasin entitled HaveYourselfa ScaryLitL.A. for a club appearance. Re- tle Christmas. Healso wrote unviewswereexcellent, not just for derscore for the MTV series "Dead Tiger, but also for his local rhythm at 21." section consisting of Jeff Richman That’sit for now.Stay in touch. "76on guitar, Jimmy Earl ’76 on bass, andJ0el Taylor’83 on drums. Peter Gordon’78, Directorof the The much-in-demandrhythm sec- Berklee Center in Los Angeles 26 Berkleet o d a y
LaszloGardony ’85 ClaudioRagazzi ’84, a Latin jazz composer,and his band Macandoare performingfrequently in Boston. Sergi0Drandao ’85 and his Brazilian jazz group Manga-Rosa,which includes AndersB0str0m"82 on alto flute andSteveLangone ’93 on drums, are playingin the Bostonarea. Pianist LaszloGardony "85 has released Breakout,his debut albumfor the Avenuelabel. Featured on the disc are guitarist MickGo0drick ’67, bassist StomoTakeishi, drummerSatoh Takeishi, and percussionist GeorgeJinda. JeanGauthier’85 joined the group BatucadaBelies last spring, a women’s multicultural percussionmarching band. The Boston-based group performs at manyevents including Boston’sFirst Night. Saxophonist JamesI~ah0ney"85, pianist AkihiroSano"90, and trumpet player GilbertCastallanos ’92 are having success with their straightahead jazz quintet BlackNote. Their latest CDis entitled 43rd and Degnan. Lewis "Skip" Norcott ’85 is chair of the music department of the Governor Mifflin school system in Reading, PA.Skipis also conductorof the Reading Civic Opera and coconductot of the ReadingPops Orchestra. SaxophonistDanielWalsh’85 was recently a featured soloist with the AllmanBrothers and the Greg AllmanBands. In addition, Daniel was featured with A1 Foster and Eddie Gomez on Paul Mousaw’s Sound Mindon Global Pacific Records. Spring1995
Susan Botti ’86 is staging her chamber opera V/onderglass in NYC. Chris Griffin "86 opened Griffin Mastering, Inc. in Atlanta, GA,last October and received an overwhelming response. Guitarist/educator/author Ed Littman’86 is playing in NYCwith his band the Network. AnthonyPlessas ’86 of Rafina, Greece, is writing a second Greek language book on music technology, and recording his second album of instrumental music for the BMGlabel. He also writes a monthly columnfor the periodial Audio. Musician/educator/counselor Scotty Brubaker ’87 is currently living in Sioux City, IA, where he is the instrumental music instructor for grades K-12 at the WinnebagoIndian Reservation in Winnebago, NE. Boston-based saxophonist Andrew Clark"87 recorded Saxattack, a threesong cassette showcasinghis sax, vocal, and keyboard work. Guitarist Jeff Pike’87 is living and performing in southern Maryland. His group D.W.I. released a CDof 10 original songs entitled Drink!
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Anthony Plessas’86
JohnnyWingstedt ’87 lives in Stokholmand is workingas a pianist, and composer for films shown in Sweden,Japan, and China. He is also a product specialist for the Roland Corporation. Composer/guitarist Paul Kurzweil ’88 is living in Margate,FL, and just finished his self-produced CDentitled Blueshift on Bluxo Records. Guitarist RayIpp01it0 ’88 is curSpring1995
The telephone verification phase, in which each alumnus can make a finaI change to his or her listing in our alumni directory project, is almost complete. Representatives from Bernard C. Harris Publishing Company,the officiai publisher of the directory, have just a few more calls to make before proofreading begins. Since we are publishing only enough directories to cover prepublication orders placed at this time, please let the Harris representative knowyou are interested whenhe or she calls. This will be ber, plus some academicdata. your only opportunity to reserve If you have not heard from our a copy of this special 50th anniversary edition of the Berklee Col- publisher by July 5,1995, you may contact the companydirectly at: lege of Music Alumni Directory. Customer Service Department This edition of the directory will Bernard C. Harris Publishing be the most up-to-date reference 16 Koger Center, Suite 103 book for more than 18,000 of your Norfolk, VA 23502 fellow alumni. It will include curPhone: (800) 877-6554 rent name, address, phone numBerklee
today 27
formed at the 1994 International Jazz Festival in Montreal with his band Nan. The band plans to record their Herb Pomeroy Tribute Concert second CD soon. T0nnNaiss00 ’90 accompanied the Vladimir Tarasou Baltic Art Orchestra on piano last June for Jazz Baltica ’94 and the ’94 Jazz Festival in Munster, Germany. Tonu also performed with vibist/composer Roland Stolk ’89 at the Tallinn International Jazz Festival in Estonia in November. DavidRaheb’90 owns Dave’s Drum Shop in Scottsdale, AZ, where he is an instructor. JimmyWeinstein"90 recently released a CD entitled Nostalgia on Accurate Records with the Jimmy Weinstein Group. The band includes tenor saxophonist Chris Cheek’91, guitarist Elie Massias ’91, bassist Masa Kamaguchi’93. They toured Europe twice in 1994 and played the ’94 Barcelona Jazz Festival. Guitarist MichaelEisenstein"91, bassist ScottReibling"92, and drummer Stacy Jones ’92 are three-fifths of the band Letters to Cleo, which has signed a five-album deal with Giant Records. Their album, Aurora Goryalice, has recieved rave reviews rently performing with fusion band Records/Cave Productions and rcNewWorld Order the Ippolito Prin- leased seven singles under five pseud- in Billboard and Rolling Stone. The ciple. Gary has recorded with Dr. onyms: Planet Anger, Sonic Mind video for their song "Here and Now" was featured in a January episode of John and has performed with Frank- Probe, Pozitranze, Cloud Innovator, ie Valli and BobbyRondinelli. and Screaming Black Jesus. Sonic "Melrose Place." Steven Spungin"91, and Colin ToshiIseda’88 lives in Flushing, Mind Probe was featured in the AuNY, and writes a regular column in gust ’94 issue of Dance Music Au- O’Dwyer’90 of Animal Worid, perModern Rock Guitar magazine. thority and the October issue of URB formed last October at the Great MathewKaslow"88 of Brooklyn, magazine. Woods Performing Arts Center in NY, recently played with the rock Keyboardist and guitarist MinRim Mansfield, MA. Featured in their ’89 has released the instrumental al- nine-piece ensemble were alumni band World Dive. Mathew is also teaching privately, playing club dates, bum Shadow of the Moon with back- bassist Winston Maccow’82, truming from faculty membersDave Clark peter HughNester"90, alto and sopraand organizing his own blues/rock/ funk band. (bass), Brett Wi~lm0tt"77, and Wayne no saxophonist Pat Loomis"92, guiEngineer Rich Lamb ’88 is a staff Wadhams (special effects), as well assistant at the PowerStation studio Anders Bostrom "82 (flute), and drumin NYC. He lives in Hoboken, NJ, met Bob Moses. YuvalR0n’89 has relocated to Los with his wife DawnLamb(formerly Labenow). She is a singer/songwritAngeles, and is the composer for a newly syndicated TV series "Sweet er/keyboardist, knownprofessionally as DonyaLane. Her band includes ’galley High," broadcast on Saturday Rich on keyboards and Marianne Per- mornings. back ’88 on vocals. MathewWhite ’89 has performed Michael Puwall ’88 and his band on and produced an independent CD Sister Seed have released Blue-Green with his band Big House. Mathew their debut album. They have sched- also performed with and coproduced uled U.S & European tour dates various artists with R.E.M. drummer through 1995 to support the album. Bill Berry. GaryBecks’89 lives in Lakewood, Percussionist Luis AlbertoNesvara CA, and is owner of Real-Time ’90 is living in BuenosAires and per- GaryBecks’89 28
Berklee today
Spring1995
A PASSION FORJAZZ Raimondo Meli Lupi "88, owner and executive producer for Ram Records of Parma, Italy, never planned to start a record company. Born in Rome, Raimondo picked up the guitar at 11. He played rock and later fusion. After attending a 1985 JohnSc0field "73 concert and seminar in Italy, jazz became Raimondo’s passion. Later, an unexpected opportunity to release somesought-after sides by legendary jazz guitarist Joe Diorio came up, and Raimondo jumpedinto the record business. He had studied film scoring at Berklee, and then continued his quest to master jazz guitar. At Joe Diorio’s Philadelphia home, Raimondoundertook a month of intensive study. Later, Joe bookeda seminar tour of Italy, Raimondo signed on as his translator. Raimondobegan prodding Diorio to end a long hiatus from recording and lay downsome tracks, offering to shop his mentor’s tapes to European labels. Diorio agreed. Together with Riccardo del Fra (former Chet Baker bassist), went into the studio and made Double Take with Raimondo producing. Soon after, at Raimondo’s Parma studio, Diorio recorded a solo album, We Will Meet Again. "After the sessions, Joe had a strong feeling that I should put them out and not sell the tapes to another company," remembers Raimondo."I figured I could press some CDs, but having no distribution, I didn’t knowhowI would ever sell them. Joe assured medistribution would come." The day Raimondoreceived the finished CDs, he made a phone call and connected with a distributor who jumped at the chance to take on the Diorio discs. Since Joe hadn’t released an albumin several years, the new releases promised to be a hot commodityamong Joe’s European constituency. Diorio’s records sold beyond Raimondo’sexpectations, providing capital to expandhis label. RaiSpring1995
mondobegan recording other unsung heroes of contemporary jazz--many of them Berklee alumni or faculty. Ramhas released 13 albums. The latest, The Sled Dogs--Featuring the Music of tim Kelly, has Kelly "73 on guitar, drummerBob Tamagni"73, saxophonist Jim 0dgren’75, and bassist DaveClark. Faculty members Victor Mend0za "81, Hal Crook’71, andBruceGertz "76 have recorded for Ramwith sidemen like Adam Nussbaum, Joey Calderazzo, and John Abercr0mbie’68. Other jazz luminaries-Ira Sullivan, KennyWheeler, MickGoodrick ’68, andJerry Bergonzi"68--have released RamCDs.
.Jerry Bergonzi I I~!,11 ~]| It~tl;lli01vl l,f:tI [,1~|1:1 :i I 1,1
VOL,, 2 "PENTATONICS" (124 page book w/CD) $ 29.95 Manyof the great modern players have pentatonics at their commandand melodic disposal. The book provides a practical yet creative approachto assimilating pentatonics into your melodic musical reservoir. The author has taugnt this methodover manyyears and it has proven to be very successful. Chordchangesare included for C Concert. BI, and Eb instruments. The accompanyingrecording has been designed for use mconjunction with the text. There are 18 tunes for you to play along with. featuring Renato Chicco on piano, Dave Santoro on bass ano AdamNussbaumon drums, plus eight demoqstration tracks performed by the author on tenor sax. also
Raimondo Meli Lupi’88 Raimondo’s bottom line is to make a musical contribution. He is involved all the way from the session planning to the promotional campaigns. He also engineers all of the sessions donein Italy. "For myprojects, this kind of energy is required to maintain high standards," says Raimondo. "I want the musicians on myrecords to developfully as artists. Historically, Europeans have appreciated music more as an art form than as entertainment as in the States. I’m not in this for money, I want to do something musically mature, and of high quality." This year marks Raimondo’s eighth release with Joe Diorio.
available
VOL.:L "MELODIC STRUCTURES" A step by step methodfor learning to play over chord changes. (96 page book w/CD) $ 29.95 "[he system presented in this volume ;)rovides a tangible pathwayto inside the creative imagination by getting inside harmony,inside the changes. There are nine tunes to alay along with, each ~layed at a slow and then mediumtempo, plus 12 demonstration tracks oerformed by the author on piano and/or tenor saxophone. Chord changes and examples are trans posedfor all instruments.
"IVIELODIC STRUCTURES" (VHS-Video) $ 49.95 11 lessens with master teacher~saxophonist Jerry Bergonzi. based o~ his above method.
Published by ~DVANCEMUSIC Available from your favorite music supplier or directly from the oublisher: ADVANCEMUSIC Maierackerstr. 18 72108 Rottenburg N. Germany Phone: 07472 - 1832 ¯ Fax: 07472 - 24621
JohnShortess ’92 lives in Baton Rouge, LA, and Mance Lipscomb/ works as an audio engineer. Texas Blues Guitar Solos John has worked on the public television series "A Transcribed by Dan Bowden Taste of Louisiana with Chef John Folse," and the DanBowden is a guitarist and musiceducator music series, "Internationwhoresidesin Brookline,Ma.with his wife and al Jam." Amongthe many son. Havinggraduatedfrom BerkleeCollegeof Musicin 1980,he joined the Berkleeguitar international artists recordfaculty in 1989wherehe teachesblues, jazz and ed on the jam are the Steve rock styles. Danhas, andcontinuesto perform H0uhen[’77] Quartet from extensively aroundNewEngland. Belgium. AlexTsotsos ’92 is living Other transcription books available by in Tallahassee, FL, and is Dan Bowdenare: Lightnin’ Hopkins/Blues currently the keyboardist Guitar Legendand WesMontgornery/The for the Fatty Tea Bags perEarly Years. forming throughout the Book$9.95. Southeast. dulio Vargas Vidal ’92 of Guaynabo, PR, is minister CD$15.98. of music for the Disciples of Christ Church. ManceLipscomb/Texas Blues G~,itar Solos (95239). ManceLipscombis a fingerstyle guitar legendandoneof the pioneersof the famedTexasbluesstyle of LanceClark "93 is curguitar. His musictranscends the "blues"label 1:o includeslowdrags,ballads,church rently editing engineer at songs,andmore!This bookcontainsnote-for-notetranscriptionsof 16all-time great Gateway Mastering StuManceLipscombguitar sotos as recorded for Arhoolie Records.In notation dios in Portland, ME. He andtablature. worked on recent albums Fax1-314-257-5062 ~ OrderToll Free1-800-8-MEL BAY (1-800-863-5229) by Joan Jett, Toni Childs, MelBayPublications, In:c. ¯ #4 Industrial Dr. ° Pacific, MO53069 and Tori Amos. Drummer/vocalist ’92. TorahMajlesi’93 is living Saraheth Wheeler "91 ’93, and Peter Adams tarist/vocalists. Also inin Istanbul and has a new cluded were students key- (a.k.a. Sarah Wheeler) re- Corey GIover of Living album in the works. Coiour was guest vocalist. boardist Pete Emerson and leased her debut CDentiChristianModer "93lives percussionist Taku Hirano. tled Mediteranean Sunset Ivan is currently working in Los Angeles. He was with Glover on his solo KylePeterWesloh "91and in 1993 and recently recommissioned by the project. Kristen OIt-Wesloh ’91 are leased a follow up titled All Belleville, IL, PhilharmonCarlos Ruiz ’92 is living living in Mechanicsburg, Your Grace. ic Orchestra to compose a Bassist IvanBodley’92 of in Santa Fe, NM, and is PA. Kyle is a recording enwork for their 1994-95seaworking as a marketing/ gineer at Chamber Audio NYC, produced and arranged a CDfor his band promotional assistant for son. His worklndian Rivand a broadcast engineer/ er is the first composition announcer for WITF-FM Jazz/Funk Unit. Band Triloka Records which recently released Hugh to be commissioned by the in Harrisburg. The two re- members include Julian orchestra. Coryell’92, AdrianHarphamMasekela’s Hope CD. cently had a son, Lukah.
D
THINKABOUT THEBARPROGRAM Berklee AlumniRepresentatives (BAR)visit dozens of high schools, conferences, and college fairs each year, talking about their Berklee experiences and answering questions about the college from talented young musicians. If you are interested in sharing your time and talent to help us reach the next generation of music industry leaders, call us at (800) 421-0084,or mark the BARinfo box in the alum notes form on page 30. We will send you more information on the BARprogram along with an application. Join us. 30 Berklee t o d a y
Fromthe left, flatist/composer HiroHonshuku’91,Tiger Okoshi "75, andDaveLiebman, performing togetheratthe1994Kyoto JazzFestival. Honshuku hasa newCDtitled AreYouBlue. Spring1995
A GIFT TO THEJOHNNEVES FUND AlumnusDeanMedeiros"89 of Jacksonville, FL, has madethe first planned gift to the college. Upon maturation, his life insurance policy will provide $75,000 to Berklee. Of that amount, $50,000 will go to the John Neves EndowedScholarship Fund. For details about planned giving and its tax benefits, call Dean of Institutional AdvancementJohn Collins at (617) 266-1400,extension 450. Saxophonist Barbara Wehrli’93 recently joined the faculty at the All Newton Music School in Newton, MA. MichaelChlasciak’94 of Bayonne, NJ, runs Mike Chlasciak Music Productions, and has written a booktitled Ridiculous Riffs for the Terrifying Guitarist. Mike will be featured on a compilation record by
Sinbad Discs & Tapes titled HardMusic Ball. Polish-born vocalist Katarzyna Sokalla ’94 performed selections by Handel, Mozart, and Rimsky-Korsakov to win the prestigious Mary H. Wilcox Stipend in Boston. Pianist Cornelius Claudio Kreusch’94 toured Europe with Anthony Cox (bass) and Marvin"Smitty" Smith
GiantRecords artists Lettersto Cleo(fromleft to right) Greg McKenna, ScottReibli.g "92, StacyJones’92, KayHanley, andMichaelEisenstei~= ’91. ’81 (drums), supporting his pleting master’s degree studies in composition at Enja CDThe Vision. EddiePhoon ’94 is com- Boston University.
ALUMNOTESINFORMATION F:ORN Full Name_ Address_ City
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~i Send me more information on the Berklee Alumni Representative program. GI Send me more information on becoming a Berklee Career Network advisor. Pleasesendthis form,alongwithanypublicity,clippings,photos,CDs,or itemsof interest to: Berhleetoday,BerkleeCollegeof Music,1140BoylstonStreet, Boston,MA 02215-3693. Internet address:
[email protected] Spring1995
Berklee t o d a y 31
CODA
Nefertiti:
Queen of Denial? Ivan
B
Bodley
"92
’m basically a fugitive of the music business. I workedas a publicist for a major label, but soon ran awayfrom the business. But, after opting to record and release my own CD, I have once again become entangled in things more involved with business and politics than art and emotion. It all began when I set out to release a CDwith my band Jazz/Funk Unit on my own Funk Boy record label. The musical concept was fairly straightforward--jazz standards reinterpreted with modern funk, R&B, and Latin beats. I assembled the musicians (including special guests like Corey Glover of Living Colour and percussionist Raphael Cruz), arranged for studio time, and priced artwork and manufacturing costs. With over 10 years experience in various aspects of the music business, the project seemedlike a piece of cake. Supposedly, licensing the songs was to be the easiest step. There is a statutory royalty rate to be paid to the song’s composers, and once a song has been recorded andreleased, it is compulsorythat the publishing companies issue licenses to anyone requesting to cover the material. "Nefertiti," a song we recorded, was written by WayneShorter, and was the title cut of a Miles Davis album when Shorter was in his group in 1967. Every harmonyclass I took at Berklee identified "Nefertiti" as a particularly interesting exampleof WayneShorter’s post bebop harmonic writing style. It is unlike anything Miles Davis ever wrote. In seeking to license the tune, I stumbled into a long-standing dispute over the authorship of "Nefertiti." The Harry Fox Agency(a music publishing administrator) says Miles wrote it. Warner/Chappellsays Miles wrote it. Jazz Horn Music, the estate of Miles Davis, says Miles wrote it. Now, I love Miles--may he be jamming up in heaven with Bird and Dizzy at this very moment--but Miles didn’t write "Nefertiti." Bassist Ivan Bodley ’92 and his band Jazz~Funk Unit have released a selftitled CD, and perforrn in NewYork. 32
Berklee today
The song was credited to him on the liner notes of the original ColumbiaRecords release--a tenuous bit of evidence indeed. As a former employee of CBSRecords, I knowthat such administrative and clerical mistakes frequently happen. Or was this just another incidence in the long-standing tradition of the leader misappropriating writing credit from younger band members? Since myinquiry, I have received multiple copies of a memofrom the law firm of Shukat, Arrow, Haler & Weber, representing the estate of Miles Davis, advising the song’s alleged publishers, Warner/Chappell, to "resist any claims madeon behalf of Mr. Shorter." Furthermore, I have received three separate copies of this memo and a growing paper trail from Warner/Chappell Music and two different people at the Harry Fox Agency. WayneShorter’s publishing company Myako Music/ Miz MoEnterprises, notified Shorter and his attorneys who have contacted the Harry Fox Agency and Warner/ Chappell Music with their claim, demanding that any claims to royalties for "Nefertiti" on behalf of the estate of Miles Davis be dropped immediately. The funny part is going to come when ~omeonerealizes that myinitial run of CDsis 1,000 units. That makes for a statutory royalty paymentof about $65 to be split betweenthe writer of "Nefertiti" and the publisher. Of course I hope the project gets picked up by a bigger label, is widely distributed, and we all make millions, but for now I’m pressing 1,000 copies. Therehave beenlegal teamsdrafting memos,andletters and faxes sent coast to coast--all over a matter which will bring in $65. Howthis issue has remained unresolved for over 27 years is beyond me. I’m amazedthat a tiny independent project like mine could disturb the slumbering giants of the music business with an innocent request. I hope to return to making music soon and that Jazz/funk Unit will get work from the CD. I’d like to IvanBodley ’92: "I’mamazed that a tiny pay WayneShorter for the use of a ~~roject like minecoulddisturbtheslum- composition I believe to be his, and beringgiantsof the musicbusiness." give credit where credit is due. -~ Spring1995
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