Berklee to y

Fall1998
Vol.10,No.2 A Forumfor Contempora~ry
Music and Musicians

16 Bill Frisell’78: UnwittingIconoclast

21 Reflections on Teaching
24 Hearingby Interval
 ngnote~

STEFON HARRIS A fully-develoaed collection of post-bop

jazz nfused with African and Latin rhythmsandharmonies.
A Cloud of Red Dust ShOWCaSes
Stefon Harris’ ~mmense
talents as composerand bandleader. The25-year-old
ns[ng star has beenfeaturea with WyntonMarsalis.
Joe Henderson.Charlie Hunter ana more.

TOMMYFL&NAGAN The five-time Grammy

nomineemakeshis Blue Note debut with a live
recording at the Village Vanguard.Recorded
on hiS 6?th birthday, this legendarypianist
excelsin the trio setting as heis joined by
Peter Washington
& Lew~sNash.This live set will leave
FALL ¯ 1998
VOLUME ° X
NUMBER ¯ 2

Contents

LEADSHEET
by Harry Chalmiers 75

BERKLEE BEAT
Honorarydegrees for Joe Lovanoand Vito Pascucci, BerkleePress launch,
Berklee2005Day,faculty notes, visiting artists, and more

PERFORMANCE SPECIALIST by Mark Small ’73

ProfessorLivingstonTaylorhas beentelling his students for nine years
that a performer’smainjob on stage is to pay attention to the audience 12

WHAT IS WORLD MUSIC? by Theresa Vallese

ONTHECOVER: For guitar
innovator Bill Frisell ’78,
musical honesty and lack of
pretensehaveguidedhis eclec-
tic jazz journey. Coverphoto
by Kevin Ellsworth. Story
beginson page16.
As musicaistyles from across the globe becomeincreasingly popular,
world musicis becomingpart of the Berklee curriculum 14
UNWITTING ICONOCLAST by Mark Small ’73
Withoutintendingto do so, guitarist Bill Frisell ’78 has beenchanging
the soundand people’s perceptionsof jazz 16
REFLECTIONSONTEACHING by Stephen M. Gould ’66
Analumnuswhohas taught at all levels, fromK-12to college,
recommends
a paradigmshift for musiceducation 21

HEARING BYINTERVAL by Steve Prosser 79

Amethodby Berklee’s ear training acting chair for developingyour
long-term memory
of the soundsof intervals 24

ALUMNOTES
News,quotes, and recordings of note 26

ALUMPROFILE by Mark Small 73

Charles Lake’54 33

CODAby Rodger Aldridge

Composersand Systems Analysts 4O
 LEAD SHEET

APublication
of the Officeof InstitutionalAdvancement

Mark
Editor
L. Small’73
Land of
CopyEditor
LisaBarrell
Graphics
Consultants
Opportunity
DaveMiranda,
Mich~leMalchisky
Harry Chalmiers, Provost/V.P. of AcademicAffairs

EditorialBoard
RobHayes
B nLouisiana
January of 1973, I traveled from myhomein
to studyguitar andcompositionat Berklee.
Director
of Public
Information It wascold, I waslonely, and I couldn’t read music.At
Berldee, I quickly foundan atmosphereof enthusiasmand
JudithLucas
Director
of Publications energythat helpedmeto deal with twoof those problems--
but I wasstill cold.Afewmonths back,a friend I methere25
Lawrence
McClellan
Jr.
Dean,
Professional
Education
Division years ago, DavidMash,nowvice president for information
technology,called to say that the provostpositionwasopen
MattMarvuglio at Berkleeand that he thought I shouldconsider it. The
Dean,
Professional
Performance
Division
prospectof returningto myalmamaterin a leadershiprole
Donald
Puluse wasvery stimulating.I applied,wasofferedthe job, andam
Dean,
MusicTechnology
Division
delighted to be writing to you today as Berklee’s new
Joseph
Smith "75 provost/vicepresidentfor Academic Affairs.
Dean,
Professional
Writing
Division
TheBerkleeeducation emphasizes flexibility, improvisa-
tion, practicality,andthe ability to recognizeandrespondto
Officeof InstitutionalAdvancement changingenvironments. Thesecharacteristicsserve us well in
musicandin all aspectsof life. I haveoften thoughtof the
DavidMcKay
VicePresident
of Institutional
Advancement administrativeworkthat I do as comparableto composing.
Directinga musicschoolis like doinga giant counterpoint
MarjorieO’Malley exercise everydaycompletewith consonance,dissonance,
Directorof Development
and the needfor resolution. Like a goodmelody,a school
Beverly
Tryon’82 should be well balancedwith variety, contrast, andclear
Director
of Corporate
Relations
direction.Themostimportantskill a goodadministratorpos-
PeterGordon"78 sessesis the ability to listen. PerhapsmyBerkleeear training
Director
of tile Berklee
Center
in LosAngeles courseshelpedmeto developthis skill!
ChikaOkamoto ’87
Asa composition student, I wasconstantlysharpeningmy
Assistant
Directorof Institutional
Advancement critical thinkingskills, strengtheningmyconcentration,and
KassandraKimbriel
havingmycreativity challenged.In someways,makingmusic
Assistant
Directorfor Annual
Fond is the art of makinggooddecisions. Acomposer mayponder
themfor awhileand the improvisormakesthemon the spot.
In ensembles, welearn to cooperateandresponsibly fulfill our
As the alumni-oriented music magazine of Berklee individualroles withina groupwhileappreciatingthe contri-
College of Music, Berklee today is dedicated to inform- butionsof others. Tomasteran instrument,onemustdevelop
ing, enriching, and serving the extended Berklee commu-
patienceandan ability to seethe bigpicture.Dailypracticeis
nity. By sharing information of benefit to alumni about required to reach long-termgoals. In countless waysmy
college matters, music industry issues and events, alum-
Berkleeeducationpreparedmeto succeedas a professional
ni activities and accomplishments,and musical topics of musicianandhelpedmeto developskills andinsights neces-
interest, Berklee today serves as both a valuable forum
saryfor effectiveleadership.
for our family throughout the world and an important
I enteredBerldeewithoutan extensivetheorybackground
source of commentary on contemporary music.
or readingability andstill foundan enormous varietyof rich
musicalexperiences that started meon a fascinatingjourneyas
Berklee today (ISSN1052-3839)is publishedthree times a year
by the Berklee Collegeof MusicOffice of Institutional Ad- a musicprofessional.Thechangesto Ber!dee’sprograms and
vancement.All contents ©1998by Berklee College of Music. facilities since I left are awesome. Unchanged is the unique
Sendall addresschanges,press releases,letters to the editor, and essenceof Berkleewhereeveryonecan havea chanceto make
advertising inquiries to BerkIeetoday, Box333, BerkleeCol-
lege of Music,1140BoytstonStreet, Boston, MA02215-3693, something of his or her musicaltalents. Berkleeis truly a land
(617) 747-2325,or via e-mail: msmall@berklee.edu. Alumniare of opportunity,andI ampleasedto havethis newopportunity
invitedto sendin details of activities andideassuitablefor fea- to helpshapeits futureas wecontinueto provideleadershipfor
ture coverage.Unsolicitedsubmissionsarc accepted.
contemporary musiceducationin the twentyfirst century.

2 Berklee today Fall1998

Berklee b e a t

HONORARY As this year’s music brass wind instrument man-

DEGREES
FOR industry speaker, Joe ufacturing, resulting in
Lovano greeted the 848 improvedleaening and play-
LOVANO
AND entering students and ing experiencesfor countless
PASCUCCI echoed Scheuerell’s words musicstudents."
by describing the people he In the presentation to
On September 11, 1998, met here whohelped him to Lovano, Berk said that
News of note Berkleeheld its annual con- shapehis career after college. Lovano possesses "one of
vocation to welcome the "Whether you’re an impro- the most distinctive musical
from about ciass of 2002. On hand for viser, a composer, or a voices heard in the jazz
the occasionwere jazz saxo- recording engineer--what- "world today." Berk cited
town and phonist Joe Lovano’72 and ever your personal vision is Lovano’s contributions to
Vito Pascucci, CEOof the about music, this is an amaz- contemporary jazz as a
around the G. Leblanc Corporation. ing place to start getting composer and performer.
The two received honorary yourself together and form- He also mentionedthe saxo-
world Doctor of Musicdegrees. ing relationships that will phonist’s 17 albums as a
Assistant Vice President grow for the rest of your leader and nearly 100 as a
for Student Affairs Steven life," he said. "Bea sponge; sideman and his Grammy
Lipmanand Vice President of you are at the beginning of winearlier this year.
Student Affairs Lawrence shaping your ownvoice and Next, 29 student musi-
Bethune offered opening future." cians took the stage to pre-
remarks. Faculty speaker Before bestowing the sent a concer~of pop, jazz,
Assistant Professor Casey honorary degrees, President and r&b selections. Alto
Scheuerelltold the audience, Lee Eliot Berk introduced saxophonist Jaleei Shaw
"Berklee is a never-ending Vito Pascucci and recounted opened the show playing
table for youto take from.It Pascucci’s early days as an unaccompanied before
is also a network, and your instrument repair technician being joined by drummer
greatest asset maybe the per- for the Glenn Miller’s Army ,Charles Haynes. They
sonsitting next to you." Air Corps Band during segued into a medley of
World War II. He chroni- Lovano’s "Lines and
cled Pascucci’s success in Spaces" and "His Dreams"
growing the G. Leblanc with a full rhythmsection.
Corporation from a one- Other high points were
man operation to a major Sting’s "We’ll Be Together
woodwind and brass wind Tonight" featuring Casey
instrument manufacturer. Dreissen on electric violin,
Berk stated that Pascucci’s and a duet rendition of
work has had % profound Lovano’s "Fort Worth" by
impact on both musical bassist YoshiWakiand saxo-
instrument production and phonist Mattias Murhagen.
music education. His pro- The concert closed with an
gressive attitude towards energetic reading of the
manufacturing and his [Earth Wind and Fire
visionary approach to mar- arrangement of the Lennon
keting have raised the stan- and McCartneyclassic "Got
Fromthe left: JoeLovano,
LeeEliot Berk,andVito Pascucci.dards for woodwind and to Get Youinto MyLife."

Fall1998 gerklee today 3

 ON THE FUTUREbalances structure
JAMMING
"Todayis a big step in a iong jour-
ney." That’s howbusiness consultant
and creativity guru John Kao charac-
terized V2.0: Berklee2005Day, a day-
long brainstormingsession held in the
Uchida building September 19.
"Finding the future involves getting
outside of what you knowin order to
get someplacenew. There’s a Berklee
of the year 2005in your heads waiting
to get out."
About 100 students, faculty, and
staff membersgave up their Saturday
to generate ideas -- raw material for a
yea>long pIanning process that will
lead to the coIlege’s secondformalfive-
year plan (thus the software-inspired
"version2.0" tag). It wasbilled as a day
of wild ideas and blue-sky thinking
and, for manyparticipants, the experi-
ence lived up to expectations.
"This is the best event I’ve ever
attended at Berklee," said Assistant
Professor Walter Beasley. "I have the
sense that this is the beginning of a
very exciting time in the history of the
college. I’m glad to be part of it."
In 1995, the college adopted a plan
that resulted in construction of the
Uchida building, a renovated media
center and library, the Entering
Student EnsembleProgram, a campus-
wide electronic-communication net-
work, and new international partner-
ships. Nowin need of a plan to take
the college to the year 2005, President
Lee Eliot Berk looked for a way to
involve evenmoreof the entire Berklee
communityin the process of setting
goals andpriorities.
"The big thing for us," explained
Executive Vice President Gary
Burton, whochairs the strategic plan-
ning steering committee,"is that there
is an incredibly creative bunchof peo-
ple at Berklee. Weneededa wayof tap-
ping into all that imaginationand cre-
ativity. That’s whatwas eludingus."
Who better to jump-start that
process at Berklee than John Kao(pro-
nounced "kay-oh")? A former
Harvard Business School faculty
member and founder of the Idea
Factory, a San Francisco-based con-
sulting firm, Kaoalso plays jazz piano.
In his book, Jamming: The Art and
Disdpline of Business Creativity, Kao
uses musical improvisation--which
4 Berklee today
and
freedom, familiarity
and novelty, group cohe-
siveness and individual
expression--as a modelfor
managing creativity for
business advantage. At
Berklee, Kao noted, jamming
is hardly an alien concept.
"Jamming is something
Berkleetraffics in," Kaotold the
group in the David Friend Recital
Hall to start off the day. "You
already knowa lot about the process
we’re going to go through today."
But the subject matter was also very
different than anything they were used
to jammingon. In eight groups, each
one containing a mix of students, fac-
ulty, and staff, ideas about what could
make Berklee better got tossed back
and forth in a conversation uncon-
strained by considerationsof practical-
ity, affordability, or, for that matter,
desirability. Onthis day, all judgments
weredeferred, in order not to suppress
inventiveness in any way.
The results, reported by each group
in the afternoon plenary session, com-
prised a wide-rangingwish-list rang-
ing from long-distance learning over
the Internet and a Berkleeradio station
to a greener campusand more dancing.
FinaIly, the participants wrote their
five favorite ideas on post-it note,,; and
placed themon long sheets under cat-
egories such as curriculum, infrastrac-
ture, space, newopportunities, tech-
nology,and quality of life. Thenevery-
one "voted," affixing blue dots to five
ideas they "violently agree with," in
Kao’swords, and red dots to twoideas
they are "uncomfortablewith."
But eventhat process was the begin-
ning, rather than the end, of sorting out
ideas for Berklee’sfuture. Thepost-it-
note collection will be displayed on
campus,and a host of committees;will
come up with their own proposals. A
surveywill go out to all students, facul-
ty, andstaff this fall. Ideaswill also be
solicited from alumni, parents, the
boardof trustees, the boardof visitors,
international partners, and other friends
of the college. As the holidays
approach,all the ideas will be postedon
bulletin boards and on the college
intranet, so that everyonecan comment
on them. Only then will these ideas
begin be distilled, based on common
themes and
practicalviability, into
a vision for Berldeein 2005.
"Myhope is we havea rich variety
of ideas by the time this three-month
process has run its course," said
Burton, "and that everybody feels
they’ve had their hands on it."
That hands-on feeling was in evi-
dence at Berklee 2005 Day. Manypar-
ticipants cited the brainstorming ses-
sion as an exampleof the kind of com-
municationthey’d like to see moreof.
"I’m very pleased to see all the
expandedparticipation in this second
approachto multi-year planning," said
President Berk. "Berklee’s first five-
year plan is serving our needsvery well.
I knowthat one of the achievementsof
the current process will be increased
ownership of our goals for the future
by the entire Berklee community--
both on campus and beyond."
"It was a great idea," said Steve
Berman,president of the student coun-
cil. "I had a few goodideas. I couldn’t
find anyone to tell them to. Berklee
needsto haveyearly meetingsIike this.
It should be an ongoingthing."
Berklee 2005 Day also set a new
standard for participation that, as the
planning process proceeds, the college
will be challengedto maintain.
"It gavepeoplea real sense of hope,"
said Professor Pat Pattison, one of 12
members of the Berklee community
trained by Kaoto facilitate the small
group meetings. "Nowthat the first
step in the processhas beentaken, there
are higher expectations that something
will comefrom these conversations. It’s
really crucial that, havinglaunchedit,
the college seizes the opportunity to
follow through."
--Robev Keough
Fall 1998
TIM COLLINSNAMED
TO BERKLEE’S
BOARD OF TRUSTEES
Board of Trustees Chair Will his guid-
Davis recently announced the ance, the
appointment of Tim Collins to the band sold
board. Davis has articulated the over 27 mil-
board’s intention to fill vacancies lion rec-
ocurring as older members retire ords, won
with individuals like Collins who their first
possess a professional profile and Grammy
whoare a strategic fit with the insti- Award, and
tution and the other board mem- regained
bers. their status
A music industry veteran, as one of the TrusteeSandraUyterhoeve~, PresidentBerk(left), andboard
chair Will Davis (right) present TimCollins a plaquewith
Collins has been a prominent figure top-grossing
rock concert Berklee’s mission statement at his June electionto theboard.
in the business for over 20 years.
He is president of Collins attractions
Entertainment, an artist manage- in American and international mar- alcohol addiction awareness and the
ment company based in Boston. He kets. In 1995, Collins established the musicians’ assistance programs.
was named Manager of the Year by Aerosmith Endowed Scholarship Of his election to the board,
Pollstar magazine in 1993 and has Fund for Berklee students majoring in Collins said, "I amthrilled to join the
been nominated for that award six Music Business/Management. board of trustees of BerkleeCollegeof
times. Collins is widely knownfor Since parting ways with Aerosmith Music.In myview, Berkleeis the gold
his talents as a manager whose in 1996, Collins has done consulting standard for musiceducation. I intend
clients have included artists such as workfor several major artists and has to be a hands-ontrustee and look for-
Edie Brickell and platinum rock facilitated the signing of Irish band ward to becomingan integral part of
band Aerosmith. Ruby Horse to Innerscope Records. Berklee’ s continuedefforts to build a
Collins handled Aerosmith for Additionally, Collins has devoted bridge between the academic music
over a decade and orchestrated their much energy to the NARAS community and the entertainment
comeback in the late 1980s. Under MusiCares Foundation’s drug and industry."

NEWINSTITUTIONAL
ADVANCEMENT
V.P.
NAMED
After a yearlong, nationwide
search, President Lee Eliot Berk
has announced that David
Millard McKayhas been hired as
Berklee’s new vice president of
institutional advancement.
McKayhas an extensive back-
ground in college development
and fundraising. He comes to
Berklee from Trinity College of
Vermont in Burlington where he
has served as vice president of
institutional advancement.
During his time at Trinity, he
oversaw development initiatives,
public relations, marketing,
alumniaffairs, and special events.
His achievements included lead-
ing and managing a capital cam-
David McKay
paign and developing and imple-
menting five-year strategic and
annual plans.
Prior to his work at Trinity,
McKay served as director of
development at Medical College
of Georgia in Augusta, Georgia,
Norwich University in
Northfield, Vermont, and
Vanderbilt University in
Nashville.
Of his appointment at Berklee,
McKaysaid, "What I liked most
about Berklee the first time I vis-
ited, wasthe sense of energy I felt
as soon as I walked in. WhenI
told people that I was going to
work at Berklee, I was amazed at
how many had some kind of con-
nection to the place--a relative or
friend who had gone to school
here, or some other affiliation.
Everyone seems to know about
the college. It is great that the
institution has such a clear focus
and a very good long-range plan.
All of these factors will make my
job a little easier."
McKaywill manage Berklee’s
fundraising efforts, corporate rela-
tions, alumni relations, public
affairs, and other collegeinitiatives.

Berklee today 5
Fall 1998
 BENSON
MAKES
$100,000 COMMITMENT
Scott Benson, president and chief
executive officer of Valent Software
Corporation, recently announced
that he will provide $100,000 over
the next two years to establish an
endowedscholarship fund. The fund
will provide financial support for
outstanding students enrolled at
Berklee whoare pop, rock, or folk
songwrit-
ers, pre-
ferably
guitar or
piano
players.
Scholar-
ship sup-
port for
student
musicians
is a criti-
Scott Benson cal link in
providing
them the
opportunity to develop their creative
talents to the fullest extent at Berklee.
Of his. gift to Berklee, Benson
said, "Musicis at the core of whoI
am. I am delighted that through
Berklee I’m able to provide access to
a world-class music education for
talented musicians, for whom,like
me, musicis as important as air."
Berklee’s creative and vibrant
atmosphere is greatly enhanced by
the support we receive from gener-
ous donors like Benson.
BCMSupport
Many donors (see list at the
right) recently made very substan-
tial gifts to the Berklee City Music
(BCM)Program. The program pro-
vides much needed financial sup-
port which enables disadvantaged
young people in urban areas, pri-
marily high school and middle
schools students, to attend Berklee’s
five-week Summer Performance
Program. Many of these students
continue their affiliation with
Berklee throughout the school year
through the mentoring program or
with expanded educational oppor-
tunities through the new Saturday
program. Participants strengthen
their musical skills, gain academic
training, and have access to Berklee ---Marjorie O’Malley
6 8erklee today
TO BERKLEE
faculty and staff on a one-to-one
basis for mentoring. Four students
graduating from this program each
year are awardedfull-tuition schol-
arships to Berklee. Private dona-
tions have allowed BCMto grow
and fill the void created by a short-
age of music programs in the
Boston Public Schools.
In 1998, Berklee bestowed
degrees upon the first graduates of
the Music Therapy program. We
gratefnlly acknowledge the gen-
erosity of Joan Johnson for estab-
lishing the Music Therapy Institute
at Berklee. The institute will enable
our Music Therapy majors to gain
experience in community-based
settings.
Scholarship Support
Berklee is tremendously grateful
to those donors (listed to the right)
whose recent gifts have madeschol-
arships available to so manytalented
musicians from around the world.
Manystudents benefit directly from
the support of individuals, founda-
tions, corporations, and organiza-
tions that provide financial aid
through scholarships. For a number
of students, financial aid in the form
of scholarships enables themto fulfill
their dream of completing their
musical education at Berklee. _Arts
mr .
Albert
Natale,
recogniz-
ed as one
of Bos- sumer Electronic
ton’s best
known
trumpe, t
players
during
(SESAC)
the hey-
Foundation
day of
AlbertA. Natale the big
bands,
established an endowedscholarship
fund at Berklee to be awarded to an
outstanding brass player. Natale is
:former vice president of the Boston
iMusicians’ Union and a memberof
Berklee’sboardof visitors.
Fall 1998
 The Science Behindthe Art of Teach~ngMusic
As miraculousas an~first wor~as profound as any first step, is the joy of discovering a newmeansof self-
exoress~on: a ove of art. ~ance. music...we at Technics have a special admiration and respect for those
educators who nurture sucn wonderfugifts, directing themtoward greater heights of creativity. That’s why
weveconcentrated our focus on providing music teachers and their institutions with a diverse line of
simple, elegan~ and intuit /e ns~rumen~sand educational accessories to help them achieve their goals.
We’d lil<e ~o tn~nk of them as ~ne tools of a most admirable trade. For more information, call us at
2_01-392-6140or vlsi~ our webslte at wvvw.technicsusa.com.
 BERKLEE
PRESSSET FOREXPANSION
This fail, Berklee officially
launched the new Berklee Press. The
revamped companyplans to create a
series of groundbreaking print and
electronic products focused primari-
ly on music and music education.
WhenBerklee founder Lawrence
Berk beganoffering education in jazz
and contemporary music 53 years
ago, there was no organized peda-
gogy for the music of the time.
Musicians painstakingly transcribed
the music for further study. In the
1950s, Berk increasingly turned his
attention to publications with a goal
of having faculty-authored materials
professionally produced for class-
room use.
"I still recall the hours myfather
spent converting faculty materials
into a format suitable for profession-
al publication," recalls President Lee
Eliot Berk. "My father was very
proud of what resulted from the col-
laboration."
In 1958, Lawrence Berk founded
Berklee Press Publications to make
these materials available to studentsall
over the world. Instrumental method
books, course workbooks, big band
scores, and blank manuscript paper
were amongthe sorely needed publi-
cations that Berklee Press produced.
The Berklee correspondence course
KLEIN was another of Berk’s innovations.
For the expandedBerklee Press, the
ELECTRIC college has hired David Kusek, a 25-
year music industry veteran with a
G U ITARS successful track record in starting and
managingpublishing and technology-
oriented companies. He has developed
an extensive and forward-looking
business plan. Kusekplans to intro-
duce a wide range of products includ-
ing books, folios, videotapes, audio
CDs,interactive DVDs (digital versa-
tile discs), and onlinematerial.
Kusek’sstaff will initially include
a managing editor and senior staff
1207 Marina
Circle writer. Continuing the Berklee Press
DiscoveryBay,CA94514 tradition, Kusekhopes to see a large
portion of all titles authored by
(925)516-9338 Berklee faculty membersand alumni.
fax: (925)516-9338 "There are many who have valuable
experience and information that they
e-mail:klein@genesisnetwork.net could share with others," says
wvvw.annihilist.com/klein/index.html Kusek. "Berklee Press will be a vehi-
cle for turning ideas into products."
8 Berkleet o d a y
Berklee
P R E S S
The first major project for
Berklee Press (slated for release in
1999) is a series of 11 Berklee prac-
tice methods penned by faculty
membersfor brass, woodwind, vio-
lin, guitar, drumset, and percussion
instruments.
"They will cover howto practice,
read, and listen," says Kusek. "These
books will help prospective students
to better prepare to cometo Berklee
and will put a bit of the Berkleeexpe-
rience into the hands of consumers."
Thepress is actively seeking manu-
scripts from alumniin order to have a
well-rounded representation of the
music industry. "Most titles will be
oriented toward music education,"
says Kusek, "but we are seeking
biographies and advice books relating
people’sexperiencesin all parts of the
business. I envision Berklee Press
becomingthe definitive resource for
people looking into careers in music."
% am very pleased," said
President Berk, "that Executive Vice
President Gary Burton and Assistant
Vice President for Operations Tom
Riley have devoted so muchthought
to the future of our publications pro-
gram. The same values that motivat-
ed myfather to launch Berklee Press
are still valid today, and this flesh
impetus will benefit education at
Berklee and beyond. This is an
important part of our tradition, our
present, and our future."
Fall 1998
BERKLEE
LIBRARY
CATALOG
ONTHE WEB
Through a Web-based pub-
lic access catalog (WebPac),
Berklee’s Stan Getz Media
Center and Library collections INSTRUMENT STRAPS
can now be searched by those Madein U.S.A.
around the globe who are not
part of the Berklee community. "It’s not only a matterof appearance - yourguitar strap
Using the Internet, patrons hasa direct bearingon yourperformance as well as
can search an index of the song your physical well being. After makingmyliving
titles contained on every popu-
in musicfor over twenty five years Double
lar music and jazz recording
Treblestraps are the best I’ve ever used."
and every song book held in
the Berklee library. Also, a per-
former index lists the namesof Charles H. Chapman
each instrumentalist or vocalist Jazz Guitarist
on every recording held in the ProfessorBerkleeCollegeof Music
Berklee coliection. In addition
to these unique indexes, sub- CALL OR WRITEFORA FREEBROCHUREOF
ject, title, and series search OUROTHERHIIGH QUALITYGUITARSTRAPS
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Tosee the site, the addressis:
<http://library.berklee.edu>.

ALL-STAR
BENEFITCONCERT
NOV.7

Berklee faculty memberand leg- Stills and Mike

endary rock performer and pro-
ducer A1 Kooper will present a
benefit concert with his band the
Rekooperators at the Berklee
Performance Center on November
7 at 8:00 p.m.
All proceeds from the concert
will benefit Kooper’s "It Can
Happen" Scholarship Fund, which
will specifically aid handicapped
students attending Berldee. The
concert is sponsored by Newbury
Comicsand Risky Records.
A music industry veteran,
Kooper has recorded and toured
with Bob Dylan, Jimi Hen&ix,and
the Rolling Stones, and was a mem-
ber of the Blues Project and Blood,
Sweat, and Tears. His production
credits include the Super Session
recordings with guitarists Stephen
Bloomfield,
Dylan’s New
Morning, and
the first three
discs by Lynyrd
Skynyrd.
The Rekoop-
erators band
includes Kooper TheRekooperators. Fromthe left: AntonFig, Mike
on keyboards Merritt, AI Kooper,
anddlimmy Vivino
and mandolin,
drummer Anton
Fig (from "The Late Show with Those showing a current
David Letterman" band), bassist Berkleealumnipass at the door will
Mike Merritt, and guitarist Jimmy be digible for a $5 discounton tick-
Vivino (both from the "Late Night ets priced at $15 and $20 (only two
with Conan O’Brien" band). tickets per alumnus). To obtain an
Vibraphonist Gary Burton and alumni pass, call (617) 747-2236.
keyboardistPaul Griffin will be sit- GoldenCircle tickets are $75. For
ting in with the band as special further ticket information, ca11
guest performers. (617) 747-2261.

Fall 1998 Berklee today 9


Professor JuliusWilliamshas been
named artistic advisor to the
Washington SymphonyOrchestra in
Washington, D.C., for the 1998-99
season. Williamswill serve as interim
conductor for the orchestra’s eight
concerts, education outreach efforts,
and communityconcerts.
String Department Chair Matt
Glaser was featured on a National
Public Radio broadcast in August in
a segment about Louis Armstrong.
Pro.lessor Charles Chapman
pennedarticles for the Octoberissues
of Acoustic Guitar and Just Jazz
Guitar. He was recently featured on
the "Susan Wornick Show" pro-
duced by NewEngland Cable News.
Chapmanwas invited to attend the
100 Year Celebration of the Archtop
Guitar event held recently at the
Smithsonian Institution in
Washington, D.C.
Assistant Professor DaveHoward
performed at the Jazz and Vento fes-
tival in Cortale, Italy, in August. At
the conclusion of the three-day festi-
val, Howard,a guitarist, played at
several jazz venues in Montepaone,
Lido, and Soverato, Italy.
Executive Vice President Gary
Burton has recorded a new album
titled Like Minds for the Concord
label. The disc, featuring Chick
Corea, Pat Metheny, Roy Haynes,
and Dave Holland, is scheduled for
release on November3. Burton was
also recently appointed to the board
of directors of the National Academy
of Recording Arts and Sciences
(NARAS)Foundation.
Seven faculty members have
received ASCAPawards for their
accomplishments as composers and
performers. They include Assistant
Chair of Composition Greg Fritze,
Chair of Contemporary Writing and
Production day Kennedy,professors
of composition Dennis Leclaire and
dulius Williams,assistant professors
of composition Allen Levines and
Arthur Welwood, and Assistant
Professor of Music Synthesis Nell
Leonard.
Music Production and
Engineering Chair Bill Scheniman
and Music Synthesis Chair Jan
Moorhead went to Beijing, China, to
10 gerklee t o d a y
FACULTY
NOTES
lecture at the first professional audio
symposium ever held there.
Scheniman spoke about designing
and equipping recording studios, and
Moorhead discussed new develop-
mentsin music synthesis.
Associate Professor of MP&E
StephenWebbercomposed the score
for the animatedfilm Zoetrobics. t-Ie
recorded the score at Lucasfilm’s
Skywalker Ranch with members of
the San Francisco Symphony,violin-
ist Evan Price ’97, and membersof
the Turtle Island String Quartet.
Andy Martin ’96 did sound design
and Jeanine Cowan ’96 served as
music supervisor. Berklee trustee
Watson Reid coproduced the music
and added vocals to the score. The
film premiered at the Nashville
Independent Fihn Festival.
Brass Professor TonyLadareleased
a new CD, On the Edge, for the Vee
Records label. Lada is featured on
trombone with Assistant Chair of
the Bass Department John Repucci,
Assistant Professor SuzannaSifter
(piano), and Associate Professor
DaveWeigert(drums). Assistant Vice
President for Special Programs Rob
Rose produced it with executive pro-
ducers Frank Vardaros ’93 and Jenisa
Katz ’94.
Guitarist and Assistant Professor
BruceSaunders released his second
CD, Likely Story, with backing from
Peter Erskine (drums), Dave
Carpenter (bass), and Dave Pietro
(saxophone). Saunders has also
recorded with Pietro on the Wind
Dance CD and with the group
Strange Fruit.
Associate Professor of Bass Oscar
Stagnar0 played with rising nuevo
flamenco guitarist Gerardo N(ifiez
in his September 23 appearance at
Scullers. Alula Records released
Calirna, the new record by Nti~ez,
to rave reviews.
Trumpeter Arturo Sandoval’s Hot
House Big Band features six faculty
membersand four alumni. On saxo-
phones are Assistant Professors Bill
Thompson and DanSmith, Instructor
Dino Govoni, and Pat Loomis’92. The
trumpet section includes Associate
Professor KenCervenka, Assistant
Professor WayneRaus, and alumni
Lee Walkowich ’81 and Frank
Vardaros ’93. The trombone section
included Professor Tony Lada and
Steve Piermarini ’86. The group
played at several festivals in Boston,
Newport, and Saratoga, and at
Carnegie Hail.
Bass Professor BruceGertz and
Associate Professor Ken Cervenka
teamed up to release Shut Wide Open
for the Double Time Records.
Besides Gertz (bass) and Cervenka
(trumpet), Jerry Bergonzi ’68
heard on saxophone along with
pianist Bruce Barth and drummer
Jorge Rossy ’90.
Assistant Professor of Piano
SuzannaSifter released her debut CD
Flowersfor You featuring five of her
original pieces. She is backedby sax-
ophonist Dino Govoni, trombonist
Tony Lada, Assistant Professor
doshua Davis (bass), and Assistant
Professor CaseyScheuerell (drums).
Guitarist and Associate Professor
Steve Rochinskiwas invited to play in
a Tal Farlow memorial tribute con-
cert at St. Peter’s Church in
Manhattan on September 20.
Rochinski has penned a book on
Farlow’sjazz guitar style.
Associate Professor Eric Reasoner,
and alumni Daryl Kell ’88 and Jim
Burt 74 were three of the five music
editors working on the film Lethal
Weapon4 that was released this sum-
mer. The score was written by
Michael Kamen.
Guitar Professor GarrisonFewell
was invited to present a jazz work-
shop and concert at the Montreux
Jazz Festival in July. He will release
his fourth CDthis winter on the
Birdland label.
Associate Professor of Composition
damesRussell Smith contributed an
essay to the book In My Life:
Encounterswith the Beatles published
by FrommInternational Publishing.
Smith’s essay is titled "Followingthe
Genius with Four Heads; or WhyI
Becamea Composer."
Assistant Professorof Guitar Lauren
Passarelli engineered the CDGarden
Party by alternative rock band Crave.
She signed an agreement with audio
manufacturer Joe Meekto endorse the
SC2.2stereo optical compressor.
Fall 1998

Throughoutthe summer
monthsa string of talented
visiting artists came to
Berkleeto sharetheir experi-
ence and insight with stu-
dents and faculty members.
This year’s Summer
GuitarSessionsbroughtin a
range of jazz, rock, and
blues players. Included in
the lineupwere,PeterLeitch,
Blues Saraceno, Jack
Petersen, andWayne Krantz.
Trumpeter Nicholas
Payt0nwasthe guest of the
Brass Department for a July
masterclass. Hespokeof his
beginnings in NewOrleans
anddiscussedissues involv-
ing trumpet technique. He
wasassisted in his clinic by
alumnusAnthony Wonsey.
Slide guitarist Derek
Trucks, nephewof Alhnan
Brothers band drummer
ButchTrucks,cameto share
his thoughts on playing
bluesguitar.
Fall1998
SUMMER
VISITING ARTISTS
presented a clinic titled
Surviving the L.A. Music
Scene. He gave tips on
drumtechniques and show-
casedhis PorkPie drumkit.
The Berklee WorldPer-
cussion Festival in August
brought hand percussion
specialist GiovanniHidalgo,
WestAfrican master drum-
mer Mohammed Camara,
SouthIndian percussionist
Trichy Sankaran,frame
drum artist Alessandra
Belloni,Karl Perazzo and
RaulRekow of Santana’s
Berklee’sMalletKeyboard Festivalbrought
in a humbler
of drumsection, Afro-Cuban
guestartists, includingDaveSamuels(above),marimbistsdrum set artist Horacio
JanisPotterandJulieSpencer,
andvibistGaryBurton. Hernandez, and drumcircle
facilitatorArthurHull.
Saxophonist and com- Dr. JonathanRutchik,a The String Department’s
poser JaneIra Bloom pre- boardcertified neurol.ogist annual Summer String
sented a clinic titled and occupationalandenvi- Flingfeaturedviolinist and
PerformancePerspectivesin ronmental medicine spe- Turtle IslandString Quartet
the Berklee Performance cialist, gavea seminaronthe founder DarolAnger,Paul
Center for the five-week diagnosis and treatment of WinterGroupcellist David
Summer Performance musicians’ injuries. Friesen, and renownedjazz
Programstudents. DrummerBob Hnrsen violin masterJohnBlake.
All brands: new,used, vintage
Full line of accessories
Repairs and restoration
Expert consultation
Exporter of EMWinston Band Instruments
Rayburn Musical Instrument Co., Inc.
263 I Iuntington Ave. Boston, MA02115 USA
Tel: 617-266-4727 ext. 25 Fax: 617-266-1517
Ineernet: www.rayburn.com
Servingmusiciansandeducatorssince 1939.
Berklee today 11
 FACULTY
PROFILE
Performance
by Marl(
hen Livingston Taylor starts sharing his phi-
W losophy about performing, his voice rises and
fails with the zeal of a Southernpreacher. (His
upbringing in Chapel Hill, North Carolina, in the Bible
belt mayyield clues to this trait.) Givinghis unique take
on performing has been Taylor’s specialty since he
joined the Berklee faculty nine years ago. Like many
faculty members, Taylor has found that teaching has
brought his thoughts on his area of expertise clearly
into focus. He is currently completinga text bearing the
Livingston
Taylorwithmembers
of his performance
class
12 Berkleet o d a y
Speciakst
Small
title of his class, Stage PerformanceTechniques.
Introduced to the college by Rob Rose, assistant vice
president for special programs, Taylor came at Rose’s
invitation to give a seminar on the business side of music
and found he enjoyed the experience. He saw that he had
muchto impart about being a performer, recording artist,
hit songwriter; and one-time television host, and commit-
ted to teach part time at the college.
Taylor was attracted to music and the stage early on.
His superstar brother James Taylor was only one of the
musical influences Livingston was touched by while
growing up. "Wehad an older brother Alex, who passed
awaya few years ago, and he used to bring a lot of music
into the house," Taylor says. "My parents were also a
musical influence. Mymother always wanted to be a
singer. James and Alex had a band called the Corsairs that
used to play at the fiat houses at the University of North
Carolina. They would go out and make music and come
homewith money.I got the picture. For me, there was no
grand design. I just started writing musicand playing it
for people. Theyliked it, so I kept doingit."
In the late 1960s, Taylor started out playing coffee-
houses in Boston and soon doors in the business began to
open for him. "A friend introduced me to Jon Landau,
who went on later to produce Jackson Brown and to
manageand produce Bruce Springsteen," Taylor says. "I
played him some songs, and he wanted to produce me.
He took me to Macon,Georgia, where I met Phil Walden,
whowas recording the Allman Brothers, Boz Scaggs, and
Fall 1998
 Jonathan Edwards. I got signed to
Capricorn Records and made three
records with them before drifting
into other orbits."
Taylor has learned after 30 years
in the business that performance is
the bedrock of a career. "I feel an
artist just has to play live," he says.
"The reality is that the sound you
make is sometimes desirable to the
mass media, but you are usually out
of the loop more than you are in.
When you are in the loop, your
music is on the radio and becomes
the soundtrack for various parts of
people’s lives. Whenthey want to
recreate that or add to the myth,they
come out to see you on a regular
basis.
"Students cometo myclasses hav-
ing learned about performing by
watching someone onstage at the
Orpheumor at Great Woods. I fig-
ure my students can take care of
themselves once they have sold
250,000 units, and have gotten seri-
ous radio play. Wehave to connect
the dots so they can get to that point.
"We discuss developing an audi-
ence, howto play for people, and how
to stop living in the fantasy of what
their careers shouldbe and start living
in the reality. When,as an artist, you
get to where you are drawing 500,
1,000, or 2,500 people, you have a
large enough audience to give you a
steady living for the rest of your life.
Wework on getting there."
The subtitle of Taylor’s Stage
Performance Techniques course is
The Care and Feeding of Your
Audience. He continually stresses
howvital an audience is to musicians
and how they need to respect and
befriend them. "The only source of
income in the music industry is an
audience," he says. "Eventually, you
are going to want them to buy your
stuff. They will buy it because they
like it--they really don’t need it. As
musicians, we have to make them
wantit.
"Many young students come in
with a belief that they can just stand
up on stage, spread their noise out
there, and that people will accept it.
That is not the way it works. We
spend a lot of time learning howto
take in rather than howto put out.
The audience has paid for tickets
Fall 1998
because they
really want an
artist to pay
attention to
them. Thefirst
job onstage is
to pay atten-
tion to your
audience; they
are the ones
paying your
salary.
"It is funny
to tell a class
that their job Livingston Taylor:"Whenyouare drawing 500, 1,000,or 2,500
onstage is not people, youhavea large enoughaudienceto give youa
to put out but steady livingfor therestof yourlife."
to take in;
about three or four out of the group off comesif you endure it and get to
will get it. A light goes on whenthey the other side intact; you become
realize it is about the audience, not known and respected. You will be
about the performer." able to work with other known and
Taylor explains that some abandon respected people and can assemble
the audience by retreating into their the best creative people in your field
instruments, hoping to win them over to work together. That is solving
with their technical abilities. "The problemsand living a quality life."
audience wants the performer to have Taylor, who plays about 75 con-
a conversation of sorts with them," he certs yearly, sees the benefits of
says. "Whena performer really looks being an active practitioner while
at the audience members, they can teaching. "I can come back and
send that performersignals." share myexperiences," he says. "I
Taylor also examinesstage fright in want the students to see that there is
his classes. "The core of nervousness no difference between where they
is a fear of rejection, that peoplewon’t are and where I am. There is no dif-
want what you offer," he says. "That ference between where I am and
triggers so muchpanic in people that where Eh:on John is. The reality is,
they weird out. I help students to see you show up, you do your work
that whenthey are nervous, they are and hope it goes well. Sometimesit
just thinking about themselves. So we doesn’t. There is an assumption that
discuss howbad it is to be awful some there is a place you get to and your
nights--that it’s bad, but not fatal." problems ease. It never happens.
Taylor also addresses the expecta- The, y just change shape."
tions of aspiring performers. "Fame For all his philosophizingand shar-
can be a very compelling force for ing, Taylor stresses that in the music
young people," he notes. Wespeak a industry, each generationmust find its
iot about it and howit can be a bad ownpath. "I tell the students not to
thing. Whenyou becomegratuitously seek: steady counsd from older peo-
visible, youturn into a cartoon charac- ple--including me. The only excep-
ter. Most of mystudents want to be tions are whensigning contracts or
knownas a fine musician; a quality investing raoney.
person; a good friend, wife, husband, "I tell the students, ’Live in your
or parent. I tell them that these are own pod with your contempo-
things they are already working on raries. Although I want to spare_
and are about to get. Gratuitous fame you pain, I can’t do it. Myadvice
is no fun, and the older you get, the will only make you timid if you
worseit gets. Anonymity is precious. take it. Stay with your peers and
"Whensomebodycalls to tell me figure things out to the best of your
they have a hit record, I say, ’I’m so ability. C;o out and scrape your
sorry.’ I ask mystudents to think knees. Your shared mutual pain will
about why they want this. The pay- be your bond and your maturity.’"
Berklee today
 OVERVIEW

What 1s World Music?

As ethnic music styles impact contemporarymusic, Berklee faculty
membersare mappingstrategies to help students master them.

November20, 1996, that said world musicis "an

A nyone browsing the racks at Tower
Records, Newbury Comics, or another
record store, will notice the growingcol-
lection of offerings in the worldmusicarea. It is
becoming more commonto hear about music
by artists from remote parts of the world, like
Ladysmith Black Mambazofrom South Africa
or the Bulgarian group Les Voix Mysterieux de
Bulgare, whoare enjoying a surge in popularity
with American listeners. Another sign--more
by Theresa subtle and indicative of world music’s successful
Vallese foray into Westerncontemporarymusic--is that
globally renownedpop artists such as Madonna,
Sting, Paul Simon, and Sinead O’Connor have
incorporated world music elements into their
songs. Thanks to
these and many
other artists, most
of us can recognize
elements of world
music when we
hear them, but can
anyone accurately
define "world
music?"
Attempts at
definitions have
come from various
quarters. The
Boston Globe ran
=~
~ an article titled
---~ "Marching to the
Studentsof differing backgroundsBeat of a Different
work
to stylizea group sound. Drummer," dated
industry catch-all term for music producedin a
country different from where it is sold." This
definition would then include American pop
musicif it were to be sold in a neighboringcoun-
try. As well, arbitrarily groupingBalinese game-
lan music with styles played in the Andesmoun-
tains or in Chinainto a single category of music
creates an entity far too broad to be meaningful.
Larry Monroe,associate vice president for inter-
national programs, says, "The term ’world
music’ doesn’t really tell meanything. I would
like to think that Berklee wouldplay a role in
defining what world music is."
There are some compelling reasons for
Berklee not only to define world music, but also
to lead the way in teaching so-called world
musicstyles. First, Berkleehas an international
student population of about 40 percent. Walking
around the college these days, one frequently
sees and hears groups of students from various
ethnic backgrounds working together to create
or stylize a group sound.
A secondreason is that Berkleehas historical-
ly focusedon practical career preparation--teach-
ing students not only howto be musicians, but
also howto makea living in music. Across the
entire spectrumof the musicbusiness, there is a
TheresaVallese is a freelance journalist. She was
the programdirector for Berklee’s International
Programs until August. She now lives in New
YorkCity.

14 Berklee today Fail 1998

 growing demand for performers who
can play an increasingly wider variety
of music including those world music
elements. Dean of the Professional
Performance Division Matt Marvuglio
says, "Whether the gig is at a nightclub,
a wedding, or a concert, more people
are expectingto hear these other styles.
Listeners have cometo expect the dif-
ferent textures that result from the
incorporation of different rhythmsand
groovesinto traditional standards."
A case in point was a celebration of
the U.S.S. Constitution in late July
this year, at the Charlestown Naval
Shipyard. Professor of Percussion
John Ramsay played there with a
nine-piece Afro-Cuban band called
Womenof the Village. He said that
familiarity with cornparsa, son mon-
tuno, mambo,and cha-cha styles, and
African pop rhythms were fundamen-
tal to his playing with the group.
Fascination with blending ethnic
musical styles with Americanforms is
not new. It was seen in jazz decades
ago. "There has always been an inter-
est in this," says Marvuglio."It’s in the
idea of Coltrane using oriental scales
to make a piece sound Indian. Wayne
Shorter, Charles Mingus, and Gil
Evans and Miles Davis (on the
Sketches of Spain album) all experi-
mented with world music elements in
their work." Young musicians at
Berklee have been working on hybrid
styles for sometime as well.
Over the years, courses on non-
westernstyles have steadily crept into
Berklee’s curriculum and the World
Percussion Festival has becomea major
summerevent focusing on styles of
drumming from around the globe.
Recently, Marvuglio and other world
music proponents have been making
an effort to mainstream world music
’ courses into Berklee’scurriculum.
As a start, the Professional
Performance Division formed a 27-
memberWorld Music Committee con-
sisting of departmentchairs, faculty, and
administrativestaff. Theirfirst initiative
was to define what world music would
meanat Berldee. Theyconcludedthat it
wouldrefer to any musical style that
isn’t a form of jazz, country, pop, or
rock (including blues, North American
folk, gospel, musicaltheater, opera, r&b,
etc.). Theyalso eliminated classical
musicin the Europeantradition.
Fall 1998
Amongthe fruits of the commit-
tee’s efforts is a brochure called A
Guideto WorldMusicat Berklee list-
ing 46 courses now being offered at
Berklee. Since drummers are key to
most of these non-Westernstyles, the
Percussion Department offers the
most in-depth courses. They include
West African drummingtechniques,
Afro-Cuban ceremonial drumming,
steelpan techniques, frame drumming,
and Latin percussion styles. Latin
styles are the ones most requested.
Also offered to all students are sur-
vey courses that can be elected by all
students. Theseinclude courses titled
Musicof India, the East, and Eastern
Europe; Music of Africa, Latin, and
South America; and History of the
Music of Black America. For music
business majors, an offering called
Music in the International
Marketplaceis available.
String Department Chair and
World Music Committee Chair Matt
Glaser states that while African,
Indian, Asian, Latin American, and
Caribbean music styles are a major
focus, the committee’s definition is
stretched to cover someother areas of
interest. Courseslisted as multicultur-
al/multistyle offer labs in Native
American drumming, frame drum-
ming, world beat pop, and others to
try to close the gaps.
Glaser teaches a course under the
multicultural/multistyle category for
string players called World Fiddle
Group. For this offering, Glaser cov-
ers the use of fiddle in American
music (styles originating in
Appalachia, Texas, and NewEngland)
and its use in bluegrass Balkan,Latin,
Swedish,Indian, and Irish styIes.
Describingthe elementaldifferences
between world music and Western
music, Glaser points out, "These other
traditions are not about chords; they
are about melody and rhythm.
Regardlessof their differences, African
music, Latin music, and Asian music
are largely about melodyand rhythm.
These are two components connecting
all these world musictraditions." For
somestudents this meansa shift away
from the focus on harmonythat is such
a key element of jazz and other forms
of Westernmusic.
To help those playing harmonic
instruments to incorporate world
A I~articipant at Berklee’s annual
WorldPercussion Festival
music elements into their ownstyles,
Assistant Professor of Piano Marc
Rossi teaches courses in WorldMusic
Comping. These classes provide
opportunities to learn about rhyth-
mic, harmonic, and melodic comping
pau:erns and repertory for reggae,
Afro Pop, traditional African, soca,
Latin, North and South Indian,
Balkan,Algerianrai, and other styles.
Rossi claims that students, espe-
cially those who are interested in
working in pop music, should be
familiar with these styles, as most
world musicstyles are dance oriented.
Currently, there is no school in the
NewEngland area that hosts a world
music program. Although programs
in ethnomusicology can be found in
Harvard Universtiy, MIT, New
England Conservatory of Music,
Northeastern, Tufts, and Wellesley
College, the intent of these programs
is flandamentally different from what
is offered at Berklee. While they
explore the music of other cultures,
ethnomusicologists are interested in
the music’s social implications. In
contrast, Berklee’s interest in world
music is based on a skills-oriented,
professional articulation.
Summingup his vision for the
future of world music at Berklee,
Marvuglio states, "Wehope that the
inclusion of world music in Berklee’s
main curriculum will ultimately
establish it as a cohesive, unified
force at the college." ~
Berklee today 15
 Unwitting Ico,
Withoutsetting out to do so, guitarist Bill Frisell ’78
is changingthe imageof jazz for manylisteners.
ore than anyother player in the nineties,
M Bill Frisell ’78 has l:edefinedjazz guitar.
His broad vision has prodded many
others to widen their view of what jazz is.
Evidence of this was in the 1998 annual Down
Beat critics poI1 whereFrisell was namedthe top
guitarist and his CDNashville was voted "jazz
albumof the year." Nashville, the ultimate dark-
horse candidatein that race, bested efforts by jazz
mainstays like TomHarrei1, Joe Lovano’72, and
Herbie Hancock. The music on Nashville is a
delightful improvisational amalgamationof blue-
by Mark grass, jazz, and popelementsfeaturing Frisell and
Small "73 someof the MusicCity’s top studio players.
Part of whatmakesFrisell’s playing so unique
is his unabashedblending of dreamypedal steel
effects, psychedelichowls, folky acoustic textures,
blues riffs, and avant-garde noise--sometimesin
the sametune. Friseli’s music, often hailed as a
newbit of Americana,brings his listeners along
on a picturesquejourney to the outskirts of jazz.
His imagination is unrestrained by style or
genre. He has written new soundtracks for two
classic Buster Keatonmoviesand for two animat-
ed features by his friend, cartoonist GaryLarson.
His records have showcased his own composi-
tions, jazz reworkings of music by Aaron
Coplandand Charles Ives, songs by Nell Young
and BobDylan, and, of course, jazz standards. He
shows up live and on record with such diverse
artists as Elvis Costello, Marianne Faithful,
16 Berklee today
noclast
Ginger Baker, Jim Hall, David Sanborn, Lyle
Mays,Allen Ginsberg, and Gavin Bryars.
Raised by deer in Colorado(according to one
unverifiable source seeking to explain the gui-
tarist’s ultra-gentle personality), Frisell waslured
as a teen to the guitar by the soundsof 1960spop
anti blues. Though he later became enamored
with iazz, Frisell hasn’t lost or tried to hide his
affection for other musical forms. That honesty
anti a total lack of pretenseare factors in boththe
widespreadappeal and the iconoclastic nature of
Frisell’s music.
Whenwas it apparent to you that you had to
become a musician?
WhenI was10, I started playing clarinet in the
school band, and a few years later I started play-
ing guitar just for fun. I just loved it so much.
Sometimeduring high school I got serious about
it. ~ had a great teacher, Dale Bruning, in
Colorado. He really exposed meto Miles Davis,
Thelonious Monk,and SonnyRolIins. Bruning is
an amazing, unsungplayer. He is starting to get
out a little morenow.
Howdid you end up at Berklee?
I cameto Berklee in 1971for one semester. It
wasall too much.Thebig city, after I’d beenliv-
ing in Colorado, kind of scared me away. But I
got a taste of Berklee. I went to study a little PHOTO
B~
KEVlN
with Jim Hall and then went back to Colorado ELLSWOR
Fall 1998

ornething snapped, and I
realized that I had cut myself
off from all of the musicthat
had led me to that point. So I
tried opening myself up to any-
thing, and a light went on.
for four years. I returned to Berklee and went
through the diploma program. Coming back
later, I knew howto maneuver and got myself
right whereI wantedto be.
A lot ofyourpeers at Berklee have ended up
doingwell in the musicbusiness.
There are so many memories I have from
when I was in Boston at Berklee. I played with
Mikeand Leni Stern [’75 and ’80], Tiger Okoshi
[’75], Nell Stubenhaus[’75], RandyRoos [78]--
so manypeople. Actually, I met [bassist] Kermit
Driscoll [78 ] myfirst day at Berklee and I have
been playing with him ever since. Comingfrom a
very small scene in Denver,wherethere were just
a couple of people to play with, to Boston was
amazing. You could be walking downthe street
and see someonecarrying an acoustic bass and
say, "Let’s go play." Everyone in Boston was
ready to go and play.
Was there any teacher who helped you find
your direction then?
Well, I was a little older than the kids coming
there straight out of high school. A fewteachers
were just what I needed at that time. Studying
with [guitar professor] Jon Damianwas incredi-
ble. I got so much from him. Mike Gibbs was
great, and I took all of HerbPomeroy’sclasses.
He is such a heavymusician. I wish I could take
all of those classes again or pick his brain whenI
get in a situation whereI have to do arranging.
Is there any singular event that you considerto
have been your first break?
There were all of these little steps that I
kept taking. I went to Belgiumfor a year with
Kermit and a few other people I had met at
Berklee. Weplayed together with a Belgian
saxophonist named Stephan Houben [’77],
18 Berklee today
and a drummer named Vinnie Johnson [’75].
After that year, I movedto NewYork where
things started to happenafter a fewyears. Theonly
people I knewthere were those I’d met earlier in
Boston.I wentto jamsessions and graduallystart-
ed getting a few gigs. For me, whenPaul Motian
called mein 1981,that wasa big turning point.
The first album I heard you on was Fluid
Rustle with Eberhard Weber.
That wasan earlier break. I wasin Belgiumat
the time. I had played in MikeGibbs’ensembleat
Berklee. Mikehad planned a tour of Englandwith
incredible players like Eberhard Weber,Charlie
Mariano [’50], and Kenny Wheeler. Philip
Catherine[’72] wasgoingto play guitar, but at the
last minutecouldn’t makethe gig. MikeknewI was
close by and that I had already playedhis musicin
the ensembleat school. That tour waswhereI real-
ly hookedup with Eberhard. He introduced me to
Martfred Eicher and Jan Garbarek. So that gig was
one that openeda lot of doors.
Someof your groups have featured adventur-
ous instrumentation. I’m thinking of the bassless
trio with Joe Lovano and Paul Motian, or the
group from your Quartet album featuring vio-
lin, trumpet, trombone,and guitar. WTaatdraws
to you those unconventional combinations?
I amjust looking for newsounds, but there are
also nonmusicalthings that influence these choic-
es too. That quartet had to be a small group so I
couldtravel easily withit. I wantedto havesort of
a microorchestra, though. I thought of the violin
as the string section, the trumpet and tromboneas
the brass section, and I filled out the other areas
on guitar. Morethan anything, though, it is the
personalities of the people that causes these
groups to cometogether.
I amalwaystrying to find a different slant. The
quartet was a great group to write for--a small
groupof peopleoffering a lot of colors. Sometimes
the instrumentation is a setup for meto playthe
guitar more,as in a trio with bass and drums.
Music journalists have a hard time labeling
your" blend of blues, rock, country, and jazz, but
ultimately categorize it as jazz. Is it all jazz in
your’ mind?
It seemsthat in the last 10 years, jazz has got-
ten a more formal definition. I amcomingfrom
jazz and was influenced by teachers like Dale and
artists like The]oniusMonk,SonnyRollins, Miles
Davis, and Bill Evans. I believe I amthinking the
way they thought. Deepin myheart, I feel I am
comingfrom jazz although I don’t knowwhat it
is anymore.Charlie Parker used all of the musical
information that was around him at the time. He
used to listen to HankWilliams, Stravinsky, or
whatever. He was open to all that, and it came
Fall 1998

through in what he played. Now40 or 50 years
later, that is jazz. So I amtrying to let whateverI
have experienced in my life come through.
Having grown up with the Beatles and Jimi
Hendrix, it almost wouldn’t seem honest to not
include that. In the end, it doesn’t matter what
peoplecall it.
Onyour Nashville albumand others, the solo
wasn’t the raison d’etre of the individual songs.
Sometimesyou got into just creating textures.
Wheredoes the solo fit into the hierarchyof your
music?
I have always been a fan of accompanists as
well as soloists. WhenI listened to Miles’ records,
I was always fascinated by what Herbie Hancock
was doing behind Miles’ solo. I have always been
interested in the mechanics of howinstruments
worktogether. The idea of a soloist out in front
of a bandplayingall of his stuff is becomingless
and less interesting for me. In mygroups, every-
one is accompanying everyoneelse all the time.
Sometimesin jazz there is an attitude about
playingthe melodyas fast as youcan to get rid of
it and start piaying everything that you have
learned. That can be a drag.
A lot of jazz musicians play the same ideas
over and over again.
Right. I think it is the melodythat puts a tune
in its own individual world. That keeps you
within the architecture and makes each song
individual. It is really a wayfor people to find
their ownvoice in a way. Instead of discarding
it and playing what you have learned, the
melody stays in there and connects with your
own voice.
Lately, I have been learning bluegrass tunes,
and it amazes me how good bluegrass players
will improvise around the shape of the melody.
The melodiesstay within one scale, but they are
so active. Trying to improvise and keep that
intact is one of those mysteries that I don’t
think I’ll solvein this life.
In the music of myfavorite jazz players, I
have always heard this approach. No matter
howfar Miles went, I could always hear that the
melody was affecting what he was playing.
Monkplayed the melodyall the time.
You include nontraditional ways of playing
the guitar in your music. I amthinking of vari-
ous scrapes and taps, strums behind the nut and
bridge, or the rubbing of a drumstick over the
strings. Whendid you first start doing all that?
Just prior to comingback to Berklee in 1975,
I had been studying with Jim Hall. I was really
conservative and just wanted to play bebop.
There were a few years when I could only see
music as what happened from Charlie Parker
Fall 1998
Frisell: "Betrue
to whereyouare
comingfrom and
don’t be embar-
rassedaboutthe
musicyou grew
upwith."
through the early 1960s. I couldn’t see anything
else. Then something snapped, and I realized
that I had cut myself off from all of the music
that had led meto that point. So I tried opening
myself up to anything, and a light went on. I
havetried to keep that attitude ever since.
There are probably only nine keys t.bat per-
mit really guitaristic playing with open
strings and natural harmonics. Does that
make you feel limited in the music you can
write?
I hate to admit it, but mymusic comes so
muchfrom the guitar. One thing I got from the
classes I had with HerbPomeroywas a little bit
of a handle on writing awayfrom the guitar. I
have donel[hat quite a bit. I will just "write on
paper without having a keyboard or guitar. A
lot of great things comefromthat. I amjust fol-
lowing myear or something that I’m hearing in
myhead.
It could come from either place. I might
write a melodyon paper in a sort of stream-of-
consciousness style. It could start in any key
and modulate anywhere. As soon as ][ get my
hands on the guitar, it becomesmoreidiomatic.
Some of your music has a sweet and down-
home sound, but other pieces have pungent
dissonances. Do you use dissonance to create
contrast, or are the darker tunes entities unto
themselves in your mind?
I amnot sure that it is a conscious decision
that I make. The tunes seem to come out fully
formed. Somemay stay in a really consonant
tonality and that is enough; the music doesn’t
have to go anywhereelse. SometimesI will need
somecontrast. It maystart out really dissonant,
and I’ll wantit to resolve or the reverse. As I am
writing a tune, I don’t have a preconceivedidea
of whatit will be. Stuff just comesout.
Berklee today 19
 You have explored many musical avenues, make you have to dig deeper when you are
but the Nashville album was probably the approaching a new album?
most unexpected turn to date. It is also your I am alwaystrying to dig deeper; I put pres-
biggest seller. Howdo you interpret that? sure on myself. I feel so lucky that myrecords
After that album came out, somecritics in haven’t been really big sellers because there is
local papershere in Seattle said I wasselling out no pressure to comeup to the previous one. It
and trying to makemoney,playing it safe. For would be so hard to get a huge record deal
me it was one of the most avant-garde and risky where they give you all this moneyand then if
things I could have done. Going down to your record doesn’t do well, they just drop you.
Nashville to play with people I’d never met That happensall the time in jazz and pop music.
before, I had no idea what wasgoing to happen. I Whensomeone has one big record and there is
don’t knowif that has anythingto do with it being pressure to comeup to it again. I feel like I am
successful. I had to figure out somekind of music blessed to have this amazing record company
that I thought we could play really quickly. We that will let me do what I want to do when I
had no rehearsal and only a fewdays in the studio. wantto do it.
I had never played with banjo or mandolinplay-
ers in mylife. For me,it wasall kind of terrify- You have a very distinctive voice on your
ing. They were afraid to play with metoo. They instr~4ment. With so many people playing the
didn’t knowwhether I would bring in Charlie guitar these days, how could a young player
Parker tunes to see if they could read them. develop his or her voice on the instrument?
Nobody knew what was going to happen. That is a hard question. I amnot aware of it
Whenwe started playing, there was a rush of in myownplaying, but people tell meabout it.
goodfeelings. It all felt so good. All of the musiciansthat I really love havetheir
ownsound. The only thing I could say for sure
Did you bring lead sheets for that material is that you have to be true to where you are
to the sessions? coming from and not be embarrassed about
Yeah, but the players didn’t really read the whatever music you grew up with. It just never
charts. Usually, for myownband, I will write works if you try to pretend to be somebody
out lead sheets and everything starts from that else. You’re not somebodyelse, so you’ll never
point. The Nashville players were really ear-ori- develop your own voice that way.
ented. I’d play the tune, and they wouldlearn it I spent years trying to be Jim Hall, and it was
that way. Theywere frighteningly fast. valuable because I learned a lot, but it wasn’t
A lot of old bluegrass and country tunes me, because I’m not him. Whatever music has
seem simple on the surface because there are been part of your life should comeout. People
only two or three chords, but there is a whole tell me I have found myown voice, but deep
bunchof other stuff in there that can get pretty downinside I feel the same way that I did in
complicated. There :might be two beats of this 1963or wheneverI started to play guitar. Music
chord, five beats of that one, and six beats of is an area where you will always feel that you
another. It is amazing how those players can don’t haveit together.
really play on those bizarre forms.
There is always so much more you can
Whatwas the project you did with orchestra? learn, but that makesit fun and a challenge.
Steve Mackey, who teaches at Princeton, If youcouldfigure it all out, there wouldn’tbe
composed a piece called Deal featuring Joey any reason to keep doingit. WhenI was in college
Baron and me as soloists. Weplayed it with the in Colorado, I rememberan incredible moment
Los Angeles Philharmonic New Music Group whenI got to meet Bill Evans. There was a little
with Esa-Pekka Salonen conducting. Weplayed jazz dub in Denverwhere Bill was playing for a
it in Los Angeles, San Francisco, and then at week.I went with myfriends every night. The last
Carnegie Hall with the American Composers night, we were leaving the club and saw Bill wan-
Orchestra and Dennis Russell Davies. It was a dering aroundoutside. I guess he missedhis ride
concerto for guitar and drums. Wedidn’t have backto his hotel. Weofferedhima ride. I wasflip-
any actual pitched notations, just indications of pingout becauseI wasgiving Bill Evansa ride.
where we were supposed to play and where not In the car he was so bummed out. He felt he had
to play. So our parts were improvised. Wegot to not played very well that night. I couldn’t believe
play with incredible orchestras. I never thought that I washearingthis. At the club, I hadbeenlis-
I’d ever get to play in CarnegieHall. tening to what I thought was the most amazing
and magical music, and he was feeling he didn’t
It seems like you have no constraints placed play anything! I had thought you got beyondthat
on what you do musically by Nonesuch, your at his level. I realized then that there will alwaysbe
record company. Does that amount of freedom nights like that and moreto learn. ~
21~ Berklee today Fall 1998
 R e ec
fl ons tion. ,achi ng

Motivating today’s youngstudents to desire musical knowledge

requires a shift in the waywe conceptualize music: education

n public schools and private studios formance is important, student performance is

I across the country, music educators
report that students are more difficult to
more important. The definition of "to edu-
cate" comes from the Latin verb educate,
reach and teach than in the past. They also which meansto draw out. It follows, then, that
note a lack of social skills, motivation, and the job of the teacher is to draw out and help
perseverance to learn. Engaging students and students apply what they have learned to~vard
teaching for understanding have always been achieving some end rather than to passively
daunting tasks for educators. Helping stu- absorb knowledgeand skills from the teacher.
dents to become interested and engaged in Certain conditions for effective learning
by Stephen M.
acquiring the musical knowledge, skills, and have been identified after years of experience
Gould "66, attitudes to be successful as a musician in the and experimentation. All students can learn
Ed.D. classroom and ultimately the world at large, what the schools are expected to teach if help-
requires a shift in the way we conceptualize ful conditions for learning are established.
music education. Previously, most educators believed that stu-
Wheneducators teach knowledge, skills, dents automatically applied what they learned
and dispositions in isolation and without pro-
viding students opportunities for practical
application, students often see musical instruc-
tion as having no relationship to "real world"
music. In addition, students often get turned
off, feel inadequate, and see themselves as not
being able to make music. Furthermore, music
should be integrated into the academic cur-
riculum. The following ideas are ways to
improve classroom music education. Although
they run contrary to commonpractice, these
ideas are not new.
It is myopinion that everyone should be
taught how to makemusic, not just the easy-
to-teach, obviously talented, or well-behaved
student. Conventional wisdom views the
music teacher as a performer or service deliv- Stephen
Gould:
"Stu=dentsshould
beginto experiment
ery professional. In schools, while teacher per- withimprovisation
at thekindergarten
level."
Berklee t o d a y 21
Fall 1998
 in school to the situations they have clear expectations and relate to ownwhya particular skill is neces-
encountered outside of school. something that students care about. sary.
However, an educational survey Students must be free to experi- Readingmusic is important, but it
conductedas far back as 1900report- ment, practice, and create without should not be a prerequisite skill and
ed research findings indicating that fear of embarrassment, punishment, an obstacle to inventing work that
many students did not apply their or feeling inadequate. They are more produces music. Manystudents are
learning in the outside world. motivated when parents, peers, and aware that someof the most rich and
teachers make it known that they famous singers and instrumentalists
Conditions
for learning consider the work undertaken to be of all time could not read a note.
Learning is the process by which important. Students are more likely However,if the teacher has invented
.one develops newpatterns of behav- to be engaged when they can work work in which students have been
ing. Learning is not passive. It interdependently on a group task. As asked to create a musical accompani-
requires putting into practice behav- well, they are likely to be engaged ment to a poem, story, or short
ior that is newto the learner. A con- when they are continually exposed scene in a video using a variety of
dition for effective learning of a com- to new and different approaches. percussion instruments, tone-bars,
plex musical behavior is sequential, Providing students with choices or electronic keyboards, it will not
step-by-step learning. The experi- :in learning activities usually resuh:s be long before they realize that they
ences that are most helpful to stu- in a greater commitment to what need some kind of retrieval system
dents are those that require them to they are doing. Students are more to help them remember who plays
put forth great effort to achieve suc- likely to be engaged when knowl- what and when.
cessfully yet are not so difficult that edge and information are readily In this situation the work-invent-
the students give up or do not try. available to use in addressing tasks ing teacher might ask students to
Each new assignment should that are important to them. When develop their own notation system
require the acquisition of more teachers make an effort to invent and then ask them to see howothers
knowledge, skills, or appreciation workthat engagesall students, all are have done it in the past and what
than the previous ones and the appli- more likely to becomeengaged, not musicians do today. Once they dis-
cation of that behavior to newsitua- only those already capable of high cover something to help them solve a
tions. In music classrooms and pri- quality work. real-world problem, teaching stu-
vate lesson studios where students dents about standard notation
are successful learners, music educa-Coveragesyndrome becomesless of a challenge because
tors formulate a plan for sequential The music curriculum in most they are motivated to learn.
learning of each behavior they seek schools is like an over-stuffed chair.
students to develop. Theyalso devel- Too muchmaterial is expected to be Developmental stagesof learning
op and present learning tasks appro- covered. Coverage is the enemy of Whenstudents are having diffi-
priate for the different steps students
understanding, and music educators culty learning, the problem often
need to take in their progress towardmust choose what to emphasize and stems from the teacher’s lack of
learning complex musical behaviors. what to omit. Nothing is gained if a understanding of the way people
Another condition for effective teacher is covering the material but learn. As a result, instructional
learning is met whenstudents receive students aren’t learning it. To help strategies utilized and the sequence
feedback for each step in their students learn how to function as in whichcontent and skills are intro-
process of learning a new behavior. musicians, teachers must begin with duced are often out of sync with the
Whenstudents perceive that they are that end in mind. They must have an developmental level of the student.
making progress, they are usually understanding of the knowledge, Whereverthere are successful learn-
stimulated to continue to work on skills, and dispositions necessary to ers, music educators have a deep
assignments. When students are be successful musicians in the real understanding of the developmental
struggling, a teacher collecting infor-
world. stages of learning and are able to
mation about their lack of progress It follows, then, that general invent workthat is sequential and in
can pin point difficulties and find music teachers should create work sync with each stage.
ways to surmount the problems. opportunities and learning condi- Anyone who has worked with
tions within the classroom that sim- children knowsthat they are full of
Keepingthemmotivated ulate the work contexts of real energy and perpetually in motion.
To help students construct mean- world musicians. By doing so, they Sustaining sound over time is an
ing and apply what they have give students opportunities to abstract concept for children, yet
learned, teachers must invent work develop and utilize the knowledge, teachers traditionally begin teaching
and create learning conditions that skills, and dispositions that singers, notation by introducing the whole
will keep students engaged and moti- instrumentalists; and composers note. Since eighth notes are much
vated even whenthey have difficulty. need to make music in the real more in sync with the way children
Workthat engages students almost world. Whenwork assignments and move, it makessense to select music
always focuses on a product or per- learning conditions are well for them to read and perform that
formancethat students value: It must designed, students discover on their contains mostly eighth notes rather
22 Berkleet o d a y
Fall 1998
 clapped by the teacher. Once stu-
dents can accurately respond to a
one-bar pattern, they should be
given the option to replicate the pat-
tern or substitute a one- bar pattern
of their own.
Call andresponse
This experience should be trans-
ferred to the voice, and students
should literally sing back the
teacher’s one-bar vocal ,call" or
answer by creating their own one-
bar "response." This experience
should be extended to two- and
Learningimprovisationshouldbegin four-bar "call and response" pat-
withthe repetitionbystudents of one- terns and then be applied to class-
room percussion and tone-bar
barpatternsclapped by theteacher.
instruments, guitar, keyboard, and
band instruments. The next step
than whole notes which the children should be to improvise on one chord
will havedifficulty sustaining. and, at a later date, progress to two
chord changes at different tempos.
Thefolk songconnection The next stage wouldbe to listen to
Today’s young people are into and becomefamiliar with basic blues
popular music like no other genera- progressions and then begin to
tion before. African-American folk improvise on them. More sophisti-
songs are the foundation of rhythm cated progressions at faster tempos
and blues, jazz, and rock. They are should not be attempted until the
highly rhythmic, usually pentatonic, previous developmental stages are
and easy to sing. These folk songs mastered.
provide a context for teachers to Once students are comfortable
help students learn what musicians playing these simple progressions on
should know and be able to do. tone-bar instruments in the general
They lend themselves well to accom- music classroom or on band instru-
paniments that can be played by stu- ments, more sophisticated sequences
dents at varying levels. Someof the (like II, V progressions) may
knowledge, skills, and dispositions introduced. Regardless of the grade
that can be learned from these songs in which students begin to learn how
include Americanand music history, to improvise, they must begin at the
listening, form, notation symbols, same starting point and continue
sight-reading, playing instrumental through a series of developmental
accompaniments, improvisation, stages. Starting at a higher develop-
and the importance of working as a mental level without the necessary
team member. prerequisite experiences usually
Improvisation is very mucha part results in unsuccessful improvising
of today’s musicand is usually first experiences for most students.
taught in high school or middle
school. Students are expected to Conclusions
learn how to play on chord changes For students in music classrooms
that are often beyond the develop- to be successful learners, educators
mental level of their age group. must have a deep understanding of
Ideally, teaching improvisation how young people learn and what
should begin in kindergarten and their developmental needs are.
progress through the upper-grades. Teachers need a clear picture of what
Again, a sequential developmen- students should knowand be able to
tal approach should be used. do and clearly state goals, normsof
Learning how to improvise should behavior, and the core values that
begin with the exact repetition by guide the program of study. They
students of one-measure patterns need to know how to invent music-
Fall 1998
making work for young people, con-
tinue to expand their repertoire of
approaches to instruction, and use
student interests as windows of
opportunity to help students learn.
Successful music teachers estab-
lish the foundations of self-confi-
dence, social development, and emo-
tional growth by nurturing, support-
ing, and providing an environment
of acceptance and belonging. They
also knowhowto set limits and cre-
ate a variety of real-life activities and
contexts so that students learn how
to participate as membersof a com-
munity and have the opportunity for
problem solving, discovering, and
successfully applying what they have
learned. In such music classrooms,
teachers involve students in an o%o-
ing dialogue that strengthens pro-
gramgoals, asserts core values, nur-
tures student interests, and rein-
forces expectations for appropriate
behavioa Teachers help students
commit to learning and achieving
goals by assessing their interests and
making adjustments based on stu-
dent input.
The day I began inventing music-
makingwork for children in elemen-
tary school was the day I began find-
ing myvoice as a composer.
As a musiceducator, I believe that
our focus should be to create music-
makingwork that captures the inter-
ests of youngpeople and, at the same
time, reflects the knowledge,skills,
a~d dispositions necessary for them
to become successful music-makers
in the real world.
As an elementaryschool principal, I
believe that the focus of musiceduca~
tion should be to help all people learn
howto create their o~vnindividual and
communalworlds of music. ~1
Dr. Stephen Gould, prindpal of the
Lowell School in Watertown,
Massachusetts,is a songwriter,composer,
andplaywright.Hehas taughtmusicat all
grade levels, including college. Hehas
written musicfor film andtelevision, and
nz4merous songs, arrangements, and other
performancepieces for youngpeople. He
hasalso servedas consultantandfacilitator
for the Massachusetts Department of
Education and the Massachusetts
ElementaryPrindpals’Assodation.
Berklee today 23
 Hearing by Interval

A methodfor improvingaural skills by developing

an independent, long-term memoryof intervals

’n movableDoso]fege, pitch relationships are memorize,throughaccurate repetition, the size of

predicated upon a sense of resolution. Thus, each rnelodic interval. The best wayto begin that
,the pitch SoI is Sol becauseit resolves to Do. task is to start withthe smallestinterval, the minor
But, what if Sol has no sense of resolution? The second, and work toward the larger intervals.
obviousansweris that Sol wouldno longer be Sol. Youneed a confident sense of the minor second
Losing a sense of Do, however, is a phenomenon becauseit will be the basis of constructionfor the
that all ear training studentsdiscoverin the course larger intervals. Toreinforce your ability to hear
b y Steve of their studies. LosingDooften happensin high- the minorsecond, workwith the chromaticscale.
ly chromatic melodies or in those with quickly For example2, sing on la or someother syllable
Prosser shifting key centers. Indeed, somemusicentirely (remember, we are not thinking solfege here).
defies a sense of key. For these melodicsituations, After giving yourself a reference pitch, sing a D,
it is often useful to en’~ployintervalIic hearing. concentrating on your intonation. Then stop.
Hearingby interval is not as easy as it sounds. Lookat the next pitch, D~.After hearingthe pitch,
Thereasonfor that difficulty is not readiiy appar- sing it, concentrating on the size of the interval
ent. Manyear training and solfege methodbooks motion you just made and on your intonation.
contain intervaI studies, but those studies are usu- Continuethis process throughthe rest of the exer-
ally contextually based. Sol down to Do, for cise. If this seemstoo easy, rememberthat your
example,is a perfect fifth interval, but a tonally goal is to develop an accurate, long-term memory
basedunderstandingof a perfect fifth doesn’t nec- of the interval. So, go slowly, concentratingon the
essarily translate to an atonal context. Test this interval motionand on your intonation.
assertion out for yourself by singing example1. Whenyou are confident hearing and singing
Tryingto hear these perfect fourths and fifths minor seconds, moveon to the major second. To
using Soi to Dodoesn’t workhere. To hear inter- build the major second, we’ll use our knowledge
vallically in a situation like this, weneedto know of the minor second. (See example3.) As before,
the soundof each interval intrinsically, without give yourself a referencepitch, E Thenuse the fol-
tonal reference of any kind (like "Here Comesthe lowingtechniqueto sing each interval.
Bride" for a perfect fourth). Oncewe master the I. Singthe first note, concentratingon intona-
intrinsic soundof intervals, wewill be able to hear tion, then stop.
them and use themin any musical context. 2. Identify the interval betweennotes.
The goal of interval study is to measure and 3. Hearthe interval in your head. Sing the
building block note, F if you need to. When
you begin to perceive the soundof the outer
Ear Training DepartmentActing Chair Stephen H. interval, F~ to E, go backandtry to hear
Prosserholds a Ph.D.fromBostonCollegeanda J.D. the majorsecondwithout the building block.
from Suffolk University LawSchool. This article is 4. Sing the pitch while concentratingon inton-
adaptedfromhis hooksIntervallic Ear Training for ation. Whenyour intonationis correct, stop.
MusiciansandEssential Ear Trainingfor Musicians. Example4 is an exercise combiningthe various
24 Berklee today Fall 1998
intervallic permutationsof minorsec-
onds together with major seconds. Ex. 1
Rememberto use the singing tech-
nique described above. Govery slow-
ly, and makesure that youare satisfied Ex. 2
with your intonation.
Notice that this exercise purposely
avoids tonal contexts and close repeti-
tion of notes. Instead, it features Ex. 3 building
block
note
motions that are tonally ambiguous:
changing tones using minor and major
seconds and successions of chromatic
and whole tones. Whenyou can sing Ex. 4 seconds
example4 with a high level of accura-
cy, begin to work on speed and add a
rhythmic context. Then try larger
intervals.
Eachinterval group has its ownset
of problems that you must overcome
Ex. 5 thirds
to effectivelyhear intervallically in any
context. (See examples5-9.)
Anothereffective meansto practice
intervallic hearing is visualization-
improvisation. The goal of this exer-
cise is to see in your headpitches on a
musical instrument as you sing vari- Ex. 6 fourths and fifths
ous intervals. The preferred instru-
mentfor this exercise is a piano, but
your own instrument or even an
imageof musical notation can be used.
Look at the keyboard (example
10) and then close your eyes and Ex. 7 tritones
visualize it. Run up and down the
chromatic notes of an octave from C
to C. If youcan "see" all the notes as
you go, then you are ready to impro-
vise. No matter what instrument you
chooseto see, you need a vivid image
in your mind. Ex. 8 sixt/as
Next, remembering the problems
with seconds, give yourself a refer-
ence pitch, close your eyes, and
begin improvising. Don’t think
about style or rhythm. Just concen-
trate on the notes that you are gener-
ating and seeing. If you are not sure Ex. 9 sevenths
of what you are seeing--slow down!
Remember to concentrate on the
interval motion and on the intona-
tion of every note.
The result of working on these
exercises can be quite profound.
Interval hearing, along with your Ex. 10 keyboard for visualization

sion music as you compose it, to

mentally hear music on a page
without refering to an instrument, |
and to understand the shape and
form of live or recorded music
upona first hearing. ~1
gerklee today 25
Fall 1998
 Alum

Compiled by LouForestieri’61 of Los

in the top at the festivals in
Ben Wright "98 Angeles has written musicwhich they compete.
for 12 episodes of the CBS- On Again, Jerry
TV series "Diagnosis Bergonzi’s’68 latest RAM
Murder." Forestieri’s other
Records release, finds the
credits include the filmstenor saxophonistleading an
Crazy Moon, Something all-star quartet including
About Love, and I-Iot Nick Goodrick"67, Bruce
Moves, and television shows
Gertz ’71, and Adam
"Lois & Clark," "Beverly Nussbaum.
Hills 90210," and "Melrose Drummer Richard
Place." Williams ’68 of Penn Van,
JamesCastaldi "66 of NY,plays with the Christian
Woonsocket, RI, has been band Our Father’s Children. NikaRejto’75
band director of the
The group released the CD
Woonsocket High School Spreading the Gospel with
concert band for the past 32
Songin 1997. Art Blakey’s Jazz
years, and director of the Gordon Nicholson"70 of Messengers, Red Garland,
vocal ensemblefor the pastEdmonton, Canada received RosemaryClooney, and the
six years. The school’s per-
his Ph.D. from Saybrook Larry Baskett Trio. He has
forming groups always place
Institute in San Francisco, received three NEAcompo-
CAin June. His piece Nine sition grants and performs
Miniatures for Saxophone all over the West Coast at
and Piano was premiered in jazz rests, wineries, clubs,
Switzerland in May. and hotels.
Songwriter B.J. Snowden Saxophonist Todd
’71 of Billerica, MA,was Anderson ’73 of NewYork
profiled in the Boston has released the CDFramed
Sunday Globe on June 7. featuring drummer Scott
The article describes her Neumannand bassist Boris
appearances on MTV’s Kozlow.
"Oddville" show and at Guitarist/songwriter
New York clubs. Snowden ScottAppel"73of Boonton,
also teaches public school NJ, released his new CD
music in Roxbury and East entitled Parhelion on One
Boston. ManClapping Records.
John Zannini ’72 and Pianist BobDawson ’73
Anthony Zannini’171 both of was named artist-in-resi-
Hampstead, NH, marked dence and composer for
the tenth anniversary of the Michigan State University
release of their first record- for the 1998, 1999, and 2000
ing, Brotherz-Labor of seasons. Warner Bros.
Love. Their band Brotherz Publications has published
Drummer andcomposerCindyBlackmaa "80 hasreleasedIn is planning a new CD the transcriptions of his
theNow for HighNote
Records.
ThediscfeatureshassistRon release. Breaking the Rules CD.
Carter,pianistJackyTerrasson"86, andsa×ophonistRavi Christopher Amberger "73 Vibist composer/arran-
Coltraneplaying
sixBlackman
originals.Otherselections
were of Petaluma, CA, has ger Bobby VincePaunetto ’73
writtenbyLennieKravitz,Wayne
Shorter,andOrnetteColeman. recorded and toured with of Cliffside Park, NJ, has

26 Berklee today Fall 1998

 reissued his Grammynomi-
CLASSCONNECTIONS nated Latin jazz classics
Commit to Memory and
The summer months Paunetto’sPoint. Thediscs fea-
Alumni Chapter for colleges are times for ture a long list of top alumni
Presidents and change and growth and to players. Paunetto’s newrelease
Coordinators: move new programs for- is titled Composer in Public.
New York ward. This summer, I Piano tuner and composer
TomSheehan ’75 became a part of that
Consultant DavidElinson’75 of Brooklyn,
(212) 712-0957 change; I have 1eft Berklee NY, released his second CD
for new horizons. I amsad Rincon.It features his synthe-
Scandinavia to leave all of the wonder-
Christian sized ambientmusicstylings.
Lundholm’96 ful alumni with whomI Bassist RonOrmsby ’75 of
(454) 295-3083 have enjoyed working for
Martin CenterviIle, MA,is currently
Fabricus ’96 over six years. freelancing in the New
(453) 583-1679 The friendships that England area. He is owner
have developed during i and operator of REOStudios,
Chicago
Doug this time will havea long- a professional recordingfacili-
Murphy ’90 lasting effect on me.I feel ty located on Cape Cod.
The Star Store honored to have worked Sarahdodge
(708) 343-1750 Flautist Nika Rejto ’75
TomCastonzo ’87 with so many talented released a new CD titled
(708) 488-1208 individuals. Bridge Weaverfeaturing Dmitri
Since 1992, new projects and programshave been developed iatheny ’89 on flugelhorn and
Nashville
Pamela to strengthen alumni connections to the college. Amongthose guitarist RickI/andivier"71, on
Dent ’95 are the Berklee Website with its alumni page and directory her own1abel, Unika Records.
(615) 662-9112
Mark update, the alumnihotline; a first-ever ciass gift, the Career Herb Wongproduced the disc
Corradetti ’87 Resource Center’s alumni bulletin board, regional alumni which can be purchased at
(615) 365-8052 events and activities, and the establishment of 11 domesticand Rejto’s Website:
Boston international alumni chapters. <www.fivespot.com/nika>.
Jeannie Deva ’75 The success of these programs is due largely to you, the
The Voice Studio Vaughn Klugh’76 of Tokyo,
(617) 536-4553 Berklee alumni. I thank you all for your support of the alum- Japan, played bass, guitar, and
ni events. Also, I want to extend a very speciai thanks to a spe- keyboards on his first CD
San Francisco
Dmitri cific group: the alumnichapter presidents, representatives, and Choose Love.
Matheny ’89 coordinators, past and present, with whomI have had the plea- Pete Goodall ’77 of
Penumbra sure of working over the past few years. They include Stan
(510) 428-2328 Snohomish, WA,is a customer
Kubit ’71, Jeanne Deva’78, Steve Ward’87, TomSheehan’75, service manager for Compaq
Los Angeles Doug Murphy ’90, TomCastonzo ’87, Betsy Jackson ’84, Computer Corporation and
Leanne
Summers’88 Mark Corradetti ’87, PamelaDent ’95, Gary BoLLs’82, Dmitri plays mandolin for Fidelity
Vocal Studio Matheny ’89, Leanne Summers ’88, Ralina Cardona ’91, Grange,a folk-grass band:
(818) 769-7260 LawrenceJones ’80, Michiko Yoshino ’90, Mike Acholadiotis ComposerJan Stevens’77
Puerto Rico ’84, SamyElgazzar ’93, Claudio Zanghieri ’93, Christian has written for the NBCnet-
Ralina Lundholm’96, Martin Fabricus ’96, and Martin Sulc ’92. Their
Cardona ’91 work series "Friends," "The
Crescendo assistance has madeso manygreat projects possible. Jenny Jones Show, .... A
(809) 725-3690 By the time you read this, San Franciscoarea alumniwill have Current Affair," and many
England held their September28 reception with alumni hondrees Larry commercials.
Lawrence and Steven Oppenheimer’77. For Boston alumni, Professor
Jones ’80
44-1273-701833 Henry Augustine Tate will have presented a Iecture and slide
show at Berklee followed by a guided tour of the acclaimed
Rome Monetexhibit at the Museum of Fine Arts on October 22. Watch
Claudio
Zanghieri ’93 here for newsof other events and for an introduction to the new
06-7184053 assistant director of developmentfor alumnirelations.
In closing, I wish all of you alumni in the Berklee commu-
Greece
Mike nity continued success in your endeavors. Andplease, stay in
Acholadiotis ’84 touch with your alma mater.
016-926019

Best regards,
--Sarah dodge, former Assistant Director of Development
for Alumni Relations
Marlene
Tachoir
’77

Fall 1998 Berklee today 27

 Composer Marlene
Tachoir ’77 of
Hendersonville, TN, penned
a multimovement work
titled A Jazz Concerto for
Vibraphoneand Orc/aestra.
The concerto was written
for her husband (Grammy
nominee)Jerry Tachoir
Jerry was selected to be a
clinician at the Percussive
Arts Society’s International
Convention in Orlando.
Jim Thomas "77 of
Jenkintown, PA, opened a
music library at the west
Philadelphia branch of
Settlement Music School.
He also worksas a recording
technician at Kloss Studios
in Roslyn, PA.
Pianist RobertCento’78 of
Walpole, MA, published
articles on the business of
studio teaching in Clavier
magazine. This summer,the
Frederick Horris Music
Company published his
book of intermediate piano
pieces entitled Sandcastles.
Derry Hirsch ’78 of
Roseville, MN,specializes in
children’s music, both edu-
cational and entertaining.
Hirsch is the co-owner of
Full Quiver Productions, a
music and theater produc-
tion company in St. Paul,
Minnesota.
Drummer Chris Massey
"78 of Langenthal,
Switzerland, has recorded a
CD with legendary beat
Patti Weiss
’78
28 Berkleet o d a j/
RETURNOF
BOBBY
VINCEPAUNETTO
& THE COMMITTO MEMORY
BAND
R.S.V.RJAZZ,INC. #1 777 13 Trks.
ModernJazz/Contemporary Jazz
Producers:
Paune~to,, DennyBridges, ToddAnderson
CTf~ BANDfeatures: Mike Richmond, John Riley, Chip Jackson,
Bill O’Connell, Armen Donelian, Billy & Glen Drewes, Todd
Anderson, Gary Smulyan, Bill Bickford, Jon Kass, Ann Belmont,
Madeline Kole, Devorah Segall, ,Christine Gummere
Supporters of Bobby Vince’s Work:
Clare Fischer, Chick Corea, Dave Grusin, Abe Laboriel, Joe Lovano,
TomHarrell, John Scofield, Ronnie Cuber, Jerry & AndyGonzalez,
Jon Lucien, Justo Almario, Marly Sheller, Mitch Forman, John
Stubblefield, Lew Matthews, Jamey Haddad
R.S.V.R JAZZ RI-’CORDS, INC.
R O. Box 517 ° Cliffside Park, NJ 07010
For Info: 1-877-288-7787or www.spacelab.net/-indigo/composer.html
ExclusiveNat. Dist. City Hall Records
]hi 415-457-9080¯ Fax 415-457-0780¯ www.cityhallrecords.com
International Inquiries: "LeFon" Tel 818-609-0002¯ Fax 818-609-0505
2 CDReissue: CommitTo Memory/Pauneffo’sPoint
Licensedto FTC/Tonga Prods.Tel 310-327-4441
8306Wilshire Blvd. Suite 544
Beverly Hills, Ca90211for U.S., CANADA, FRANCE& SPAIN
poet Robert Creeley entitled year’s Monterey Jazz as the first single from
Unexpected Images. Festival. Jackson’s I’ll Never Get
Creeley, Massey, bassist Violinist Patti Weiss’78 of Over You CD.
Steve Swallow,and guitarist San Francisco performed on Percussionist Pasc0al
DavidTorn will give perfor- the soundtrack for the Meirelles ’79 of Rio de
mancesin the U.S. Miramax film Guinevere Janeiro, released Fort6
Christopher
Pitts ’78of San and played two concerts as Brabo, his sixth CDas a
Francisco, CA, and his guest soloist with the Gypsy leader. Meirelles has played
Contemporary Jazz Kings. Her debut CDWorld throughout Brazil and
Orchestrawill appear at this card was released in July on Europe and has recorded
Jaguar Jazz Records. with Antonio Carlos Jobim,
MarkWerchowski ’78 of Ivan Lins, and Luiz Bonf~.
Oriskany, NY., released a Seven-string guitarist
new CDentitled That’s My Jerry Sims"79 of Coiumbia,
Story... and I’m Sticking to SC, owns Sims Music in
It on Oriskany Records. Columbia. He has recently
Werchowski has twice won completed a video for
ASCAP’s Popular Ibanez Guitars with Steve
Songwriter Award. Vai and John Petrucci and
Songwriter Jose Gomez has played for Ibanez at the
"79 of NewYork, wrote the Los Angeles NAMM show.
song "If I Let Myself Go" Bruce Upchurch’79 of
with Sheree Sano. The Scottsdale, AZ,is the owner
Wave/BMGrecording of of Music Oasis, a produc-
the tune sur~g by Chuck tion companyspecializing in
Jackson and Dionne musicfor advertising, televi-
Warwickhas been released sion stations, and record
Fall 1998

Let me begin this columnwith a
recap of an alumni event that was
held soon after the previous edition
of Berklee today went to press. This
seminar, hosted by the Berklee
Center in L.A. in conjunction with
L.A. Women in Music and the
National Academyof Songwriters,
was entitled Womenin Music and
was held at Capitol Records. It was
a great success with an audience of
almost 150 filling Studios A and B.
The panelists were Left Bank
ManagementSenior Vice President
Carol Peters, drummer/producer
Terri kyne Carrington ’83,
pianist/composer Patrice Rushen,
music publisher Carol Ware, com-
poser agent Linda Kordek, ASCAP
Assistant Vice President for
Creative/Fihn and TV Special
Projects Jeannie Weems,and panel
moderator/vocal coach Leanne
Summers ’88.
The discussion focused on
women’sopportunities in the music
industry and the panelists shared
experiencesof gender-relatedissues
in their owncareers. Topics includ-
ed the current interest in the Lilith
Fair tour, the numberof successful
womenin publishing and songwrit-
ing, and the scarcity of womenin
the film scoring and production
fields. Given the capacity atten-
dance and the subsequent positive
feedback,it is likely that this topic
will be revisited in the near future.
Berklee in L.A., the annual sum-
mer program held at Clareraont
McKennaCollege, recently con-
cluded another successful session.
Thank you to all the alumni who
provided support during the pro-
gram. Eric Marienthal’79, Jeff
Richman ’76, SteveBillman "83, Lynn
Fiddmont "83, and~erneySutton’87
all madeoutstanding contributions
as clinicians, as did MarkGoldstein
(senior vice president Business and
Legal Affairs, Warner Bros.
Records) and bass specialist Bunny
Brunel. Musical product/instru-
ment support came from Yamaha,
Fender, Kawai, Latin Percussion,
Shure, and Zildjian. Thanksagain to
Fall 1998
L.A. NEWSBRIEFS
Womenin Musicpanel(fromthe left): CarolPeters,Terri LyneCarrington,
Patrice Rushen,Peter Gordon,Carol Ware, Linda Kordek, Leanne
Summers, and JeannieWeems.
TomLove ’82 for coordinating
Kawai’sparticipation.
Forthe first time, this year’s pro-
gramfeatured a structured course of
study in Latin jazz developed
through a partnership with the
Latin Jazz Institute in cooperation
with that organization’s artistic
director dustoAlmario ’71. The pro-
gramgave students the opportunity
to attend lectures, perform in
ensembles, and experience master
class sessions, all of whichfocussed
on Latin jazz. Amongthe master
class clinicians were percussionists
Alex Acufia and Walter Rodriguez,
pianist Joe Rotondi, bassist John
Pena, flutist Danilo Lozano, trum-
peter BobbyRodriguez, trombonist
Francisco Tortes, and Almario,
playing flute and saxophone. The
enthusiasm expressed by students,
Latin jazz educators, and clinicians
indicate that this program has a
bright future.
Congratulations to Emmywin-
ner AIf Clausen’66 and to Emmy
nominee ChrisKlatman "80. For his
work on "The Simpsons," Clausen
received his second consecutive
Emmyin the category of Music
and Lyrics. Klatman received a
nomination in the category of
Main Title Theme for the CBS
series "Four Corners."
Klatman’s recent composing
credits include scoring An All Dogs
Christmas Carol for MGM,
Toonsylvania for Dreamworks,
and Disney’s "101 Dalmatians"
television series.
.As for other alumniin the news...
Randy Miller ’77 is currently scoring
Ground Control (starring Kiefer
Sutherland) for Trimark Pictures.
Earlier this year, his musiccould be
heard in the Warner Bros. movie
WithoutLimits. Ernest Troost’78 has
just finished scoring three pictures:
Saint Maybefor Hallmark Hall of
Fame, One Man’s Hero for MGM,
and Beyond the Prairie for CBS.
After scoring Running Wild,
Valentine~" Day,and Ice, three movies
that will air on Showtime,HBO,and
Showtime respectively, Lawrence
Shrng0e’77 is nowscoring the first
season of "Welcometo Paradox," a
critically acclaimedseries on the Sci-
Fi Network.
On the playing front . . . Amy
Engelharflt’90has beenrecording and
touring as the newest memberof the
Bobs, a three-man, one-woman a
cappella group on RounderRecords.
Their touring schedule included
opening for A1Jarreau at a concert
near Portland, Oregon.
That’s it for now.Stay in touch.
Peter Gordon’78, Director
Berklee (?enter in Los Angeles
Berklee today 29
 Guitarist/songwriter Gregan
Wortman "80 of BilIings, MT,and his
partner YeIonda L. Walking Eagle
have been performing on Wortman’s
public access television show"Psycho
Circus" and in night clubs.
MarkBoling"81of Knoxville, TN,is
coordinator of the jazz studies pro-
gram at the University of Tennessee.
He has recorded a CD entitled
Enchantewith pianist Donald Brown,
due for release in the winter of 1999.
Bassist Gustav0 Gregorio "81 of
Osaka, Japan, has released his third
bass methodbook written in Spanish
and published by Ricordi. He has also
written five columnsfor Bass Frontiers
magazine.
damesAnkney’82of Faribault, MN,
Zoro "82 pennedThe Commandments has been head of the performing arts
of R&BDrumming. department at Shattuck-St. Mary’s
Schoolfor eight years. Last year, the
school’s chamber orchestra won the
projects. Upchurchalso produced and DownBeat magazine poll, and the
arranged Partners in Crime by Jim vocal jazz ensembleperformed at the
Brickman and Dave Koz. IAJE convention.
Douglas James Wray ’79 of Vocalist MaggieGalloway’82 of
Stamford, CT, recently played bass on Boston, MA,has recently released her
Sloan Wainwright’s album From CD More Than You Know on
Where. You Are and backed Greg Brownstone Records. The material
Greenwayon What’s That I Hear? a includes classics and rare entries from
compilation of Phil Ochs’songs. the great Americansongbook.
Multi-instrumentalistDavidGiRlen Guitarist LeoQuintero "82of North
’80 of Boston, MA, has recently Bay Village, FL, has been producing
returned from a tour of Gambia, records and touring with various acts.
Senegal, and Mall in WestAfrica. Violinist Benjamin Smeall"82 of
CynthiaHilts ’80 of NewYork,N-Y, Green Bay, WI, owns and operates
was composer-in-residence at the SongCycles Music Studio. SmealI
MontanaArtists Refuge this summer. holds a Ph.D. in Music Education
FrankMacchia ’80 of Burbank, CA, from the University of South Carolina
recently won a Publisher’s Weekly and has been teaching and arranging
award for his original stories with bluegrass string quartets. He performs
musicentitled Little Evil Things. He with his group, SongCycles.
has composedmusic for the TVpilot Composer "Doctuh" Mike Wonds
"Ed the Alien." He orchestrated music ’82 of Bloomington, IN, composed
for the Jamie Lee Curtis film and played bass on his CDDiggable
Halloween H20 and for One Man’s Blues. Several of his chambercompo-
Herofor composerErnest1"roost’78. sitions were recently premiered at a
Producer/programmer Anthony concert at Hamilton College where
Resta ’80 of Boston has been working "Woodsis a faculty member.
on the new Collective Soul CDand on Vocalist Lenora ZenzalaiHelm"82of
guitarist NunoBettencourt’s latest ~New York coproduced an awards
CD. Resta is in England working on programand concert for International
his third project with DuranDuran. Women in Jazz in June. The honorees
Pianist Hiro Takada’80 of Tokyo included Dee Dee Bridgewater, Cindy
released the CDPortrait in NYCfea- Blackman ’80, andCeciliaSmith "82.
turing bassist Rufus Reid, drummer DrummerZoro’82 of Los Angeles
AkiraTana, and vocalist Barbara King. authored The Commandments of
The disc features jazz standards and R&B Drumming, published by
five original tunes. Warner Bros. Publications. Zoro’s

30 Berkleet o d a y Fall 1998

156-page book contains a
CD of the musical exam-
ples, interviews with top
r&b drummers, and recom-
mendedlistening. IMPROVE YOUR SAX LIFE
Pianist Makoto Ozone ’83 ¯ Brass .Sales
released Three Wishes on ¯ Woodwind .Repairs
the Vervelabel withhis trio ¯ Strings .Rentals
featuring bassist Kiyoshi .Percussion
Kitagawa, drummer
Clarence Penn, and special
guest WallaceRoney ’81 on
trumpet. Your Source
Keith Smith ’83 of
For the Fin~est Namesin
Mechanicsburg, PA, is the
Professionaland Brass & ~Woodwinds
Webmaster for Frank personalservice by
Sinatra’s official guest book EMILIO LYONS
on the Internet. You can
visit his site at: Servingprofessionalmusicians,students, musicschoolsanduniversitiessince 1939.
<www.sinatrafamily.com>
Songwriter and key-
boardist DonaldBreithaupt
263 HUNTINGTON AVE., BOSTON, MA 02115
’84 of Bolton, Ontario, (NEXT TO SYMPHONY HALL) 617-266-4727
Canada, has just released
the CDTrue Winter with
Lola is currently enrolled as 1998 Boston Music Awards a Price Sharp, the Brazilian
his Toronto-based project,
Monkey House. The a Bertdeestudent. at the OrpheumTheater. equivalent of a Grammy.
Vocalist LynneFiddmont Singer/pianist Barry Dauelsberg has worked
group’s first CD, Welcome
Linsey"84 of Philips Ranch, Rocklin ’84 performed on with a number of greats
to the Club, spawnedfour
CA,is singing on jingles and "Enchantment of the Seas" including Placido
top-40 AC singles in
movie soundtracks, and for Royal Caribbean Cruise Domingo, Bob Mintzer,
Canada.
appearing live with various Lines, and will play the Bireli Lagrene, and Chick
PhilippeCrettien’84 of
artists. She has also madeTV Grand Hyatt Hotel in Corea.
Hopkinton, MA,is in his
appearancesand has record- Berlin, Germany, in Ed kittman "86 of New
second year of teaching
ed with Babyfaceand Stevie October. His new CD is York, NY, has two CDs:
piano at the Rivers Music
Wonder. titled Barry Rocklin: I My Window and Littman,
School in Weston, MA.He DrummerLar~ Franquez Heard HimPlay It Live. Zanker, & Bollinger, due
has also been teaching in
"84 of Guamsigned a prod- Guitarist TomKanematsn this year on Yeah Man
the Concord/Carlisle
uct endorsement deal with ’84 of Gifu, Japan, released ReCords. His band plays in
Public Schools for two
Sabian Cymbals in March. the CD ka Foret for the the NewYork City area.
years.
After years as a music edu- Momentlabel. The disc fea- April Perkinson "86 and
Former U.S. Army
cator and clinician in Guam, tures three of Kanematsu’s Steve Maples"87 opened
Band guitarist Lar~0anza
Franquez is relocating to contemporaryjazz originals Sweet Wood, a company
’84 of Watertown, NY,has
Bostonthis fall. and five gospelselections. selling instruments like
released a CDtitled New
Joel Goodman "84 com- Guitarist James Viglas"84 Peruvian flutes and African
Standard Tunes on Jazz posed music for the award- of Winchester, MA, and hand drums handmade by
City Records. His daughter
winning film Green drummerKevinS0ares "85 of
Chimneys. Goodman also Buzzards Bay, MA, have
scored Concertof Wills: The produced a new CD titled
Building of the Getty The Vigtones.
Center, and the feature RichardBeligni’85 of Las
Originof the Species, direct- Vegas, NV, recently engi-
ed by Andros Heinz. neered and played drums at
Trumpeter Humberto a gala event in Las Vegas
Ramirez ’84 of San Juan, PR, honoring Frank Sinatra.
released Treasures, his fifth ClaudioDauelsberg "86of
CDfor the TropiJazz label. Rio de Janeiro, Brazil, has
Jeff Robinson ’84 and his released his first solo album
New Verve release by band appeared on MTV’s entitled Aldm das Imagens.
pianistMakoto
Ozone
’83 "The Real World"and at the The album is nominated for LarryFranquez
’84

Fall 1998 Berkleet o d a y 31

 Janeiro released Sax
Brasiliero featuring original
music, selections by various
South American composers
and Charlie Parker’s
"Donna Lee."
David Eisner "88 of
Timberlea, Nova Scotia is
the staff audio engineer for
CTV in Halifax, Nova
Scotia, working on live
broadcasts and remote pro-
ductions.
Engineer Andrew
R0shberg’88 of Miami, FL,
has worked with talents
such as Creed, BiIlie Myers,
and Jon Ben Jovi, and on a
newrelease by Ed Calle.
Frontrow,left: Michele(Singer)Evans "98, Sharon Farher’97; backrow, h3ft: Kevin Jennifer Sebben-Russo
Kliesch"92, DavidBarkley’92, andASCAP’s Bill McRae. ’88 of Redwood City, CA, is
a back-upvocalist for tele-
These four alumniwere amongthe 16 participants chosenfrom nearly 200 applicants vision studios in California,
for the 1998 ASCAP Film Scoring Workshopin Los Angeles. The month-Iong program a published poet, and
covered various aspects of scoring and featured top film and television industry speak- author of nonfiction books.
ers. At the program’sconclusion, each participant composeda score and recorded it Songwriter Alan
with a 40-piece orchestra at the Newman Scoring Stage on the Fox Studios lot. Anderson"89 of BeIlvue,
CO, released his debut CD
Clay Machinefeaturing 13
Maples. Perkinson also hailed in the New York of Carlisle, PA, has earned of his originals. He has
toured as pianist for record- Timesfor his guest appear- his juris doctor degree from written over 150 songs.
ing artist SusanOsborn. ances with the Chieftains. the Dickinson School of OrlandoCollado"89 of
Ramin Sakurai’86 of Los Pianist SatokoFujii "87of Lawat Pennsylvania State Bayama,PR, is the director
Angeles, CA, and his band Saitama,Japan, has released University. of the Jingle Factory music
Oversoul signed with Palm two new CDs. Looking out GuitaristGiil Parris’87of and postproduction com-
Pictures/Island Life rec- of the Windowfeatures the Ardsley, NY, has recorded pany. In 1996 and 1997, he
ords. They are featured on pianist/composer in a trio with Dr. John, Toni produced about 40 percent
General Grant’s upcoming setting, and South Wind Braxton, Will Calhoun "86, of the musicin Puerto Rico.
record and have a song on showcases her writing and Chuck Rainey, and many DanielFisher"89of Fort
the soundtrackof the movie playing in a jazz orchestra others. Parris’ solo debut on Wayne,IN, is director of
The Last Seduction II. setting. RCA/BMG features David soundwareengineering for
Keyboardist Paulo MatthewKaslow’87 of Sanborn, Bob James, Mark Sweetwater Sound. He has
Camarg0"87 of Sao Paulo, Brooklyn, NY,is currently Egan, Harvey Mason, Will also penned articles for
Brazil, is currently per- the guitarist for Laura Lee, and Larry Geldings. Keyboard and Electronic
forming with the Brazilian Branigan. Saxophonist Edgar Musician magazines, and
pop band the Karnak. StephenMayone "87 and Duvivier ’88 of Rio de writes for the newsletter
MarkCohen’87 of Los his band Hummerreleased "Sweetnotes."
Angeles, CA, has just a new CDin June and have Steventagarto ’89 of
returned from Estonia and been performing in the Bristol, RI, is teachinggen-
Russia where he was line Bostonarea. eral music, showchoir, con-
producer for the films DrummerJohnMcl~gue cert choir, and theater in the
Virtuoso and Live Virgin. ’87 of Nashville recently Taunton Public School sys-
Flamencoguitarist Jesse toured with legendary vio- tem. He was nominated for
Cook’87 of Torontoreleased linist Vassar Clements,and the fifth edition of Who’s
Vertigo for the Narada played on two CDsby the Who Among America’s
label. The disc debuted at Nobles which include Teachers.
numbernine on Billboard’s tracks sung by Dolly Christopher koomis "89of
World Music chart. Cook Patton and Carl Jackson. Mounds View, MN, is
has been nominatedfor two Since graduating from workingin audio post-pro-
Juno Awards and was Berklee, GeraldMerano ’87 Humberto Ramirez’84 duction in Minneapolis.
32 Berkleet o d a y
A LIFE ONTHEROAD
the contracts with meand
shared tips on getting the
best rates at the hotels and
told mehowall of the finan-
cial dealings of a big band
worked.That enabled meto
makea step up and become
road manager for Buddy
Rich in 1972 and then for
Sarah Vaughanin 1974."
Lake’s biggest step up
in the business was
accepting a position to
become personal manager
Charles Lake’54 (left) andDizzyGillespie for Dizzy Gillespie in
1975, a job he held until
Charles "Whale"Lake ’54 spreads Gillespie passed awayin 1993.
out his photos from Paris, London, "As a personal manager,I took care
Tokyo, Jerusalem, and many other of all of the details a road manager
places, souvenirs of 50 years on the wouldand also started doingall of the
road. As personal manager to Dizzy booking for him. Later we had agen-
Gillespie from 1975 through 1993, he cies do that. WhenI first booked
traveled around the world enough Dizzy, he got paid $3,000 a week.
times to rack up one million frequent- After the agencies took over, he start-
flyer miles. ed getting $10,000a night."
Lakestarted playing the trumpet as AlthoughGillespie toured a lot and
a kid in Chelsea, Massachusetts.After the schedules were grueling, Lake
graduating from high school and serv- loved traveling with Dizzy. Yes, there
ing a two-year hitch in the Marine were 6:00 a.m. ~ights most mornings,
Corps, he decidedon a musicalcareer. and makingsure the fiduciaries were
"I went to New England handled accordingto Gillespie’s wish-
Conservatory for a year," he says, es could be challenging,but Gillespie’s
"but I really wantedto play musicthat stature enabledthemto fly first class
swung, so I camein 1949 to Berklee and stay in the world’s best hotels.
[then called Schillinger House]." Lake also met manygreat musicians
He graduated in 1954 and worked and royalty whowouldstop backstage
locally as a trumpet player and as after Gillespie’s shows.
"band boy" (equipment/library man- "WhenI wasinvited to give a lecture
ager) for Herb Pomeroy.Lake became at Bet!deerecently, I realized that I had
WoodyHerman’s band boy in 1958. a lot of practical experienceto share
"In those days, we would drive a withthe kids," Lakesaid. "Thereis a lot
truck with equipment and luggage, more to learn than just playing your
and the band members followed in horn. Musicians have to understand
four cars," he says. "Wewoulddivide howto live on the road and to realize
themup so that there was a saxophon- that whenthey are late or do something
ist, a trombonist,a trumpeter, and one wrong,it affects other people."
rhythm section player in each car. Lake’slatest efforts havefocusedon
That way if anyone disappeared, we perpetuating the music of his friend
could still play the job. If wehad one Dizzy Gillespie. He is booking fund-
car with all of the tromboneplayers in raising concerts featuring Gillespie’s
it and they didn’t showup, it would charts played by trumpeters like Conte
be pretty toughto play that night. Condoli and BobbyShewto benefit the
"I really learnedthe businesstouring Dizzy Gillespie MemorialFund at the
with CountBasiein the sixties," recalls EnglewoodHospital in NewJersey.
Lake. "Everynight after the gig, we’d Lakewill once again be feeling the
get back on the bus and I wouldtalk curvatureof the earth beneathhis feet as
with [saxophonist] Eddie ’Lockjaw’ he travds internationally to produce
Davisabout the business. Hewent over these concerts throughoutthe year. ~

Fall 1998 Berklee today 33

 Singer/songwriter Kobi with the American Dance arranger for the Gainsville
Marceca’90 of NewYork, Theatre of NewYork. His Swing Orchestra.
NY,released her first CD first CD, Roo~s & Wings, GiovanniMoltoni"92 of
entitled All and Enough will be releasedthis fall. Boston, MA, and the
which contains 12 of her Ittai Rosenbaum "91 of Giovanni Moltoni Quartet,
originals. This summershe Mevaseret, Israel, and the have performed at interna-
toured with VinceJohnson Ilana Eliya and Jabalio tional festivals and in
"90. Thetour included stops Group performed at festi- Boston-area jazz venues.
at the Taste of Colorado vals in Italy, Hamburg, RalphRosa’92 of New
and MilwaukeeJazz festi- Dusseldorf, and Frankfurt, Brunswick, NJ, is market-
vals and Houseof Blues in Germany.Their repertoire ing coordinator for the
Debut CDby keyboardist Chicago. is mainlyKurdishsongs. group Bumblefoot featur-
KobiMarceca ’90 Bassist/composer Paul Pianist Ton~Snow ’91 of ing guitarist RonThal. The
Rogalski"90 of Boulder, Yarmouth, ME, and his group’s new CDHands is
CO, recorded and released jazz quartet performed a on the Hermit label. Their
Flugelhornist Dmitri a CD with his band Coy concert at Brunswick High Website is at: <www.prog-
Matheny ’89 of San Kindred. Theyare current- School in Brunswick, ME, nosis.com/bumblefoot/>.
Francisco played in 40 ly touring in Colorado. to benefit Midcoast Martin Suit ’92 and
cities and three countries Vocalist Jeff Thacher’90 Hospice. JaromirHonzak’90, both
during his most recent tour. of NewYork, NY,of the a DrummerBrian ~chy’91 from Prague, Czech
ComposerYuval Ron’89 capella group Rockapella, of Los Angeles, CA,will be Republic, were music advi-
of Los Angeles scored the appears regularly on the touring the U.S. this sum- sors for a July jazz clinic in
theme to the film Cowboy PBS show "Where in the met with the band Prague that focuses on
and the Movie Star. He is World is Carmen Foreigner. important Czech musi-
also releasing a new CD Sandiago." The group is Kyle Wesloh ’91 of cians, bands, and orches-
entitled In Between the also featured in a Folger’s Groveland, MA,is working tras, and introduces themto
Heartbeat. Coffee commercial. as a recording engineer at the international scene.
Singer/songwriter She Michael Masson ’91 of New England Conser- Journalist Alisa Valdes
INillett ’89 coengineereda Hingham, MA, was fea- vatory of Music. ’92 wonfirst place in the
CDof her alternative pop tured on "CBS This Composer Stephen Boston Globe Magazine
songs. One of her songs Morning" in Mark Bergman ’92 of Milford, essay competition for
was featured on the televi- McEwens’ entertainment MA,has been writing chiI- "Daughter of Cuba," the
sion show "Law and report. He was directing a dren’s musicals and has had story of her visit to her
Order." group for the program his plays staged in Florida father’s birthplace.
Jennifer Egan’90 of "Weekencl Warriors." and NewHampshire. Drummer/vocalist glake
Waldwick, NJ, is working Masson is also ensemble Bassist Ivangodley’92 of Windal’~2 of Los Angeles,
as a producerand writer for director at the South Shore Brooklyn, NY, appears on CA, played and sang backup
film and video in the New Music Company in the live CDby singer Ruth vocals on the CD More
YorkCity area. Weymouth, MA. Gershon and is currently Than 12 Stories under the
Michael Lau ’90 of Isamu Ohira "91 of touring Europe with her Sun by Lisa Cannon and
Bethpage, NY, was the Fujisawa, Kanagawa,Japan, band. recorded an albumin Paris
music director and produc- wrote the soundtrack for Drummer dohn Coffey withBenoitMichel "91.
er for the 1998CBSWinter the Gran Turismo Game ’92 of Nor~vood,MA,plays Robin Zaruba ’92 of
Olympics broadcast from for Sony Computer with BC and Companyand Houston, TX, owns
Nagano, Japan, and the Entertainment. the Roy Scott Big Band. He CompuCordMultimedia in
1998 Goodwill Games Nicolas Marlin ’91 of also teaches music in the Houston. In July, he
broadcast. He is executive Miami directs, produces, Sharon public schools. released an enhanced CD
producerof special projects and sings in a merengue Guitarist JohnLane"92 with audio, video, and inter-
for STS Music Group/Rad- band and ownsa recording of Stamford,C~I; is current- activity.
ical Entertainment. studio in the Dominican ly performing with a John Bassist Ericgaines ’93 of
Christopher Leible’90 of Republic. Scofield tribute band called Denver, CO, has performed
NewHaven, CT, gave the KumiNakagawa "91 of Blue Matter. with artists such as Nelson
world premier at Yale Tokyo is working as a Keyboardist Harold Rangell, Chuck Loeb,
University of Only Now,a MIDI karaoke sound Mims"92 of Denton, TX, is Danny Seraphine, Los
classical guitar duowritten director. presently the director of Lobos, the Kentucky
by guitarist/composer Singer/songwriter Rene choral music at Calhoun Headhunters, and the
Benjamin Verdery. Leible Pfister ’91 of Amsterdam, Middle School in Denton. Drifters.
also was a soloist at a The Netherlands, is cur~ Additionally, he is minister GuitarDavidflert01i "93of
Connecticut ClassicaI rently performing in the of music at Denton’s Morse Austin, TX, is an active
Guitar Society concert. European tour of Hair Street Baptist Church and memberof the live music

34 Berkleet o d a y Fall 1998

scene in Austin.
DrummerDonCorreu"93
of Boston, MA,has played
with various bands including
the Van Halen tribute band
Bottoms Up. He was fea-
tured in the Noble &Cooley
Drum Company’s online
newsletter.
Guitarist Marek Dykta"93
of Maspeth, NY, has been
performing in New York
City with drummer Tommy
Camphefi "79 and saxophonist
Donny McCaslin’88, and has
been producing sessions at
AvatarStudios.
Guitarist Timothy
Harrington’93 of Phoenix,
AZ,is currently an instructor
at Boogie Musicin Phoenix
and is working on a CDto
be releasedthis winter.
Kaoru Yasui ’93 of
Hamamatsu, Japan, is a tech-
nical consultant for Yamaha
in the interest of planning
and debuggingfor specified
tools and programs.
Vlamir Abbud’94 of
Atlanta, GA,has been work-
ing as the audio and video
producer for the Weather YngwieMalmsteen.His sec- and studied with Cubanjazz research fund.
ChannelLatin America. ond CD, Burned Soul master Chucho Valdez in Kenjii Tajima’94 of New
Bassist ZacharyBorovay Catharsis, is due in January
Havana, Cuba. York, NY, is performing
’94 of Brooklyn,NY,and his 1999. Trumpeter and key- with the fusion trio Primitive
band Rooftop Cowboys Pianist Markde Clive-
boardist SteveKrchniak ’94 Cool, featuring pianist Kuni
releaseda self-titled CD. Lowe ’94 of Auckland, New
of San Francisco, CA, com- Mikami and bassist Dan
Guitarist Michael Zealand,has beentouring in
posed and arranged music Freeman ’76. His pop group
Chlasciak "94 of Bayonne, Japan with his trio. Earlier
for the CDThis is Reggae Trance Senders is playing
NJ, recently openedfor the this year, he did recording
Style by his bandCreation. clubs around the NewYork
Steve Morse Band and Drummer Nathaniel
sessions and gigs in London area.
Morton ’94 toured with 6ina Zdanowicz’94 of
Chaka Khan this summer Metuchen,NJ, is a part-time
and played on Funk Noir, professor of audio and
the latest release by the MIDI technology at
Boston funk band Chuck. Columbia College in
Guitarist RobertMorris Chicago, IL, and is a mem-
’94 of NewYork, NY, and ber of the electronic music
the Morris Brothers Band group Circle of Grey.
released a CDtitled Popthe Singer/guitarist Henry
Trunk, which ranked as a Char ’95 of Cartagena,
semifinalist in Musician Colombia,has released a CD
magazine’s Best Unsigned single titled "Bajoun Pedazo
Bandcontest. de Cat6n" from his album
d0seph RuotoIV ’94 of Comprometido con Mi
Nashvilleis assistant manag- Tiempo.
KaterinaAndreou ’92 of Strovolos,Cyprus,releasedher er for Steve Wariner. He Pianist Stephen Hamilton
first albumEgoPouLesin JuneonCity Recordsl Thealbum coordinateda recent charity ’95 of London recently
containsthreeof her originals, auction for NaomiJudd’s recorded the album Santa

Fall 1998 Berklee today 35

Rita with producer and gui-
FL, and recently released a
tarist Richard Niles.CDof original tunes entitled
Hamiltonhas also been tour-
Forthe Loveof it AlL
ing with Bill Bruford and Guitarist Pablo Fdez-
King Crimson. Arrieta "96 of Madrid has
Percussionist TakuHirano
released an album titled
’95 of Santa Clarita, CA,
Standards featuring saxo-
recently performed on
phonist RyanWoodward ’98
the "Tonight Show" with and bassists TomDahl and
Brandy and on "Sinbad’s
Carlos Sanoja.
SummerSoul Festival" with Boston-based rock band
the Emotions. He has also
Blinder, :featuring Megan
beenan artist-in-residence at
Gass’96, Mason Wendell’97,
Carnegie MellonUniversity.
andKoven Smith’97, released
Ina Kemmerzehl ’95 of
a new three-song CDtitled
London, England, is work-
Mienakusuru.
ing as a cellist and electric
RossHitmlin’96 of Boston,
bassist in the London area.
MA,is the cofounder and
ComposerLauraAndel’96director of Open Faucet
of Cambridge,MA,did three
Productions,a nonprofit arts
presentations in Berlin,organization, and is one of
Germany,with the 22-piece
the newest membersof the
Oli Bott Jazz Orchestra.Mobius A~xs Group.
AndelandOil Bott’96 direct In April, pianist D0r0n
the bandfeaturing musicians
RichardJohnson’96 per-
from aroundthe globe. formedpiano duets on a tour
Ayala Asherov"96 is awith Herbie Hancock in
graduate student of filmSantiago, Chile. They will
composition at the Northperform again at the IAJE
Carolina Schoolof the Arts.
Festival in Anaheim,CA,in
Asherovreceived honorable
January. Johnsonis presently
mention in the John Lennon
working on his doctorate at
songwriting contest and NewEngland Conservatory.
wrote the incidental music Pianist and composer
Gunther
for a Londontheatrical pro- Kuermayr ’96 of the
ductionof Acrossthe Bridge.
Netherlands,releasedhis first
VibraphonistOli Bolt ’96
CD The Window on the
of Berlin, Germany,and his
Dutch A-Records label. It
jazz quintet wontwo prizes
features dehan Sievert’95 on
in Franceat the As Pro Jazz
bass, MarcGratama "97 on
Competition and the Jazz ~
drums, and saxophonistJerry
Vannescompetition. Bergonzi’tlB.
Vocalist KatherineGuitarist Israel Rozen ’96
Farnham ’96 of MiamiBeach,
of Brookline, MA,released a
FL, won the DiamondKing CD entitled Red Sea on
Talent Showcasein Aventura,
BrownstoneRecords in May.
The disc features originals
andjazz standards.
Conteraporary jazz key-
boardist and percussionist
JoeSherbanee ’96 of Orange
County, CA, merged his
production companyZodiac
Ltd. Enterprises with Native
Language Music. Sherbanee
will release his debut album
TheRoadAheadthis fall.
Songwriter/arranger
HerbieHancock(left) and Spyros Spyrou "96of Larnaka,
DoronRichard
Johnson ’96
Cyprus, released a CDsingle
36 Berklee todag
CALLTHEHOTLINE
In our continuing efforts to provide helpful ser-
vices to our alumni, we have developed an alumni
hotline. This new hotline contains a directory of
numbers for the campus offices most frequently
requested by alumni. To reach the 24-hour hotline,
dial (617) 747-8945.
The options will let you update your address,
obtain a Berldeealumnipass, or get informationabout
Berldee PerformanceCenter concerts, Berklee alumni
chapter events, and career developmentofferings. The
hotline will also give informationon continuing your
education and will connect you with the alumnidonor
line or the Office of AlumniRelations.
entitled MehriHthes. Darryl Milstein ’97 of
ErikSteigen ’96 of VaIley Miami, FL, is working for
Village, CA,worksas a legal Delrod Studios and
assistant in the music/enter- Playground Studios. Both
tainment law firm of Lenard facilities are located in
& Gonzalez LLPin Beverly Miami Beach.
Hills, CA. His band d.C. Monterrosa’97 of
Soulspeak is recording a Nashville has been recording
demo CD. engineer for DeanaCarter,
Rodney Alejandro’97 of Randy Travis, Lynyrd
Pacifica, CA, has been an Skynyrd, Jeni Varnadeau,
associate producer for andSteve Wariner,and edit-
Narada Michaei Walden and ed JohnBerry’s video Better
cowrote two songs on the TJ~ana Biscuit.
latest Temptationsalbum. He Guitarist Jeffrey Parks
is also producingfour songs ’97 of Boston, MA,is per-
for Puerto Rican recording forming with singer/song-
artist Julian. writer Patti Guirleo. They
DrummerSergioBellotti released a CD called
’97andbassist1]noD’AgostinoLongtirne featuring drum-
’97 of Rome,Ital;~ released merScottEisenberg "99.
Spajazzy, a CDfeaturing gui- GerardoPorraz "97 of
tarists MikeStern’75 andJim Mexico City, Mexico, is
Kelly’73, saxophonist Bill Vint musical director and pro-
"96, and keyboardists Patric ducer for Televisa Group
Andr6n "95 andGregBurk. Mexico, the country’s
VocalistErnieHalter’97 of largest entertainment com-
Santa Ana, CA, is working pany.
with the jazz and r&b group BrianZamek "97 of White
Scenario34. Plains, NY,is just finishing
Flautist Marian Heller"97 up his first year as band
recently performedin a con- director in the Croton-
cert of music from the six- Harmonschool district in
teenth to twentieth centuries Westchester County, NY.
on piccolo, standard flute, GilsonSchachnik ’99 has
alto flute, andbassflute. just released his CDRaw
keif-MagnusILilleaas’97of on Brownstone Records.
Nedenes, Nopa~ay,has been Players include Berkleefac-
accepted to LIPA,the Paul ulty membersBill Pierce,
McCartney-supported col- Fernando Huergo, and
lege in Liverpool,England. Mark Wessel.
Fall 1998
N9 1 N9 3
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 FINALCADENCE
Correction: In the
summer 1998 issue of
Berklee today, it was
reported in this column
that DavidMott’68 had
passed away. He
informs us that he is
alive and well in
Toronto, and works as a
memberof the faculty
at the York University
Department of Music.
It was his brother,
trumpeter Daniel M0tt
’72, whopassed awayin
January 1998.
Wordhas reached us
that J0hnnyWells ’77 of
Abbeville, SC, died of
cancer earlier this year.
Wells was a popular
drummer and vocalist
workingas a solo act at
Full Name
Address
City
This is a newaddress.
Last year you attended Berklee
Please give details of the newsworthyprofessional milestones that you would like the Berklee communityto know
about. Print or type (use a separate sheet if necessary). Photos suitabIe for publication are welcomed.
Q Send me more information on becoming a Berklee Career Network advisor.
Please send this form, along with any publicit B clippings, photos, CDs,or items of interest to:
Berklee today, Berklee College of Music, 1 i40 Boylston Street, Boston, MA02215-3693. Is~ternet address: rasmall@berklee.edu
38 Berklee today
nightspots in South
Carolina. He continued
Thinking of
performing until two
weeksprior to his death.
Wells leaves his wife
Returning?
It’s easier than you mightthink.
Shae and nine children.
Uttamlal "Tom" Shah There is no readmission process
’81 was among the 12 for alumni.Just contact the Returning Student
Americanvictims of the Coordinator in the Office of the
August 7 terrorist
. Registrar at (617) 747-2242,or
bombing at the U.S.
............. fax: (617)747-8520. Whether you
Embassy in Nairobi,
wantto enrollfull-timeor have just
Kenya. Shah was an
employee of the U.S. a fewcreditsleft to graduate,
it only
State Department who takesa phone
callto starttheprocess.
had first served in Cairo Returnto Berkleeandexperience
and was later assigned to alI the newandexcitingchanges!
the political section of
the embassy in Nairobi. Registra~tion for Spring ’99: January 14 - 15, 1999
Shah was a trumpet Classes begin January 19.
player and had earned
Registration for Summer’99: May 20 - 21, 1999
his degree in profession-
Classes begin May 24.
al music.
ALUMNOTESINFORMATION
FORM
State ZIP Country. Phone
Your Internet address:
Did you receive a ~1 degree? Q diploma?
Fall1998
 If imitation
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 CODA

Composers and Systems Analysts

Rodger Aldridge "68

H t is widelyrecognizedthat Berldeedoes a superb job in thing very subtle and magical begins to happen. The creative
preparingpeoplefor careers in music,but I foundthat a parts of our brain are stimulatedand all of the memorized rules
musiceducationis goodpreparation for other professionstoo. and facts, all of the musicwehave listened to and studied,
WhenI madea career change in 1977 from musician to com- becomea large database we can draw upon. The best com-
puter programmer,I discovered that systems work has much posers strive to create a score that is not just a mechanical
in common with composition.Both rely on analytical skills, rehashingof academicinformationstored in their brains. The
critical thinking,pattern recognition,and ffmctionaIdesign. act of compositiongoes beyondthe worldof logic and rules to
HerbPomeroy’sline writing classes were mybest prepara- embracethe intuition.
tion for a job as a systemsdesigner. He taught a multidimen- A really goodpiece of musicis morethan the sumof its
sional way of thinking. Rather than simply harmonizing a parts. Youcan look at it academically, analyze the changes,
melodyvertically, he taughtus to build a bass line in contrary the melodicdevelopment,and the form, but there is aiways
motionto the melodyand construct contrapuntalinner voices. somethingelse in there. It is the soul of the music, the stuff
Before I madethe job switch, I took a computeraptitude that is not on the page, but yet is expressedthroughthe notes
test. I was worried because I was never strong in math. that are written there. It is kind of mysteriousand paradox-
However, onceI got into the test, I felt that I wason familiar ical. There are times whenI look at a piece of musicthat I
ground. The kind of logic needed remindedme of twentieth have finished and think to myself, howdid I write that?
century musicanalysis classes wherewe weretaught to recog- There is something in the music that speaks to me, some-
nize motivesthat are transposed, inverted, or used in retro- thing that goes beyondthe mechanical aspects of composi-
grade. Likewise,I discoveredin myfirst programming job that tional craftsmanship.That somethingis not taught; it is intu-
a key factor in systemsworkis the ability to Iookat things and itive and comesfrom within.
see the overall patterns. The parallels betweenprogramming In a similar way,to designa computerapplication or a busi-
and compositionare many;the two fields simply employ,dif- ness research model,one has to use logical analytical thinking
ferent languagesand meansof expression. to deveiopinpu~processing, and output design specifications.
Since the 1950s,it has beenrecognizedthat musicians(par- However,one often needs to go beyondformal thinking to
ticularly theory and compositionmajors) makeexcellent com- reach out and grab a truly elegant solution to a designissue. I
puter programmers.WhenWilliam Keivie becameexecutive see this as the samekind of intuitive creativity that musicians
vice president and chief informationofficer of FannieMae(the experiencein writing a great chart or blowingthe kind of solo
nation’s largest secondary mortgagecompanyand mypresent that brings a smile to yourface afterwards.
employer),one of the first things he did was to seek out the Compositiontraining enabIed meto develop the kind of
musicmajors on the CorporateInformationSystemsstaff. logical andanalyticalthinkingthat is so essentiai to beinga sys-
Kelvie is intrigued with the relationships betweenmusic tems designer. Myexperiences as a composerhave, at times,
and systems. He told methat during his manyyears in the helped meto go beyondthe logical and the formal to sudden-
business, he had noticed that musicmajors ly find a simple and wonderful intuitive
who go into the information technology solution to a businessproblem.
field often possessintuitive and creativeabil- It wasthe blendingof these logical and
ities for systems work.Musidanshad natur- intuitive skills that enabledmetwoyears ago
al gifts sometimes lackingin those trained in to movefrom the Corporate Information
formal computerscience programs. Systems Department to Single Family
Whenstudying composition, we are MortgageBusiness. In this newrole as a
required to memorizean enormousamount research analyst, I help to develop Fannie
of concreteinformationabout scales, harmo- Mae’sloan default predictability models.
ny, counterpoint, orchestration, and form. That job drawsuponall of the intuition and
However, the momentwe close the text- creativity that I canmuster.
bookand put a pencil to the score pad, some- The connections between composition
and information technologydeserve further
RodgerAldridge ’68 is a research analyst investigation. Perhapsit is goodenoughfor
for Fannie Maein Maryland. Rodger Aldridge’G8 nowjust to knowthat they do exist. ~
40 Berklee today Fall 1998
What
turned
themusic
technology
indusllry
onits ear?