AUGUST/SEPTEMBER 2021

THE JAZZ EDUCATOR’S MAGAZINE

George Garzone INSIDE

Focus Session
Keep Going… Just Keep Playing What are the Rules?
A Guide Tone Excercise
Lessons Learned
Volume Knobs That
[Link] Go to 11?
Contents AUGUST/SEPTEMBER 2021

features
SPOTLIGHT
GEORGE GARZONE: KEEP PLAYING… KEEP GOING 10
Noted saxophonist and jazz educator George Garzone
offers some insight into his own development as a jazz
scholar, how he came up with the Triadic Chromatic
Approach, and what advice he’s been imparting to his
students during the pandemic.

FOCUS SESSION
WHAT ARE THE RULES? A GUIDE TONE EXERCISE 14
Bandleader and jazz educator Miles Donohue analyzes a
Bill Evans solo, providing some useful guidelines to follow
while learning to improvise.

LESSONS LEARNED
VOLUME KNOBS THAT GOT TO 11? 18
Examining the risk of hearing loss to musicians and the
resources and methods available to reduce that danger.

18
Editor’s Letter.................................................................2

Noteworthy .....................................................................4
departments

What’s On Your Playlist? .................................................6

Gearcheck .....................................................................22

Backbeat .......................................................................23

10 Ad Index ........................................................................23

Cover photo courtesy George Garzone

JAZZed® Volume 16, Number 4, August/September 2021, is published monthly by artistpro, LLC, 7012 City Center Way, Suite 207, Fairview, TN 37062, (800) 682-8114, publisher of MMR, Choral Director, Modern Band
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August/September 2021 • JAZZed 1
editor’sletter DAVID LIEBMAN

AUGUST/SEPTEMBER 2021
Volume 16, Number 4

ROY CHO
PUBLISHER

The Continuing Rich Mike Lawson

Ext. 4
mike@[Link]

History of Jazz Education EDITOR

David Liebman

I
will tell you when I knew jazz education had arrived. It was EXECUTIVE EDITOR
the early ‘90s. Where I lived at that time was Stroudsburg, Christian Wissmuller
Pennsylvania. One of the professors at this state university, Ext. 3 christian@[Link]
Pat Dorian, was very active in getting famous jazz musicians to play with the stu-
ASSOCIATE EDITOR
dent big band. The only requirement for the musician was a “talk” in the afternoon Mike Lawson mike@[Link]
of the performance. So the great Freddie Hubbard was invited. I could tell he was Ext. 4
nervous, but he talked about where he grew up, who his mentors were, et cetera.
I went backstage to pay my respects. He asked me how he did and noted that he Art
had never quite spoken in that way – so personally. ART DIRECTOR/PRODUCTION MANAGER
Angela Marlett angela@[Link]
Bottom line… if Freddie Hubbard, who was career-wise a generation ahead of Ext. 5
me and one of the greatest players of all time, could do a clinic with no playing,
this was extraordinary. After all there, were still people who insisted that jazz can’t Advertising
be taught. And the bebop generation, in general, did not talk about music much. ACCOUNT MANAGER
Note, of course, that they played hours at night, but expressing themselves ver- Matt King matt@[Link]
Ext. 2
bally was not the norm. Freddie was gracious and pleasant, taking no prisoners on
the stage that night. ACCOUNT MANAGER
Jeff Donnenwerth jeff@[Link]
Ext. 1
From Vincent Van Gogh, letter to Theo (brother): “I
GREATER CHINA WORLDWIDE FOCUS MEDIA
still can find no better definition of art than this: nature, Judy Wang
C: 0086-13810325171
reality, truth, but with a significance, a conception, a E: judy@[Link]
character which the artist brings out and to which he gives
ACCOUNTING
expression, which (s)he disentangles and sets free. Shannon Kebschull Lawson
accounting@[Link]

JAZZed’s cover story this month is about a legendary teacher and player, George PUBLISHING CONSULTANT
Garzone (GG for short). George, along with Jerry Bergonzi, myself, and others were Terry Lowe
part of the second wave of jazz educators – made up from the musicians them-
CIRCULATION MANAGEMENT
selves – while the third wave consists of young artists who are graduates from Stark Services, Inc.
a program. These three waves link up with age groups in most cases: first wave, 12444 Victory Blvd., 3rd Floor
mid-1940s into the ‘60s; the second wave, ‘60s till ‘80s, and the third wave, into the North Hollywood, CA 91606-3173
present. Jazz education has a rich history also. (818) 985-2003
George has influenced hundreds of students over the decades and you never
PRINTING/FULFILLMENT
hear anything derogatory or negative about George. He is a personal friend and Liberty Press
compatriot, playing with the Boston-based Fringe for 40 years. Saxophonists from 1180 N. Mountain Springs Pkwy.
a certain period all have a bit of Coltrane as an influence… for George it is the triad- Springville, UT 84663
ic language that he teaches, emanating quite directly from Coltrane on the “Chasin’
the Trane” track recorded in the early ‘60s.
I want to thank JAZZed for giving me freedom to express myself and hope you
enjoy the material. Be safe. artistpro, LLC
7012 City Center Way, Suite 207
Fairview, TN 37062
(800) 682-8114
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Transformation Awaits: The NAMM Show
Announces Return to Anaheim in June 2022
In early September, The National As- available in-store inventory, and current
sociation of Music Merchants (NAMM) travel restrictions. The announcement
announced that The NAMM Show, the was met with support and enthusiasm
annual “family reunion” of the global mu- from business leaders across the industry.
sic, sound, and entertainment technology “The NAMM Show is the best opportu-
International Jazz industry, will reconvene in Anaheim, Cali- nity of the year for Yamaha to reach our
Composers’ Symposium fornia at the Anaheim Convention Center
on June 3–5, 2022. Previously scheduled
dealers, end-user customers, and the mu-
sic industry as a whole. It’s the one place
May 12-14, 2022 for January 20–23, the new dates will of- where the new products from across our
fer global industry leaders, buyers, sellers, brands meet the global industry, and we
The fifth International Jazz Com- music educators, artists, media, and music can’t wait to get together in June,” shares
posers’ Symposium, co-sponsored by makers the opportunity to reconnect and Tom Sumner, president of Yamaha Corpo-
the University of Texas at Austin and renew their businesses while taking great- ration of America.
the International Society of Jazz Ar- er advantage of reimagined indoor and “No matter when NAMM happens,
rangers and Composers (ISJAC), will outdoor events, activations, professional Shure is excited about the industry final-
be held in the Butler School of Music development sessions, an expanded dig- ly getting together to engage with each
facilities at UT/Austin, from May 12- ital reach, and more at the crossroads of other at this important event,” comments
14, 2022. The Symposium is designed business opportunity. Abby Kaplan, vice president of Global
as a forum to unite jazz composers of Joe Lamond, NAMM president and Retail Sales for Shure Incorporated. Mark
all ages and nationalities in an infor- CEO, says, “The industry has not stopped Terry, CEO, Exertis/JAM US Music Group,
mal exchange of ideas, information, evolving and innovating during the pan- shares the same sentiment: “[NAMM] has
and inspiration. This year’s Sympo- demic, and The NAMM Show is evolving, made a great decision on moving the show
sium will include noted master art- as well. As the health and safety of our to June. This move ensures that it will be a
ists Terri Lyne Carrington, Jim Mc- members remains top of mind, and after very successful show for vendors and deal-
Neely, Miguel Zenón, Miho Hazama, carefully listening to companies here in ers. We certainly plan on being there!”
and John Clayton among others, in the U.S. and around the world, the new “At Taylor Guitars, we applaud innova-
a series of concerts, lectures, master dates will help members maximize their tive ideas as we all attempt to navigate
classes, panel discussions, research opportunity and accelerate what has these unusual times,” affirms Barbara
presentations, and industry sessions. arguably been a transformative time both Wight, CFO of Taylor Guitars. “Since its
Composers, arrangers, and schol- in new products and in how they come to days in the ballroom of the Disneyland
ars are invited to apply to present market. I imagine this gathering will have Hotel, The NAMM Show has always been
their work at the Symposium in one the kind of impact of a Beatles moment or an invaluable platform for us to launch
of several formats: the introduction of MIDI – definitely one new products and deepen our connec-
• New Music Presentations you will not want to miss.” tions with our treasured retailers, suppli-
• New Music Master Classes The news of the return of the Show ers and fans. We see this change to June
• Student Master Classes and the change in dates addresses on- as a smart opportunity to try something
• Poster Sessions going concerns about pandemic activity, new, and we’re looking forward to being
• Research Papers new product development and launches, back together with our industry family.”
All works submitted for New Mu-
sic Master Classes will also be consid-
ered for ISJAC’s SONIC Awards and
JEN Now Accepting Nominations for Jazz Educator of the Year
a featured performance by the resi- The Jazz Education Network is pleased the selected elementary, middle, or high
dent professional jazz orchestra. to welcome nominations for two presti- school jazz educator.
Apply now at: [Link] gious awards. Ellis Marsalis, Jr. Jazz Educator of the
symposium/call-for-scores-and-pa- Nominations must be received by Year Award Presented by Jazz Education
pers-2022. Applications and guide- 11:59pm EST on September 30, 2021. Network to the selected collegiate jazz
lines are now available. Deadline for John LaPorta Jazz Educator of the educator.
submission of all application materi- Year Award Presented by Jazz Education Visit [Link]
als is Thurs., Oct. 14th. Network & Berklee College of Music to tor-awards/ to submit your nominations.

4 JAZZed • August/September 2021

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playlist TRINEICE ROBINSON

WHAT’S ON YOUR PLAYLIST?

ALLISON V. BROWN
BY CHRISTIAN WISSMULLER

T
his summer, at the age of 40, Trineice Robinson released her debut al-
bum, All Or Nothing. Listeners discovering Robinson’s wide musical pal-
ette and expressive approach may wonder where she’s been. The answer
is academia: She teaches jazz, gospel/Christian, R&B, rock, country, and pop,
and holds a faculty position at Princeton University as the jazz voice instructor,
lecturer, and director of the Jazz Vocal Collective Ensemble. She also serves on
the faculty in the academic division of Gospel Music Workshop of America.
Dr. Robinson created Soul Ingredients®, a teaching methodology for devel-
oping a singer’s musical style/interpretation in African American folk-based
music styles. This methodology shows students how to take their personal
experiences, musical influences and models, and execute the different com-
ponents in a manner that is personal to the singer/performer’s own personal
expression. “I teach concepts like ‘sing your soul’ and ‘music your story,’” says
Robinson. “Now, it’s my turn to do that.”
Not surprisingly, the vast array of musical influences that Robinson draws on
for her music can be found on her playlist.

Oscar Brown Jr & Maggie Brown – We’re Live Carmen McRae & Betty Carter – The Carmen McRae - Betty Carter
While one might easily point to Oscar Duets (Live At The Great American Music Hall, San Francisco,1987)
Brown Jr.’s Sin and Soul album as most When two great jazz musicians share
influential, or Tell it Like it Is, this album the stage and have the utmost most re-
is most special to me. We’re Live is an al- spect and joy for each other’s presence and
bum through which the love of family is talent, magic happens. It’s not often two
celebrated; history and culture is uplifted; artists of the same gender record together
and legacy is upheld. The last album Os- – even more rare for them to do a whole al-
car Brown Jr. recorded, and the fact that he was with his family, bum together. The collaboration between
makes it more special. Joined by his daughters, Maggie and Africa Carmen McCrae (1920-1994) and Betty Carter (1929-1998) is both
(who joins on a few numbers), along with the memory of his son genius and genuine. While their styles are very different, they
Oscar Brown III, the show captures the energy of a proud daugh- seamlessly weave their voices in and out of every melody, com-
ter, sharing with the world the musical works of her proud father. plementing each other without crowding or drowning out the
As poet, activist, and musician, Oscar Brown Jr. (1926-2005) has a other. A perfect collaboration, the album is a lively conversation
clever way of perpetuating cultural dialogue, political and socially between friends that happens to be set to the music they both
conscious messages in his music. I enjoy exploring both the overt enjoy singing, telling stories they love to tell. We are lucky to relive
and covert messages maintained in his music. the moment and learn from the greats’ characteristics that exceed
pure musicality.
Kim Burrell – Live in Concert
I love live albums because they often Take 6 – Take 6
capture the personality, energy, and mu- This album exposed me to jazz harmony,
sicality of an improvising musician and vocal arranging, vocal blending, and the bi-
storyteller. This is especially true in gospel ble all at the same time. Of all the albums on
music. As a composer, musician, and pas- this list, Take 6 is the only album that has re-
tor, Kim Burrell is known for blending jazz, mained on my list since childhood. Growing up in the church, I was
soul, funk, and pop into gospel music. A highly skilled improvis- consistently exposed to gospel music of all styles. While contempo-
er and performer, Kim Burrell is one of the few gospel singers of rary gospel groups like the Winans and the Clark Sisters were sta-
her time that used advanced harmonies to construct her melodic ples in my household, Take 6’s album was different than anything I
lines and melismas. She is a significant influence for many con- had heard before. Besides being an a capella Christian album, the
temporary singers, both in and out of gospel music. This album is intricate six-part voicing, progressive harmonies, and a seamless
an excellent example of the various forms of improvisation (text, vocal blend made its transcription a goal worth striving. While mu-
melody, form) used in contemporary gospel music. She hasn’t re- sically complex, the album shared messages of comfort, love, and
corded a live album since this 2001 album, but this remains my strength in Christ, while still being fun, theatrical, and engaging. It
favorite of all her album. It is in live performances that her musical was one of my family’s favorite road trip albums, and we would sing
excellence and ministerial skills really shine. every word to every song and have a great time while doing so.

6 JAZZed • August/September 2021

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playlist
Jimmy Scott – All the Way soul, folk, and jazz. The lyrics to his songs
One day while an undergrad, I was go- read like poetry, using words that stimu-
ing on and on about how much I loved late the imagination and articulate famil-
Nancy Wilson to one of my mentors, the iar circumstances of relationships. Chip
late Donald Meade. He responded, “If you Crawford, Aaron Jones, Emanual Harrold,
really like Nancy Wilson, you should be and Tivon Pennicott create the perfect
checking out Little Jimmy Scott!” At the musical landscape for every song they
time I had no idea who he was referring to; I had never heard of play on, maintaining thoughtful textures, dynamics, and rhythmic
him. Upon listening to this album, which was the first of a series accents that perpetuate the story being told.
of albums he recorded after his career was rejuvenated late in life,
my mouth dropped in awe. First, I was struck by the texture and Rachelle Ferrell – First Instrument
range of his voice that had a sound typically associated with a I loved Rachelle Ferrell’s music the
female vocalist. He had a delicate high tenor (maybe even alto) moment I heard her. From her R&B al-
voice. Most strikingly, the very thing I loved about my favorite bum with her infamous duet with Will
singers, especially Nancy Wilson, I heard in Jimmy Scott. A master Downing, to her many jazz albums that
storyteller, he could capture the variety of emotional dimensions followed, I’ve always loved how she ex-
in the treatment of words and manner of phrasing. Every word plored her six-octave vocal range and the
he sang had a purpose. If you›ve never heard of Jimmy Scott, he’s many vocal colors she used to communicate her story. First Instru-
worth Googling. ment was my first exposure to possibilities in interpretation. I was
just being introduced to jazz vocalists when this album came out
John Coltrane & Johnny Hartman in the U.S. (1995). I vividly remember being both excited and in-
– John Coltrane & Johnny Hartman trigued upon my first listen. I loved the arrangements and the feel
Another beautiful collaboration of of the whole album. I was fascinated with the way she used her
masters, John Coltrane and Johnny Hart- voice and the sounds she produced in doing so. At one moment,
man come together for what, at the time, she would create sweet, soothing vocal qualities, and in anoth-
was an unexpected collaboration. John er moment, she would be singing notes and textures I was not
Coltrane and Johnny Hartman is the only accustomed to hearing in a vocal album of any genre. What was
album John Coltrane recorded with a vocalist – and it was Col- most compelling to me is that all of this exploration was nestled in
trane that sought to record with Hartman. On this album, I love relatable groove and style that although at the time it was all new
hearing the sweet, sensual, tender side of Coltrane. His sweeping, to me, it felt like home.
lyrical melodies, gentle tone, and passionate phrasing genuine-
ly compliment Johnny Hartman’s lyrical, silky smooth, baritone Terri Lynne Carrington – The Mosaic Project
voice. Every phrase is purposely articulated and romantically exe- A celebration of the women in jazz, I
cuted by Hartman, highlighted by the warmth and fullness of his enjoy this album just as much today as I
voice. did when it came out 10 years ago. The
Mosaic Project is composed primarily by
Jazzmeia Horn – Love and Liberation women and performed solely by women.
Most recently, I’ve been enjoying Jazz- It brings together a glorious assemblage
meia Horn’s last album, Love and Libera- of female musicians that range in expe-
tion. Undeniably rooted in Betty Carter, rience from legends to and “up and coming” artists, all of whom
I’ve enjoyed watching Jazzmeia contin- exude excellence. Terri Lynne’s compositions and arrangements
ue to thrive and develop as an artist and combine jazz, fusion, R&B, spoken word to articulate stories of
composer. Steeped in the jazz tradition, I pride, empowerment, social awakening, and most profoundly,
appreciate her commitment to spreading love and stories of love sisterhood. On this album, Terri Lynne Carrington is joined by the
through her music. Her original compositions, arrangements, and legendary Geri Allen, Patrice Rushen, Sheila E., Dianne Reeves,
performance are a wonderful depiction of who she is and what she Dee Bridgewater, Nona Hendryx, Cassandra Wilson, Carmen
believes. “Free Your Mind,” “What I Say,” and “Legs and Arms” are my Lundy, Angela Davis, Helen Sung, Mimi Jones, Gretchen Parla-
personal favorites on the album. As a voice pedagogue, I particular- to, Anat Cohen, Ingrid Jenson, Linda Taylor, Tineke Potsma, Shea
ly appreciate the flexibility of vocal qualities and vocal colors used Rose, and Esperanza Spaulding. Yes… this is, indeed, sisterhood
in her musical expression. She can go from soft, smooth sounds to at its finest!
brassy belting textures that capture a range of playfulness, sassi-
ness, bossiness, genuineness, and, importantly, soul.
Trineice Robinson’s most recent al-
Gregory Porter – Liquid Spirt bum, All or Nothing (4RM Music Produc-
Liquid Spirit is my favorite album by Gregory Porter. I love how tions), was released on August 6, 2021.
the fullness and depth of his voice, coupled with the authority [Link]
and conviction with which he tells stories, celebrates the legacy of
great singers from which he stems. His style is a blend of gospel,

8 JAZZed • August/September 2021

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 ALL PHOTOS COURTESY GEORGE GARZONE
spotlight

George Garzone

Keep Going… Just Keep Playing BY TODD FELDMAN

M
assachusetts native George Garzone is amongst I’ve known Professor Garzone for a number of years and
the most famous jazz musicians to come out of during that time I have had the opportunity to hear a num-
the state, adding to its rich history and culture. It is ber of great stories. For those of you who know George
home to a number of the world’s finest colleges, universities, personally, you know he is full of personality – funny, witty,
and conservatories, including the prestigious Berklee College and able to energize a room with his presence. I’ve always
of Music, where you can find professor Garzone teaching any enjoyed speaking with George and thought it would be
number of jazz saxophone or improvisation classes. Amongst a great time to conduct an interview. While I would have
those who have studied alongside Garzone include a “who’s preferred the quick ride up to Boston to hang with George,
who” in contemporary and jazz music: Joshua Redman, take in a Red Sox game, and enjoy the local cuisine, the
Teodross Avery, Seamus Blake, Chris Cheek, Luciana Souza, pandemic continues to hinder my plans and those of most
Mark Turner, Donny McCaslin, Doug Yates, Danilo Perez, and everyone else for that matter. So over the phone it would
Grammy-winning Drummer Antonio Sanchez, to name a few. have to be.

10 JAZZed • August/September 2021

George Garzone, Jerry Bergonzi, and Tyrone Allen at Zinc Bar, New York in June, 2019 George Garzone, Peter Erskine, Derek Oles, and Alan Pasqua

During our conversation, George and I

spoke about a number of topics, ranging
from the release of the second part of the
Triadic Chromatic Approach to three nights
in LA with Peter Erskine and Alan Pasqua
to hanging with Michael Brecker on the
tour bus, and even to the alternate future
of having become Chef Garzone and whip-
ping up his culinary creation, “The Gorgon-
zola.”
Music has surrounded George from the
beginning, having grown up in a family of
musicians. He recalled a story of when he
was about 2 years old and crawling around
his Uncle Joe’s drum kit. Joe’s band was
having a jam session with his Uncle Rocco
and a young George Garzone got his head
caught between the bass drum pedal and
drum. “That really was the first time at a
young age that I had a musical memory,”
mentions Garzone.
George’s musical family afforded him
the opportunity to play a number of instru-
ments before settling in on the saxophone.
I did not come from a musical family, but
discovered another similarity between
us, as both George and I started on trum-
pet before moving on to drums. I’m sure
George was more proficient on both, as I
fizzled out on each by my mid-teens.
George gravitated to woodwinds,
thanks to a friend who had a clarinet and
his uncle Rocco, a clarinetist. It was uncle
Rocco who started George on saxophone
and by the time he was 12 or 13 years
old, his family brought him out to play
weddings. “By the time I was 15, my uncle
was still teaching me and I had gotten to
a point where he couldn’t teach me any-
more,” Garzone says. “He knew Joe Viola
and they were really good friends, so Joe
– while I was still in high school – would
let me come and take saxophone lessons
with him. When it was time for college, he

August/September 2021 • JAZZed 11

spotlight
got me in and I was with him for the whole four years. That was phone line and the tenor sax George has been playing for a num-
like a godsend and a blessing. You were able to study with a master ber of years – say, “I’m not the master of the saxophone… George
of saxophone from high school all the way through four years of Garzone is.”
college. By that point, I knew it was going to be good. Music was “Before I actually saw it, I didn’t believe it because one of my stu-
all around me. It was at Berklee that I met Joe Lovano. I started to dents told me that and I was like, ‘What?’” recalls Garzone. “I think,
bump into people that were very influential for me in terms of un- even though he said that, we all respect each other so much, you
derstanding what I needed to do.” know? Lovano, Liebman, Frank Tiberi – you know all the cats. I think
Having known George for some time, I knew that Joe Viola he was just giving respect to what I’m doing. He was such a humble
(founding chair of the Berklee College of Music Woodwind Depart- guy, I’m telling you. When I did that thing in Japan with him, I didn’t
ment) was his mentor, so I ask George what figures had been most know any of these guys. I went to the back of the bus when we were
influential in his development. “I was blessed to have these peo- in Japan. I was by myself in the last row and Michael came on and
ple,” he replies. “I met Joe Viola, then Joe Lovano. Years later I would he saw – I’ll never forget this – he saw everybody and said hi. Then
come to meet Frank Tiberi, who was the leader of The Woody Her- he saw me in the back and walked all the way down to the back of
man Band, who had this playing concept like no one else. When he the bus and we hung until we got to the hotel. He was asking me
finished with Woody, he moved about 10 miles from me out in the about mouthpieces and stuff like that, I was like, ‘Wow.’ I think what
country here. That’s, like, unheard of to have someone of that lev- he’s saying is maybe people that are working on mastering their
el come to a country town and live near you. instrument, because there is no one person
That’s when I was about 30 years old. I was that does anything that you can consider the
able to work with him to develop a concept master. That’s how I rationalize that, but we
of my own, which is the Triadic Chromatic Ap- all worshiped Mike, mostly because he was a
proach. I just feel like I was blessed to have the beautiful guy.”
right people around me all my life.” Moving away from music for a minute,
Speaking of the Triadic Chromatic Ap- because I know George comes from a family
proach, we talked about the concept, as well that likes to cook, let’s explore that alternate
as the new version, which will be available reality. “If I didn’t become a musician, I would
soon. The Triadic Chromatic Approach, pio- have been a chef because of my Uncle Roc-
neered by George, is an improvisation con- co,” says Garzone. “I came from a family of
cept which has his own signature in the jazz pizza makers and chefs. It was either music
improvisation vocabulary. “I think it’s an alter- or cooking school. Luckily, the music thing
native to the way people are playing these hung in. The chef thing is like... forget about
days,” Garzone explains. “It’s something that I it. That would have been the two options, but
developed. I mean, this is the only thing I’ve what could we do? Music took.”
done in my life that I really credit something Speaking briefly about the pandemic, I ask
as an individual that taught me how to play what advice he would give his students and
outside of the traditional harmonic concepts. George Garzone and Leo Genovese
fans about the future and George responded,
It’s something I put together listening to Col- “Keep going… just keep playing. Play long
trane and having this opportunity to play with my band, The Fringe, tones, meditate. Right now is the biggest test for any human being
for 50 years and work everything out on the bandstand. I teach the that we’ve ever had in our lives. Keep going.”
Triadic Approach at Berklee in our master’s program. It’s just a dif- Up next for Garzone, the 50th anniversary of The Fringe, a leg-
ferent way of playing. This is my claim to fame right now.” endary jazz trio founded in 1972 that includes bassist John Lock-
The first edition of the Triadic Chromatic Approach was devel- wood and drummer Bob Gullotti.
oped in conjunction with Jody Espina (Jody Jazz Mouthpieces),
which was released in DVD format. “The Music of George Garzone & Drum and guitar enthusiast Todd Feldman has
The Triadic Chromatic Approach” is a jazz improvisation instruction- been a member of the music industry for more
al DVD featuring examples of in-depth lessons, trading play-alongs, than ten years, working alongside some of the
an in-depth lesson of saxophone sound production, and more. top musicians in contemporary and jazz music
“It’s split into two parts,” he says. “The first part I did with Jody. including: The Rolling Stones, Wynton Marsa-
We did major and minor triads of chromaticism. The second part lis and Jazz at Lincoln Center Orchestra, Tom
is about augmented and diminished triads which is much more in- Scott, George Garzone, Tim Ries, Chris Potter, Paquito D’Rivera, Pedro
tense with chromaticism. I didn’t want to do everything together Eustache, and Hugh Masekela. He has worked in partnership with a
because it would have been a lot of information at once. The aug- number of high vision organizations, including: Horns To Havana, Jazz
mented and diminished part of it helps you to really expand what House Kids, The Rolling Stones Musician To Musician Initiative, Jazz at
you’re already doing. Basically I’m just trying to tell people that all Lincoln Center and Litchfield Performing Arts. Todd currently serves
triads are created equal. There’s no difference between the four tri- as the vice president of Operations and Sales for RS Berkeley Musical
ads: major, minor, augmented, diminished. When you play them in Instruments and holds a Bachelor’s degree in communications from
revolution and spin them around, they all become equal.” Montclair State University, as well as certifications from The University
I had once heard legendary saxophonist Michael Brecker – who of Pennsylvania, Northwestern University, and The University of Cali-
was influential in the development of RS Berkeley’s Virtuoso Saxo- fornia, Davis.

12 JAZZed • August/September 2021

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 focussession
What are Rule # 3: When I see a ii-V-I cadence in a major key, I will make
the five chord altered to create a more varied harmonic sound.

the Rules?
The altered sound is most identified with using #9 and H9 togeth-
er. Evans employs this strategy at bar 8 and bar 24.
Rule 3a: It is ok to repeat a line with a small change in rhythm

A Guide Tone Exercise and melodic content. Bill Evans does this at bar 23-24. This line is
almost the same as bar 7-8.
BY MILES DONAHUE What – you need more proof ? If you go to the Charlie Parker
Omnibook (Hal Leonard), page 24, line 5 measure 4, you will see

A
s we live our lives, we abide by rules we establish for our- the flat 9 passing tone on the VI chord which resolves down a 5th
selves. Some rules a young person might have would be: to a minor chord. If you look at the 6th measure of “The Girl from
Do your homework on time; Do not be late for class – and Ipanema,” the dominant 7th chord resolves down a ½ step and the
so on. Rules are guidelines and tools. melody is the #11. If you look at bar 16 of “Donna Lee,” you will
As with most things, in learning to improvise it is wise to estab- see the H9 and #9 are there creating the altered dominant sound.
lish some rules to follow as we teach ourselves this valuable and Sometimes rules are handy.
complex skill. These guidelines may not be agreed upon by every-
one, but I am going to put forth some rules I think are applicable In a career spanning over 50 years, New En-
in learning to improvise. How have I come up with these proce- gland-based bandleader, sax player, and
dures? By analyzing transcriptions and jazz songs. What follows jazz educator Miles Donahue has performed
is a transcription of a solo by Bill Evans from the song “Beautiful on and recorded 14 albums. His third album
Love,” starting at 33 seconds in (The Best of Bill Evans). with Mike Stern is coming out in 2020 on
Rule #1: When I have a dominant 7th that resolves down a 5th Whaling City Sound. Donahue is currently
to a minor chord I will use the flat nine as a passing tone. Bill Evans a visiting professor at Middlebury College,
does this at bars 10,14,18,20, and 30 (the flat 9 being BH). teaching a class on the music of Motown
Rule#2: When I see a dominant 7th resolve down a half step, I and popular piano styles. His site, [Link], offers an
will play the #11 (Lydian Dominant). Evans does this at bars 13,29, effective course for new players to learn jazz improvisation and for
and 32 (the #11 being E natural). seasoned players to learn fresh approaches to soloing.

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14 JAZZed • August/September 2021

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[Link]/jazz
focussession
BEAUTIFUL LOVE (BILL EVANS SOLO )

E mi7 A7
b5 b9

b c ‰ œ œ # œ œ œ .. ˙ œœ
œ œ ˙. #œ œ
œ
3

& j œ œœ œœ
1 œ œ #œ œ œ
D mi G mi7
œ C7
œ œ œ œ bœ bœ œ œ œ
5 &b ∑ Œ Œ ‰ Jœ œ œ œ œ œ œ œ #œ
3

F ma7 œ E mi7 A7 D mi G mi7

b5 b9
œ œ œ œ bœ
3

&b Œ ‰ œ
J œ œ œ œ œbœ nœ œ œ œ œ œ bœ œ œ œ œ œ œ œ
9
œ
Bb 7 A D G
œ #œ œ nœ œ œ œœ œœ
7 mi 7

& b ‰ J bœ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ Œ
#œ
A7
13

E mi7 5
b œ œ œ œ œ œ b œ Aœ œ E mi7 5 œ #œ bœ œ #œ nœ œ œ œ œ
b b
œ œ œ
7

&b ‰ J #œ œ œ œ œ œ œ œ
17

D mi G mi7 C7 œ œ bœ bœ œ œ œ
œ œœ œ œ œ
21 & b œ bœ œ œ œ ∑ ‰ œj œ œ œ # œ
3

F ma7
œ . œ . bœ œ œ.
A7
œ. œ Dœ mi G mi7
bœ nœ œ œ
J J œ. œ. ‰ J
25 &b

Bœ b 7 A7 D mi B mi7 Bb 7 A7
b5

œ œ œ ‰ œJ ‰ b œ œ œ # œ ‰ œ œ œœ œ
œ œ œ œ œ œ bœ nœ #œ œ
&b J J œ œ
29
D mi E mi7
b5
A7
33 &b œ œ œ œ bœ œ ..

#
&b
16 JAZZed • August/September 2021
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 lessonslearned
M E KN
U

OB
L
DAVE KOZ

VO

PERSPECTIVE
BY IAN COHEN

S
riginally from the movie Dave Koz is an 11-time
“This is Spinal Tap,” this Billboard No. 1 chart-top-
cliché of all clichés – “This ping and Platinum-selling
one goes to 11!” – sums up the contemporary jazz saxo-
entire situation with regard to phonist and humanitarian.
musicians, and their generally He shared his stance on
uncompromising love for loud the need to develop logical
music. steps to protect hearing, in
While practicing, performing, order to prepare for an ex-

at
or producing, it’s difficult to resist tended career in music.

go to 1
th

1?
getting louder – after all, you’re wail- “For any musician, starting out
ing. now, your ears are your life. If you don’t
But to stay working and have longevity have your hearing, you’ve got nothing, you
in the music business, musicians might con- can’t play music,” says Koz. “And so starting
sider the positive effects of treating their ears with good practices and good habits early in life will help
some mercy during the journey. keep your hearing at optimal levels, you hope.”
Listen to most music industry luminaries, and you’ll hear (no pun Koz likens the process of being a professional musician, to being
here) some pretty enlightening stories on the topic. a professional athlete – one that’s mindful of their body. And that as
professional musicians, the ears are part of a critical system that al-
STEVE FERRONE lows the artist to perform at the highest level.
PERSPECTIVE

“You only have two ears, and you can’t trade them in for new mod-
Just ask Steve Ferrone, the Grammy Award-winning drum- els. So it’s like every other part of your body, you have to really focus
mer with credits that include 24-years touring and recording on it,” says Koz. “And I think sometimes, we are kind of taking our bod-
with Tom Petty and the Heartbreakers, as well as working with ies for granted, but as musicians we have to approach our bodies not
George Harrison, Chaka Khan, Eric Clapton, Anita Baker, and unlike the way professional athletes would approach their bodies. All
many others. the mechanisms of your body are working, and helping you achieve
According to Ferrone, he has suffered some hearing loss, what it is that you want to achieve as a musician, as a recording artist,
and it was gradual. as a touring musician.”
“You know, ear damage, it’s just, something that we have, Koz recently watched and recommended a movie for musicians
you know?” says Ferrone. “You don’t really notice it coming on. to watch, titled “Sound of Metal.” The movie addresses the poten-
It just happened over the years for me.” tial for rapid loss of hearing from overexposure, in a powerful and
Ferrone described an event that occurred while touring with Tom thought-provoking manner. “It’s one of those movies that for any
Petty and The Heartbreakers: “We were playing in Boston, and in the musician to watch, it’s like ‘This could actually happen to us, too.’ So
heat of the battle I used one in-ear monitor headset, with a click, and that freaked me out,” says Koz. “I think if there was anything else that
that was about it. And, I’m sitting up there and playing, and all of a could kind of put the fear of God in all of us, about our ears, it was
sudden I hear this noise in my ear,” said Ferrone. “I could still hear the that movie.”
click, and I’m like, ‘Oh, there’s something wrong. There’s something Koz said one of the hardest things he’s had to witness was a close
wrong with my headset.’ And, I’m always hesitant to turn around and friend and musical collaborator suffer significant hearing loss.
tell my roadie, ‘Hey, there’s something wrong.’ Because he starts un- “The best learning for me has been watching him, and how he’s
plugging stuff, and he unplugs everything… So, I just thought, you been dealing with it,” says Koz. “And when you see somebody that
know, I’ll just live with it. And when we finished the song, I said, ‘Hey, you know and love lose a significant part of their hearing, and what it
there’s something wrong with my headset. It’s making a horrible does to their lives, it’s a wake-up call.”
noise!’ And, I pulled my headset out, and the noise was still there!
“I went over to Massachusetts General Hospital and I came out
OLA KVERNBERG
PERSPECTIVE

of testing and the guy said, ‘Well, you’ve lost, like, 40 percent of your Ola Kvernberg is a Spellemannprisen Award-winning Nor-
lows off the bottom end, and 30 percent of the highs.’ And what that wegian jazz violinist and composer. He provided some sugges-
meant for me was, I know I have problems. So for a descriptive, med- tions for stage performers to consider.
ical term for what’s going on: my hearing is screwed!” “Take note from the experiences that make your ears ring
Ferrone adds, “The noise did go away after some time.” Musicians and avoid them as much as you can. Approach any stage sit-
often choose to practice, rehearse, and perform at volumes that uation pragmatically, avoid cymbals and other high-pitched
could cause injury to their ears. This could alter their careers and instruments, especially amplified, directly to the ear,” says Kver-
affect their health. It may also cause difficulty in their day-to-day nberg. “Work with angles – it can be as simple as rotating your
ability to hear family, friends, and spoken word. The injury can be position on stage with just a few degrees.”
averted. Kvernberg continues: “After my first four years of intense

18 JAZZed • August/September 2021

 lessonslearned
touring, my reintroduction to silence made me realize I had tinnitus.” conscious of not monitoring too loud, and taking regular breaks in
Musicians and performers are not the only ones that have to consider the studio, and keeping the volume under control when I’m mixing
the level of exposure. live.”
Long said that he brings earplugs wherever he goes, and he ad-
K E N C A I L L AT
PERSPECTIVE

vised that engineers and musicians need to consider this as well. “I

Recording engineers, mixers, and producers also have to be always carry a pair of earplugs with me, and I use them whenever I
aware. go to a concert, or if in a situation where I’m exposed to loud music,”
Ken Caillat is a Grammy Award-winning recording engineer he says. “When talking to young engineers and musicians, I can’t em-
and producer for Fleetwood Mac, David Becker, Taj Mahal, Lio- phasize enough the importance of getting a good pair of earplugs
nel Ritchie, and many others. that protect your hearing, while still allowing you to enjoy the music.”
Caillat revealed a close-up view into his own tinnitus symp-
toms, and into the symptoms of others he works with. He also Easy Does it
said that some exposure couldn’t be prevented, due to percep- There are many ways to help reduce the exposure. An obvious
tions about having the music at quieter levels. way is to turn it down.
“I don’t have much tonight, but every engineer I know has Looking at additional tools for prevention, there are apps, such as
some tinnitus or some hearing loss – every musician,” says Caillat. “So, the NIOSH Sound Level Meter app, and others, that can be used dis-
in one of my ears, for some reason, the hearing is worse. But when I cretely during practice, rehearsal, and live performance.
was a kid, and the volumes that the rockers wanted to be, they want- Earplugs are also beneficial. There are a wide variety of types and
ed it to be loud. So, you weren’t a musician if you didn’t have it loud.” styles of “musicians” earplugs available. Some are passive, and some
Caillat has some additional advice in terms of a way to monitor have electronics. Some are designed to work out-of-the-box, while
volume levels from a mobile phone, even if it isn’t considered fash- others are custom molded. And some provide interchangeable or
ionable: “Turn it down. You know, most phones have a sound pres- adjustable filters, for controlling the amount of attenuation.
sure level (SPL) app – try to keep things down. No matter how cool Minuendo is an earplug manufacturer that makes earplugs for
or uncool it may seem, try to keep levels below 100 dB, preferably musicians. Its chief product officer, Tom Trones, provided some in-
90 dB.” sights related to earplugs, and some ideas on how and why to use
Caillat shared a story of an experience he had, being exposed to them.
very loud guitar, while recording Lindsey Buckingham. “I had one sit- “I think the first key is to find some kind of earplugs that work for
uation where I had Lindsey playing guitar, and he was plugged in and you. They should be comfortable, practical, and not ruin your listen-
I said, ‘Don’t play for a second, because I’ve got to change the mic.’ I ing experience,” says Trones. “Also, I think it’s really important that
went out of the control room to where he was, and I had my head people be more aware of when to protect themselves. Even moder-
and my left ear within two feet of the guitar cabinet, and he hits the ate levels can be risky, if the exposure is over a prolonged time.”
chord. It came out of nowhere!” When asked about potential treatments on the horizon for tin-
Caillat discussed how fellow engineers, such as Al Schmitt nitus, Trones said that there isn’t much help once a musician suffers
(Henry Mancini, Steely Dan, George Benson, Natalie Cole, Quincy hearing damage. “Permanent hearing loss is so far irreversible,” he
Jones, et cetera) used earplugs as often as possible, so that they says.
could continue to have a career and work for as long as possible. However, he cited a study published March 7, 2018 in the Journal
“The best engineers I know, like Al Schmitt, wanted to be working. of Experimental Medicine, and titled “New drugs could help prevent
You don’t necessarily make a lot of money in the music business, es- hearing loss,” to point out that there is research being done, to look
pecially when you get older,” explains Caillat. “So, he wanted to work at ways to treat or prevent noise-induced hearing loss.
until he was in his eighties and nineties. And so, he had earplugs for “There are some experimental compounds being considered by
anything. He’d go to a concert, and he’d put in earplugs.” researchers that could eventually help treat noise-induced hearing
loss,” says Trones.
RUSS LONG Trones also provided some information on some technology Min-
PERSPECTIVE

Equally comfortable in the recording studio and the concert uendo is working on, related to earplugs.
venue, Russ Long has engineered and mixed albums by Wilco, “We are currently developing electronic earplugs that measure
David Liebman, Dolly Parton, and toured with Amy Grant, Vince the actual exposure to the ear, and then warn if the levels over time
Gill, Paul Rogers, and many others. might be dangerous,” he says.
Long says that no matter how much equipment you possess, When asked for any other ways to increase consciousness in re-
your ears are the priority for gaining and maintaining work in al-time, Trones says, “Another way to create more awareness could be
the industry. “I don’t care how many mics you own, what kind of to have a SoundEar noise monitor system installed – functioning as
monitors are in your studio, or what your gear collection looks sound level meters in studios, rehearsal spaces, and concert arenas.
like, an engineer’s most important commodity is their ears,” he When they light up red, it will give you a reminder to wear protection.”
says.
Long explains that he saw some red flags when he heard about Hearing is Believing
Pete Townsend’s debilitating hearing loss, and that Townsend’s story Sensaphonics Hearing Wellness is a full-service hearing clinic for
helped influence some of his audio engineering practices: “Thankful- musicians and based in Chicago, Illinois. It also offers products, such
ly, I read an interview with Pete Townshend early in my career that as custom in-ear monitors, and custom molded earplugs. Its presi-
made me aware of the dangers of hearing loss. So, I’ve always been dent, Michael Santucci, AuD, provided some hope that opinions of

20 JAZZed • August/September 2021

earplugs have shifted into a more favorable titled “What would an evidence-based tin- opt for musicians earplugs, and mentioned
light with musicians and concertgoers. nitus patient education program look like? some characteristics.
“I started in 1987, and it was laughed at, Findings from a Scoping Review.” “You see people going into physical en-
to wear your earplugs. Now I sit backstage Dr. Scaglione explained that the study vironments like clubs or concerts, or any-
with MusiCares at Lollapalooza and Riot aimed to evaluate the impact of tinnitus where where it could be potentially dan-
Fest. And we give away free earplugs, and education, possible methods for delivering gerous and not doing anything about it,” he
literally there’s 400 people in line to get the information to patients, and to provide says. “All musicians should have a custom fit
them,” says Dr. Santucci. a guideline for teaching patients coping musician’s earplug with a linear filter. And
“If they don’t want to wear hearing pro- mechanisms for tinnitus. even if it’s not a custom fit, there are some
tection, they should at least do a baseline “The whole purpose of the study was to companies who are making wonderful
hearing test, and get an annual hearing develop guidelines that audiologists, ENT’s, products.”
check and monitor their hearing,” he says. and other physicians can use, to provide tin- In terms of potential hearing health con-
“Getting your hearing checked on a regular nitus education in their practice,” she says. servation benefits related to using in-ear
basis is really the basis of any hearing loss “There wasn’t an agreement of the deliv- monitors, versus wedges, while perform-
prevention program. It really can extend ery model that should be used for tinnitus ing at a concert, Dias observes: “If properly
their career. And that’s what it’s all about.” education. It ranged from one-on-one to used, you can choose to listen at a lower SPL
Dr. Santucci also discussed a Vanderbilt group models, Internet-delivered, as well than you would be on a loud stage trying to
study that showed that in-ear monitor use as even pamphlets. However, there was a catch a feed off of your wedge.”
doesn’t automatically equate to lower vol- general agreement about the information
ume: “We did a study at Vanderbilt com- that should be portrayed to patients or de- It’s All About the Last Man Standing
paring getting your in-ear monitor levels to livered, and this included teaching patients Ken Caillat shared some wisdom about
floor monitor levels. We wanted to see how that tinnitus management involves coping bucking perceptions, so that you can you
much people turned down the in-ear moni- with tinnitus, not curing tinnitus.” work as long as possible, and so you can
tor levels. We did 45 trials. Everybody turned Another resource is the In-Ear Monitor outlast anyone in the business. “Don’t
them exactly the same, not even one dB be- International Trade Organization (IEMITO). let some 20-year-old bopper, you know,
tween all the trials... and if you’ve been play- Its executive director, Mike Dias, described make fun of you, because when they get
ing guitar at a 100 dB, you put on in-ears the goals of the IEMITO: “The mission of the old someday, you’re maybe pushing them
and guess what? You turn it to 100 dB.” IEMITO is to promote the uses and benefits around in a wheelchair,” says Caillat. “It’s all
Dr. Santucci pointed out that, although of in-ear monitors. We specialize in provid- about the last man standing.”
loud sound is the primary cause of tinni- ing information regarding earphones and
tus and hearing loss, it may not be the only in-ear monitors that are generating sound, Ian Cohen is a media and mar-
cause. “You can’t assume it’s about sounds,” not passively blocking sound.” keting industry professional.
he states “And so yes, the leading cause in That said, when asked, Dias described He’s also a closet music produc-
this country is loud sound exposure, but different settings when a musician may er and gear junkie.
you could have mechanical issues in your
jaw and neck.”

Take Five
There are many resources to tap, for the
latest information, technology, trends, and If music is your passion,
education. The American Academy of Audi-
ology is one such resource. They have links TCU is your school.
to resources, tools, fact sheets, articles, and
a searchable database to find practitioners.
Tricia Lynn Scaglione, AuD is an assistant
professor of otolaryngology at the Uni-
versity of Miami. She is also director of the
Tinnitus and Sound Sensitivities Clinic, and
associate director of Clinical Education in
Audiology for the UM Department of Oto- Spring 2022 Audition Dates
laryngology.
During a recent presentation for the January 15 - Nordan Scholarship*
*Prescreening Video Audition Required
American Academy of Audiology, Dr. Scagli- January 29 // February 5 // February 19, 2022
one discussed a study that she conducted, November 1, 2021 - Application Deadline for early action
together with Dr. Aurora Occa, Dr. Susan E. consideration. Undergraduate scholarships and graduate
assistantships available for you.
Morgan, Dr. Brianna Kuzbyt , and Dr. Richard
J. Bookman. The study was published in The
Journal of Communication in Healthcare and [Link]/admissions

August/September 2021 • JAZZed 21

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has the beautiful dark warmth of the Um- Blackstar DEBUT10/15
bra with the free blowing clean articulation Amazing sounding practice amps with
of the Elite. Chedeville have taken everything they learned from patented ISF and built-in ‘tape’ delay effect.
their previous mouthpieces and rolled them into one amazing Debut practice amps deliver the ultimate
mouthpiece that is priced so that serious students can afford it. playing experience for guitarists who are
Like all the new Chedeville models, the new range of Chedeville just starting out and want great tone. Their simple to use, ana-
SAV Clarinet mouthpieces are made at the JodyJazz factory in Sa- logue design combine with gorgeous high-end cosmetics to cre-
vannah, Georgia. MSRP: $189 ate the most desirable practice amps available. DEBUT 10 MSRP:
[Link] $139.99 DEBUT 15 MSRP: $164.99
[Link]
Rovner’s New Avatar Sax Mouthpiece
Rovner Products introduces a patented baffle FRETTED
and chamber design with their groundbreaking Av- D’Angelico Premier Bedford SH
atar saxophone mouthpieces, the first in their new The Bedford SH – previously only offered as a Deluxe
Deep-V Collection. These unique mouthpieces re- Limited Edition model – is now available in the Premier
ward players of any ability level with increased pres- Series. Featuring a sleek, modern f-hole design on the
ence, playability and tonal color that must be expe- upper bout, the Bedford SH integrates a warm acoustic
rienced to be believed. With the Avatar, the player element into a three-pickup electronics configuration
provides the “character” and Rovner provides the core. Priced at that offers a bold variety of tones. The combination
just $369 to $399 (MSRP) and available in sizes for alto and tenor of two Duncan Designed single-coils in the neck and
sax, each Avatar mouthpiece is nicely packaged in a unique tri- middle positions followed by a Duncan Designed mini-humbucker
angular case and includes a Rovner MK III ligature and cap for a in the bridge creates a uniquely bold, but familiarly spanky tonal
complete Rovner playing experience. palette while a 5-way blade makes tone selection simple. Available
[Link] in Oxblood, Black Flake, and Sky Blue with a six-point tremolo.
MAP: $799.99
[Link]
22 JAZZed • August/September 2021
backbeat AdIndex

POISEON AG
ADVERTISER PAGE WEB
Charlie Watts Dakota Saxophones C0 [Link]
1941-2021
BY CHRISTIAN WISSMULLER DePaul Univ. C3 [Link]

C
harlie Watts, most famous as the
drummer for The Rolling Stones,
Gator Cases 7 [Link]
passed away on August 24 at the age
of 80. Earlier in the month, The Stones had
announced that Watts would be sitting out JackTrip C2 [Link]
the band’s upcoming fall U.S. tour dates to
recover after a “routine medical procedure.”
While he gained greatest notoriety as a Jazz Edu. Abroad 17 [Link]
rock musician, Watts’ love of jazz was nearly of the many younger R&B players frequent-
as legendary as his finely tailored suits and ly invited by Korner to guest with the band. Jazz Radio WETF 19 [Link]
shy – even awkward – demeanor. Filling in occasionally for guitarist Brian
Born during WWII, he and childhood Jones’ new group, The Rolling Stones, he
friend Dave Green – later a mainstay in all was repeatedly asked to join as an official J.J. Babbitt Co. Inc. 5 [Link]
of Watts’ jazz groups – became enamored member, but The Stones’ simply couldn’t af-
of the likes of Gerry Mulligan, Charlie Parker ford the in-demand Watts. “We starved our-
JodyJazz 3 [Link]
(who Charlie was particularly keen on), and selves to pay for him!” recalls Keith Richards
Chico Hamilton. “I’d heard Chico Hamilton in his autobiography, Life. “We went shop-
play brushes on, ‘Walking Shoes,’ and – bin- lifting to get Charlie Watts. We cut down Longy School of Music 11 [Link]
go! – I wanted to play the drums,” he said. our rations, we wanted him so bad, man.”
Of Parker, Watts commented, “He’s the yard- What Richards, the other Stones, and
Marimba One 14 [Link]
stick that I judge all records by.” many on the R&B scene “wanted so bad”
In noted drummer and writer Mike Ed- was defined by a big, fat groove – a groove
ison’s 2019 book, Sympathy for the Drum- that many others in pop music would dis- New School of Jazz 15 [Link]
mer: Why Charlie Watts Matters, he notes, card in later years for more flashy, over the
“The main thing was, the cat loved jazz, and top playing, but which Charlie Watts never
he loved to play the drums.” abandoned. While most of his contempo- Phaeton Trumpets C4 [Link]
In 1960, after a stint in art school and raries would come to adopt increasingly
while beginning a career as a graphic de- massive and elaborate kits, he stuck to his Rovner Products 9 [Link]
signer, Watts joined a London jazz band, small, four-piece set, playing traditional
the Jo Jones All Stars. From there, he be- grip (usually) – sometimes looking decid-
came something of a fixture in the Soho edly incongruous on The Stones’ enormous Texas Christian Univ. 21 [Link]
music scene, playing with any number of stages in mega-stadiums.
combos until Alexis Korner saw him playing As many have observed, it’s not neces-
Young Arts 13 [Link]
a gig at Earl’s Court Troubadour club and in- sarily difficult “to rock.” Rock without the roll
vited him to join Blues Incorporated. It was is brutal, primitive, savage. Watts had finesse
while with Blues Incorporated that Watts – Charlie Watts rolled. The Stones were well-
first played behind Mick Jagger – just one served by choosing a jazz drummer.
JIMMY KATZ

comingnextissue
Our October issue features an in-depth conversation with noted trumpeter and composer

Wadada Leo Smith

August/September 2021 • JAZZed 23
Go beyond the Study with Jazz
music. That’s the Studies faculty
beauty of studying members Neal
Alger, Scott Burns,
music at DePaul
Dennis Carroll,
University. Designed
Sharel Cassity,
to be rigorous
Typhanie Coller,
and collaborative,
Dana Hall,
our programs of
Scott Hesse,
study give you the Jeremy Kahn,
experience and Thomas Matta,
the knowledge to Chad McCullough,
confidently pursue Bob Palmieri,
a life dedicated Kathryn Sherman,
to music. and Jim Trompeter.

More than a
Conservatory.
[Link] | 773.325.7444 | musicadmissions@[Link]