Chico is also featured in the November Down Beat's "Still The Man," an article celebrating the Koch release as well as highlighting his 80th birthday. Describing him as a "musician first, drummer second," the writer praises Chico's far-ranging and consistently astounding music talents, as well as his history as a mentor of other musicians. Another article and interview appears in the November JazzTimes, where Chico reminisces about Jazz, his many proteges from New School University's Jazz Program, and film-making, which he also knows a thing or two about.

On September 20th, one day before Chico's "official" birthday, New School University's Jazz Program, which Chico helped co-found, managed to surprise this "King of Cool" at a private celebration in the Jazz Performance Space. With enough cake for 80 and almost enough champagne for everyone, faculty, students, friends and board members sang "Happy Birthday," while Junior Mance and Jimmy Owens accompanied on piano and trumpet respectively. "I don't know what to say!" Chico stammered. "I'm speechless!" causing his wife, Helen, to remark: "That's the first time I've ever heard Chico say he's speechless!" Well, new experiences keep you young, right?

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FROM THE EXECUTIVE DIRECTOR - MARTIN MUELLER

In New York City and around the country many have shared the story, "What we were doing on the morning of September 11th?" Many of us in the Jazz Program were standing on the corner of 6th Avenue and 13th Street, staring in disbelief at the burning towers of the World Trade Center, just a few miles to our south. Upstairs in our offices, the rest of us sat numbly watching CNN and fielding calls from other offices. By mid-day, President Bob Kerrey had called a University-wide information session for the New School University community; he also made school facilities available to St. Vincent's Hospital (a block away) for grief- and trauma-counseling.

On September 13th, the University re-opened to staff only. I gathered with staff and a few faculty members, first sharing our own concerns. Next, we turned our attention to the main focus of the Jazz Program: our 250 students, their physical and psychological well-being, and their education. Foremost to establish was all students' safety: five of us took on the task of calling literally every one of our students. (Thankfully, all were safe, if shaken.) We also called many of our students' parents to answer whatever concerns they had about the city and their children.

At this point, our biggest challenge began: helping students come to terms with the tragedy and refocus on their education. The following week, we arranged with professional counselors from the Health Center for a special discussion group among Jazz students and faculty, which I also attended. At the wise suggestion of faculty member Armen Donelian, we organized an open jam session (for all students and faculty) to take place immediately after the discussion group. I'm happy to say that the turnout for both the discussion group and the jam session was terrific. Students were thankful to come together for a positive act, to share emotions through whatever medium they felt most comfortable: their voices or their music (or both).

The extreme circumstances of early September forced New Yorkers to undergo a range of powerful emotions, which took their toll on all of us. Staff, faculty, and students all reported feeling exhausted, but our work continued. One student summed up our feelings exactly: "Every day when I wake up," he said, "I feel like it's Monday all over again."

The city was a different, more somber place; on the other hand, we came to recognize with even greater clarity what makes New York such an extraordinary environment: the passion and creativity of its residents; their resilience; their concern for each other.

What is the role of the arts in times of national tragedy, in the face of such sadness? St. Augustine referred to beauty as "a floating plank in the middle of the sea," and I believe the role of art is central to any healing process. The arts lift us up, bring us beyond our immediate circumstances, demonstrate our greatest strengths. The arts define New York City: our music, theatre, dance, and visual arts are internationally unparalleled.

Historically, troubled times have generated some of the world's greatest artistic accomplishments: Dorothea Lange's Depression-era photography, Shostakovich's "Leningrad Symphony," Marion Anderson's performance at the Lincoln Memorial are only a few examples that come to mind. In New School University Jazz Program, we fully believe that the beauty of our students' music (and their buoyant attitudes!) is essential in helping New York City to heal and our country to go forward. I'm proud to say that our commitment to Jazz is in perfect accord with the country's efforts to revitalize and grow.

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NEW COURSE BETWEEN JAZZ & PARSONS BRIDGES DIVIDE
By Ken Feinstein

Crossing disciplines is an exciting experience. One is never sure where it will lead. In the fall '01 semester, a new class started with the Parsons' Digital Design department that creates this type of experience. The class, Sound & Vision, gives students from the Jazz program a chance to work closely with visual artists on original video works.

The class, which is co-taught by the Jazz Program's David Lopato and Ken Feinstein, a digital artist and Parsons faculty member, focuses on how musicians and visual artists can learn to collaborate. In order to work together, they must learn how to talk to each other; this communication can only be accomplished in an atmosphere of collaboration.

The composition of the class is one-half musicians and one-half visual artists. Over the semester, students work on projects in cross-disciplinary groups. The nature of class assignments is to gradually see how each discipline enhances the other when working on specific projects. The entire class gains knowledge of both MIDI tools and digital video tools, allowing everyone the opportunity to understand each other's work and to communicate more effectively during the creative process.
His class, taught once again by Feinstein and Lopato, will run again in the Fall '02 semester.

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"A PARTY FOR ZOOT"
BENEFITING THE ZOOT SIMS SCHOLARSHIP FUND

New York's Jazz elite came out on the evening of November 13th for the annual Zoot's Party, celebrating the birth of a great original jazz voice, John "Zoot" Sims. The party, also an important fundraising event for the Jazz Program, took place at historic Birdland Jazz Club, the "Jazz corner of the world." Ten percent of the Jazz Program's profits are being donated this year to the Red Cross' Disaster Relief Fund.

This year's musicians performed close to four full hours of extraordinary music, as guests had the privilege of listening to: Toshiko Akiyoshi, Howard Alden, Harry Allen, Ben Aronov, Joe Ascione*, Wayne Batchelor*, Walter Blanding, Jr.*, Cecil Bridgewater**, Joe Cohn, Bill Crow, Jerry Dodgin, Don Friedman, Dick Katz, Junior Mance**, Turk Mauro, Virginia Mayhew*, Jimmy Owens**, Charli Persip**, Roberta Picket, Benny Powell**, Ted Rosenthal**, Loren Schoenberg**, Joe Temperly, Ronnie Turso, Frank Wess, Jackie Williams, Jeff Williams, and Reggie Workman**.

Logan Richardson, a 21 year-old alto saxophonist from Kansas City, Missouri, the Zoot Scholar for 2001, performed at Birdland with Jerry Dodgin and Walter Blanding, Jr. (a past recipient of Zoot's scholarship). In his short and very promising career, Logan has played and/or studied with: Benny Golson, Jimmy Heath, Clark Terry, Paquito D'Rivera, and James Moody, to name only a few. When notified that he would be recieving the Zoot Sims Scholarship, Logan said that he looked forward to representing the school and Zoot's award wherever he performs.
Additional student performers included: Tommy Crane, Jonathan Finlayson, Daniel Jones, Jamal Monteihl, Kevin Smith, and Tatum Greenblatt.
( *indicates alumni, **indicates faculty)

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DECISIONS! DECISIONS!
What leads students to the New School University Jazz Program?
Gina L. Taglieri

It's readily acknowledged that getting into New School University's Jazz Program isn't easy. There are applications to fill out; recommendations to request; transcripts to send; auditions, tapes, and more ensemble placements once a student arrives here. Competition is formidable. But, we wondered, what processes do students and their families go through before they even land in the Jazz capital? How and why do they choose an advanced degree in the performing arts, and how does New School University win out over other college options?

To satisfy curiosity and help us better understand incoming students, I spoke to a handful of current students and their parents. These parents are dramatically different and come from all over the globe: some have sophisticated backgrounds in music themselves; some immediately volunteered that they "couldn't carry a tune in a bucket."

Likewise, parents had different attitudes about their children studying in New York City. Horst Gutknecht and his wife, from Nüremberg, Germany, wanted their 21 year-old son, guitarist Torsten, to get out of the local music scene because "he was getting too big there. I didn't want him to think, That's all there is, and I've made it."

Still, the Gutknechts were determined to visit New York City after Torsten enrolled, to assess for themselves their son's environment. "After September 11th," said Torsten's father, "we needed more than ever to see where and how he was. But we couldn't have been happier: he's doing great in school; his classmates are challenging him, and he has gigs all over the city." How do they feel about having their son in New York, as opposed to close-by at a German university? "It's expensive and it's far away," Horst conceded. "But there are so many opportunities here. [Guitar guru] Jim Hall lives right down the street! Torsten's private lesson teacher is fantastic! You just didn't get that in Nüremberg; there are talented musicians in Germany, but this is part of his bigger dream."

Jan Finlayson, of Berkeley, California, never worried at all when her then-18 year-old son Jonathan moved across the country last year to a city she'd never visited. "It was just a leap of faith," she reported. "He knew he was going to college – no question – and the choice was his. New School University was the only place he ever wanted, even though other schools tried to get him." Having toured with Jazz bands since age 14, Jonathan is "very resourceful," said his mom, and she doesn't fret over his well-being. In early September, when New York was the center of the world's concern, Jonathan was out of town on tour – in Cuba! "I'm very comfortable with him going long distances," she assured me. "As long as I can communicate with him [through email], I know he's fine."

A super-talented child can also be a strain, but not for the parents with whom I spoke. "It still amazes me to hear him play," admitted Jan Finlayson, and Horst Gutknecht echoed that sentiment. "Seeing Torsten handle himself around all these professional musicians in New York shouldn't have surprised us. But it was still rewarding to see!" When I asked these parents if they had any complaints about having such talented children, they both admitted one duty they're glad to be rid of: "Driving him everywhere!" said Horst. "To gigs, to auditions, to lessons".The day my two kids both had their licenses was wonderful for me!"

Nancy Healy, of St. Paul, Minnesota, always knew her pianist son, 22 year-old Ben, would gravitate towards music for a career, though neither she nor husband, David, obsess about Ben's prospects for fame. "It is so wonderful to sit in an audience and hear others applaud your child's performance," she told me. "But it's just as satisfying to sit in the living room and listen to him play with a depth of feeling you don't hear as often in his words."

I asked Nancy and David about concerns that a Jazz life can be a difficult career choice for their child. Nancy "never doubted that music would be a big part of [Ben's] career, though I still have concerns as to how he'll make money at it!" Still, the Healys voiced the sentiments of all the parents with whom I spoke: "To have something that gives one great pleasure and fulfillment; to know that one wants to pursue that thing; to want to become as good as one can be – how could a parent be anything but thankful to see that in his child?"

Though it's rewarding, New York City is a lot different from Minnesota. How do the Healys feel about that? Nancy, for one, had reservations about New York City for her son; he was well-liked at his previous school, with plenty of opportunities to perform. But Ben wanted to be part of a busy, professional, urban Jazz environment. Considering options, the family regarded both Chicago and New York as good choices. "I sometimes wish he had been more comfortable with the program in Chicago," Nancy admitted, "but after he made the decision to move to New York, we chose to do what we could to support him. It helps to know that he's in the best possible environment for learning about Jazz, both in and out of school."

Finally, I asked all the parents I spoke with if they had any misgivings about their children turning music into their careers, if they worried about "stability" in the job market of Jazz. "None the least," said Jan Finlayson. "You've got to trust your kid. If he's passionate about something, and talented enough to pursue that passion, then that's a gift." Horst Gutknecht said that stability is the reason he insisted his son get college training to complement his natural talent. "With a degree you can teach; there are many career paths. It isn't enough just to be 'the talented guitarist,' since talent alone can be limiting. I want Torsten to see the bigger picture, and formal studies have helped him grow even more." David Healy summed it up nicely: "I don't wish stability for my son. What I wish for him is fulfillment, accomplishment, joy. I believe that we're all entrusted with talents that should be shared. Talent can reveal our light. It's nice to know what you're good at, and to know that at an early age is a blessing."

Many thanks to the parents and students who shared their thoughts with me as I researched this article! G.T.

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NEW OUTREACH FROM NEW SCHOOL UNIVERSITY JAZZ
David Schroeder and Gina Taglieri

This semester a program called New School University Jazz Outreach Project has begun to take shape under the coordination of faculty member Dr. David Schroeder. Its purpose is to centralize and coordinate Jazz performance opportunities that pass through the University, offering them to qualified Jazz Program students.

The benefits of the New School University Jazz Outreach Project are extensive. As Jazz education trains students to become improvisers, they must also learn to use their improvisational skills to flourish in the real world. The Outreach Program offers two unique opportunities for students: Jazz Industry Internships and the Performance Mentor Program.

The University's ideal New York location provides proximity to several major Jazz record labels and performance venues, offering a rich experience for student interns. Music industry internship opportunities thus far include positions at Blue Note Records, Verve Records, Jazz at Lincoln Center, and The Blue Note Jazz Club. All the internship opportunities provide hands-on experience, help students develop networking skills, and create potential job opportunities.

The Performance Mentor Program enhances a student's evolving artistic development, starting from Dr. Schroeder's mentoring of participating students and his organization of private performance opportunities. The Outreach Project's objective is to place advanced students in leadership performance roles; these students then will mentor others less experienced as professional performers.

Student leaders assume all responsibility for every aspect of the music and its performance. Once a leader has contracted a performance through the Jazz Outreach Project, he/she is fully responsible for the musical success of the event. Responsibilities include everything from hiring the proper musicians to performing stylistically within the needs of the event, meeting with event coordinators, making sure musicians are properly attired, and guaranteeing that performers arrive on time and equipped to play.

According to Dave Schroeder, students accepting the role of bandleader learn to develop important skills needed to survive in the "real world" before they leave the security of New School University. The process heightens students' awareness of and preparation for professional performance, shapes business skills, and helps young artists develop improvisational skills.

The Outreach Program will act as a conduit between Jazz students and most University and non-university functions. Events include supplying music for a University cocktail party, coffee house, or University-sponsored event. Performance opportunities outside New School University include those at private parties, clubs, corporate and civic events.

If you or someone you know is planning a get-together and would like to provide guests with original, creative, LIVE music from the future stars of Jazz, contact: David Schroeder, New School University Jazz Outreach Project Coordinator, at 212-229-5896, or email him at schroedd@newschool.edu.

News from Jazz Program's Board of Governors Over the past few months, we have welcomed five new members to the Jazz & Contemporary Music Board of Governors. Each person brings with him/her unique talents as well as a commitment to the educational excellence of the Jazz Program. Please join us in welcoming: Martha Baratz, managing director at Bear Stearns and principal at Baratz & Browne Artist Management; Regina Carter, Jazz violinist and recording star whose latest collaboration, Freefall with pianist Kenny Barron, was released in spring 2001; Donald Elfman, executive director of Koch Jazz; Jeff Levenson, Jazz writer and former executive of Warner Brothers Music; Oscar Schnider, graphic designer and author; president and partner of Schnider & Yoshina, Ltd. Other Board News: Once again this summer, Board members George and Joyce Wein undertook their demanding round of Jazz festivals - from New York City to Europe to the California coast. In honor of George's indefatigable promotion of Jazz throughout the world, JazzTimes columnist Nat Hentoff recognized him in a recent article as having "expanded the audience for Jazz more than any other promoter in the music's history."

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FACULTY ALUMNI & STUDENT NEWS

Our faculty, alumni and students have been busy these past few months. Some of their achievements and activities are noted below. If you have information for this column, please contact Gina Taglieri at Taglierg@newschool.edu.

Faculty Activities

Jane Ira Bloom was named one of the top five Soprano Saxophonists of the Year in the Down Beat Annual Critics Poll. Jane was also awarded the honor of Soprano Saxophonist of the Year by the Jazz Journalist's Association in June.
Guitarist Richard Boukas celebrated his recent release (Balaio with Jovino Santos Neto, on Malandro Records) with a concert at Tishman Auditorium and a workshop at the Drummers Collective this past June.
Andrew Cyrille was cited as one of the top ten Drummers of the Year in the Down Beat Critics Poll. Andrew's recent release, C/D/E, with Mark Dresser and Marty Ehrlich (Jazz Magnet), received praise in the November '01 JazzTimes for the trio's "perfectly supportive harmony."
Pianist Armen Donelian has been awarded a Fulbright Award to develop a Jazz program in Armenia (to see a related article scroll down).
David Glasser performed with Byron Stripling at the Atlantic Mutual JAZZfest in June and at the 9th Annual Charlie Parker Jazz Festival in New York City's Tompkins Square Park this past August. David also played with Barry Harris' Big Band at a benefit for Diabetes Research, featuring Clark Terry. David's new CD, Dreams Askew, Dreams Anew, reached stores in October.
Billy Harper appeared in JazzTimes' September '01 "Before & After" segment. In addition to discussing his Texas musical roots and gospel-influenced compositions, the article cites Billy as "representing the soul and lineage of the tenor saxophone."

Bill Kirchner's Oxford Companion to Jazz (Oxford UP) won the Jazz Journalists' Association for "Best Book on Jazz of 2001." JazzTimes also christened it one of the "Top 10 Jazz History Books" of 2001, calling the Companion, "a significant achievement that should reside on every jazz bookshelf." In November, Bill's Nonet performed a free concert in the Jazz Performance Space, a presentation sponsored by a University Faculty Development Grant. The Nonet, which played standards as well as some originals by Bill, was listed as a "pick" by critic Gary Giddins in the Village Voice, resulting in an enthusiastic, standing-room-only audience. Pianist Junior Mance recently returned from Washington, DC., where he performed at the Kennedy Center Terrace Theater with Earl May (b) and Jackie Williams (d). The Washington Post noted Junior's "inimitable" and "soulful touch" on the piano, adding that "Mance and his bandmates earned the rousing ovations they received" for this "crowd-pleasing" performance.

This past summer, bassist Cecil McBee appeared in a Cincinnati club with a group of musicians known as the "NYC Jazz All-Stars." Besides McBee, the group consists of tenor-player Don Braden, trumpeter Terell Stafford, trombonist Conrad Herwig, pianist Mulgrew Miller, and drummer Carl Allen. A local music critic called their performance Cincinnati's "jazz event of the year."
Bassist Andy McKee and keyboardist Adam Holzman represented the Jazz Program in Schwaz, Austria, this past summer, with Martin Mueller organizing annual Jazz clinics there as part of our partnership with Austrian Jazz educators. Shortly thereafter, in Bassano Del Grappa, Italy, pianist Garry Dial, drummer John Riley, Cecil McBee, and guitarist Vic Juris led Jazz seminars and conducted clinics as part of the Program's presence in that country as well. Teri Lucas coordinated the activities in Italy.
Executive Director Martin Mueller was included in the Jazziz "Village Vanguard Roundtable" (October '01) with Joe Lovano, Robert O'Meally, Laura Johnson and Billy Taylor. Martin cited our ties to the New York City Jazz community as one of the Program's most important strengths.
Trumpeter Jimmy Owens debuted his original compositions at The New York Society for Ethical Culture benefit in June. Jimmy was also present at the induction of John "Zoot" Sims and others into the ASCAP Wall of Fame this past summer.
Trombonist Benny Powell performed with Randy Weston at the Jazz Gallery for Weston's 75th birthday celebration in late April, which was reviewed in the July Down Beat's "Jazz World."
Pianist Ted Rosenthal has released his 6th recording as a leader with ThreePlay (Playscape Recordings), featuring Dennis Irwin on bass and Matt Wilson on drums. The trio presents a varied program of Rosenthal originals as well as his personal treatments of standards.
Percussionist Bobby Sanabria was featured in The New York Times article "Out of Many Sources, One Infectious Latin Groove" this past August. Shortly beforehand, the International Salsa Museum inducted Sanabria on Saturday, August 25, 2001. The ceremony took place at the Charlie Parker Jazz Festival at Marcus Garvey Park in Harlem, following a performance of Sanabria's Grammy-nominated Big Band. Bobby's Afro-Cuban Dream (Arabesque) was nominated by the Jazz Journalist's Association for Afro-Cuban Jazz Album of the Year.
Loren Schoenberg discusses one of Duke Ellington's last compositions, "Three Black Kings," in the November-December issue of Symphony magazine. The study is part of the magazine's focus on new music from the American orchestral repertory of the last 30 years.
Pianist Francesca Tanksley and her trio recently performed to a standing-room-only audience at the Rosendale Cafe in Rosendale, NY. Her debut CD as a leader (featuring the trio) will be available this coming spring.
Bassist Buster Williams' trio recording Houdini (Sirocco), was reviewed in November's Down Beat as ""one of the most musically rewarding and beautifully recorded trio projects of the new millennium." This past summer, Buster also performed in a reunion with Herbie Hancock's Mwandishi sextet at a benefit for trombonist Julian Priester.
Reggie Workman appeared with Rashied Ali and others at the Caramoor Jazz Festival in August. Reggie and Andrew Cyrille appear on the recently-released Live in New York recording with Archie Shepp and Roswell Rudd (Verve).
Drummer and live drum 'n' bass artist Amir Ziv has received quite a bit of attention recently, starting with his group, Droid's, first release on Shadow Records, followed by an interview with The New York Times focusing on Amir's Electronica/Live D'n'B ensemble at New School University's Jazz Program. Amir is currently in the studio and on the road with Cyro Baptista's group, Beat The Donkey, and with Droid. Finally, this past November saw the beginning of AZ Productions' in-house loft concert series, which featured BloomziV, an avant-guard, sound-scape duo featuring Steve Bloom on guitar/electronics and Ziv on drums/percussion.

Alumni Activities

Miri Ben-Ari was named one if the top ten Violinists of the Year in the 49th Annual Down Beat Critics Poll. Miri also appears on saxophonist Ted Nash's Sidewalk Meeting (Arabesque), reviewed in the August '01 Down Beat.
Peter Bernstein was among the top five "TDWR" Guitarists of the Year in the Down Beat Critics Poll. Peter appeared with alumnus Larry Goldings and drum legend Jimmy Cobb at a private Jazz Vanguard event held this past June in the Jazz Performance Space.
Drew Carrano presented his original show, "The American Standard," at Danny's Skylight Room Cabaret, in Manhattan, this past September.
Avishai Cohen and the International Vamp Band recently released their debut recording, Unity (Stretch). Avishai was named TDWR Bassist of the Year by the Down Beat Critics Poll and appears on Chick Corea's new Trio album, Past, Present & Futures (Stretch).
Larry Goldings appears on saxophonist Tim Ries' Septet album Alternate Side (Criss Cross 1199). Larry was also cited as one of the top five Organists of the Year and #1 TDWR (for organ) in Down Beat's annual Critics Poll. Larry was also nominated by the Jazz Journalist's Association for Organ-Keyboardist of the Year
Roy Hargrove was named one of the top five Trumpeter and Composers of the Year in the 49th Annual Down Beat Critics Poll. Roy appeared at the Litchfield Jazz Festival this summer; you can also catch him performing on the soundtrack of the CBS miniseries Blonde (Playboy Jazz). His quintet was one of the highlights at the Veritas Foundation's annual benefit in September, and he received a nomination from the Jazz Journalist's Association for Trumpeter of the Year.
Susie Ibarra was named one of the top ten Drummers of the Year in Down Beat's Critics Poll.

Michelangelo L'Acqua's producing partnership with Rene Arsenault, Onda Productions, was featured in the July issue of Shoot. "A look into the future," said the magazine. "That's what Onda's music sounds like."
Brad Mehldau was named one of the top five Acoustic Pianists of the Year. His trio garnered notice as TDWR Acoustic Jazz Group in the Down Beat Critics Poll. Brad's piano solo on "Ron's Place" was also featured in Down Beat's September '01 "Woodshed" article.
Bilal S. Oliver released his debut album, 1st Born Second, and was featured in Gavin's September article "Bilal: Behind the Shades." "When I perform, I live the music," Bilal states. "I'm expressing whatever emotion lives in the song."
Composer Rob Reddy recently unveiled two new ensembles with record release parties at The Knitting Factory on four consecutive Tuesdays this past summer. Said a Jazziz reviewer of Reddy's recent work: "Reddy draws on concepts and palettes of the AACM, way-post bop, and anything-goes downtown movements."

Nick Rolfe's latest CD, The Persuader, features Steve Turre on trombone and Don Braden on tenor and alto sax. Said a reviewer with the Gavin chart: "With the arrival of The Persuader, we can add pianist Nick Rolfe's name to the list of talented young players in whose hands rests the fate of jazz in its second century."

Recent alums E.J. and Marcus Strickland appear on Sharp Nine's Class of 2001 recording, On the Loose. Marcus also impressed the audience recently at the 9th Annual Charlie Parker Jazz Festival in August, appearing with drum-legend Roy Haynes and his group.

Student Activities

Three of the Jazz Program's current and former students, Lakecia Benjamin (as), Mary Halverson (g), and Rene Cruz (b), were recently interviewed, along with Jane Ira Bloom, for a special documentary commissioned by National Public Radio. The feature, by reporter Margaret Howze, focuses on women in Jazz and gender roles in the music.
New student and guitarist Patty Giurleo's eponymous CD features original compositions performed by Patty and her ensemble: Scott Eisenberg (d), John Frederick (b), Noah Maltsberger (g), Timo Shanko (ts), and Dan Mcloughlin (p & fender).
Pianist Yayoi Ikawa was featured at Dick Hyman's "Jazz in July" master class this past summer.
Composition major Shoichi Manabe's commissioned piece was performed at the Yamano Big Band Contest in Tokyo this past August.
Gary Pickard, Eddy Bishai, and Evan Pazner's trio, The Groove, opened for Marian McPartland in a concert presented by Arts in Southold Town at Southold School. The trio received rave reviews, being cited in a local paper as "a virtual blast for the senses."

Good news for Jazz In Armenia

Congratulations to Jazz Program faculty member, pianist and composer Armen Donelian, who has received a 2001-02 Fulbright Scholar Award to travel to Armenia in March, 2002. Armen will teach for three months as a lecturer at the Yerevan Komitas State Conservatory.

Donelian has been to Armenia three times since 1998 to perform and present Jazz master classes. To promote Jazz education in his homeland where interest is high, Armen founded the Jazz in Armenia Project, a master class residency, by invitation of the Yerevan Conservatory and NAB Artists Management. The Jazz in Armenia Project has received support from CEC International Partners; the Arpa Foundation for Film, Music and Art; the Hovnanian Armenian School; and Just Jazz International. As a Fulbright lecturer and visiting artist-in-residence at the Yerevan Conservatory, Armen will continue the Jazz in Armenia Project in 2002.

Armen has taught at New School University's Jazz Program since 1986. He has received numerous awards including six Jazz Performance Fellowships from the National Endowment for the Arts, five Meet the Composer grants, a CEC International Partners/Artslink Collaborative grant, a New Jersey State Council on the Arts Music Composition grant, and an AFFMA Music grant. His book, Training the Ear (Advance Music), is a standard jazz study-text that has recently been translated into Japanese. Armen Donelian's most recent solo piano recording, Grand Ideas (Vol. I), is available on Sunnyside Records.

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DONOR PROFILES

For many years, Jazz Program supporters Gilda and Henry Block enjoyed our "Jazz at 6:30" concerts, produced by their friend and Jazz Board Chair Paul Weinstein. Another avid Jazz fan and former co-worker of Gilda's, Ken Kolker, usually joined them. So when Henry and Gilda, now retired, approached Paul and Executive Director Martin Mueller about donating to the Jazz Program, a possible concert sponsorship was on everyone's minds. However, when Martin explained to Gilda that scholarships are "our absolute, number one need," the Blocks began to re-think the kind of support they wanted to offer.

"We don't have any children," Gilda reasoned, "so you could say that Jazz is our child. Maybe we could support your students!" With that idea, the Blocks worked with Martin and Jazz Program staff to create the Gilda and Henry Block Endowed Scholarship for Keyboard, as the Blocks are very partial to Jazz piano. The endowed fund of $50,000 will provide a partial scholarship to a deserving Jazz keyboard student, beginning in the Fall '01 semester.

With enthusiasm, the Blocks told their friend Ken Kolker about the scholarship and explained their plans to provide an endowment. Ken, a regional officer of May Merchandising Company & May Department Stores, was so taken by the idea that he decided to donate an endowed scholarship as well. One important difference in the donor's' preferences: Ken favors the saxophone, so his scholarship supports a horn player.

With donors talking to donors, and friends coming forward to generously support our work, we've been able to give two promising young Jazz students scholarships to study with us. To Gilda, Henry, and Ken from all of us in the Jazz Program: thank you for stepping forward on behalf of our students.

Beacons in Jazz The Jazz & Contemporary Music program is delighted to announce that Saxophonist / Composer Wayne Shorter and Jazz Program Board of Governors Chair Paul Weinstein will each receive the Beacons in Jazz Award on march 12, 2002, at our annual dinner and gala. The event will take place at New York's Supper Club and feature numerous performances by distinguished Jazz artists in honor of the award recipients. For more information about the event, or to reserve tickets, call Gina Taglieri, Director of Development, at 212-229-5896 x309