2010 brubeck festival program
DESCRIPTION
Event program for the 2010 Brubeck Festival in Stockton, CA, including letters, photographs from the Brubeck Archive, schedule of events, biographies of musicians and presenters, etc.TRANSCRIPT
2 S C H E D U L E | S T O C K T O N , C A
3 S C H E D U L E | S T O C K T O N , C A
T E N Y E A R SO F T H E
B R U B E C KI N S T I T U T E
C O N T E N T S
J A Z Z G O E S T O C O L L E G E . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
L E T T E R S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 – 6
T H E B R U B E C K C O L L E C T I O N . . . . . . . . . . . . . . . . . . . . . . . . . 8 – 9
S C H E D U L E O F E V E N T S . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 – 11
B I O G R A P H I E S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 – 20
A D E C A D E O F A C C O M P L I S H M E N T . . . . . . . . . . . . . . . . . 21– 26
I N S T I T U T I O N S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 – 2 8
H O N O R A R Y B O A R D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
F R I E N D S O F T H E B R U B E C K I N S T I T U T E . . . . . . . . . . . . 30 – 31
C R E D I T S & A C K N O W L E D G M E N T S . . . . . . . . . . . . . . . . . . . . . . 32
6 S C H E D U L E | S T O C K T O N , C A
The terms “jazz studies” or “jazz education” were unknown when
I graduated from College of the Pacific with a Bachelor’s degree in
music in 1942. As a matter of fact, a student could be ejected from
the Conservatory for even playing jazz in a practice room. Those of
us who loved this music learned the fundamentals by listening to records
and playing with other musicians who shared our “illicit” passion.
When I returned from Europe after World War II to study
composition on the G.I. bill, I chose to study with Darius Milhaud
at Mills College, because he, unlike most classical composers, had
embraced jazz as a new art form. He encouraged his students who
were jazz musicians to incorporate classical elements into our jazz
playing and jazz elements into our classical writing. With this in
mind, we formed the Jazz Workshop Ensemble, later known as the
Dave Brubeck Octet. We played our first concert at Mills College in
1947. It was so successful that we were invited to play at an assembly
at the University of California. It soon became apparent that our
most appreciative audiences were college students who were open to
fresh ideas and willing to listen seriously to jazz in a concert setting.
My wife, Iola, contacted all the colleges within driving distance,
offering the services of the Octet or the Dave Brubeck Trio. We often
played for little more than expenses, but we gained new friends for
jazz and a following that lasted a lifetime. Within five years after the
Octet played an historic concert at College of the Pacific, we had
established a college concert circuit throughout the nation and
opened the door for other jazz groups to follow. My first album for
Columbia Records was Jazz Goes to College (1954) recorded live at
campus concerts.
Today, when my quartet and I participate in a jazz residency at various
universities, my thoughts often go back to 1953. Over the protest of
some faculty members, a student group from the prestigious music
conservatory at Oberlin College in Ohio had daringly hired the
Dave Brubeck Quartet to play a concert in Finney Chapel. When we
arrived, I discovered that the good grand piano was locked and I was
relegated to a beat-up piano that must have been requisitioned from
a practice room. The concert hall was packed with eager students
and some faculty. The campus radio station asked permission to
broadcast the concert. I agreed with the stipulation that I would own
the tape after one airing. From that tape Fantasy Records produced
Jazz At Oberlin, the album many consider the “breakthrough” for the
Dave Brubeck Quartet.
On the 50th anniversary of that concert, we were invited back for
a gala performance. What a contrast! The jazz studies program
at Oberlin is now prominently advertised. I was even given the
use of a beautiful concert grand and an honorary doctorate with
a presentation speech by the great jazz trumpeter and composer
Donald Byrd.
The introduction of jazz as serious concert music had a far-
reaching effect in overcoming the prejudice toward jazz that was
rampant throughout U.S. music schools. For example, in 1949 I was
teaching jazz appreciation for a University of California extension
course. One professor told my supervisor that she would “rather
sleep with a dog” than have her name listed in the same brochure.
Throughout the ‘20s and ‘30s and into the ‘40s there were articles in
music magazines such as The Etude warning music teachers against
the contaminating nature of jazz. In 1947 there was one brave lone
beacon for jazz education at North Texas State University in Denton.
That school’s One O’clock Lab Band became the “farm team” for big
bands such as Stan Kenton’s and Woody Herman’s.
What seemed an impossible dream 60 years ago when we and other
like-minded lovers of jazz crusaded for jazz to be accepted as an art
form has now become a reality. Even bastions of classical music like
Juilliard offer degree programs in jazz studies. When I view with
pride the accomplishments of the Brubeck Institute and the training
that the Brubeck Fellows receive, I feel as if a lifetime of work has
been validated. These young musicians will continue the legacy and
determine the future of jazz, the ever-evolving contemporary art form.
Dave Brubeck
4 I N T R O D U C T I O N
J A Z Z G O E S T O C O L L E G E | B Y D A V E B R U B E C K
5
April 8, 2010
Welcome to the 2010 Brubeck Festival, an annual event that explores the music and legacy of Pacific alumnus Dave Brubeck ’42. Over the past ten years, the Festival has explored Dave’s impact on diplomacy, civil rights, literature, poetry and multi-cultural understanding. This year, the Festival takes a more introspective look at the impact of the Brubeck Institute itself. We especially celebrate the Brubeck Fellowship Program, which brings some of the country’s top college-age jazz musicians to our campus for one- or two-year residencies at the Institute. For this year’s Brubeck Festival, we are excited to welcome back several former Brubeck Fellows as well as a number of professionals who have worked with the Institute over the past decade.
The 2010 Brubeck Festival is part of the President’s Inaugural Series, which marks my first year as President of University of the Pacific with a year-long series of concerts, lectures, symposia and other events showcasing the great strengths of this University, its history and its people. Dave Brubeck and the Brubeck Institute represent core values of the University: celebrating talent, taking creative risks and sticking to principles. Dave Brubeck did all that and more, and he continues to inspire Pacificans today.
I look forward to the academic discussions about Dave Brubeck and music education, as well as the three concerts featuring current and former Brubeck Fellows. And I hope to see you on the final day, when the Festival presents “Jazz on the Mile,” a day-long celebration of jazz in Stockton.
Please join me at the Festival this year as we expand our knowledge and appreciation of music and all things Dave Brubeck. I congratulate the Brubeck Institute on ten years of important work celebrating the Brubeck legacy, and I anticipate many great things to come.
Sincerely,
Pamela A. Eibeck, PhD, PEPresident
6
The Brubeck Institute
Dave BrubeckChairman
Steve AndersonDirector
Honorary Board
Clint EastwoodChairman
Herb AlpertDavid N.BakerJames R. BancroftDavid BenoitKen BurnsDavid CeroneJohn DankworthDonald V. DeRosaClive GillinsonRalph GuildTom HallAl JarreauTim JacksonQuincy D. JonesErich Kunzel, Jr.Cleo LaineNorman M. LearLarry LeasureRamsey E. Lewis, Jr.Dennis A. LeVettGeorge LucasYo-Yo MaWynton MarsalisChristian McBrideMarian McPartlandDoug RamseyLarry RosenBilly Taylor
A. Earle WeatherwaxGeorge T. WeinGordon Zuckerman
3601 Pacific Avenue
Stockton, CA 95211
Tel 209.946.3970
Fax 2 09.946.3972
www.brubeckinstitute.org
8 April 2010
“You can’t understand America without understanding jazz. And you can’t understand jazz, without understanding Dave Brubeck.”
–President Barack Obama December 6, 2009 The White House
This statement about Dave Brubeck by the President of the United States on the occasion of the 2009 Kennedy Center Honors underscores the reason the Brubeck Institute exists. Our mission is to build on and assure the legacy of Dave Brubeck, not just the person, but the extraordinary breadth and depth of his accomplishments, and the profound and lasting influence they will have on current and future generations of Americans, as well as the citizens of the world.
The Brubeck Institute is celebrating a decade of accomplishment. This year’s Brubeck Festival is focusing on contemporary issues in jazz education, the Institute’s educational programs, and some of its many outstanding alumni. Dave Brubeck’s life, values, and influence can be heard through the vitality, creativity, and virtuosity of the young artists performing this week. They, along with scores of other outstanding young creative artists are the hope for our future.
For a vivid picture of how far the country has come in the incorporation of jazz into our educational system, read Dave’s message entitled Jazz Goes to College in this program booklet. This, of course, was also the title of the famous 1954 album by the Dave Brubeck Quartet. The vision and hard work of Dave and Iola Brubeck in pioneering jazz concerts on college campuses brought this quintessential American art form to the public in new venues and created lifelong fans who then demanded that jazz be an essential component in our educational system at all levels, as well as in our cultural life. The academic symposium of the 2010 Brubeck Festival will feature presentations and discussions by six extraordinary jazz educators, each of whom is profoundly involved in the lives of young people in this country through jazz education. We urge you to participate in this forum.
There are two pieces of poster art that are of great importance this year. First is the poster created to celebrate 10 Years of the Brubeck Institute. The image represents the breadth, depth, and extraordinary richness of the Institute’s activities and accomplishments through its first decade. The second is the poster created by the Smithsonian Institution to celebrate Jazz Appreciation Month that features a new portrait of Dave Brubeck by the brilliant American artist, Leroy Neiman. Dave is the first living artist to be featured on the JAM poster.
Thanks to everyone who is participating in the 2010 Brubeck Festival . . . performers, presenters, and audiences alike. We hope you have a wonderful and meaningful experience. Best wishes!
Steve AndersonDirector
9 S C H E D U L E | S T O C K T O N , C A
8 T H E B R U B E C K C O L L E C T I O N
Holt-Atherton Special Collections offers an annual $1,500 research travel grant to students, professors, or independent researchers to come to the campus and use the Brubeck Collection. In addition, a traveling exhibit with audio about Brubeck
and his music is available for venues to display. Visit the website for more information.
The Brubeck Collection is the keystone to the Brubeck legacy at the
University of the Pacific. It consists of a broad range of materials
created and accumulated by Dave and Iola Brubeck throughout their
career. It includes thousands of letters, business records, photographs,
concert reviews and programs, musical scores, and recordings that
document their lives from Dave’s birth in 1920 to the present.
The Collection is housed in the University of the Pacific Library’s
Holt-Atherton Special Collections and is open to the public for
research. A finding aid, digitized materials, and information on the
Paul Desmond Papers and other Brubeck related collections can be
found at http://library.pacific.edu/ha/brubeck/.
T H E B R U B E C K C O L L E C T I O N
Iola Whitlock (left) came to
the College of the Pacific in the
fall of 1940 to study radio and
drama. She met Dave Brubeck
through her work at the campus
radio station and they married
in September 1942.
Dave Brubeck graduated from
Pacific in 1942. He served in
World War II before he began his
studies under classical composer
Darius Milhaud at Mills College
in Oakland. He started The
Jazz Workshop Ensemble with
several like-minded students
and premiered the band in
Stockton in early 1949.
The University Extension at the University of California Berkeley
offered Lifelong Learning classes for the public. The music program
included “Nontechnical Classes” such as Brubeck’s jazz class in the
fall of 1949.
In 1954, Brubeck participated in the “Dave teaches teachers” program
in Alameda County. Later that same year, he would appear on the
cover of Time magazine as an icon of jazz music.
T H E B R U B E C K C O L L E C T I O N 9
It was not uncommon for jazz bands to play for college dances and parties. In 1952, Iola Brubeck realized that college students would
enjoy jazz concerts as well, and she began to book Dave’s band around the Bay Area and eventually throughout the country. Other bands soon
followed the trend.
The Dave Brubeck
Quartet recorded five
different albums with
a college theme. Jazz
at Oberlin is heralded
as one of the early
Quartet’s finest and
lead to the signing
of the band with
Columbia Records.
The Brubeck Collection is used by students
in a variety of courses at Pacific, as well
as any interested researchers. Brubeck’s
material reflects his devotion to civil rights
and a desire to use jazz as a diplomatic tool
for democracy world-wide.
10 S C H E D U L E O F E V E N T S
T H U R S D A Y , A P R I L 8 F R I D A Y , A P R I L 9
U N I V E R S I T Y O F T H E P A C I F I C & T H E B R U B E C K I N S T I T U T E P R O U D L Y P R E S E N T T H E
3:00 P.M. TO 5:00 P.M.TAYLOR ROOM IN THE UNIVERSITY L IBRARY
The Use of the Brubeck Collection and the Paul Desmond Papers in Scholarship & TeachingModerator: Shan Sutton, Associate Dean & Head of Special Collections
Faculty presenter: Keith Hatschek, Director of Music Management
Student presenters: Stephen Cross, Christopher Lopez, Bryce
McLaughlin, Randy Sandoli
7:30 P.M.FAYE SPANOS CONCERT HALL
2007 Brubeck Institute Jazz QuintetBrian Chahley, trumpet
Lucas Pino, saxophone
Glenn Zaleski, piano
Chris Smith, bass
Cory Cox, drums
Guest ArtistsBob Mintzer, saxophone
Joe Gilman, piano
7:30 P.M.FAYE SPANOS CONCERT HALL
2009 Brubeck Institute Jazz QuintetBen Flocks, saxophone
Chad Lefkowitz-Brown, saxophone
Javier Santiago, piano
Zach Brown, bass
Adam Arruda, drums
Guest ArtistsGilbert Castellanos, trumpet
Joe Gilman, piano
S C H E D U L E O F E V E N T S 11
S C H E D U L E O F E V E N T S | S T O C K T O N , C A
S A T U R D A Y , A P R I L 1 0 S U N D A Y , A P R I L 11
10:00 A.M. TO NOON & 2:00 P.M. TO 4:00 P.M.CONSERVATORY RECITAL HALL
Brubeck Festival Symposium – Jazz Goes to School!
David Baker, Professor & Director of Jazz Studies –
Indiana University
JB Dyas, Vice President for Education and Curriculum
Development – Thelonious Monk Institute for Jazz
Bart Marantz, Director of Jazz Studies – Booker T. Washington
High School for the Performing and Visual Arts in Dallas, TX
Mary Jo Papich, President of the Jazz Education Network
Harry Schnipper, Owner of Blues Alley Jazz Club and Jazz
Education Innovator in Washington D.C.
Chuck Tumlinson, Director of Jazz Studies at California State
University-Fullerton and President of the California Alliance for Jazz
7:30 P.M.FAYE SPANOS CONCERT HALL
2010 Brubeck Institute Jazz QuintetChad Lefkowitz-Brown, saxophone
Nick Frenay, trumpet
Noah Kellman, piano
Zach Brown, bass
Corey Fonville, drums
Guest ArtistChristian McBride, bass
Yosvany Terry QuartetYosvany Terry, saxophone
Taylor Eigsti, piano
Joe Sanders, bass
Justin Brown, drums
1:00 P.M. TO 6:00 P.M.PACIFIC AVENUE AT TUxEDO CIRCLE ON THE MIRACLE MILE
Jazz on the Mile!
Cesar Chavez High School Jazz Band
San Joaquin Delta College Jazz Ensemble
Delta College Monday Night Jazz Band
Brubeck Institute Jazz Quintet
Claudia Villela
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B I O G R A P H I E S
M U S I C I A N S
G R O U P S
L E C T U R E R S
P R E S E N T E R S
P A N E L I S T S
16 S C H E D U L E | S T O C K T O N , C A
Dave Brubeck, Chairman of the Brubeck Institute, received the prestigious Kennedy Center Honor on his birthday, December 6, 2009. In a career spanning more than six decades, his introduction of odd time signatures, improvised counterpoint, and distinctive harmonies has made him one of the defining voices of jazz. Approaching his 90th year, he continues to tour and record with the long-time members of his current quartet—Bobby Militello, Randy Jones and Michael Moore.
Born in Concord, California in 1920, Brubeck started studying piano at the age of four with his mother, a classical pianist. His family moved to a 45,000-acre cattle ranch near Ione, CA, when he was twelve. Through his teens he worked as a cowboy with his father and played in local dance bands on weekends. He entered the College of the Pacific in 1938 intending to become a veterinarian. While in college, he became increasingly involved in jazz and switched his major to music. In WWII he served in the Army under General Patton, where he led an integrated GI jazz band. After his discharge, he studied composition at Mills College in Oakland, CA with French composer Darius Milhaud, who encouraged him to incorporate jazz in his classical compositions. In 1949, Brubeck formed the award-winning Dave Brubeck Trio from the rhythm section of an experimental Octet comprised of fellow Milhaud students. Two years later, after a near fatal swimming accident, he established the Dave Brubeck Quartet with alto saxophonist Paul Desmond, an historic collaboration that lasted 17 years.
This Quartet toured campuses and clubs across the country, appearing with such artists as Duke Ellington, Ella Fitzgerald and Charlie Parker. Brubeck’s style of music was causing such a stir that in 1954 his portrait appeared on the cover of Time Magazine. The “classic quartet” with Desmond, Joe Morello and Eugene Wright made its first international tour in 1958, with performances throughout Europe, and under State Department sponsorship played in Poland, India, Turkey, Afghanistan, Iraq, Iran, Sri Lanka, East and West Pakistan. The following year, the historic Time Out album, featuring “Blue Rondo a la Turk” and “Take Five,” was released. It became the Quartet’s signature work and has a place in the Grammy Hall of Fame.
After the original Brubeck Quartet disbanded, Brubeck led a group with Jack Six and Alan Dawson that featured Gerry Mulligan and in the late ‘70s he performed with his sons, Darius, Chris and Dan. Over the years he has performed before many Presidents, Heads of State, Queen Elizabeth, and Pope John Paul II.
Brubeck’s compositional oeuvre extends far beyond the Quartet. In 1960, he composed Points on Jazz for the American Ballet Theatre; in 1962, he wrote a musical theater piece, The Real Ambassadors, starring Louis Armstrong and Carmen McRae, and Elementals, written for jazz combo and orchestra that was choreographed by Lar Lubovitch for the San Francisco Ballet in 2005. Other major works include his mass To Hope! A Celebration that has been performed throughout the English-speaking world and in Russia, Germany, Switzerland and Austria. He has written a string quartet, several oratorios and works for chorus and orchestra, ballet suites and chamber music in both jazz and classical styles. His most recent orchestral piece, the multi-media Ansel Adams: America, composed in collaboration with his son, Chris, received its world premier in 2009 with the Stockton Symphony, conducted by Peter Jaffe.
Brubeck has received innumerable accolades. The Library of Congress designated him a “Living Legend” and the National Endowment for the Arts inducted him as a Jazz Master. In 1994 President Clinton presented him with the National Medal of the Arts, and in 2008 he became the first individual recipient of the State Department’s Benjamin Franklin Award for Public Diplomacy. Internationally, the Austrian, French and Italian governments have honored him, and he holds honorary degrees from universities around the world. Other awards include a Grammy Lifetime Achievement Award, the Smithsonian Medal and induction into the California Hall of Fame. In addition to the accolades received as a jazz artist, he also has a place in the American Classical Hall of Fame.
D A V E B R U B E C K
14 B I O G R A P H I E S
2 0 07 B R U B E C K I N S T I T U T E J A Z Z Q U I N T E T
The Brubeck Institute Jazz Quintet was
named by DownBeat Magazine as the best
collegiate jazz group in the nation in 2007. The
members of the group were Brian Chahley,
trumpet, from Toronto, Canada; Lucas Pino,
saxophone, from Phoenix, AZ; Glenn Zaleski,
piano, from Boylston, MA; Cory Cox, drums,
from Houston, TX; and Chris Smith, bass,
from Minneapolis, MN. All finished the
Brubeck Fellowship Program and went to New
York. Lucas finished his degree at The New
School for Jazz and Contemporary Music and
is working on his master’s degree at Juilliard.
Glenn also finished his undergraduate degree
at the New School and is working on his
master’s degree at NYU. Brian, Cory, and Chris
are all working toward their undergraduate
degrees at the New School. All five are also
playing professionally in the New York area,
doing tours with major jazz artists, and have
been on numerous recording sessions. The
picture above is of the members of the quintet
in 2007. They are (back row) Glenn, Lucas,
Cory, (front row) Brian and Chris, on the
Pacific campus.
2 0 0 9 B R U B E C K I N S T I T U T E J A Z Z Q U I N T E T
The Brubeck Institute Jazz Quintet was named
by DownBeat Magazine as the best collegiate
jazz group in the nation in 2009. The members
of the group were Ben Flocks, saxophone, from
Santa Cruz, CA; Javier Santiago, piano, from
Minneapolis, MN; Adam Arruda, drums, from
Toronto, Canada; Zach Brown, bass, from
Columbia, MD; and Chad Lefkowitz-Brown,
saxophone, from Horseheads, NY. Ben, Javier,
and Adam finished the Brubeck Fellowship
Program; Ben and Javier went to New York
and Adam returned to Canada. Zach and
Chad are in their second and final year in the
Fellowship Program in the Institute. Javier
is currently a student at the New School for
Jazz and Contemporary Music in NYC, Adam
is studying in Montreal and preparing to
move to NYC, and Ben is also studying in NY.
All are playing professionally and working
regularly in the jazz and new music scene in
their respective areas. Zach and Chad plan to
move to the New York or Boston areas in the
fall. The picture above is of the members of
the quintet in 2009. They are (l-r) Javier, Dave
Brubeck, Zach, Chad, Ben, and Adam after a
performance at the Meridian International
Center in Washington, DC.
2 010 B R U B E C K I N S T I T U T E J A Z Z Q U I N T E T
The current Brubeck Institute Jazz Quintet
members are Chad Lefkowitz-Brown,
saxophone, from Horseheads, NY; Nick
Frenay, trumpet, from Syracuse, NY; Noah
Kellman, piano, from Fayetteville, NY; Zach
Brown, bass, from Columbia, MD; and Corey
Fonville, drums, from Virginia Beach, VA.
Chad and Zach are second-year Fellows, and
Nick, Noah, and Corey are all in their first
year in the program. All aspire to professional
careers in jazz performance and all plan to
pursue degrees upon completion of their
Brubeck Fellowship. This year’s BIJQ has
appeared at the Detroit Jazz Festival, opened
for the Dave Brubeck Quartet in Sacramento,
played in New York, Southern California, at
the California Music Educators Conference,
and will be performing in Washington DC in
April at the Blues Alley Jazz Club, Smithsonian
American Art Museum, area high schools and
universities, and in a feature concert on the 1st
Annual Jazz Education Network convention
in St. Louis in May. The picture above is of the
members of the quintet this year. They are:
back row (l-r) Nick, Chad, Noah, Corey, and
Zach; front row: Dave Brubeck, after rehersal
at the Detroit Jazz Festival.
B I O G R A P H I E S
B I O G R A P H I E S 15
18 S C H E D U L E | S T O C K T O N , C A
B A R T M A R A N T Z
Bart Marantz has been director of jazz studies
at the Booker T. Washington High School for
the Performing and Visual Arts since 1983.
His program has garnered 207 DownBeat
Student Awards – the most of any school in
the competition’s history – and has graduated
students such as Roy Hargrove and Norah
Jones. He did academic work at Indiana
University and University of Miami where he
received a degree in Instrumental Jazz Studies/
Performance under the direction of Jamey
Aebersold, David Baker, Jerry Coker, and Dan
Haerle. He received his masters degree in
Afro-American Jazz Music at the New England
Conservatory of Music in Boston, where he
studied and performed with Phil Wilson, Jaki
Byard and George Russell. Bart has published
articles in the Florida Music Director, Music
Educators Journal, Jazz Educators Journal,
DownBeat, and the Band Directors Guide
magazines. He is co-author of Jazz Figure
Reading Studies and a contributing author
to Jazz: A Course of Study, released by MENC
and IAJE. Bart is a Selmer Clinician and
plays Bach/Selmer trumpets and flugelhorns
exclusively.
J B D Y A S
Bassist JB Dyas has been involved in jazz
education for the past three decades.
Formerly the Director of Jazz Studies at
New World School of the Arts and Executive
Director of the Brubeck Institute, he currently
oversees the Thelonious Monk Institute of
Jazz education and outreach programs as
Vice President for Education and Curriculum
Development. He also serves as Project
Director for the Institute’s Jazz In America
initiative (www.jazzinamerica.org) one of
the most significant and wide-reaching jazz
education programs in the world. Throughout
his career, Dyas has performed throughout
the country, taught students at every level,
directed large and small ensembles, developed
and implemented new jazz curricula, and
written for national music publications. He
has presented numerous jazz clinics, teacher
training seminars, and other jazz education
events nationwide with such artists as Dave
Brubeck, Terri Lynne Carrington, Regina
Carter, Herbie Hancock, Ingrid Jensen,
Christian McBride, Jackie McLean, and Bobby
Watson, and is the recipient of the DownBeat
Achievement Award for Jazz Education. He
received his master’s degree in jazz pedagogy
from the University of Miami and his PhD in
music education from Indiana University.
D A V I D B A K E R
David Baker is Distinguished Professor of
Music and Chairman of the Jazz Department
at the Indiana University School of Music,
and is conductor and artistic director of the
Smithsonian Jazz Masterworks Orchestra.
He has been nominated for a Pulitzer Prize,
a Grammy, and honored by DownBeat for
lifetime achievement, and as a member of
their Jazz Education Hall of Fame. He has
received the National Association of Jazz
Educators Hall of Fame Award, the James
Smithson Medal from the Smithsonian
Institution, the NEA American Jazz Masters
Award, an Emmy for his score for a PBS
documentary, and the Kennedy Center as
a Living Jazz Legend. As a composer, Dr.
Baker has been commissioned by over
500 entities, including Josef Gingold, Janos
Starker, New York Philharmonic, St. Paul
Chamber Orchestra, Beaux Arts Trio, and
the Audubon String Quartet, and has written
jazz and symphonic works, chamber music,
and ballet and film scores. He is a member
of the National Council on the Arts, on the
board of The American Symphony Orchestra
League, and the Afro-American Bicentennial
Hall of Fame/Museum. He chaired the Jazz
Advisory Panel of the Kennedy Center, the
Jazz/Folk/Ethnic Panel of the NEA, was
president of IAJE, and the National Jazz
Service Organization. He is senior consultant
for the music programs of the Smithsonian
Institution, has served on the Pulitzer Prize
Music Jury, and is chair of the jazz faculty
of the Stearns Institute for Young Artists at
the Ravinia Festival. He is a member of the
Honorary Board of the Brubeck Institute.
B I O G R A P H I E S | A C A D E M I C S Y M P O S I U M
16 B I O G R A P H I E S
M A R Y J O P A P I C H
Mary Jo Papich, currently President of the Jazz
Education Network, is known for her support
of arts education, specifically jazz – America’s
art form. She has served as Fine Arts Chair at
Highland Park High School in Chicago, where
she coordinates the school’s award-winning
biennial FOCUS ON THE ARTS festival.
She served as Vice President on the Illinois
Music Education Association Executive State
Board, and for eight years on the Executive
Board of the International Association for
Jazz Education. As the district’s Fine Arts
Coordinator in the Peoria public school
system, she founded the Peoria Jazz All-
Stars, who performed at the Montreux Jazz
Festival, North Sea Jazz Festival, the Umbria
Jazz Festival, and many others. Ms. Papich
has served on the Artistic Access to Excellence
Commission for the National Endowment for
the Arts in Washington DC. She has been a
presenter at the Mid-West International Band
and Orchestra Clinic in Chicago, numerous
IAJE conferences, chaired the first National
Jazz Band Advisory Council for Bands of
America, and was recently the keynote speaker
for the South African Jazz Conference in
Cape Town.
C H U C K T U M L I N S O N
Chuck Tumlinson is in his ninth year as
director of Cal State Fullerton’s Jazz Program.
As a jazz trumpeter he has performed at
the Wichita, Reno and Kool jazz festivals,
and has performed with the Count Basie
Orchestra, Dizzy Gillespie, Terence Blanchard,
Mark Murphy, Ray Charles, Lou Rawls,
the Temptations, Al Jarreau, Rosemary
Clooney, Danny Gottlieb, and Peter Erskine.
Tumlinson has been featured soloist at
national conventions and has appeared as
soloist, clinician, and adjudicator throughout
the country. His compositions and
arrangements have been recorded by leading
bands and performers such as Pete Christlieb,
Eric Marienthal, the University of Northern
Colorado Lab and the University of North
Texas One O’clock Lab Band. Tumlinson has
served as principal trumpet in the Wichita
Falls (Texas) Symphony and has performed
with the Wichita Symphony, Fort Worth
Symphony/Opera and Sunflower Chamber
orchestras. He currently serves as the Jazz
Corner column editor for the International
Trumpet Guild Journal, is a Yamaha Artist/
Clinician, and is President of the California
Alliance for Jazz. He received his Ph.D. and
masters degrees from the University of North
Texas, and he holds a BME degree from
Wichita State University.
H A R R Y S C H N I P P E R
Harry Schnipper is the owner of the Blues
Alley Jazz club in Washington, DC. Blues Alley
Jazz is America’s oldest, continuously operated
jazz supper club, and is the Executive Director
of the Blues Alley Jazz Society (BAJS). Blues
Alley has hosted every musical genre from
mainstream to the avant-garde for over half
a century. Jazz artists have included Carmen
McCrae, Count Basie, Ella Fitzgerald, Dizzy
Gillespie, Mary Lou Williams, Miles Davis,
Wynton Marsalis, Ahmad Jamal and many
more. Dizzy Gillespie once remarked that, “if
you do not cultivate your jazz audience then
there will be no jazz”. Blues Alley is the only
jazz club to offer and operate free, non-profit
music education programming for children.
For over 25 years Mr. Schnipper has expanded
educational programming to produce a free
“Summer Jazz Camp” for kids, the year-
round Blues Alley Youth Orchestra, and the
annual BIG BAND JAM! jazz festival on the
National Mall. Principal partners include the
Smithsonian Jazz Masterworks Orchestra,
United States Army and the Brubeck Institute.
BAJS, now in its third decade, has alumni at
many major musical schools in America. Through
strategic partnerships, the BAJS has incorporated
clinics, classes and workshops into its curriculum
to give student musicians access to visiting
artists and educators. This allows these aspiring
student musicians to attend camp, graduate into
orchestra, perform publicly at senior centers,
festivals, cultural institutions, and at Blues
Alley. Mr. Schnipper defines his approach as
one that folds education into opportunity and
opportunity into performance.
B I O G R A P H I E S 17
18 B I O G R A P H I E S
Y O S V A N Y T E R R Y
Yosvany Terry,saxophone, was born in Cuba,
received his early musical training from his fa-
ther, Eladio Terry, violinist and Cuba’s leading
player of the Chekere. He received his classical
training and graduated from both the presti-
gious National School of Art and Amadeo
Roldan Conservatory. While in Cuba, he was
known for his musical innovation while per-
forming with Cuban jazz legends, and then
forming the influential group, Columna B,
which represented the new voice of young
players and became a limitless workshop
where everything could be tried and experi-
mented with. Yosvany came to NY in 1999
and was immediately recognized as a spectac-
ular talent in the jazz scene as he played with
the greatest names in jazz. Always growing,
he has absorbed and incorporated Ameri-
can jazz traditions with his own Afro-Cuban
roots to produce compositions and solo work
that flow from the rhythmic and hard driving
avant-garde to beautiful lyricism.
T A Y L O R E I G S T I
Taylor Eigsti, piano, grew up in Menlo Park,
CA, and has rapidly become one of the
brightest stars on the jazz scene. Mentored
by David Benoit, he has shared the stage and
recorded with artists such as Dianne Schuur,
Diana Krall, Al Jarreau, Dave Brubeck, Bobby
Hutcherson, James Moody, and many others.
He has been featured on the covers of Jazziz
and Keyboard Magazine, was recognized
in the DownBeat critics poll for two years
running, received two Grammy nominations
for his CD, Lucky To Be Me, and is widely
known both his solo and ensemble virtuosity
and musicality.
J O E S A N D E R S
Joe Sanders, bass, is from Milwaukee, WI,
was the first bassist in the Brubeck Institute
Fellowship Program (2002-2004) and has
become one of the most in-demand bassists
on the New York jazz scene today. He plays
with a wide range of contemporary jazz artists,
including Gerald Clayton, Roy Hargrove,
Wayne Shorter, and Yosvany Terry.
J U S T I N B R O W N
Justin Brown, drums, is from Berkeley, CA,
was the first drummer in the Brubeck Institute
Fellowship Program (2002-2004) and has
become one of the most versatile drummers
on the New York jazz scene today. He plays
with a wide variety of jazz artists, including
Kenny Garrett, Gerald Clayton, Yosvany Terry,
Nicholas Payton, and Christian McBride.
B I O G R A P H I E S | Y O S V A N Y T E R R Y Q U A R T E T
G I L B E R T C A S T E L L A N O S
San Diego based trumpeter Gilbert
Castellanos is a major force on the San Diego
jazz scene and in Southern California. He is
known both for his work as a leader and as
a member of two top jazz ensembles in the
Los Angeles area, guitarist Anthony Wilson’s
Nonet, and one of today’s greatest big bands,
the Clayton-Hamilton Jazz Orchestra. He
follows in the footsteps of his father Gilbert B.
Castellanos, who, with his own group, made
popular records in Mexico in the late 1960’s.
His recording career includes projects such
as Jungle Music (Colombia Records) and
Nothin’ But the Swing (Impulse Records) as
a member of Black/Note. He has performed
and recorded with Dizzy Gillespie, Wynton
Marsalis, Charlie Hayden, Les McCann and
Poncho Sanchez, and has played festivals in
Montreal, New York, Japan, Holland, Italy,
Spain, and Germany. Gilbert appears regularly
in San Diego, leading bands in clubs and
producing tribute concerts to Horace Silver,
Lee Morgan, Miles Davis, Thelonious Monk,
Clifford Brown and other jazz giants. His
debut CD, The Gilbert Castellanos Hammond
B3 Quartet, features standards by such great
artists such as Joe Henderson, Sonny Rollins,
Wayne Shorter and Lee Morgan, along with
works of his own.
J O E G I L M A N
Joe Gilman is the music director of the Brubeck
Institute’s Fellowship Program, artistic
director of the Institute’s Summer Jazz Colony,
professor of music at American River College
in Sacramento, and music director of Capital
Jazz Project. He has been the primary pianist
with jazz vibraphonist Bobby Hutcherson
since 2006, and has performed professionally
with Eddie Harris, Woody Shaw, Marlena
Shaw, Richie Cole, George Duke, Chris Botti,
Eric Alexander, David ‘Fathead’ Newman,
and Slide Hampton, and has recorded
with Joe Henderson, Jeff ‘Tain’ Watts, and
Robert Hurst. He was an International Jazz
Ambassador through the Kennedy Center for
the Performing Arts and USIA in West Africa
in 1999, and East and Southern Africa in 2000.
He was named the first Brubeck Scholar at the
2005 Brubeck Festival, and in 2004, he won
the Great American Jazz Piano Competition
in Florida. His work with students in the
Brubeck Institute has produced several CDs
– Brubeck Revisited, Vols. 1 & 2 (Sunnyside),
and Wonder Revisited, Vols. 1 & 2 (Capri) all
recorded with Brubeck Institute Fellows Joe
Sanders and Justin Brown, the double CD of
the 2006-2007 Brubeck Institute Jazz Quintet,
and the 2007-2008 CD by the same group,
and a double CD of the 2008-2009 group. His
work with the 2006-2007 Fellowship students
resulted in four 2007 DownBeat Magazine
student awards, including the best collegiate
jazz group in the country. The 2008-2009
BIJQ again won the best collegiate jazz group
in DownBeat under his leadership.
B I O G R A P H I E S
B I O G R A P H I E S 19
C H R I S T I A N M C B R I D E
A Philadelphia native, Grammy Award winning
bassist Christian McBride served as the first
Artistic Director of the Brubeck Institute. In
that role he set both the educational and artistic
standards for the Institute, and especially the
Fellowship Program. He is a frequent visitor
to campus and works with the BIJQ in private
lessons, ensemble coaching, and advising about
professional life as a jazz musician. Christian has
played with countless artists across the musical
spectrum, from McCoy Tyner and Sting to
Diana Krall. His concert performances span the
globe, and his recordings, both as a leader and
member of other groups, are diverse in style and
brilliant in execution. But his accomplishments
as a player are only part of what makes him such
a highly respected artist. In addition to his work
at the Brubeck Institute, he has been artistic
director at the Jazz Aspen Institute summer
program, co-director of the Jazz Museum in
Harlem, Creative Chair for Jazz for the Los
Angeles Philharmonic, Artist in Residence for
the Monterey Jazz Festival, and the Detroit
Jazz Festival. As a composer, Christian was
commissioned by Jazz at Lincoln Center to write
Bluesin’ in Alphabet City, which was performed
by Wynton Marsalis with the Lincoln Center
Jazz Orchestra. The Portland Arts Society
and the National Endowment for the Arts
commissioned him to write The Movement,
Revisited, a dramatic musical portrait of the civil
rights struggle of the 1960s. Christian McBride
is a member of the Honorary Board of the
Friends of the Brubeck Institute, and he is the
2010 recipient of the Brubeck Institute Award
for Distinguished Achievement.
J A Z Z O N T H E M I L E !
Cesar Chavez High School Jazz Band
San Joaquin Delta College Jazz Ensemble
Delta College Monday
Night Jazz Band
Brubeck Institute Jazz Quintet
Claudia Villela
B I O G R A P H I E S
20 B I O G R A P H I E S
B O B M I N T Z E R
Arranger and saxophonist Bob Mintzer
has made his work merging a traditional
jazz approach with an all encompassing
modernism that embraces lyricism, a strong
sense of swing, and arrangements that take
the listener on an unpredictable and vibrant
journey. Besides leading his own New
York based big band since the early 1980s,
Bob leads a jazz quartet, is a fifteen-year
member of the Yellowjackets, and is active in
music education. In addition to his playing
schedule, Bob writes for the Yellowjackets, big
bands, symphony orchestra, and etude books.
Bob honed his skills playing and writing
for Buddy Rich, Thad Jones, Mel Lewis, Art
Blakey, Sam Jones, Jaco Pastorius, The GRP
Big Band, Mike Manieri, Tito Puente, Eddie
Palmieri, and the New York Philharmonic. He
has also done session work for James Taylor,
Queen, Steve Winwood, Aretha Franklin, and
countless others. Bob has been nominated for
thirteen Grammy Awards, both for his solo
work and big band recordings, including Art
of the Big Band, Departure, Homage to Count
Basie, One Music, and Only in New York, and
for his work with the Yellowjackets. Homage
to Count Basie won the Grammy in the best
large ensemble category for the 44th Annual
Grammy Awards in 2001.
On the 10th anniversary of the Brubeck Institute, it is valuable to look back and see
some of what the Institute has done during its first decade. While it’s not possible to
list every performance, every tour, and every other detail of the Institute’s activities,
it is important to recognize those who have participated in the Institute’s work as
students, performers, and teachers, to recall Brubeck Festival presentations, and
remember those who have been recognized for their distinguished achievement.
A D E C A D E O F A C C O M P L I S H M E N T
B R U B E C K I N S T I T U T E A W A R D F O R D I S T I N G U I S H E D A C H I E V E M E N T
The Brubeck Institute Award for Distinguished Achievement
was created to recognize an individual for his or her outstanding
contribution to the world of music and ideas, in an area where
Dave Brubeck has made significant impact upon the world.
2005 | Joe Gilman, pianist, composer, teacher –
Brubeck Institute
2006 | John Salmon, pianist, scholar –
University of North Carolina–Greensboro
2007 | Kevin Deas, world renowned singer
2008 | Penny Von Eschen, scholar – University of Michigan
2009 | Donald V. DeRosa, President – University of the Pacific
2010 | Christian McBride, jazz bassist
B R U B E C K S U M M E R J A Z Z C O L O N Y
C O L O N I S T S
2002 | Kai Ando, bass, NY, NY; Pat Carroll, sax, Pleasanton, CA;
Andrea Caruso, voice, Hartford, CT; Tobin Chodos, piano, LA, CA;
Nick DePinna, trombone, Pleasanton, CA; Tlacael Esparza, drums,
LA, CA; Marcus Gilmore, drums, NY, NY; Keith Karman, bass, LA,
CA; Micah Ke-Renzvi, guitar, LA, CA; Matt Marantz, sax, Dallas,
TX; Sean McCluskey, piano, Shrewsbury, MA; Scott McGinty,
sax, Houston, TX; Shawn McGinty, trumpet, Houston, TX; Perry
Morris, drums, Dallas, TX; Michael Palma, piano, Dallas, TX; Anja
Parks, trumpet, NY, NY; Dominic Thiroux, bass, LA, CA
2003 | Kyle Athayde, trumpet, Lafayette, CA; Pat Carroll, sax,
Pleasanton, CA; Rashann Carter, bass, Suitland, MD; Eldar
Djangirov, piano, San Diego, CA; Tom Gardner, sax, Washington,
DC; Hayden Hawkins, drums, Houston, TX; Dustin Kaufman,
drums, Houston, TX; Corey King, trombone, Houston, TX; Pascal
Le Boeuf, piano, Santa Cruz, CA; Matt Marantz, sax, Dallas, TX;
Perry Morris, drums, Dallas, TX; Michael Palma, piano, Dallas, TX;
Anja Parks, trumpet, NY, NY; Joe Sanders, bass, Milwaukee, WI;
Jennifer Sanon, voice, Miami, FL; Dominic Thiroux, bass, LA, CA;
Max Townsley, guitar, Dallas, TX
2004 | Kyle Athayde, trumpet, Lafayette, CA; Hans Bernhard,
bass, Santa Cruz, CA; Brian Chahley, trumpet, Toronto, Canada;
Cory Cox, drums, Houston, TX; Eldar Djangirov, piano, San Diego,
CA; Victor Gould, piano, LA, CA; Nick Jozwiak, bass, Naperville,
IL; Dustin Kaufman, drums, Houston, TX; Shaun Lowecki,
drums, Libertyville, IL; Joe McDonough, trombone, Langhorne,
PA; Matthew O’Grady, guitar, Green Bay, WI; David Palma, sax,
Miami, FL; Lucas Pino, sax, Phoenix, AZ; Peter Reardon-Anderson,
sax, Bethesda, MD; Earl Travis II, bass, Houston, TX; Nadia
Washington, voice, Dallas, TX; Glenn Zaleski, piano, Boylston, MA
2005 | Kyle Athayde, trumpet, Lafayette, CA; Julian Bransby,
piano, Bloomington, IN; Brian Crutchfield, sax, Houston, TX;
Ismael Cuevas, trombone, LA, CA; Gregory Diaz, trumpet LA, CA;
Woody Goss, piano, Skokie, IL; Nick Jozwiak, bass, Naperville, IL;
Graham Keir, guitar Wyndmoor, PA; Noah Kellman, piano, DeWitt,
NY; Isaiah Morfin, sax, Bakersield, CA; Harvel Nakundi, drums,
Miami, FL; Steve Renko, drums, Cleveland, OH; Katie Thiroux,
bass & voice, LA, CA; Ben van Gelder, sax, Netherlands; Nadia
Washington, voice, Dallas, TX; Max Wrightson, drums, LA, CA;
Charlie Zuckerman, bass, Miami, FL
22 A D E C A D E O F A C C O M P L I S H M E N T
A D E C A D E O F A C C O M P L I S H M E N T 23
Piano
Joe Gilman
Geoffrey Keezer
Taylor Eigsti
Mulgrew Miller
Glenn Zaleski
Trumpet
Brian Lynch
Gilbert Castellanos
Marvin Stamm
Ingrid Jensen
Terence Blanchard
Roy Hargrove
Nicholas Payton
Bart Marantz
Guitar
Mike DeMicco
Mark Boling
Steve Homan
THE S JC 09 ART I S TS | JOE G I LMAN P I A N O | BR IAN LYNCH T R U M P E T ANDREW SPEIGHT SAXOPHONE | STEVE DAVIS TROMBONE | RAY DRUMMOND BASS AKIRA TANA DRUMS | MADELINE EASTMAN VOICE | BART MARANTZ TRUMPET STEVE HOMAN GU I TAR | GLENN ZALESKI P IANO | RICK LOTTER DRUMSZ A C H B R O W N B A S S | C H A D L E F K O W I T Z - B R O W N S A X O P H O N ETHE SJC 09 COLONISTS | LUKE CELENZA PIANO | SAM CROWE SAXOPHONEGILBERT FIX BASS | HAYDEN HAMILTON DRUMS | JON HATAMIYA TROMBONE NICHOLAS HETKO PIANO | BEN LUSHER VOICE | ANTONIO MADRUGA PIANOMICHAEL MAYO VOICE | COLIN MCDANIEL DRUMS | CLINT MOBLEY DRUMSJARED MULCAHY BASS | TREE PALMEDO TRUMPET | CODY ROWLANDS TRUMPETKEVIN SUN SAXOPHONE | CAITLIN QUINLIN VOICE | GREGORY UHLMANN GUITAR B I L L V O N D E R H A A R B A S S | M A X Z O O I S A X O P H O N E
THE SJC 09 ARTISTS CONCERT | FRIDAY, AUGUST 14, 7:30 P.M. UNIVERSITY OF THE PACIFIC | FAYE SPANOS CONCERT HALL | FREE ADMISSION
THE SJC 09 COLONISTS CONCERT | SATURDAY, AUGUST 15, 3:00 P.M. UNIVERSITY OF THE PACIFIC | FAYE SPANOS CONCERT HALL | FREE ADMISSION
B R U B E C K I N S T I T U T E | D A V E B R U B E C K C H A I R M A NC L I N T E A S T W O O D C H A I R M A N O F T H E H O N O R A R Y B O A R DSTEVE ANDERSON EXECUTIVE D IRECTOR | JOE GILMAN MUSICAL DIRECTORFELLOWSHIP PROGRAM & ARTISTIC DIRECTOR–SUMMER JAZZ COLONY | PAT ECKERT ADMINISTRATIVE ASSISTANT | GINA BROWN RISHWAIN NATIONAL DIRECTOR OF DEVELOPMENT
09
W W W. B R U B E C K I N S T I T U T E . O R G
2006 | Adam Arruda, drums, Toronto, Canada; Aaron Bahr,
trumpet, Moraga, CA; Edwin Barbash, sax, Winston-Salem, NC;
Tim Carr, drums, Novato, CA; Ben Flocks, sax, Santa Cruz, CA;
Adam Gertner, drums, Denver, CO; Grace Kelly, sax, Brookline,
MA; Rustom Jehangir, trombone, Downers Grove, IL; Garret Lang,
bass, LA, CA; Ivan Malespin, trombone, Miami, FL; Luke Marantz,
voice, Dallas, TX; Jeff Picker, bass, Beaverton, OR; Sam Reider,
piano, San Francisco, CA; Charlie Stanford, guitar, Portland, OR;
Gary Thomas, bass, Gainesville, FL; Yuma Sung, piano, San Jose,
CA; Sam Yulsman, piano, Niwot, CO
2007 | Travis Antoine, trumpet, NY, NY; Adam Arruda, drums,
Toronto, Canada; Eliana Athayde, bass & voice, Lafayette, CA;
Aaron Bahr, trumpet, Moraga, CA; Bryan Carter, drums, Sycamore,
IL; Kate Davis, bass & voice, West Linn, OR; Maddie Deutch,
voice, LA, CA; Noah Kellman, piano, DeWitt, NY; Grace Kelly,
sax, Brookline, MA; Chad Lefkowitz-Brown, sax, Horseheads, NY;
Christian Li, piano, Horseheads, NY; Luke Marantz, voice, Dallas,
TX; David Meder, piano, Tampa, FL; Paul-Eirik Melhus, sax,
Glendale, AZ; Daniel Nadeau, drums, Wayland, MA; Kale Scherler,
trombone, Dallas, TX; Charlie Stanford, guitar, Portland, OR;
Jonathan Stein, bass, Oakland, CA
2008 | Lauren Desberg, voice, Los Angeles, CA; Samara Oster,
voice, Milton, MA; McKenna Whisler, voice, Pittsburgh, PA; Levon
Henry, sax, LA, CA; Grace Kelly, sax, Brookline, MA; Paul-Eirik
Melhus, sax, Glendale, AZ; Zachery Gillespie, trumpet, Glendale,
AZ; Griffith Kazmierczak, trumpet, East Amherst, NY; Ivan
Rosenberg, trumpet, NY, NY; Luke Celenza, piano, Bedford, NY;
Gregory Chen, piano, San Jose, CA; Noah Kellman, piano, DeWitt,
NY; Carlos Alabaci, bass, Miami, FL; Joshua Crumbly, bass, Quartz
Hill, CA; Kate Davis, bass, West Linn, OR; Jimmy McBride, drums,
West Hartford, CT; Colin McDaniel, drums, Davis, CA; Anthony
Polson, drums, Portland, OR; Gabriel Condon, guitar, Penfield, NY
2009 | Ben Lusher, voice, Dobbs Ferry, NY; Michael Mayo, voice,
LA, CA; Caitlin Quinlan, voice, NY, NY; Sam Crowe, sax, Denver,
CO; Kevin Sun, sax, Skillman, NJ; Max Zooi, sax, LA, CA; Jon
Hatamiya, trombone, Davis, CA; Tree Palmedo, trumpet, Portland,
OR; Cody Rowlands, trumpet, Glendale, AZ; Luke Celenza, piano,
Bedford, NY; Nicolas Hetko, piano, Cambridge, NY; Antonio
Madruga, piano, Miami, FL; Giulio Cetto, bass, Stockton, CA; Jared
Mulcahy, bass, Skaneateles, NY; Bill Vonderhaar, bass, Houston, TX;
Hayden Hamilton, drums, Houston, TX; Colin McDaniel, drums,
Davis, CA; Clint Mobley, drums, NY, NY; Gregory Uhlmann, guitar,
Chicago, IL
A D E C A D E O F A C C O M P L I S H M E N T
Saxophone
Andrew Speight
Anton Schwartz
Frank Morgan
Steve Wilson
Greg Tardy
Jerry Bergonzi
Chris Potter
Patrick Langham
Bass
Christian McBride
Jeff Chambers
Essiet Essiet
Ray Drummond
Voice
Madeline Eastman
Miles Griffith
Diane Mower
Drums
Jeff ‘Tain’ Watts
Dan Brubeck
Ed Soph
Willie Jones III
Rick Lotter
Brian Kendrick
Akira Tana
Trombone
Steve Davis
Paul McKee
Rick Simerly
Chris Brubeck
Hal Crook
Summer Jazz Colony Poster, 2009
S U M M E R J A Z Z C O L O N Y F A C U L T Y & G U E S T A R T I S T S 2 0 0 2 - 2 0 0 9
24 A D E C A D E O F A C C O M P L I S H M E N T
B R U B E C K F E L L O W S H I P P R O G R A M
F E L L O W S
2002–2003 | Tommy Morimoto, sax, Winston-Salem, NC;
Anthony Coleman II, trumpet, Sacramento, CA; Fabian Almazan,
piano, Miami, FL; Joe Sanders, bass, Milwaukee, WI; Justin Brown,
drums, Berkeley, CA
2003–2004 | Tobin Chodos, piano, LA, CA; Scott McGinty, sax,
Houston, TX; Mark Zaleski, sax, Boylston, MA; Anthony Coleman
II, trumpet, Sacramento, CA; Joe Sanders, bass, Milwaukee, WI;
Justin Brown, drums, Berkeley, CA
2004–2005 | Scott McGinty, sax, Houston, TX; Mark Zaleski, sax,
Boylston, MA; Dominic Thiroux, bass, LA, CA; Shawn McGinty,
trumpet, Houston, TX; Joshua Gallagher, piano, Eau Claire, WI;
Hayden Hawkins, drums, Houston, TX
2005–2006 | Brian Chahley, trumpet, Toronto, Canada; Lucas
Pino, sax, Phoenix, AZ; Colin Stranahan, drums, Denver, CO; Peter
Spear, bass, Littleton, CO; Glenn Zaleski, piano, Boylston, MA
2006–2007 | Brian Chahley, trumpet, Toronto, Canada; Lucas
Pino, sax, Phoenix, AZ; Glenn Zaleski, piano, Boylston, MA; Cory
Cox, drums, Houston, TX; Chris Smith, bass, Minneapolis, MN
2007–2008 | Ben Flocks, sax, Santa Cruz, CA; Javier Santiago,
piano, Minneapolis, MN; Chris Smith, bass, Minneapolis, MN;
Cory Cox, drums, Houston, TX; Brian Chahley, trumpet,
Toronto, Canada
2008–2009 | Ben Flocks, sax, Santa Cruz, CA; Javier Santiago,
piano, Minneapolis, MN; Adam Arruda, drums, Toronto, Canada;
Zach Brown, bass, Columbia, MD; Chad Lefkowitz-Brown, sax,
Horseheads, NY
2009–2010 | Chad Lefkowitz-Brown, sax, Horseheads, NY; Nick
Frenay, trumpet, Syracuse, NY; Noah Kellman, piano, Fayetteville,
NY; Zach Brown, bass, Columbia, MD; Corey Fonville, drums,
Virginia Beach, VA
B R U B E C K F E L L O W S H I P F A C U L T Y & V I S I T I N G A R T I S T S 2 0 0 2 – 2 0 10
Piano
Dave Brubeck
Joe Gilman
Robert Glasper
Kenny Werner
Fred Hersch
Darius Brubeck
John Salmon
Geoffrey Keezer
Taylor Eigsti
Peter Hovath
Rebeca Mauleon
Donald Brown
Mark Levine
Robert Rodriguez
Orrin Evans
Benny Green
Saxophone
Bobby Militello
Jimmy Heath
Joshua Redman
Bob Mintzer
Yosvany Terry
Bobby Watson
Bennie Maupin
Michael Zilber
Greg Tardy
Jim Snidero
Daniel Zinn
Charles McNeal
Anton Schwartz
Vincent Herring
Miguel Zenon
Eric Marienthal
John Dankworth
Josh Allen
Stacy Dillard
Donny McCaslin
Trumpet
Wynton Marsalis
Nicholas Payton
Ingrid Jensen
Freddie Hubbard
Ralph Alessi
Brian Lynch
Louis Fasman
Gabriel Alegria
Mic Gillette
Marvin Stamm
Mike Rodriguez
Bass
Christian McBride
Michael Moore
Robert Hurst
Jeff Chambers
Rufus Reid
Marcus Shelby
Glenn Richman
Matt Penman
Ray Drummond
Larry Grenadier
Drums
Jeff Ballard
Randy Jones
Ndugu Chancler
Jeff ‘Tain’ Watts
Vince Lateano
Joe Chambers
Lewis Nash
Dan Brubeck
Eric Harland
Peter Magadini
Trombone
Chris Brubeck
Conrad Herwig
John Fedchock
Guitar
Mark Boling
Steven Erquiaga
John Stowell
Steve Homan
Vocal
Cleo Laine
Deana DeRose
Violin
Lesa Terry
Clarinet
Bill Smith
A D E C A D E O F A C C O M P L I S H M E N T 25
A D E C A D E O F A C C O M P L I S H M E N T
BRUBECK FEST IVALS & ACADEMIC SYMPOSIA
2001 | Festival theme: The Music of Dave Brubeck
Performers: Dave Brubeck Quartet, University Symphony Orchestra,
Pacific Singers, Stockton Symphony Orchestra. Significant works
performed: Hold Fast to Dreams, Pange Lingua Variations, Upon
this Rock, and the premiere of Millennium Intervals. Symposium
topics and presenters: Music Management & Business – Richard
Etlinger, Thomas Brierton, Richard Jeweler; Sociology & Music –
George Lewis, Howard Becker, Iola Brubeck
2002 | There was no festival in 2002.
2003 | Festival theme: Celebrating the Music of Dave Brubeck
Performers: Stockton Symphony Orchestra, Stockton Chorale,
Turtle Island String Quartet, Christian McBride Trio, Capital
Jazz Project, and performers from the Conservatory of Music.
Significant works performed: Earth is Our Mother and many other
Brubeck works. Symposium: There was no symposium in 2003.
2004 | Festival theme: 40th Anniversary of the Civil Rights Act
Performers: Dave Brubeck Quartet, Conservatory ensembles and
soloists. Significant work performed: Gates of Justice. Symposium
topics and presenters: Lecture on racial justice – Archbishop
Desmond Tutu; Films: Amandla! A Revolution in Four-part
Harmony by Lee Hirsch; Rediscovering Dave Brubeck by Hedrick
Smith; Blacks & Jews by Snitow and Kaufman; Discussion: Q & A
on the Civil Rights Era with Dave and Iola Brubeck, moderated by
Robert Benedetti.
2005 | Festival theme: Creativity & Composition
Performers: Talujon Percussion Quartet, SF Jazz Collective,
Christian McBride, Chris Brubeck, Joshua Redman, Bobby
Hutcherson, Nicolas Payton, Renee Rosnes, Miguel Zenon, The
New Brubeck Octet, Bill Smith, Ballet NY, Joe Gilman Trio,
Dave Brubeck, Stockton Symphony Orchestra. Significant work
performed: premiere of Chris Brubeck’s Mark Twain’s World: A
Symphonic Journey with Genuine Thespians. Symposium topics
and presenters: ‘The Interdependence of Composition and
Improvisation in Dave Brubeck’s Creative Process’ by Stephen
Crist; ‘Music and Perception’ by David Chase; ‘Creativity and
Composition’ by Renee Rosnes and Matt Penman; ‘The Music of
Dave Brubeck: An Analysis’ by Joe Gilman.
2006 | Festival theme: The Times of Dave Brubeck
Performers: David Grisman Quintet, Bobby Watson with the
Pacific Jazz Ensemble, Clayton-Hamilton Jazz Orchestra, John
Salmon, Poncho Sanchez Latin Jazz Band. Symposium topics and
presenters: Film: The Piano Masters by Larry Rosen, featuring Dave
Brubeck and Billy Taylor with Ramsey Lewis; Panel discussion:
Influences and Social Implications of Jazz and the Music of Dave
Brubeck with panelists Larry Rosen, Howard Becker, David
Grisman, Russell Gloyd, Robert Benedetti, moderated by David
Chase; Piano lecture & performance: An Afternoon of Dave Brubeck
by John Salmon, featuring Brubeck’s classical piano music.
2007 | Festival theme: Words with Music
Performers: Kevin Deas, Julia Dollison, Geoff Keezer, Dave Brubeck
Quartet, Roberta Gambarini, Capital Jazz Project, Brubeck Institute
Jazz Quintet, Triple Play, Daniel Ebbers, Jessica Siena, Stockton
Symphony Orchestra, and students from the Conservatory of
Music. Significant works performed: Prayer of St. Francis by Dave
Brubeck (premiere), Fragile Horizon, a multi-media work by Robert
Coburn, Music Is the Power by Chris Brubeck, Cannery Row Suite
by Dave and Iola Brubeck, commissioned by the Monterey Jazz
Festival. Symposium topics and presenters: Panel discussion: Words
with Music with panelists Iola Brubeck, Russell Gloyd, Kevin Deas,
Robert Coburn, Julia Dollison, Roberta Gambarini, Chris Brubeck,
with moderator David Chase; Exhibition: A Script in Time: Iola
Brubeck as Lyricist; Lecture/demonstration: The Sacred Music of
Dave Brubeck by Russell Gloyd; Pre-concert lecture: John Steinbeck
by Susan Shillinglaw.
26 A D E C A D E O F A C C O M P L I S H M E N T
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Brubeck Festival Poster, 2009Brubeck Festival Poster, 2008
BRUBECK FEST IVALS & ACADEMIC SYMPOSIA
2008 | Festival theme: The Real Ambassadors
The festival focused on cultural diplomacy and celebrated the 50th
anniversary of the Dave Brubeck Quartet’s 1958 U.S. State Department
tour to Poland, Afghanistan, Pakistan, India, Sri Lanka, Iran, Iraq, and
Turkey. Performers: Open World Jazz Octet, Brubeck Institute Jazz
Quintet, Bob Mintzer, Deepak Ram Quartet, Hiromi’s Sonicbloom,
Pete Escovedo Orchestra, Andrzej Jagodzinski Trio, Dave Brubeck
Quartet, Ramsey Lewis Trio. Presenting partners: The George
Washington University, Elliot School of International Affairs, Library
of Congress, Meridian International Center, Open World Leadership
Center, Smithsonian Associates, Kennedy Center for the Performing
Arts, National Endowment for the Arts. Symposium topics and
presenters: Lecture: The Voice of Freedom: Assessing the Impact of
Dave Brubeck and Cultural Exchange During the Cold War by Keith
Hatschek; Lecture: Some Thoughts on Arts Diplomacy During the
Cold War by John H. Brown; Panel discussion: Cultural Diplomacy:
Its Past and Its Future with John H. Brown, Keith Hatschek, Vladimir
Tarasov, Russell Gloyd, and moderator Gene Bigler; Seminar: The
Dave Brubeck Quartet’s 1958 State Department Tour by David Alan
Grier, 1958: World Events That Shaped Diplomatic Activity by Hugh
Agnew, India and Cultural Exchange by Ambassador Karl Inderfurth,
Cultural Exchange and Security Policy by Marc Lynch; Photographic
exhibition: Jam Session: America’s Jazz Ambassadors Embrace the World
by Curtis Sandberg; Panel discussion: The Future of Jazz As a Tool of
Cultural Diplomacy with Ambassador Cynthia Schneider, Dr. John
Hasse, Ambassador John O’Keefe, Dr. Charles Webb; Panel discussion:
Take Two: Reflections on the 1958 Tour with Dave Brubeck, Dr. Penny
Von Eschen, Ambassador Kenton Keith, Dan Morgenstern, Dr. John
Brown; Panel discussion: The Real Ambassadors with Dave Brubeck,
Billy Taylor, Ramsey Lewis, moderated by Gary Giddens.
2009 | Festival theme: The Revolution Continues
The festival focused on the 50th anniversary of the historic
revolutionary album by the Dave Brubeck Quartet, Time Out.
Performers: Dave Brubeck Quartet with Darius Brubeck, Stockton
Symphony Orchestra, Sacramento Master Singers, Pacific Orchestra,
Paul Apodaca, Darius Brubeck with the Brubeck Institute Jazz
Quintet, Gerald Clayton Trio. Significant works performed: Ansel
Adams: America! by Dave and Chris Brubeck; Earth Is Our Mother
by Dave and Iola Brubeck; Time Out by the Dave Brubeck Quartet.
Symposium topics and presenters: Lecture & film: Russell Gloyd on
the making of Time Out; Panel discussion: 1959: The Revolution
Begins with Darius Brubeck, Chuck Berg, Joe Gilman, and
Paul Conley, moderator.
U N I V E R S I T Y O F T H E PA C I F I C
Established in 1851 as the first chartered institution of higher
education in the state of California, University of the Pacific is
an independent university with a tradition of putting students
first. With a core liberal arts college, eight accredited professional
schools, and a graduate school, Pacific enrolls over 6,000 students
on its three campuses in Northern California. The University offers
bachelors, masters, and doctoral degrees in more than 80 programs.
As a pioneer in education, University of the Pacific provides a
superior, highly personalized, student-centered learning experience
integrating liberal arts and professional education, preparing
students for lasting achievement and responsible leadership in their
careers and communities.
C O N S E R VAT O R Y O F M U S I C
Through its widely recognized programs in music, the Conservatory
of Music at University of the Pacific has offered educational
opportunities of the highest quality to students from the state,
region, and nation for over 130 years. The University of the Pacific
is a charter member of the National Association of Schools of
Music, and offers an array of curricula that are recognized for their
effectiveness in preparing students for their professional futures.
A tradition of service and a commitment to excellence have made
the Conservatory of Music a vital educational and artistic resource
for the University and larger community since 1878.
B R U B E C K I N S T I T U T E
The Brubeck Institute is located at University of the Pacific in
Stockton, California. It was established by the University in 2000 to
honor its distinguished alumni, Dave and Iola Brubeck. The mission
of the Institute is to build on Dave Brubeck’s legacy and his lifelong
dedication to music, creativity, education, and the advancement of
important social issues including civil rights, international relations,
environmental concerns, and social justice through its five core
programs including the Brubeck Collection, Brubeck Festival,
Brubeck Fellowship Program, the Summer Jazz Colony, and the
Outreach Program.
A Message from Dave Brubeck
“The Institute is the realization of a dream. From the earliest days in
my career I sought the acceptance and recognition of jazz as a serious
art form that reflected American ideals of freedom and individual
expression balanced with group responsibility and interdependence.
Like America itself, jazz has always drawn from many cultures and has
been enriched by that cross-fertilization.”
“The Brubeck Institute is not about jazz studies alone, however.
It is also about social and philosophical issues. Over the years I have
become more and more interested in applying these thoughts to
classical composition for chorus and orchestra, chamber ensembles,
and contemporary music in a variety of forms. I believe in the power of
music to transform lives as well as to enlighten and entertain.”
“Once when asked how I would like to be remembered, I answered, ‘As
someone who opened doors.’ This is what the Brubeck Institute will
do. It will provide the key that will open doors for all who participate,
whether as a research scholar in the Brubeck Collection, a Brubeck
Fellow or Colonist, a member of academic symposia, a classical
performer or teacher, contemporary composer, or an interested member
of the audience.”
“The door is open. Welcome!”
— Dave Brubeck
I N S T I T U T I O N S
I N S T I T U T I O N S 27
T H E B R U B E C K I N S T I T U T E P R O G R A M S
The Brubeck Collection, one of the world’s largest and most
comprehensive collections from a contemporary musician, consists
of Dave and Iola Brubeck’s correspondence, business documents,
musical manuscripts and recordings, photographs, printed
programs, and other important archival material. It is a resource
of immeasurable value for scholars interested in Brubeck’s music,
other musicians, and social issues such as civil rights, international
relations, and social justice. The Collection is housed in the Holt-
Atherton Special Collections at the University of Pacific Library.
The Brubeck Festival is an annual event that explores and
celebrates the musical, intellectual, and philosophical ideas of Dave
Brubeck, as well as his influence on the world of music and ideas.
The Festival features performances of jazz, contemporary concert
music, lectures, and academic symposia. Symposia and lecture
topics have included music management and business, sociology
and music, words with music, improvisation, creativity, civil rights,
and cultural diplomacy.
The Brubeck Fellowship Program is a one- or two-year full-
scholarship program in jazz performance for five musicians who
have just graduated from high school. These are the Brubeck Fellows,
they comprise the Brubeck Institute Jazz Quintet (BIJQ), and they
are pursuing careers in jazz performance. The BIJQ has performed
on the Monterey Jazz Festival, Playboy Jazz Festival, Brubeck Festival,
Detroit Jazz Festival, and others, and have done concerts throughout
the United States, in Canada, and on a State Department tour in
Spain. They regularly perform in clubs such as Yoshi’s in Oakland,
Blues Alley in Washington DC, the Montreal Bistro in Toronto,
Herb Alpert’s club Vibrato in Los Angeles, and they do clinics and
performances in colleges, universities, and schools throughout the
country. They have also performed at the annual conference of
the International Association for Jazz Education, at the Library of
Congress, the Kennedy Center, and many other notable venues.
Upon completion of the program the Brubeck Fellows receive the
Certificate of Jazz Performance and go on to collegiate programs
in jazz studies or pursue careers in jazz performance. They are
expected to serve as ambassadors for jazz and to promote the values
epitomized by the life and music of Dave Brubeck.
The Summer Jazz Colony is a one-week, full-scholarship,
intensive educational program in jazz performance for a very limited
number of exceptionally talented students who have just completed
their freshman, sophomore, or junior years in high school. They
come from throughout the United States and beyond to study
with Brubeck Institute faculty, guest artists and master teachers in
combo rehearsals, master classes and private instruction, classes in
jazz theory and improvisation, and seminars on the music of Dave
Brubeck and other topics. Colonists have extensive opportunities
to visit with the artists and clinicians, visit the Brubeck Collection,
participate in numerous jam sessions, and perform in concert.
The Brubeck Outreach Program is designed to encourage the
performance, study, and understanding of jazz in its many forms,
explore contemporary concert music, enlighten and broaden
the general knowledge and appreciation of music, and promote
the understanding of the work and influence of Dave Brubeck
throughout the United States and beyond. This is accomplished by
performances, educational presentations, and touring displays from
the Brubeck Collection, presented by the Institute and in partnership
with schools, museums, libraries, and other cultural institutions.
F O R M O R E I N F O R M AT I O N
For more information about all the Brubeck Institute programs,
including access to the Brubeck Collection, details about past and
upcoming Brubeck Festivals, the Outreach Program, and for complete
information about the Fellowship Program and the Summer Jazz
Colony, including all application procedures, timelines, and forms,
visit our website at www.brubeckinstitute.org or write us at:
The Brubeck InstituteUniversity of the Pacific3601 Pacific AvenueStockton, CA 95211
I N S T I T U T I O N S
28 I N S T I T U T I O N S
CLINT EASTWOODChair, Honorary Board
Director, Producer, Actor, Composer
HERB ALPERTArtist, Producer
DAVID N. BAKER, JR.Jazz Educator, Indiana University
JAMES R. BANCROFTPartner (retired) Bancroft & McAlister
DAVID BENOITPianist, Composer, Conductor
KEN BURNSFilmmaker
DAVID CERONEPresident – Cleveland Institute of Music
DONALD V. DEROSAPresident Emeritus – University of the Pacific
CLIVE GILL INSONExecutive and Artistic Director
– Carnegie Hall
RALPH GUILDChairman of the Board – Interep
TOM HALLConductor – Baltimore Choral
Arts Society, Radio Personality
TIM JACKSONGeneral Manager, Monterey Jazz Festival
Artistic Director, Kuumbwa Jazz Center
AL JARREAUProducer, Singer
QUINCY D. JONESProducer
DAME CLEO LAINEMusician, Actress
NORMAN M. LEARTelevision Writer and Producer,
Businessman
LARRY LEASURERegent – University of the Pacific,
Business and Real Estate
DENNIS A. LE VETTReal Estate and Investments
RAMSEY E. LEWIS, JR.Composer, Pianist
GEORGE LUCASFilmmaker
YO-YO MACellist
WYNTON MARSALISTrumpeter, Composer
CHRISTIAN MCBRIDEJazz Bassist
MARIAN MCPARTLANDPianist
DOUG RAMSEYAuthor, Critic
LARRY ROSENChairman – Larry Rosen Productions, Inc.
Entrepreneur, Musician, Producer
HEDRICK SMITHWriter, Film Producer
BILLY TAYLORPianist, Composer, Educator
A. EARLE WEATHERWAx Musician, Developer
GEORGE T. WEINFounder – Festival Productions
GORDON ZUCKERMANDeveloper, Writer
H O N O R A R Y B O A R D O F T H E F R I E N D S O F T H E B R U B E C K I N S T I T U T E
The purpose of the Honorary Board of the Friends of the Brubeck Institute is to heighten the awareness of the Brubeck Institute and advance its mission locally, nationally, and internationally. University of the Pacific is most grateful to the following distinguished individuals for their commitment to the Brubeck Institute.
H O N O R A R Y B O A R D 29
F R I E N D S O F T H E B R U B E C K I N S T I T U T E
$1,000,000 or moreBancroft-Clair Foundation
Mr. Kent Lathy
Dennis A. LeVett Family
Mr. and Mrs. Gordon Zuckerman
$500,000 to $749,999The Herb Alpert Foundation
$250,000 to $499,999Mr. & Mrs. Ralph Guild
Mr. & Mrs. Larry Leasure
$100,000 to $249,999President Emeritus and Mrs. Donald V. DeRosa
Library of Congress Open World Program
Mr. & Mrs. Angus L. McLean, Jr.
Liz and Dave Rea
$50,000 to $99,999Anonymous
Mr. & Mrs. David W. Brubeck
Mr. & Mrs. Clint Eastwood
Mrs. Elmyra “Tommie” Pardue
$25,000 to $49,999Mr. & Mrs. Thomas J. Ferrari, Sr.
Mr. & Mrs. Stanley S. Hubbard
Dr. Stuart Jacobs & Ms. Stephanie Stevenson
National Endowment for the Arts
Dr. & Mrs. David A. Stadtner
Union Bank of California
$10,000 to $24,999ACTION Council of Monterey County
Mr. W. Jamey Aebersold
Charles P. Berolzheimer Foundation
Mr. & Mrs. Philip C. Berolzheimer
Dr. & Mrs. Ross Bewley
City of Stockton
Ms. Shirley Dozier
Kadan Limited
National Foundation for
Advancement in the Arts
Newman’s Own Foundation
Mr. & Mrs. Paul M. Sachs
The San Francisco Foundation
$5,000 to $9,999Mr. Mark J. Bluth
Drs. Tony Chan & Virginia Chan
Dr. George T. Wein
$2,500 to $4,999Mr. & Mrs. Ronald A. Berberian
Dr. & Mrs. Philip Gilbertson
Mr. & Mrs. David Gill
Ramsey Lewis Foundation
Pacific Title and Art Studio, Inc.
Telarc International Corporation
$1,000 to $2,499Atlas Properties
Mr. Alden Bianchi
Mr. Elliott Broidy
Mr. & Mrs. Robert J. Corkern
Mrs. Joan Cortopassi
Mr. and Mrs. William W. Eccleston
Experience Music Project
Drs. Nava Fathi & Abbas Raissi
Mr. Fred Gertler
Joan Goble-Rivard
Dr. Elizabeth Griego
Dr. Tom Hall
Dr. & Mrs. Ronald A. Kass
Ms. Barbara B. Katz
Kawai America Corporation
Dr. and Mrs. Louis Messina
Monterey Jazz Festival, Inc.
Rishwain & Rishwain
Wachovia Foundation
Mr. & Mrs. Todd Waldman
Dr. Eric B. Wall
30 F R I E N D S O F T H E B R U B E C K I N S T I T U T E
S U P P O R T I N G T H E B R U B E C K I N S T I T U T E
Successful operation of the programs of the Brubeck Institute
would not be possible without the support of our loyal friends and
dedicated sponsors. Their belief in the mission of the Institute,
coupled with their personal and corporate generosity, make it
possible for us to hold a Brubeck Festival every year and to create
the Brubeck Fellowship Program and the Summer Jazz Colony that
provide educational opportunities for youth, as well as entertain and
inform the public.
The goals of the Institute now include a significant expansion of the
operation of the Brubeck Collection and the Outreach Program,
so other people, not just locally, but globally, can share the benefit
of the extraordinarily valuable resources, ideas, and activities of
the Institute.
Our mission, goals, and programmatic activities all require resources.
Our long-term objective is to endow the entire Brubeck enterprise
so that its future is never in doubt. The immediate goal is to sustain
the Festival and our educational programs, begin to develop much
greater activity in the Collection and with the Outreach Program,
and to continue to build the endowment toward our ultimate goal.
If you believe in the values of the Brubeck Institute, and if you share
the desire to make certain the Institute thrives well into the future,
you can play a significant role in making it happen. To discover how
you can be a vital part of the work of the Brubeck Institute and to
help assure its future, please contact Jean Purnell, Associate Vice
President for Development, at 209.946.2502, or [email protected].
F R I E N D S O F T H E B R U B E C K I N S T I T U T E 31
The Brubeck Institute thanks the National Endowment for the
Arts for its generous support of the Brubeck Festival. The NEA
is a public agency dedicated to supporting excellence in the arts,
both new and established; bringing the arts to all Americans; and
providing leadership in arts education. The NEA is an independent
agency of the federal government and is the nation’s largest annual
funder of the arts.
The Brubeck Institute thanks Chase Chevrolet for its continuing
support of the Fellowship and Outreach programs by providing
the Institute with vans that address its local and regional
transportation needs.
The Brubeck Institute thanks the following friends for their generous
gift of time in being Ambassadors for the Institute and their help
in advancing its mission: Larry Leasure, Gail Kautz, Shirley Dozier,
Stuart Jacobs, Louise Kass, Scott Liggett, Tommie Pardue, Marion
Sachs, Paul Sachs, Tasha Stadtner, Stephanie Stevenson, and
Denny Stilwell.
UNIVERS I TY OF THE PAC I F ICPamela Eibeck, President
Philip Gilbertson, Provost
Ted Leland, Vice President for External Relations
Patrick Cavanaugh, Vice President for Business & Finance
Elizabeth Griego, Vice President for Student Life
Mary Lou Lackey, Vice President & Secretary to the Board of Regents
BRUBECK INST I TUTEDave Brubeck, Chairman
Clint Eastwood, Chairman of Honorary Board
Steve Anderson, Executive Director
Andrew Schneiderman, Assistant to the Director
Joe Gilman, Musical Director-Fellowship Program
Patricia Eckert, Administrative Assistant
CONSERVATORY OF MUS ICGiulio Ongaro, Dean
David Chase, Assistant Dean
Robin Cheshire, Administrative Assistant
Katherine Harper, Coordinator of Student Services
Steve Perdicaris, Operations Manager
James Gonzales, Technical Director
HOLT-ATHERTON DEPARTMENTOF SPEC IAL COL LECT IONSShan Sutton, Head of Special Collections
Michael Wurtz, Archivist-Special Collections
Trish Richards, Special Collections Assistant
BRUBECK INST I TUTE ADV ISORY BOARDDarius Brubeck, Musician & Composer
Donald V. DeRosa, President Emeritus-University of the Pacific
Russell Gloyd, Brubeck Producer & Conductor
Richard S. Jeweler, Brubeck Family Attorney
Giulio Ongaro, Dean-Conservatory of Music
Brigid Welch, Dean-University Library
OFF ICE OF MAR KET ING AND UN IVERS I TY COMMUNICAT IONSRichard Rojo, Associate Vice President
Patrick Giblin, Media Relations Manager
Rhashad Pittman, Media Relations Coordinator
Karri Johnson, Graphic Designer
Tanya Lopez, Web Marketing Manager
Sheri Grimes, Marketing Writer
Steve Andreesen, Web Developer
Corin Imai, Graduate Assistant
Der Yang, Administrative Assistant
JAZZ ON THE M I L E !Miracle Mile Improvement District
Kevin Dougherty, Board President
Russell Takeda, Board Member
Kellie Jacobs, Board Member
Emily Ballus, Executive Director
Miracle Mile Improvement District Merchants Committee
THE 2010 BRUBECK FEST IVALProducer: Steve Anderson
Graphic Designer: April Kimmerly
Marketing & Advertising: Office of Marketing &
University Communications
Production & Technical Director: James Gonzales
Brubeck Exhibits: Michael Wurtz
Printing: Parks Printing
Special thanks to Gallien-Krueger for the use of their
magnificent bass amplifiers.
Special thanks to Brian Kendrick for his generous assistance
throughout the year with all Brubeck Institute programs.
C R E D I T S & A C K N O W L E D G M E N T S
The Brubeck Institute is able to accomplish its goals because of the contributions of time and talent of many individuals and organizations. The Institute would like to acknowledge the following for their tireless efforts in supporting our programs and especially the 2010 Brubeck Festival.
32 C R E D I T S & A C K N O W L E D G M E N T S
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