BerkleeFall 1996

A Forum for Contemporary Music and Musicians

14 Patty Larkin "74: Melodies andMetaphors of the 90s

19 Ethics and the Musiic Business

FALL ¯ 1996

VOLUME ¯ VIII

NUMBER¯ 2

Contents

ON THE COVER: Singer,songwriter Patty Larkin ’74speaks about her life in song.Story begins on page 14.Cover photo by Jana Leon.

LEAD SHEET by Warrick Carter .

BERKLEE BEATHonorary degrees for Horace Silver and Alf Clausen, new chairs,Warrick Carter farewell, faculty notes, visiting artists, and more

HEARING VOICES by Mark Small ’73Since 1962, Professor Emeritus John LaPorta has had a knack forhelping students discover their individual musical voices

A L~FE IN SONG by Mark Small ’73Songwriter Patty Larkin ’74 sees the larger metaphors behind theordinary experiences of life in the 1990s

ETHICS AND THE MUSIC BUSINESS by George Eastman Ed. D., Ph.D.Is there evidence of a move to make business decisionsreflect personal values ?

LINEAR CONTOURS by Daryl LoweryA Coltranesque approach to improvised lines

ALUM NOTESNews, quotes, and recordings of note .......

CODA: by Rob HayesWillis Conover Remembered

12

14

19

22

24

36

Bcrklcc t 0 dA Publication of the Office of Institutional Advancement

EditorMark L. Small ’73

Copy EditorStephen Melisi

Editorial Board

Rob HayesDirector of Public Information

Judith LucasDirector of Publications

Lawrence McClellan Jr.Dean, Professional Education Division

Matt Marvuglio "74Dean, Professional Performance Division

Donald PuluseDean, Music Technology Division

Joseph Smith "75Dean, Professional Writing Division

Office of Institutional Advancement

John CollinsVice President for Institutional Advancement

Marjorie O’MalleyDirector of Development

Beverly Tryon ’82Director of Corporate Relations

Peter Gordon "78Director of the Berklee Center in Los Angeles

Sarah BodgeAssistant Director of Development for Alumni Relations

Chika OkamotoAssistant to the Vice President for Institutional Advancement

As the alumni-oriented music magazine of BerkleeCollege of Music, Berklee today is dedicated to inform-ing, enriching, and serving the extended Berklee commu-nity. By sharing information of benefit to alumni aboutcollege matters, music industry issues and events, alum-ni activities and accomplishments, and musical topics ofinterest, Berklee today serves as both a valuable forumfor our family throughout the world and an importantsource of commentary on contemporary music.

Berklee today (ISSN 1052-3839) is published three times yearby the Berklee College of Music Office of Institutional Ad-vancement. All contents © 1996 by Berklee College of Music.Send all address changes, press releases, letters to the editor, andadvertising inquiries to Berklee today, Box 333, Berklee Col-lege of Music, 1140 Boylston Street, Boston, MA 02215-3693,(617) 266-1400, extension 325. Alumni are invited to mail i~ldetails of activities suitable for feature coverage. Unsolicitedsubmissions accepted.

LEAD SHEET

.A Fast

Twelve YearsD,r. Warrick Carter,

Provost/V.P. for Academic Affairs

~ ecently, I accepted a position in Entertainment Arts atthe Walt Disney World Corporation, so this will be

my last opportunity to write a Berklee today "Lead Sheet."I have mixed emotions about leaving Berldee, but I’m gladto have contributed to an institution which today is vastlydifferent from the one I joined just 12 years ago.

Many changes have taken place on my watch. When Iarrived in 1984, tlhe top administrative structure consistedonly of President Berk, Dean of Students Larry Bethune,and me as dean of faculty. Soon, Dave Hornfischer becamedean of administration and Ron Bentley joined my office asassistant dean of faculty. By the end of my first year, GaryBurton became dean of curriculum and hired Dr. RobertMyers as the associate dean of curriculum. In 1985, wereconfigured the academic departments into divisions withTed Pease, Larry Monroe, and Don Puluse as division chairs.I was the interim chair of the Professional EducationDivision until Dr. Lawrence McClellan came aboard. Aspart of an administrative restructuring last January, the divi-sion chairs were made deans. New departments establishedduring my tenure include Music Synthesis, Songwriting,Music BusinessAVlanagement, and Music Therapy, with newchairs and faculty for each area.

To support the faculty, my office established the Officeof Faculty and Instructional Development; instituted pro-grams for professional travel support, recording grants;grant writing training; faculty exchanges with theRotterdam Conservatory; and travel and developmentopportunities with Centro-Cultural CostarricenseNorteamericano in Costa Rica. Faculty exchanges with theParis Conservatory and Southern Cross University inLismore, Australia, are currently being negotiated.

Our continued interest in the scholarly growth of ourfaculty has been rewarded with a 28 percent increase in fac-ulty members holding advanced degrees over the last eightyears. Additionally, as the role of department chairschanged, we have initiated management and supervisoryworkshops and annual retreats to address their concerns.

The accomplishment of which I am most proud, is theimprovement in relationships, conditions, and salaries forfaculty and chairs. We successfully negotiated three con-tracts with our faculty union, and are presently negotiatingwhat we hope will be the fourth successful contract.

I’m leaving Berldee, but my spirit and heart will remain. Iam sure the college will continue to grow and institute manymore initiatives like those developed over the past 12 years.

2 Berklee today Fall 1996

Berklee b e a t

CLAUSEN ANDSILVER HONORED

News of note

from abouttown andaround theworld

September 6 marked theday the class which willgraduate in the year 2000was welcomed to the cam-pus. At the 1996 EnteringStudent Convocation, sagewords of advice came froma number of speakers--including All Clausen andHorace Silver who eachreceived the honorary doc-tor of music degree at theceremony.

In presenting AlfClausen ’66 with the hon-orary doctorate, PresidentLee Eliot Berk describedhim as a composer who fortwo decades has been aprominent figure in theHollywood televisionmusic industry. Clausen’smusical efforts as a com-poser, orchestrator, and/or

Honorees Horace Silver (left) and AIf Clausen ’66 (right) Executive Vice President Gary Burton at the 1996 Convocation

Fall 1996

conductor for 28 films, 24TV series, and 24 movies ofthe week, have earned hima dozen Emmy nomina-tions and seven ASCAPawards. His music for thehit animated series "TheSimpsons" is currentlyheard in millions of homesaround the world.

Taking the stand asconvocation’s music indus-try speaker, Clausen point-ed to pivotal experienceswhich enabled him to havea successful career in themusic industry, and gavewords of encouragement tothe entering class.

"The good news,"Clausen stated, "is thatnever before in the historyof popular music have therebeen so many opportuni-ties to compose, arrange,perform, teach, and enjoyall the facets of practicingyour art while making a liv-ing in the field of yourchoice."

He added a few cautio:nsas well. "The art side ofyour talent," Clausen said,"should always be fore-most in your thinking. Thecommerce side--makingthe bucks--will take care ofitself in time if you are tnaeto your calling. Patienceand perseverance are thewatchwords .... Be flexib][e,the next opportunity maycome from the place youleast expect it."

Before presenting thehonorary doctorate to jazz

pianist/composer HoraceSilver, President Berkdetailed his successful fourand a half decades in themusic industry, notingSilver’s 40 criticallyacclaimed albums. Berkmentioned Silver’s pioneer-ing of the hard bop style,and mentioned the recentresurgence of interest inthat style has promptedyoung artists and veteranslike George Shearing andTito Puente to record selec-tions from the HoraceSilver songbook.

In accepting the degree,Silver said, "It is a wonder-fi~l honor, privilege, andblessing to be here and beawarded this honorarydoctorate. It is a very mem-orable point in my career,and I will always treasure it.

"I want to thankPresident Berk and every-one at the college for mak-ing this possible. I alsowant to thank the studentshere and the other peoplewho have helped this musicof mine to become popularover the years. When I amout on the road and peoplecome up and tell me thatthey have all of my records,or that a certain song ofmine inspired them to takeup piano or compose, Irealize that music has goneforth into the world tobless in diversified ways. Iam grateful to God and toyou people for making thathappen."

Berklee t o d a y 3

FILM SCORING PREMIERES NEW FACILITIESFor the past few months, the

rhythmic sound of hammers, saws,and drills has comprised the under-score to everyday life in Berklee’sFilm Scoring Department. After anoisy season of expansion (part of theongoing overhaul of the 150Massachusetts Avenue building), theFilms Scoring Department has growninto a two-floor facility, occupyingboth its former space on the third-

and lab monitors, and serves as the,department’s tape duplication facility.

Upstairs, in what was formerly adormitory space, are the new facultyand administrative offices, a newreception area, and two futuristicclassrooms. The larger of the two will[be the site of such heavily populated[classes as Introduction to FilmScoring, Analysis, Film Music,"History, and Dramatic Scoring

AIf Clausen (center) checks out the facilities in M18, a new classroom and editinglab, with Film Scoring Chair Don Wilkins and Assistant Chair Michael Rendish.

floor (M level) of the building, and new space on the fourth floor, adja-cent to the Learning Center.

The original third-floor film scor-ing facility has been completely reno-vated. Room M18, formerly a class-room, has been combined with theadjacent editing lab to create the newFilm Scoring Technology Lab andclassroom. Six student workstations,each outfitted with Power Macintoshcomputers and new audio and videogear, offer students an interactivelearning experience during computerapplications and music editing classes.

A permanent scoring stage nowfills the large classroom area in M16,where a new floor and a drum isola-tion booth have been installed. Twonew film editing labs housing 16ramand 35mm equipment have takenover part of the old film scoringoffice. The rest of the space is now apermanent home for the lab manager

4 Berklee t o d a y

Concepts. Equipped with fixed, the--ate>style seats, large-screen videomonitor, and surround-sound, theroom also serves as the department’,’;theater for film viewings, specialclinics, and visiting artist seminars.

Another classroom contains asmaller video and audio playbacksetup for use in Film MusicComposition classes. Two smallerviewing rooms have also been built foruse by faculty members for individual[screenings of projects with students.

The additional space and updatedequipment has increased the availabil-ity of lab time for students during theafternoon and evening hours, addedto the amount of recording time thedepartment is able to offer student.’;for film scoring projects, and nowmore than ever, conveys the feel of areal film scoring facility.

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WARRICK CARTE8 TO LEAVE BERKLEE

After 12 eventful years asBerklee’s dean of faculty, and as ofJanuary, provost and vice presidentof academic affairs, Dr. WarrickCarter will leave Berklee inNovember for a position as director,entertainment arts at Walt DisneyEntertainment in Orlando, Florida.[See page two for a synopsis of Dr.Carter’s achievements at Berklee.]

"All my life I have taken jobs notknowing that they were preparingme for the next one," states Carter."When I first read the job descrip-tion for the Berklee position, Ithought, ’I’ve been preparing all mylife for this job and didn’t know it.’The same thing happened again. Mypast experience plus what I have doneat Berklee prepared me for this job."

While he is enthusiastic aboutmoving to Florida and the challengesahead, Carter is quick to point outthat he wasn’t actively seeking a newposition. "When I came to Berklee,"he says, "I figured that I would stayhere for the long haul, no other edu-cational institution could havewooed me away."

During his years asBerklee’s dean of faculty,Carter also served as a con-sultant on educational andentertainment matters forDisney. Over the past fiveyears there were casual dis-cussions of his joining thecompany, but this springthey made him an offer.

Carter was born andraised in Charlottesville,VA, his mother was a publicschool music teacher. Sheled church and communitychoirs, and got her foursons involved in music--three majored in music atcollege. Warrick and hisyoungest brother have con-tinued in music careers.

Carter received hisundergraduate music edu-cation degree fromTennessee State University,and his master’s degreefrom Michigan StateUniversity. He taught at theUniversity of Maryland for

Fall 1996

five years before starting on his doc-torate, which he earned fromMichigan State in 1970. Early experi-ence came at Governor’s StateUniversity in Chicago where hefounded a music program as the onlyfaculty member with just seven stu-dents. When he left 13 years later forBerklee, he was chair of the fine artsdivision which included music, the-ater, photography, and visual artsdepartments. By the time of his depar-ture, the program had 18 facultymembers and 250 students.

Simultaneously, Carter worked as aperforming musician as well. "InChicago," he states, "I had a good bal-ance of educational work and the day-to-day life of a working musician. Iwas gigging as a drummer and as apercussionist on instruments like tim-pani, vibes, and xylophone. Much ofmy professional playing has been inthe jazz idiom, but over the years I’dplayed with a range of artists like BillyTaylor, Stanley Turrentine, NatalieCole, and Shirley Horn." He alsoconducted for Peabo Bryson, and has

Warrick Carter will become director, entertainment arts,for Walt Disney Entertainment in November.

had his compositions performed byMercer Ellington, Clark Terry, andcollege ensembles across the U.S. andEurope.

Carter’s role at Disney will be toassist in consolidating their entertain-ment arts activities. Presently, Disneyis the largest employer of entertainersin the world. The company operatesfour parks located in Orlando,Anaheim, Tokyo, and Paris, threecruise ships, a new theater in NewYork, and produces a number of spe-cial events which call for live acts. Asthe company expands, there is a grow-ing need for dancers, instrumentalists,composers and arrangers, choreogra-phers, sound and lighting techs, cos-turners, and more. Carter will helpconnect young talent with Disney.

"’Years ago Disney decided it wasimportant to identify preprofessionaltalen~t and get those people involvedthrough internships and other specialprograms," Carter states. "After theycomplete their training at institutionslike Berldee, they will think of futureopportunities with Disney."

The creative entertain-ment team oversees talentbooking worldwide. Myposition will involveincreasing the number ofpreprofessional activitiesand making sure the com-pany continues to find allthe talent it needs world-wide. That will involvesome out-sourcing andpartnering with majorsuppliers--hopefullyBerklee will be one of oursources."

Though it will be hardfor Carter to say good-byeto friends he has workedwith at Berklee over thepast dozen years, he seeseverything developing forthe best.

~ "I always intended to

-~ retire to Florida," he says.~ "I didn’t think I would

move there while I wasstill working. This is greatbecause I will have achance to form friendshipsbefore I retire."

Berklee t o d a y 5

(~EORGE "AllAN" DAWSON1929-1996

A lifetime on Zildjian...you enriched our lives with your music

and your friendship.

MARVUGLIO NAMEDDEAN OF PROFESSIONALPERFORMANCE DIVISION

As of June 1, Matt Marvuglio lefthis post as Woodwind Departmentchair to begin his duties as dean ofBerklee’s Professional PerformanceDivision. That position was previ-ously held by Larry Monroe who isnow associate vice president of inter-national programs.

Marvuglio was chosen from a fieldof impressive candidates to lead thecollege’s largest academic division.He brings to the post 20 years ofexperience as a faculty member, col-lege administrator, and a performerwho is at home in a range of musicalstyles, and with music technology.

Marvuglio earned his bachelor’sdegree in composition from Berkleeand a master’s degree from theUniversity of Massachusetts. Hestarted teaching at Berklee in 1975.He took over as chair of the

Matt Marvuglio

Woodwind Department in 1987, andbegan serving simultaneously asmanager of the PerformanceDivision MIDI Lab in 1988.

An active flutist and composer inthe fields of concert music and jazz,Marvuglio has performed and pre-sented clinics across the globe.Between 1980 and 1989, he was theflutist at the Colonial and Shuberttheaters in Boston. His composition"Simples of the Moon" appears onPercussion Department Chair DeanAnderson’s forthcoming CD

Fall 1996

Divinations on Neuma Records. Onthe recording, Marvuglio plays EWIwind controller, Anderson plays elec-tronic and acoustic percussion, andWendy Rolfe plays processed flute.

Marvuglio co-founded the FluteImprovisation Institution withBerklee faculty member Wendy Rolfe,and is on the board of directors of theGreater Boston Flute Association.

Since Marvuglio started in his newposition, Associate Professor BillPierce has been serving as acting chairof the Woodwind Department.

ANNUAL FUND REVS UP

Kassandra Kimbriel has joinedthe Institutional Advancement staffas assistant director for Berklee’sAnnual Fund.

Kimbriel will work with thedirector of development to increaseannual fund giving among membersof the Berklee community. Her firstinitiatives "will be to conduct the fallphone-a-thon and a second phone-a-thon in the spring.

Berklee t o d a y 7

FIRST BERKLEE INTERNATIONAL NETWORK SUMMIT HELD IN PERUGIAThree years after its founding, the

Berldee International Network (BIN)of contemporary music schoolsrecently achieved its greatest "net-working" moment. Representativesfrom all of the seven BIN partnerschools and Berldee came together as agroup for the first time last July, takingthe group’s diplomatic efforts to sup-port contemporary music education toits highest level yet.

The picturesque hilltop city ofPerugia, Italy, provided the setting forthe first BIN summit, held concurrent-ly with the Umbria Jazz ’96 festivaland Berklee’s annual jazz clinics inPerugia. Associate Vice President ofInternational Programs Larry Monroechaired the three-day meeting whichwas coordinated by Assistant Directorof International Programs SharonGlennon.

"We brought seven strangerstogether and helped them get ready tocollaborate creatively," Monroe saidafter the summit. "They came fromdifferent countries and varying typesof music schools, but within threedays, everyone found a commonthread and worked well together."

The summit participants wereLeonidas Arniakos and CostasBaltazanis ’89, of the Centre of MusicStudies Philippos Nakas, in Athens,Greece; Jordi Vall and Enric Alberich’90, Fundacio L’Aula de Musica,Barcelona, Spain; Orlee Sela andAmikam Kimelman ’82, RimonSchool of Jazz and Contemporary

Larry Monroe (foreground) addresses BIN school repre-sentatives (counter clockwise) Kazuaki Hashimoto, JussiSaksa, and Enric Alberich.

Music, Tel Aviv,Israel; StephenCarbonara ~76, of theAmerican School ofModern Music, Paris;Maya Masaki, KoyoConservatoire, Kobe,Japan; KazuakiHashimoto ’81, PANSchool of Music,Tokyo; and JussiSaksa, Pop & JazzConservatory,Helsinki, Finland.

Summit partici-pants spent much oftheir time exchangingbasic information and discussinggroup logistics. They compared vary-ing approaches to curriculum, accep-tance standards, and placement tests,among other topics of shared interest.

One common concern is the finan-cial challenge of trying to run schoolsof contemporary music in countrieswhere traditional forms of music oftenare supported more heavily by cultur-al and governmental institutions thancontemporary music forms. Monroehopes that BIN partner schools situat-ed near each other (such as the schoolsin Barcelona and Paris, or the ones inTel Aviv and Athens) will collaborateon certain projects or purchases inorder to lower expenses.

"Banding together is importantbecause it helps all of the partnerschools," Monroe stated. "Any oneschool’s successes improves things for

all of the schools, in asense."

The use of com-puters and technologycame up in every sum-mit session. Somepartner schools havesmall, but excellentand up-to-date musk:technology labs, andothers have virtuallyno music technologyequipment. Onceeach partner schoolhas electronic mailand internet capabili-ties, Berklee will world:with each school tohelp improve elec-

Percussion :;tudents at Berklee’s Perugia program.

tronic communications.Monroe hopes that faculty and stu-

dents at each BIN school will soon beable to link electronically to theBerklee library and call up teachingmaterials and other documents fromBerklee information sources with afew keystrokes.

"Being a member of the BerkleeInternational Network has been andwill continue to be beneficial to us,"said L’Aula Academic Director EnricAlberich, on the closing day of thesummit. "Not only because we oftenuse Berldee curriculum and facilitiesas models for L’Aula, but becauseprospective students like the fact thatwe have a close relationship with acollege like Berklee," he added.

Nine Berklee professors also trav-eled to Italy to teach 224 students inthe Berklee Summer School atUmbria Jazz Clinics. At the conclu-sion of the program, more than 40 stu-dent groups performed on theschool’s outdoor stage, overlookingPerugia’s rolling hills.

Berldee awarded tuition scholar-ships ranging from $5,000-8,000 to 12top student performers for a year ofstudy at Berldee. A group of six Italianstudents participating in the clinicswere also selected to perform in theUmbria Jazz Winter Festival, slated forDecember 29, 1996-January 5, 1997 inOrvieto, Italy. Artistic director of theclinics Giovanni Tommaso chose thegroup after hearing their performanceduring the closing concerts.

--Rob Hochschild

8 Berklee today Fall 1996

BERKLEE CITY MUSIC PROGRAM MARKS SIXTH YI-’AR

In August, Berklee awardedfull-tuition, four-year scholar-ships to three high school stu-dents from Boston. VernonMessam, of Dorchester, andHyde Park residents GiselaJohnson and Brent Irvinereceived their scholarships dur-ing the intermission of aBerklee Summer PerformanceProgram concert in which theyperformed. The three wereattending the summer programon another scholarship: theSummer Youth Scholarship forTalent and Excellence in Music(SYSTEM 5). They began full-time study in September.

Messam, a pianist, receivedboth the Harry Ellis DicksonScholarship, named for theBoston Pops and BostonSymphony Orchestra associateconductor laureate, and the Joe andEmily Lowe Scholarship. Johnson, avocalist, was the recipient of the JoyceKulhawik Scholarship, named after

through the Berklee City Music(BCM) program, a communityservice program offering freemusic education opportunitiesto Boston high school students.

Now in its sixth year, BCMhas evolved from offering ahandSul of young musicians thechance to study at Berklee forthe summer, to a year-roundproject involving more than 100Boston high school students. Inaddition to providing scholar-ships, components of the BCM

~°~ program include after-school~ mentoring with Berklee faculty

and students and opportunitiesfor participants to performcommunity service throughmusic.

BCM, which is funded byindividual gifts and foundationgrants, helps provide access to

college for talented young studentsliving in the Boston area.

WBZ-TV personality Joyce Kulhawik (left) presentsvocalist Gisela Johnson a full-tuition scholarship.

the WBZ-TV entertainment reporterand arts advocate who was on hand topresent the award.

The scholarships were awarded ---Allen Bush

PROFESSOR IN A BOAT

Professor Joseph Coroniti hasjust returned to Berldee this fallafter spending the last year abroadas Fulbright professor of Englishat the University of Bergen,Norway. Coroniti, his wife Jeanne,and their two children absorbedNorwegian cultural traditions,including music and dance, whilestaying in the small town ofParadis, outside Bergen.

Coroniti’s responsibilities at theuniversity included creating andteaching two graduate courses--one on narrative voice in contem-porary fiction and a second on howIrish identity has been portrayed inrecent film and literature. "TheIrish course was extremely popu-lar," says Coroniti. "TheNorwegians and our exchange stu-dents from other European coun-tries were fascinated by all thingsIrish: films, literature, music--andBergen’s three Irish pubs."

Coroniti’s expertise on Irish cul-ture was noted by Fulbright admin-istrators, who invited him to pre-sent a paper titled "Irish Identity inLiterature and Film--the Viewfrom Norway" as part of the cele-bration of the 50th anniversary ofthe Fulbright program. In March,Coroniti delivered the paper inBerlin. It was later published by theGerman Fulbright Commission.

The American Embassy inLondon also invited Coroniti tomake two presentations. InSeptember 1995, he conducted afull-day workshop on teaching andcreating poetry in the classroom forSwiss English teachers at the U.S.Embassy in Bern. Later, he deliveredthe keynote address to theLithuanian Association of AmericanStudies at the University of V’flnius.

One of Coroniti’s more memo-rable tides was that of "professor ina boat." "In January and Februaryof this year, I traveled by ferry tothe Haugesund Folk University in

Norway," says Coroniti. "I gave anintensive version of my Irish coursefor adult students there."

Coroniti also gave readings of hisown fiction and poetry and a seriesof lectures at Bergen’s TeacherTrairfing College. Next year, he willreturn to Europe to lecture at uni-versities in Trieste and Padua, Italy.

Coroniti reflects, "From Africato Scandinavia, my two Fulbrightshave allowed me to contrast modelsof higher education in the U.S.,Europe, and beyond."

Joe and Talia Coroniti in a fjord

Fall 1996 Berklee today 9

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FACUL’rY NOTESLibrary Director John Voigt has:

been invited to present a seminarabout jazz education at RutgersUniversity on December 12.

Guitarist dack Pezanelli and hisquartet, featuring Dave Clark (bass)and dohn Arcare (piano) performedat the Jazz Festival of Key West inJuly. Pezanelli and Herb Pomeroyare featured on alumnus GrogAbate’s CD It’s Christmastime.

Guitarist Charles Chapman wasinterviewed by Mary Morgan ’93on the cable TV show "Let’s TalkMusic," which aired during June.

Peter Gardner published NewDirections: An Integrated Approachto Reading, Writing, and CriticalThinking, for students of English asa Second Language.

Guitarists Steve Rochinski andTal Farlow presented a clinic at theIridium in New York in June.Rochinski also played in the J.V.C.Jazz Festival’s tribute to %1 Farlowalong with Attila Zoller, Herb Ellis,Jack Wilkins, and others.

Brazilian vocalist Luciana Souzaand her quintet played at theRegattabar in Cambridge in July.

David Vose presented drum clin-ics at several music schools inFinland and made an instructionalvideo for the Conservatory of Popand Jazz. His arrangement of"Fanfaarimarssi" by Finnish com-poser Arthur Furman was played atthe Conservatory of Tampere.

Bassist doe Santerre recentlysigned a recording contract with theCalifornia-based Audio ImageRecord company.

Daryl Katz, Bob Pilkington,Jackson Schultz, and Ken Puliigserved as judges for the fourthannual Jazz Composers Alliance(J.C.A.) composition contest. TheJ.C.A. orchestra and sax quartetperformed music of Katz andPilkington at a June concert.

Percussionist Dean Andersonrecently completed an 11-city tourof the U.S. with Keith Lockhartand the Boston Pops Orchestra.

Vibraphonist Ed Saindon andtrumpeter Herb Pomeroy recorded

a CD entitled Swing on the SunnySide for Hop Jazz Productions.

Trombonist Tom Hsek pre-miered his composition CorvusCorax 2:Juvenile Recruitment withthe Greater Boston YouthSymphony Orchestra WindEnsemble in June. His performanceof Cage for Trombone wasreviewed in the August/Septemberissue of Arts New England.

Saxophonist Walter Beasley’snew CD Live & More features per-formances by Winston Maccow;alumni Craig Glanville, AndrewSherman, Carl Carter, DaveCowan, and Earle Johnson; andstudents Monica Lynk, RicardoRodriguez, and Tarique Akoni.

Pianist Marc Rossi’s l 1-minutecomposition "Negru Voda" is thefirst cut on the 1996 MMC NewCentury recording of the SilesianPhilharmonic Orchestra.

Dan B0wden completed twobooks of guitar transcriptions:Emily Remler Retrospective:Compositions, and Ronnie Earl,Blues Guitar Virtuoso: Live inEurope, for Mel Bay Publications.

Gregory Fritze and his ColonialTuba Quartet released the CDSpectraphonics. Works by Fritzeand Ken Pullig are on the CD,which was recorded at Berklee withDon Pulnse engineering.

Guitarist Robin Stone receivedthe Uchida Fellowship from theJapan Foundation to study the kotoin Tokyo this fall.

Flutist Wendy Rolfe toured withthe Handel and HaydnSociety/Mark Morris DanceCompany production of Gluck’sOrfeo this spring.

Peter Cokkinias and his BostonSaxophone Quartet will performfor the M.I.T. Chapel Series this fall.Cokkinias will also conduct theGreater Marlborough Symphonyfor their 1996-97 season.

Guitarist Garrison Fewe~l pre-sented a clinic at the Montreux JazzFestival in July. His CD Are YouAfraid of the Dark? is receivingglowing reviews.

SUMMER VISITING ARTISTS

A diverse group of artistsparticipated in the summerthe Visiting Artist Series,coming to the campus toshare the insights whichhave brought them recogni-tion in their fields.

"Brush Master" ClaytonCameron, drummer withTony Bennett, presented aclinic about playing withbrushes. Cameron hasworked with such artists asFrank Sinatra, Joe Pass, andSammy Davis, Jr.

Boston-based bandGroovasaurus, featuringalumni Anita Suhanin(vocals), Mike Piehl (drums),Lou Ulrich (bass), guitaristsIan Kennedy and Goody,and keyboardist RyanClannch, gave a demonstra-tion on groove playing.

The August WorldPercussion Festival broughtin such renowned percus-sionists as Glen Mobley,Walfredo Reyes, Sr,, GlenVelez, Trichy Sankaran, andformer Tower of Powerdrummer Dave Garibaldi fora week-long series of per-formances, clinics, anddemonstrations.

Greek percussionistPetros Kourtis, a facultymember at the PhilipposNakas Conservatory inAthens, discussed tradition-al Greek music and the oddmeters usually found in that

music. He also demonstrat-ed contemporary drum-ming techniques.

Guitarist Tony Garbourygave a seminar on jazzimprovisation. Garbouryhas worked with VinnieColaiuta ’75, JamesWilliams, John Patitucci,and others.

Trumpeter ~ger Okoshi’75 gave a lecture anddemonstration on rhythm,harmony, and feeling inimprovisation with pianistBrad Hatfield.

Trombonist Steve Turregave a clinic titled SanctifiedShells, in which he playedhis original compositionsand arrangements for seaconch shells.

Singer/guitarist CharlieSingleton, bassist AaronMills, and drummer JohnBlackwell "95, members ofthe popular funk groupCameo, gave a rhythm sec-tion demonstration in theBerklee PerformanceCenter. They also backedvocalist Sherma Andrews "94on several selections.

The John AIImark JazzOrchestra performed in Julyfor the Five Week SummerPerformance Program stu-dents: British-born trum-peter Allmark is an activeNew York session player.

L.A. drummer BrockAvery discussed how to

Guitarist Charlie Singleton of the funk group Cameo

Fiddle virtuoso Mark O’Connor (right), guest artist for the annu-al String Fling, works with a student during his master class.

merge stylistic influences toexpress yourself in today’smusic.

The annual SummerGuitar Sessions week pro-vided clinics with a widerange of guitar stylists.Costas Baltazanis gave afusion clinic, John Petrucci(of Dream Theater) gave

rock clinic, Larry Mitchellpresented an acoustic duoconcert with faculty mem-ber Jon Finn, and jazz gui-tarist Mark Whiffield fieldedquestions and gave astraight-ahead jazz concertwith a faculty rhythm sec-tion in the PerformanceCenter.

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Berklee today 11

FACULTY SPOTLIGHT

Hearing Voices

by Mark Small "73

H ohn LaPorta remembers fighting a strong temptationto throw his clarinet off the Delaware Pier in his

native Philadelphia on the way home from a particularlyrough music lesson. It was his first with highly regardedclarinetist Joseph Gigliotti, andJohn had just learned that he hadto undo some serious techniqueproblems compounded overyears of practicing nearly fourhours daily.

"I’ll never forget that lesson,"he says. "I was just about 13,and I came in ready to show offmy great technique and howwell I could read. The first thingGigliotti asked me to do was toplay some long notes. Then heasked how old I was and howlong I’d been playing. After myanswer, he shook his head andsaid, ’Well... there is still time.’I was breathing from the chest,not the diaphragm, and attack-ing notes with the throat, notthe tongue. It took a long timeto unlearn those habits whichhad become so ingrained."

The upshot of the dishearten-ing ordeal was that John devel-oped correct technique andwent on to play with jazz greatslike Woody Herman and

John I..aPorta: "As a teacher, you have to help stu-dents find their voice. That is most important."

Charlie Mingus to name a few, and in orchestras underconductors Leonard Bernstein and Gunther Schuller. Theincident also provided a valuable experience the semi-retired LaPorta has drawn upon during his three decades

at Berklee helping students toovercome obstacles, and dis-cover and develop their artisticvoices.

John began playing gigs inthe 1930s on both clarinet andtenor saxophone, workingwith a 28-piece German bandplaying dance music--waltzesand polkas. Playing Polishweddings for families in hisneighborhood helped himlearn to play by ear.. He trans-ferred in his junior year of highschool to a Philadelphia voca-tional school because it had thebest music teachers in the city.

"That place was a beehive ofactivity," John recalls. "Greatplayers like [clarinetist] Buddy

g DeFranco, [trumpeter] Red~ Rodney, and two great tuba

players who went on to jointhe Chicago and Philadelphiasymphony orchestras werethere around the same time. Iexperienced a total immersionin music then. I was in classes

12 Berklee toflay Fall 1996

all day, rehearsals and concerts atnight. I would be playing 10-11 hourseach day. Every dedicated musicianhas to go through a period like that.That’s when the ’want to be’ becomesan ’ought to be.’"

At 20, John began touringthroughout the country with variousbands. While playing in Californiawith band leader Bob Chester, he gotthe opportunity to write and record apiece which was included in the 1944movie El Trocadero. The film still airsoccasionally late at night on televi-sion. He landed in New York in the1950s where he worked with Mingus,recorded with the Metronome AllStars, cofounded the Jazz Composer’sWorkshop, and earned his bachelor’sand master’s degrees from theManhattan School of Music.

Before coming to Berklee, he wasalready involved in a number of edu-cational pursuits. "I was a foundingmember of the National Associationof Jazz Educators [NAJE]," he says."I helped put their mission statementtogether." He was also doing clinicsfor Concord, a company which haddeveloped an early synthesizer-likedevice enabling the player to dothings like get a tuba sound out of areed instrument. John also taught atthe then-popular Kenton-MorrisNational Summer Band camps, whichis where he met Berklee administratorBob Share. Share invited him to visitBerklee and asked him to think aboutjoining the faculty. John visited in thefall in 1961, and began teaching thefollowing summer.

"When I came here in 1962, therewere 140 students," he recalls. "Therewas a small number who could reallyplay, and they were in the recordingband, and then there were those whocouldn’t verbalize what direction theywanted to go in. I concentrated onthose students who really didn’tknow what they wanted to do withtheir instrument yet. I recommendedthat Jack Peterson be hired as guitarinstructor. He was very good at draw-ing things out of those types of stu-dents. It was very successful."

That first year, LaPorta andPeterson organized materials forstudying chord scales and guidetones. "We didn’t invent them," headds. "They are in the music of

Jerome Kern, ColePorter, and others.We codified themby analyzing themelodies and pre-senting the materi-als as tools. Ourapproach was wide-ly disseminatedthroughout thecountry althoughno one credits uswith organizing thematerial first. Itquickly sort ofbecame publicknowledge."

John was the cre-ator and foundingchair of Berklee’s original InstrumentalPerformance Department and helpedto launch numerous performance-ori-ented programs. Early on, it wasapparent that he possessed a special tal-ent for helping develop musicians whodon’t, upon first heating, sound liketomorrow’s superstars. Larry Monroeonce said of John, "His attitude hasalways been ’If you can play a little, wecan fit you in and make you play bet-ter.’ John knew how to take a bunch ofkids who had music in them and goforward with that. It was a break-through for the school. He was mag-nificent with lower level kids."

John never taught private lessons atBerklee; he always worked in the class-room or directing ensembles. Hismelody and improvisation classes andworkshops provided the buildingblocks for many players. "I feel theworkshop setting worked a lot betterthan the classroom situation did," hestates. "You could learn theoreticallyabout guide tones [the third and sev-enth of a chord] but you really need tohave experience with them to hearhow they work."

John had very specific ideas on howhe could contribute. "Some of theteachers had a very routinized way ofteaching things like arranging," hesays. "Some of the students didn’t~want to just learn the rules, they hadsomething different in mind. Thesewere the students I enjoyed the most;they made my day. Harvie Swartz is agood example. He wasn’t the bassplayer he has now become when hegot here. He was someone who knew

The Berklee Saxophozle Quartet circa 1970. Clockwise:Joe Viola, John LaPo~a, Gary Anderson, Harry Drabkin.

what he didn’t want, although he had-n’t yet figured out what he wanted.He didn’t fit squarely into some ofthe courses and he was quite vocalabolat it.

"Two years ago, I heard Harvie’sbass/vocal duo with Sheila Jordan atthe IAJE Conference in Boston. Theywere playing to about 1,000 people. Atfirst I thought, how will they pull thisoff? But once they started, it wasmagic. Harvie treated every piece theyperf’ormed differently. He was doingthings I’d never heard another bassplayer do. There were many othergreat acts who performed that year,but for me, Harvie and Sheila were thebest in terms of sheer musicality. Hehas found his voice.

"It is finding your voice that isimportant. As a teacher, you have tohelp students find that tiny voice. Evenif you don’t hear a voice there, should-n’t a teacher at least offer them thechance to grope for it? I think greatteaching is about that, more thanforce-feeding students your personalideas on music.

"French composition teacherNadia Boulanger [who taughtCopland, Villa Lobos, Bernstein, andothers] used to say that to be a goodteacher, you must instinctively assesswhat the student is doing, and then beable to address the problems heard inthe student’s music. I think that is whatI have tried to do. I never wanted tobecome an icon to the students. Theteacher can only inspire them, youcan’t make them great musicians. Theyhave to do that themselves." -~

Fall 1996 Berklee today 13

A L~fe it.,

Tunesmith Patty Larkin ’74: melodiesand metaphors from American life

by Mark Sma,fl "73

T he gift and burden of the bestsongwriters is to create adeeply affecting moment

within the confines of a three-minute song. Though crafted fromthe elements of everyday parlanceand the centuries-old 12 musicaltones, a great song makes the heartsoar, sob, or smile.

Patty Larkin’s unique gift is sculpt-ing these transcendent moments fromwhat many might regard as the unspec-tacular facets of contemporary living.She hears a metaphor where othersmight hear distracting sirens, finds spir-itual reconciliation as a train’s headlightilluminates a Colorado canyon, andcan fully plumb the depths of a rela-tionship in three verses and a chorus.

In an agile alto voice, sometimesthroaty and powerful at the top of achorus and then a fragile whisper bythe end of the strophe, she reveals herlife and imagination. Her adroit guitaraccompaniments have brought acco-lades from numerous critics. Beyondrhythmic strumming, her guitar styleincorporates state-of-the-art stringtapping, bottleneck slide, finger pick-

PHOTO BY JANA LEON

ing, and Celtic-inflected bent notes.Her guitar work is the bedrock sup-porting the expansive fretted sound-scapes she and producer Jon Leventhalhave constr~cted on her last two discs.

Raised i:n Wisconsin in a familywhere music created generationalbonds, Patty came to Boston viaOregon in the 1970s. After studies atBerklee, she launched her careerbusking in Harvard Square. Rising toprominence in the germinating neo-folk scene of the 1980s, she recordedthree records for the Philo/Rounderlabel. Jumping to Windham Hill’sHigh Street label in the 1990s, albumsfour, :Five, and six have preserved herfolk stylings while packing enoughpunch to catapult her to the top of theadult, albun% alternative radio charts.

A veteran performer, she plays 150concerts yearly and has appeared onseveral network TV shows. Her sar-donic stage patter includes imperson-ations, terse social commentary, andspoofing on a range of societal foibles.Introducing her song "AngelsRunning" to the crowd at the AugustChamplain Valley Festival in

Berklee today 15

Vermont, she announced that Cher’s latestalbum, It’s a Man’s World, features the tune.Patty basks in the irony of the person who sang"Gypsies, Tramps, and Thieves" learning herlyric. Off stage though, she sees it more a smileof fortune than a cultural collision, and confidesthat she really likes the sound of Cher’s voice onher tune.

After her set at the Champlain Valley festival,we stopped at a nearby cafe. Over a bowl ofbroccoli soup, Patty spoke about where hermusic comes from and where it is headed.

here is something beautiful

about writing, practicing, and

having a sane home life. It is

like my dream come true has

become my nightmare.., be

careful what you wish for.

Are there any memorable experiences youhad when you were young which made youdecide to become a musician?

My grandmothers both played piano andwhen we would get together we would sing. Mygrandmother Larkin knew lots of tunes; sheused to accompany the silent movies inChicago. I remember being small and standingunderneath the keyboard while someone wasplaying boogie woogie music and I felt like Ihad just seen God, it was a great sound to me. Iknew that music was something that was fun todo and brought everybody together. I wanted totake lessons before I really could, and had towait until I was seven or eight.

Did you start on piano then?Yes, classical piano, but now I’m clueless. I

blocked it all out. I mostly play guitar these days,but I will play keyboard pads for preproduction.I started guitar in my preteen years--wanting tobe popular. I went into the folk thing, probablybecause of camp. I started listening to TomPaxton and Bob Dylan not even knowing whothey were, but from hearing other people do theirsongs. A guitar made it into the house when I wasabout 11, and I was writing songs by the time I

was 12 or 13. By the time I was in high school, itwas part of my identity even though I didn’t talkabout it with anyone outside of my family.

How did you come to Berklee?I earned a degree in English literature from the

University of Oregon before I came. The wholetime, [ was doing music too. They had a reallygood folklore department and a lot of peoplewere playing old-time fiddle tunes. I took fiddlelessons from a guy named Pop Powers andplayed some backup guitar for him. He wasprobably in his 70s or 80s at that point, and wewoukl go out and play at nursing home picnics.

I got hooked into the coffee house circuitthere and ended up working in a blues/jug bandwith a guy named Chico Schwall. His brotherJim was in the Siegel-Schwall Blues Band, so heknew a ton of old blues music.

When I was doing student teaching as anEnglish major, I was in the library looking formaterial on One Flew Over the Cuckoo’s Nestand I came across Bill Leavitt’s guitar method. Ihad been curious about reading guitar music. Itook the copy home and started realizing that thekind of stuff I had been playing on piano couldbe played on guitar. I was astounded to find outabout: a place like Berklee where you could studyjazz guitar.

I moved to Boston after my senior year andstarted taking jazz guitar lessons and enrolled atBerklee in the summer. I got a lot out of Berldee,it helped me get things organized. It was a hugehit of energy, paranoia, enthusiasm, and competi-tion, but I learned that there was a structure anda way to study music.

Are there any courses that stood out?I liked theory and arranging a lot. I was pret-

ty terrible in my ensembles, I ended up feeling,okay, I’m a folk singer. There was one other per-son, a guy named Bob, who played acoustic gui-tar, while everybody was playing Fender Strats. Irecently ran into him on a tour I did in NorthCarolina, he came to my gig. He has switched toplaying upright bass now, and is a teacher andjazz player.

I really thought ear training and learning to dorecord copies was very helpful. Just beingexposed to that much music was very exciting.Trying to translate standards to guitar and learn-ing tlhat there was a way to read this music wasgreat for me. I had no idea how the music busi-ness worked; it was a total mystery to me. I justknew that I wanted to play music. I thought if Icould study music and read it, I would be muchmore versatile at what I did. I wanted to learn asmuch as I could because I didn’t know how to doit as a songwriter.

I remember seeing Elvin Jones give a clinic

16 E~erklee today Fall 1996

when I was a student. I was sitting outside after-ward with the other woman I knew from school.It was about 2:00 p.m., Elvin stopped and invitedus out for a beer. We said, [putting on a girlishvoice] "oh no, we have to go practice." I thoughtabout that a few years ago. Elvin Jones, thedrummer for John Coltrane, what was I think-ing? Go get a beer and some peanuts with theman! But we thought if we were guys he wouldnot have asked--and we did have to practice.

I did a songwriter workshop at Berklee lastyear, and it was really fun to see so many youngwomen in the class interested in music. It wasgood to see how vibrant the atmosphere is therenow. There were very few women instrumental-ists when I went to Berklee.

After you left Berklee you played electricguitar in bands before coming back to youracoustic roots.

I continued to study jazz guitar with a guynamed Chet Krule. He had an ensemble wheresome guitars played saxophone lines and oneplayed rhythm guitar. I was playing rhythmguitar and was just graduating into the sax lineswhen I quit. But I had learned a lot about theGeorge Van Eps chord style.

I was really drawn to Brazilian musicbecause it was so melodic and I liked therhythms. I put together a trio with flute andcongas and we played some of the Airto andFlora Purim stuff, and wrote some things alongthose lines too. That group added a bass playerand became a rock band in about 1981 and weplayed places like the Tam. It was really hardkeeping an original rock band together. Playerswere always quitting to go for more lucrativedeals or with someone they thought was goingto make it. I had also found it hard to writethings in a pop vein that people could dance to.

I had been playing and writing acousticmusic all along and opening for acts like thePersuasions, Jesse Colin Young, and LoudonWainright III at the Paradise Club. I was havingmore fun on my acoustic gigs so I broke up theband and went with Rounder Records.

Jon is like a kid in a candy shop when ihe getsgoing. It is fun to see him work. t-Ie has about35 different instruments; he collects them. Heunderstands the feeling and mood of the song,and listens to the lyrics. He has an artist’s senseabout the music that I like.

When I left for a month and then came back,he had to get his new ideas past me though. Heknew if I was hesitant, it wasn’t ringing true.

There is a lot of subtlety to the production,some parts are almost inaudible unless you arelistening in headphones.

One reviewer I was talking with told me hehad decided what he was going to write ~fter lis-tening the Angels Running album in his car. Hegot home and put it on his CD player as he beganwriting. He told me he wrote something com-pletely different because he could hear so muchmore. The production is fairly subtle--maybewe need more Peter Frampton guitar slides?

In your songwriting do you fir,~d lyric writ-ing to be the hardest part?

It has actually gotten more difficult. I gobetween a real Zen approach of stream-of-con-sciousness writing and maybe just babbling poet-ry and writing it down to see how it comes out.Once I get the first verse or chorus I try to workwith it. I read an interview with Leonard Cohenwho said it takes him a year to write a song andsome songs take a decade. When I first read it Ithought, "yeah, right." Now I am starting tobelieve it. He will fill a whole notebook withlyrics for one song.

I have one song that I have wanted to get onmy last two albums but it’s not done. One verseis done, and it’s not even that great a verse. I justknow where I want it to go.

Are some of the personalities ~.hat come upin your lyrics imagined and some real ?

There is a Helen’s Restaurant up in Machias,

Patty Larkin per-forming at NewYork’s Bottom Linewith songwritersGreg Brown (left)and Billy Bragg.

On your last two albums, Angels Runningand Stranger’s World, the backing trackshave been described in the press as "sound-scapes." Did you and producer Jon Leventhalwork them out collaboratively?

A lot of the guitar layering and texture wascompletely Jon’s. I did some preproductionwork at my own home and some ideas came outof that. Jon has an ADAT studio where we didabout half the vocals live with my guitar for theStrangers World album. Then he would putzaround and come up with ideas to show me. Wewould try this or that and keep what we liked.

Fall 1996 Berklee today 17

Maine. I used to go in and have breakfast, whileeveryone else was probably having lunch. Thelyric in the song "Helen" comes out of myimagination, impressions I got while drivingaround Down East Maine.

The character from "Dave’s Holiday" camefrom a real life person-who would come down toCape Cod in the summer. He and his friendswould just sit in lawn chairs all weekend with thebug zapper going.

I don’t know where "Mary Magdalene" camefrom. I think part of it is coming out of me. Itried to write from the viewpoint of someonewho felt completely defeated. If she was alivetoday she might be on welfare living in a hotel ona highway strip with her two kids.

Where is the balance between inspirationand perspiration in your songwriting?

It takes about a week of really bad writing,another week of thinking I’m getting somewhere,then in the third week something else might popout. I think the craft is in going back to finish asong, not copping out or saying this is goodenough. As I write for my next project, I realizethat I will have to sing these songs for the nextthree or four years if I put them on an album, soI’d better believe in them.

You say that you feel very comfortableoperating outside the pop mainstream. CouldCher’s cover of "Angels Running" edge youcloser to the mainstream?

I don’t know how much impact having onesong on an album will have, but it is something totalk about with my publisher and ASCAP. Iremember when I wrote "Angels Running" Ithought it sounded kind of pop, but I wanted todo it. If I can write songs that have integrity andsome roots to them, I wouldn’t mind.

On the last album, Windham Hill was sayingthat they needed a "hit." But you have to look atthe record company, look at my track record, thecircuit I play on, and how I write. On the lastalbum there were about five songs that could havegotten pretty strong radio play in my opinion.

My publishing company, BMG, is talkingabout me starting to cowrite with different peo-ple. I think there are advantages to writing withsomeone who has had cuts on other people’salbums. At this point though, I just want to fin-ish writing for my next project.

Right now I am into the guitar and into writ-ing. This new batch of songs I am demoing is allover the place--some Celtic, some bossa nova.Hopefully it will all come together.

Where your songs are so personal, is it hardto get up every night and get into the rightframe of mind to go there?

I am very lucky sometimes because I can getto that place, I can get a sense of release. I can leta lot out--be it anger or joy, being loud, scream-ing, or being really soft and really sad. It is kindof like role playing when I do the song.Sometimes it is hard if it is really personal. Irecently played a song I wrote for my friend Lizwho di[ed. When I looked up and saw her partnerin the ;audience, it was almost too heavy, too sadto sing it.

You play about 150 concerts annually.Judging from your itinerary, you must haveplayed 75 of them this summer.

That is a little hairy, and is another reason Iwant to get more into the writing. With the newalbum out last year I really pushed. Before I wasdoing so much nationally, I was touring in NewEngland and that was a cool thing. There is some-thing beautiful about playing locally, writing,practicing, and having a sane home life. [Jokingly]It is like my dream-come-true has become mynightmare.., be careful what you wish for.

You’ve won 10 Boston Music awards, haveappeared on the major TV networks, and aredrawing audiences to your shows all over thecountry. What do you see up ahead?

I want to expand what I’ve got going already.I see songwriting and the music publishingindustry as a way to do that. I am ready for a leftturn somewhere along the line. I have had somepeople talk to me about film scoring. That wouldbe amazing if it happened. I think about playinga tour and not plugging anything in or writing aplay based on my at-the mall characters.

To me it is amazing just to be able to play andrecord the songs I’ve written and have people beinterested in them. ~

18 Berklee toflay Fall 1996

Ethics and theMusic Buslnes,s

Is there evidence of a move to make businessdecisions reflect personal values?

by George

Eastman

Ed.D., Ph.D.

M usic is an unusual and spe-cial commodity. It is both a

.special form of communi-cation and a form of release for indi-vidual and collective emotions. It is acommodity of great power. Saul’sdepression is lifted by David’s lyreand song. Plato, in the fifth centuryB.C., recognized the need for thestate to control music because of itspower to arouse and release. Hitler’sminister of propaganda gave muchattention to allowing only music thatsupported the aggressive goals of derfuhrer and the myth that underlayhis regime. The former SovietUnion’s control of all of the arts,including music, is well known. AndBerklee, beginning in the fall of1996, will start training its first musictherapists, an acknowledgment ofthe profound emotional impact ofmusic.

Third world musical viewToday in third world cultures not

yet transformed by commercialization,

We’ve come along way fromtribal drummingto the compul-sive acquisitionof CDs.

music is not a commodity at all, butrather a major-strand woven into thefabric of society. Acquiring skill inhand drumming or in pipe playing is anatural part of growing up. Music isproduced by everyone and is a state-ment of the collective consciousness ofa village or a tribe. It would beunthinkable for such people to "cap-ture" their music in some electronicform and then sell it back to themselvesat, of course, a handsome profit.

The history of the development of

Fall 1996

Dr. George Eastman teaches inBerklee’s Music Therapy, MusicBusiness~Management, and GeneralEducation departments, and is alicensed clinical psychologist.

Berklee t o d a y 19

n America there is a long tra-

dition to honor what I call the "two

ethic" approach to business~ where

one’s personal and one’s business

ethics are intentionally different.

music from collective tribal sharingto the commercialization of today isfascinating and important in its ownright, but is a topic for a differentarticle. Here we are focusing onsome of the ethical realities of theAmerican and--by extension--theinternational music business.

Defining ethics for the music buisnessThe bottom-line question is this: Is

the way music is created, promoted,packaged, and sold in the U.S. ethical?"Ethical" here refers to the existenceof a set of principles which have astheir purpose defining what is moraland what is immoral. Ethics, then,consists of general rules that governbehavior, such as the TenCommandments. Behavior that isconsistent with such ethical principlesis deemed moral. Behavior that isinconsistent or contradicts these ethi-cal principles we judge to be immoral.To explore "ethics" in the music busi-ness, we would be looking to see ifthere is any given set of ethical princi-ples on the basis of which we couldmake moral judgments.

Before turning specifically tomusic business, let’s look at businessmore generally. In America, there is along tradition to honor what I shallcall the "two ethic" approach to busi-ness. Taking this approach, one’s per-sonal and one’s business ethics areintentionally different. In an article inthe Harvard Business Review entitled"Is Business Bluffing Ethical?" theauthor concludes that: "even childrenare aware that if a man has becomeprosperous in business, he has some-times departed from the strict truthin order to overcome obstacles or

has practiced the more subtle decep-tions of the half-truth or the mis-leading omission. Whatever theform of the bluff, it is an integralpart of the game, and the executivewho does not master its techniquesis not likely to accumulate muchmoney OF power."~

The author of this article likensbusiness transactions to a pokergame and considers those in busi-ness who deny their many decep-tions and manipulations as eitherbeing self-deceiving or simply lyingto conceal their lying.

In my work as an organizationalconsultant, I have found the two-ethic approach to be very commonin the business world. I recall thefollowing statement by a youngCEO of a small software company:"Hey, I’m not going to practice mypersonal values--like with my wifeand friends--in the business world.Are you crazy? I’d be a fool."

But alongside the two-ethicapproach is a strengthening move-ment toward both social and per-sonal responsibility in business; Agood example of this is TomChappell of Tom’s of Maine, whohas recently written the story of hisbusiness in a book, The Soul of aBusiness. Tom’s of Maine has a mis-sion statement to which all employ-ees assent as a condition of employ-ment. Some extracts from this state-ment will illustrate the one-ethicapproach that is emerging:

¯ To respect, value, and serve notonly our customers, but also our co-workers, owners, agents, suppliers,and our community; to be con-cerned about and contribute to their

well-being, and to operate withintegrity so as to be deserving oftheir trust.

¯ To provide meaningful work,fair compensation, and a safe,healthy work environment thatencourages openness, creativity, self-discipline and growth.

¯ To address community con-cerns, in Maine and around theglobe by devoting a portion of ourtime, talents and resources to theenvironment, human needs, the arts,and education)

Profit versus principleThe story of Tom’s of Maine

illustrates the tension between prof-it and principle in today’s businessworld. This tension is the subject ofan article in a recent issue of themagazine, Entrepreneur. BarbaraPope, owner of the Pope Group, ahuman resources consulting firm,points out that "with so much com-petition, what separates one compaqny from the next is its personalintegrity." Dennis Bakke, CEO ofApplied Energy Services, clearlysubscribes to a one-ethic approach,in stating, "You’re the same personat home, at church and at work, andyou carry the same principles andbiases to each of those places. Youdon’t have a private life where youdo whatever you want, and then actdifferently at work.TM

In the radical music magazine,Maximum Rock and Roll, Bobby S.Fred documents with some passionhow such major labels as Reprise,Arista, or American, for example,which in turn are owned by mediaconglomerates such as Warner orSony, promote "scam indies" orimpostor independent labels. A"scare indie," according to Fred, is"an independently distributed labelthat works in direct collusion with,or is financed by a major label."5

Indie labels, according to Fred,are covertly promoted by large dis-tributors because indies are tradi-tionally anti-establishment and anti-commercial. Additionally, majorlabels can acquire talent cheaplythrough controlling the indie. And,if a band should make it, the majorhas the band’s entire back catalogue.A case in point involves

Fall 1996

Subterranean, a genuine indepen-dent (meaning unattached to a majorlabel or its parent conglomerate),which developed the band Flipper.Flipper then signed on withAmerican. Without checking withthe president of Subterranean,Flipper sold their back catalog toAmerican, leaving Subterraneanholding the bag for the $10,000 ithad put into promo and legal fees forthe band. When the president ofSubterranean approached RickRubin, then president of American,for $10,000, he was greeted by aWarner Brothers lawyer who madeit clear that it was his tough luck.

Fred takes a very strong view inhis article and concludes that "twowords best describe major entertain-ment companies: corrupt and evil."Any organization, he argues, thatputs making money ahead of humanvalue is "inherently evil."

A shift away from the past?Today in the music industry, we

find evidence of a shift away fromthe two-ethic to a one-ethicapproach. There is not an issue ofBillboard, for example, which doesnot highlight some current ethicalissue in music business. The scene isa mixed one. The Los AngelesSuperior Court has awarded GeorgeHarrison $11.6 million in his civilsuit against his former businessmanager and partner, DenisO’Brien. We learn that Don Moore,Sting’s former accountant, embez-zled millions from the singer. YetDavid Scholemson, Pat Metheny’smanager, seems to act from a one-ethic approach, maintaining thesame level of scrupulousness in hisbusiness role as in his personal life.And there is some governmentalwatchdogging, illustrated by theJustice Department directing theU.S. District Court in Washington,D.C., to hold a hearing to determinewhether a civil lawsuit against fivemajor record companies for pricefixing is merited.

Still, the old boy bluffing strategystill holds sway in the music busi-ness. The stereotype of the cigar-smoking godfather acting out ofunprincipled power may not apply,but as any young artist who has

Fall 1996

come up against his first contractnegotiation will attest, "Watch out,because between controlled compo-sition clauses and fine print, you justmay end up owing the record com-pany!"

Does music business pass musteras an ethical operation? Probably itis no more and no less ethical thanAmerican business generally. Thismeans there are business people andbusinesses that do operate out ofethical principles, as is true of Tom’sof Maine. However, most businessesare guided more by pragmatic andbottom-line profit motives. This iscertainly true in the music industry,one of the largest, fastest growing,most lucrative industries in the U.S.and the world.

More drums pleaseWe have come a long way from

tribal drumming to the compulsiveacquisition of CDs. The major labelsand the media conglomerates behindthem present a juggernaut of pro-motion and distribution guided pri-marily, if not exclusively, by the pur-suit of profit. We need more tribaldrumming and less manipulation oflistener’s emotions and unmet needs.

Perhaps more than any otherbusiness, possibly even more thantelevision, music needs to have someethical basis, some basis in principlesthat define moral and immoral orright and wrong actions. Given thepower of music to affect mood, toinfluence thought, to shape a wholeculture, the music business cannotafford to be an ethical wasteland.

There is hope. One thing certainabout human beings is that we dochange. The question is, how deeplycan we change? Social, political,institutional structures can and dochange. Can we in our basic human-ness change? And what is our basichumanness? To the extent we arecapable of love, tenderness, andcompassion, we are more likely topursue a one-ethic approach. To theextent we are driven by greed,power, dominance, we are likely topursue a two-ethic approach. Wemake the choi’ce.

Hope in the rising generationMuch to the credit of Don

Gorder, chair and architect ofBerklee’s Music Business/Management major, a course in lead-ership and ethics is required of busi-ness majors at Berklee. In teachingthis course, I seek to help musicbusiness aspirants to develop toolsof ethical analysis so that they canmake sound ethical decisions. Iencourage my students to get aclearer view of their own personalethics. They learn what the cost willbe to themselves, to an organization,and to society if their businessdecisions contradict their personalvalues. The times they are a-changin’!

New business structures areemerging. The electronic revolutionis creating new possibilities of off-work site employment. Totally newservices and products are cominginto being. The religious basis ofmorality is not the pov~erful force itonce was and there is no clear secu-lar alternative on the horizon. Inthis world of deep and often rapidchange, students must be helped todevelop a stable core of personalvalues, a capacity to recognize moralchoices, and a desire to act responsi-bly rather than opportunistically.Leadership and Ethics is just onecourse at Berklee that seeks to fur-ther this objective. In business, as inlife, it is important to give substanceto Berklee’s motto, esse quarnvidere, which means, "To be, ratherthan to appear to be."

References1. Albert Z. Cart, "Is Business BluffingEthical?", Harvard Business Review,Jan.-Feb. 1968.2. See Martha Nichole’s analysis of thismovement in "Does New Age BusinessHave a Message for Managers?",Harvard .Business Review, March-April1994.3. ~_[’om Chappell, The Soul of a Business:Managing for Profit and the CommonGood, Bantam Books, 1993.4. Janean Chun, "Code of Honor:Principles or Profits, Can You HaveBoth?", Entrepreneur, August 1996, pp.11!5-118.5. Bobby S. Fred, "How the GameWorks," from a condensed reprint ofMaximum Rock and Roll, no. 133, June1994.

Berklee t o d a y 21

Linear Contours

The shapes in lines to come

byDarylLowery

A lthough we consider shape and con-tour inherent characteristics of solid.improvised lines, we rarely give shape

the attention it deserves in the woodshed.Clearly, we need a systematic way of thinkingabout and practicing this important elementof our craft.

The concepts, methods, and related exam-ples that follow are the result of my ownendeavors. Admittedly, they reflect my per-sonal interest in the Coltrane/post-Coltraneidiom. Nevertheless, I’m confident that youcan apply these simpie techniques to the studyof any genre or style.

Our first requirement is a way of lookingat the shape of a line in the abstract.Decomposition of a line frequently reveals aseries of three-, four-, or five-note segmentsor shapes. Example 1 shows a set of eightbasic shapes that can be created with four-note groups. Examples of ascending shapesare labeled al to a4, the descending ones aredl to d4. Thinking of a line as composed ofthese building blocks gives us a way of nam-ing and notating its overall shape abstractly--without reference to specific pitches.

Analyzed in this manner, the Coltrane linein example 2 is based on the series d4, dl, dl,preceded by a pickup that leaps down to the

22

Saxophonist Daryl Lowery is an associate profes-sot of ear training. He performs regularly withthe Urban Renewal Band and his own group,Instant Groove.

Berklee t o d a y

first note of the pattern. The Michael Breckerline is based on the series al, d4, dl, dl, d4, d4,d4, preceded by a pickup that leaps upward.The Steve Grossman line comprises a3, dl, dl,dl, a4.

Example 3 shows several lines based on thesame series of segments found in theGrossman excerpt. Each variation derives itspitches from a different organizational systemthan the pentatonic scale of the original. Pausefor a moment and play the Grossman line fol-lowed by each of the variations. Note thateach variation retains the shape of the original.

Analysis of this sort could produce usefulinsights into the styles of other players. Itsprimary purpose, however, is to serve as thebasis for creating practice routines. Throughdisciplined practice these sensibilities will berefined in our own playing.

One way to begin is by collecting lines touse as models. Identify the shapes they com-prise and then design sequential patterns todevelop technique and familiarity with theshapes. It is a good idea at first to restrictyourself to one shape and to one familiarsource for pitches. Once the sense of shape islearned in one context it is easily acquired innew ones. Be careful. Too much of this canmake your improvisation predictable. If youfocus your attention on refining your abilityto visualize the shapes, eventually they will beconceived in your ear.

In order to maintain the independent char-acter of the shapes, any cyclic exercises youdesign should avoid exact transposition. I use

Fall 1996

skeletons of predetermined startingnotes that change against the cycle(Jerry Bergonzi calls these "startingnote exercises" in his book InsideImprovisation, Pentatonics). Thisguarantees that the placement of theline with respect to the scale degreesin the source material will vary.

Example 4 shows a transcriptionof lines improvised while readingthe skeleton shown above it. Theseries of shapes used is from theGrossman line in example 2. Asexample 5 demonstrates, the sameapproach can be extended to cover aset of chord changes and variedpitch sources--in this case penta-tonic over Ilmi7, a whole-tone scaleover V7, and lydian over the Imaj7chords. The way to practice theseexercises is to focus on the shapes inyour mind and/or ear while playingthem. Play the examples to clarifythis concept and then try improvis-ing some lines of your own.

Once you are comfortable withthis, begin to create series that areindependent of any model. It is use-ful to vary aspects such as phrasing--where the line begins within thebar or by shifting the entiresequence so each grouping starts inplaces other that the downbeat.Also, try varying the line’s place-ment within the harmonic rhythmof a progression, deleting or imply-ing notes, and introducing embell-ishments and approach notes.

Often close examination ofrecordings of my own solos reveals.what I should practice. I have foundthat certain shapes are habituallyoverused. Transcribe some of theselines and rework them by substitut-ing underused shapes. Identify andtranscribe lines that you like as well.See if they depend on such factors astempo, chord progression, key, orgroove. I use these lines as modelsfor series that I practice in more dif-ficult contexts. Example 6 shows aline from one of my solos reworkedover more active changes.

After some work, more lines likethese will begin to occur naturally andintuitively in your improvisations.Practicing shape and contour willitself become a technique you canapply to systems you explore in thefuture. ~

Fall 1996

ascendingsegments

descending

ex.2 Cmin6

A SYSTEM OF ANALYSISa2 a3 a4

d2 d3 d4

John Cohrane, "Pursuance"

dld4 dl

Michael Brecker "Night Flight" (live vmsion)

Fmin

al d4 dl

Steve Grosstaan"Pressme Point"

d4

ex,3C halJ:Ivhole

a3 dl

C7(~9)

dl dl

a3 dl dl dla4

THad couplings C13 (~11)

C-7

ORGANIZED PRACTICE APPROACHESC~-7 D-7 E~’7 E-7 F-7 F#-7 G-7 A~-V A-7 B~-7 I3-7

boC-7

(2-7 ~-7

dl a4 E~-7D-7 dl

ex.5Dmin7 G7~5 CMaj 7 Emin7 A7i5 DMaj 7 F~min7 B7i5

Dmin7 G7;5 CMaj7 Emin7

E Maj 7etc.

A7t5 D Maj 7

ex.6 C7Daryl Lowery (live recording)

Am7 ~5 D7(b9) Groin

Berklee today 23

Alum n o t e s

Compiled by

Alex Ball "97

Javon Jackson "87 releasedA Look Within, his thirddisc for Blue Note. Thealbum features music bysuch diverse artists asCharles Mingus, FrankZappa, Muddy Waters,Egberto Gismonti, andFreddie Hubbard, and twoof Jackson’s originals.

Pianist Hal Galper "57 ofCochecton, NY, bassistRufus Reid, and drummerAkira Tana, launched their"Double Bill" concert andclinic tour in August.

Michael Gibbs "63 ofLondon, England, in Julyconducted the LondonSymphony Orchestra andin September he will beginan artist-in-residence fel-lowship at KingstonUniversity, England.

Anthony Hyde ’64 ofHingham, MA, is band-master at Somerville HighSchool and was named inthe book Who’s WhoAmong America’s Teachersfor 1996.

Pianist 0ave Burrefi "65

of Philadelphia, wasawarded a PewFellowship in musiccomposition for hisjazz operaWindwardPassages.

Woodwindsplayer Elliot "Lee"Childs ’70 of Dennis,MA, leads theBourbon StreetParaders. The Dixielandband has been playing for21 years up and down theEast Coast.

Saxophonist ArnieRrakowsky ’70 of Foxboro,MA, has released Wherethe Tenor Meets the Boneon Seaside Recordings.Featured on the disc aretrombonist George Masso,pianist Paul Schmeling, gui-tarist John Wheatley,bassist Marshall Wood, anddrummer Artie Cabral.

George Gorden "71 ofWareham, MA, has beenteaching in the NewBedford public school sys-tem since 1974 and orga-nized their nationally-ranked junior high march-ing, jazz, and concertbands.

Guitarist Peter "Bela"DiSarro ’72 of Johnston, RI,has published a two-vol-ume guitar method titledP!ckin’ aw. ay. for the begin-rang gmtanst. He alsorecently purchased aRonzio Pizza franchise inWoonsocket, RI, which heoperates with his family.

Drummer Hawey (Cliff)Greeso., Jr. ’73 of Sanford,

Peter "Bela" DiSarro ’72

NC, played with the funkband Tornado on their lat-est release When a BreezeBreaks Your Bones onForbidden Records.

Mark Small ’73 ofFoxboro, MA, releasedWinterlight, his fourthalbum with theSmall.Tortes guitar duo.They will perform with theMormon Tabernacle Choiron a worldwide TV andradio broadcast of "Musicand the Spoken Word"December 1. Small andTorres recently signed anendorsement agreementwith La Bella guitar strings.

Pianist John Novello "73of North Hollywood, CA,released a new book titledcontinued on page 26

Arnie Krakowsky "70

24 Berklee todayFall 1996

Alumni ChapterPresidents andcoordinators:

New YorkSteve Ward ’87Mu Music Int’l.(212) 929-1161

OrlandoStan Kubit ’71Orlando MusicTeachers Inc.(407) 352-9702

ChicagoDougMurphy ’90The Star Store(708) 343-1750

NashvilleBetsyJackson ’84(615) 832-6061MarkCorradetti ’87(615) 365-8052

BostonJfehannie Deva ’75e Voice Studio(617) 536-4553

San FranciscoDmitriMatheny ’89Monarch Records(415) 434-4400

Los AngelesLeanneSummers ’88Vocal Studio(818) 769-7260

Puerto RicoRalinaCardona ’91Crescendo(809) 725-3690EnglandLawrenceJones ’80Brighton,E. Sussex, G.B.44-1273-707621

AthensSamyElgazzar’93301-9571-917

RomeClaudioZanhieri ’9306-7184053

TokyoMichikoYoshino ’90042-241-4347

CLASS CONNECTIONS

As thoughts turn once again to fall, we hopeyour summer has been a peaceful and enjoyableone. In the Alumni Office, the past few monthshave been busy and pleasantly rewarding.

Alumni in the United Kingdom, under theguidance of alumni chapter president LawrenceJenes ’80, gathered together for their first net-working social, a jam at the Rhythmic Club inLondon. Alumni who were there said it was agreat time.

Puerto Rican alumni held their annual eventin May in conjunction with the Puerto RicoHeineken Jazz Festival. The reception, co-hosted by alumni chapter president RaiinaCardena ’91 and yours truly, was a mini-mediaevent that included: Assodate Vice Presidentfor International Programs Larry Monroe ’70,Assistant Chair of the Guitar Department RickPeckham, Director of Admissions EmilyWoolf Economou, Performance DivisionCoordinator Amy Terrell, faculty membersGreg Hopkins, Oscar Stagnaro, John Ramsay,Consuelo Candelaria ’88; alumni ReinaldoCastellanos "90, Carlos Sotomayer ’89, GabrielVidal "95, Roy Perez ’94; Puerto Rico HeinekenJazzfest producer Luis Alvaraz "83, and coordi-nator Joey Sala; guitarist Kermy Burrell, pianistMichel Camilo, percussionist GiovanniHidalgo, organist Jimmy Smith, drummerJimmy Jackson, just to name a few.

In July, I went off to Perugia, Italy, the siteof the first Berklee International Network(BIN) Summit, where administrators fromBerklee-affiliated international schools in Paris,Norway, Greece, Spain, Israel, Kobe andTokyo, Japan, gathered for a three-day confer-ence, which also included a Berklee/BIN alum-ni reception co-hosted by the Offices ofInternational Programs and Alumni Relations.

Another important ewmt which happened inItaly has been the establishment of the BerkleeAlumni Chapter in Italy, with ClandieZanghieri ’93 the new chapter president.Welcome aboard.!

On September 8, under the co-leadership ofBetsy Jackson "84 and Mark Corradetti ’87, 25Nashville alumni with family and friends gath-ered at Betsy’s home for their first annual net-working cookout. A good time was had by all.

On September 15, Northern Californiaalumni in conjunction "with the Left Coast JazzFestival, held another in a series of alumnishowcases at the Orocco East-West SupperClub. Alumni chapter president DmitriMatheny ’89, aided by Maureen Spranza Doran’88, have been working hard to provide venuesin which alumni can perform.

On September 22, at the Monterey JazzFestival, Berklee and Monarch Records held analumni reception in celebration of the firstannual Jimmy Lyons Scholarship. The recep-tion was co-hosted by Northern Californiaalumni chapter president and performerDmitri Matheny and Rob Hayes, director,Berklee Office of Public Information. An all-star band of Berklee College of Music studentsalso performed at the festival.

Upcoming for northern California alumniis a November 2 Berklee/San Francisco JazzFestival Reception at the Top of the Mark.Watch your mail for invitations. Other activi-ties planned for this area include a businessseminar around November 16, where informa-tion will be provided by representatives fromMusiCares on the music industry’s nationalinsurance program.

Los Angeles alurrmi have a fall event com-ing up too. November 7-11, while the Audio

Engineering Sodety Convention isin town, an alumni reception andawards presentation will be held.

Several offices throughout thecollege have been kind enough toforward your email inquiries andrequests to the Office of AlumniRelations, but now you can emailthem to me directly at:sbodge@berklee.edu. Stay tunedfor upcorning events in your area.

At large in Perugia, Italy: Left, vocalist Diana Krall "83,jazz journalist Bob Blumenthal, and Sarah Bodge.

--Sarah Bodge, Assistant Directorof Development for AlumniRelations

Fall 1996Berklee today 25

Mark Small "73

Stylistic Etudes, which features 86etudes that cover 17 contemporarykeyboard styles. John also recentlyformed an instrumental trio calledNiacin with bassist Billy Sheehanand drummer Dennis Chambers.

Saxophonist Remy Filipovitch "74of Essen-Kettwig, Germany, com-posed "Quarta pars Saeculi Moers"on a commission from the Councilof City of Moers, Germany. It waspremiered during the 25th anniver-sary celebration of the New JazzFestival in Moers.

Jon "Hammond" Heda "74 of NewYork, finished a 98-day tour ofEurope to promote his new CDrelease and completed his 12th yearon the New York TV show "The JonHammond Show."

Steve Masakowski "75of New Orleans, LA, isteaching at the Universityof New Orleans and receiv-ing rave reviews for his 7-stnng guitar playing on hisBlue Note album DirectAxecess.

Trombonist ~m Sessions ’76of New York, released hisdebut CD And Another Thingon Episode Records which fea-tures Randy Brecker and KennyWerner along with Tim’s band,consisting of Chris Potter, BradSchoeppach, Tony Scherr, andJohn Hollenbeck.

Guitarist Jamie Glaser ’77 ofNorth Hills, CA, has been playingwith Jean Luc Ponty, the ManhattanTransfer, and on scores for the TVshows "Married with Children," and"Seinfeld."

Saxophonist Ken Field "78 ofCambridge, MA, released his soloCD Subterranea on theConnecticut-based O.O. Discs label.

Joseph Sab~one, Jr. ’78 ofDorchester, MA, signed a publishingcontract for two songs withSiskatune Music. He has now signedfor three songs with the publishingcompany.

Jose Gomez ’79 of New York co-wrote the song "If I Let Myself Go,"which was recorded as a duet byChuck Johnson and DionneWarwick. The Spanish version of thissong won third prize in the 1992Billboard Song Contest.

Drummer Gregg Martin ’79 ofEvansville, IN, performed withErnie Watts in May at theInternational Jazz SaxophoneCompetition in Evansville.

Pianist Kaly Roberts "79 is living inParis and has released an album withher own trio. She also played onFrank Lacy’s album Settgast Strut onthe Harmonia Mundi label.

After working with guitarist:Jimmy Bruno for four years, bassistMori Behar "80 of Philadelphia,together with a violinist and guitarist,formed the Philadelphia String Trio.

Dean Lopes "80 of Woodland Hills,CA, has signed an agreement withParamount/Viacom Television forworldwide use of his compositionson "Entertainment Tonight."

Reisa IVlaflowe ’81

Hm Sessions "76

Jamee Culbertson "81 ofSomerville, MA, is a practitioner ofthe Alexander Technique®. She treatssingers and instrumentalists withmusician’s injuries.

David Lowrey "81 of Tampa, FL,was this year’s only bass winner inJazziz magazine’s Guitars on FireUnsigned Talent Contest. His tune"Bass Face" appears on the JazzizApril CD.

Vocalist Reisa Marlowe ’81 ofSharon, MA, released her debut CDas Reisa and the Dream entitledSongs from the Future. A family-ori-ented sci-fi rock opera, it seeks tobreak new ground in family enter-tainment.

Craig Morrison "81 of Montreal, isan ethnomusicologist, performer,and teacher of popular music coursesat both McGill and ConcordiaUniversities. His book Go Cat Go:Rockabilly Music and Its Makers,was published by the University ofIllinois Press. The book is the prod-uct of 15 years of work.

Guitarist Ken Selcer "81 ofCambridge, MA, and his acousticduo Somebody’s Sister has had theirCD of the same name picked up byHorizon/Goldenrod Distribution.

John Z01tek "81 of Seattle made hisdebut recording conducting theBohuslav Martinu Philharmonic on aCD titled The Spirit Emerges. It fea-tures music of Mark Armanini, andwas recorded in Malenovice, CzechRepublic. Zoltek is director of theRenton Youth Symphony Orchestraand the choir at Saint Paul’s Lutheran

continued on page 28

26 Berklee todayFall 1996

While it is next to impossible tobring a group of Los Angeles-basedmusic industry professionals to thecollege for a clinic or panel discussion,two recent events offered a uniqueopportunity to bring the L.A. musicindustry and Berldee together.

A few months ago, Berklee andthe National Academy ofSongwriters co-hosted a panel dis-cussion titled "Music Supervisionfrom All Angles." This event was agreat success, as demonstrated by acapacity audience and enthusiasticfeedback. The panel, moderated byAssistant Professor of SongwritingBarbara Jordan, featured music editorand supervisor Dan Carlin, musicsupervisor Bonnie Greenberg,Viacom/Paramount Vice Presidentof television Music David Grossman’79, MGM and UA music consultantRichard Kaufman, composer LauraKarpman, and music coordinator andproducer Mark Wolfson.

Drawing upon a wealth of experi-ence and fascinating anecdotes, thepanelists discussed the relationshipdynamics between music supervisors,composers, directors, and producers.With the field of music supervisionbeing such a continually evolving one,it seemed appropriate that the discus-sion involve a general definition of thetopic and also the qualities that definean effective music supervisor. BonnieGreenberg offered, "being a musicsupervisor on a film is to oversee allthe music on the movie, to work with

L.A. NEWSBRIEFS

the film makers in creating that perfectcombination, aural and visual, to give afull visceral impact--whether byscore, by song, or by silence." Shewent on to say that a good musicsupervisor should not just push songs,but "should work with the composer,producer, and director to produce theperfect package." Richard Kaufmanadded that he often sees the musicsupervisor as the person in the middle,with creative people on one side andstudio executives on the other, actingas a liaison and "trying to make every-thing come together." The evening’sdiscussion covered a variety of issues,from the creative to the administrative,economic, and political,and essentiallyrevolved around the placement ofmusic and songs in film and television.

An exciting aspect of the recentBerklee in L.A. program, held atClaremont McKenna College, was theroster of visiting artist clinicians.Renowned rock bass player, BillySheehan, performed with his newband Niacin, co-led by alum JohnNovello ’73 on Hammond B3, and fea-turing Tom Brechtlein on drums. Thisoutstanding evening of instrumentalrock and funk was partially supportedby a grant from Yamaha, and includeda question and answer session.Another remarkable bass player,Abraham Laboriel ’72 led a clinic inwhich he was joined by his son, AbeLab0riel, Jr. "93 on drums and GregMatheson on keyboards. Their musicwas tight, the energy was high and

Movie music panelists (L. to R.): David Grossman, Richard Kaufman. Barbara Jordan,Peter Gordon, Bonnie Greenberg, Mark Wolfson, Laura Karpman, and Dan Carlin.

personality of the band was infec-tious--each tune was received with astanding ovation. In sharing insightswith the students, Abe St. was, asalways, very inspirational.

Studio woodwind specialist RayPizzi "64 was accompanied by guitaristdim Fox "11 in a clinic that showcasedtheir excellent individual abilities andthe chemistry of their duo.Contemporary jazz bass player,Jimmy Earl "76, who has toured andrecorded with Chick Corea andStanley Clarke, conducted a clinic inwhich he performed and discussedbass l:echnique. The final clinic, led byMarE: Goldstein, senior vice presidentfor business and legal affairs at WarnerBrothers Records, dealt with manybusiness and legal aspects whichshould be addressed by those seekinga career in the recording industry.

As for alumni in the news . . .recent scoring credits for PeterRodgers Melnick ’86 include LilyDale on Showtime and the criticallyacclaimed Grand Avenue on HBO.Dave Kowal "75 scored the thememusic for the Charles Kuralt series"This I Believe," on the DisneyChannel, and a video for NikonCamera.

Other scoring credits includeLawrence Shragge ’77 for the FoxSearchlight release IntimateRelations, and Christian Moder "94 forThe Rest of My Life. Kevin Kleisch ’92and Joe Kraemer ’93 received song-writing credits on the movie King~in,and served as the movie’s music edi-tors. Misha Segal ’15 scored PeacockBlues for Showtime and Devil’s Foodfor Lifetime. In the commercial field,Jan Stevens ’81 scored two new HotWheels jingles for Mattel and musicfor the new Olympic Barbie video.

Congratulations to our alumniEmmy winners: Ernest Troost ’78 forhis .,;core to the ABC/Hallmark pro-duction The Canterville Ghost, andHummie I~lann ’76 for his score to theShowtime production PictureWindows (Language of the Heart).

That’s it for now; stay in touch.

Peter Gordon 78, director, BerkleeCenter in .Los Angeles

Berklee t o d a y 27

Guitarist Philip Hii ’86 of Corpus Christi, TX, has receivedworldwide acclaim in classical circles for his recordingJohann Sebastian Bach: New Transcriptions. Hii’s CD andsheet music are published by GSP in San Francisco.

Church in Seattle.Bassist Bob Ross "82 of

Allston, MA, and his bandDebris released their thirdCD Rapture in the Churchof Disreputable Daydreamson the Music and Artslabel. Debris also featuresSteve Norton "87 and saxo-phonist Jeff Hudgins ’92.

Mike Ashenfelder "83 ofPalo Alto, CA, is develop-ing the World Wide Website for Jump! Music(www.jumpmusic.com),whose Piano DiscoverySystem is endorsed byHerbie Hancock.

Jenny Hill ’83 ofBrooklyn, NY, was one of12 winners in the JazzizWoodwinds on FireCompetition. Her tune"Lost in Shallow Thought"appeared on their August1996 CD.

Bassist AndreasLonardoni "83 of Berlin,Germany, is releasing hisfirst solo CD Who Careson Lipstick Records.

Bassist Thomas

MacDonald "83 of Nashville,performed on the latest TomHambridge "83 CD entitledStillRunning on Bad MoodRecords. He has also per-formed with the Chiffonsand Bo Diddley.

Mike Itickey "8/4 ofAthol, MA, has hadinstructional columns pub-lished in Guitar Playermagazine. "Workingman’sHoldsworth" ran in theApril 1996 issue and"Dischord DiminishedDeath" in the August issue.

Songwriter BetsyJackson "84 of Nashville,was honored at theCountry Music Hall ofFame’s annual Words andMusic Program for cowrit-ing the song "Why Won’tThey Take the Time."

Trombonist Ted Kraemer"84 of Los Angeles, is fea-tured in the latest 20thCentury Fox movie ThatThing You Do, directed byand starring Tom Hanks.

Mark Oltash ’84 of NewYork, was named Eastern

advertising manager forRequest magazine. He isresponsible for the maga-zine’s advertisi[ng effortsfor the East Coast.

Keyboardist 90naldQuan "84 of Toronto,Canada, played in theancient ruins ofSpelembergo and Catania,Italy this summer.

Guitarist/composerSergio Brandao "85 ofBoston, with his bandManga-Rosa played at theRegattabar in Cambridge.Manga-Rosa, is a nine-piece band featuring alumsflutist Hiro Honshuku "90,pianist GRson Schachnik’96, bassist Fernando Huergo’92, and drummer SteveLangone ’93.

Guitarist Jesse Cook "85of Milwaukee, WI, had hisfirst Narada album Tempestdebut at No.. 14 onBillboard’s Top New AgeAlbums chart. Cook’s five-piece band has been wow-ing audiences in L.A. andMontreal.

Drummer Alun Harries’85 of Twickenham,England, is pi[aying inStringfellows House Bandand over the past 10 yearshas played with people

such as Tori Amos andJohn Etheridge, and recent-ly finished a week-longengagement with AnitaCarmichael at RonnieScott’s Club in Soho.

Eddie Horst ’85 ofAtlanta, GA, had his work"Journey to Atlanta" per-formed by the AtlantaSymphony Orchestra. Itwas written to celebratethe Centennial Olympics.The piece was also usedduring the ParalympicGames also in Atlanta.

Jamshied Sharifi "85 ofNew York, penned thescore for the film Harrietthe Spy. Jamshied’s wifeMiyuki Sakamoto Sharifi "92wrote the orchestrationsand David Van Slyke "82 andMike Zackmeister ’85 assist-ed with the sound design.

Linda Wing-Merlini "85 ofMarlborough, MA, was inthe preliminaries for theMrs. MassachusettsAmerica Pageant and oper-ates her own personaltraining and nutrition facil-ity called It’s Personal.

Todd Glacy "86 ofSomerville, MA, produceda video for the BostonSongwriters WorkshopArtist Showcase this past

From the left, keyhoardist Dana Ross ’88, actor Fred Tuttle,movie producer ,l!ohn O’Brien, and violinist Steve Muise’90. Ross and Muise worked on the score for O’Brien’s lat-est film Man wit,~ a Plan, starring Tuttle. They are alsoheard in O’Brien’s previous film, Vermont Is for Lovers.

28 Berklee today Fall 1996

spring and assisted in the productionof the Boston Rock Opera’s perfor-mance of Jesus Christ Superstar.

Jack Knlp ’88 of East Aurora, NY,plays bass on the new Greg MeckesBand (GMB) release Mission onMeatshake Records.

Cliff Brodsky ’87 of Hollywood, hasa new song, "Master X," on the HighPriests of Dub album. He cowrote thetune with Nine Inch Nails key-boardist Charlie Clouser, L.A. Gunsguitarist Mich Cripps, and England’sChris Bradshaw.

James Donaldson ’87 of Gladwyne,PA, graduated with a degree of doctorof osteopathic medicine from thePhiladelphia College of OsteopathicMedicine.

Pianist Satoko Fujii "87 ofBrooklyn, NY, released the albumSomething About Water featuringpiano solos as well as several duetswith pianist Paul Bley.

Barbara Lee Grodsky-Molt ’87 ofCarson City, NV, is now playing leadtrumpet in Kollage, a big band per-forming in the area.

Pianist Christopher Higgins ’87 ofHavertown, PA, and former facultymember Stefan Schindler haverecorded a demo of Stefan’s poetryand Chris’s music entitled CoyoteChris and Don Stefan.

Guitarist Matthew Kasl0w ’87 ofBrooklyn, NY, recently played atAlice Tully Hall/Lincoln Center aspart of the Bang on a Can Festival. Heis also performing regularly with theBackdoor Benny Blues Band androck tribute band Red Rover.

Multimedia producer Jason Marsh’87 of Los Altos Hills, CA, received a

Pianists Paul Bley (right) and Satoko Fujii "87

master of arts degree in music fromSan Jose State University in May.

Saxophonist Laurent Stora ’87, ofMontpellier, France, released analbum of music by Wayne Shortertitled Shorter Cuts. His quartetincludes pianist Hello Alves ’90, bassistNed Mann, and drummer Ed Uribe.

Drummer John Mc~gue III "87 ofNashville, finished recording analbum with rock recording artist

Timothy Craig on Balland Chain Records. Healso toured Europewith Brasibilly andDale Watson.

Guitarist/songwriterDario Saraceno "87 ofWappinger Falls, NY,released his debutalbum Porcelain Angelfor the Triple DRecords label.

Clarinetist HarrySkoler ’88 and his bandreleased Reflections onthe Art of Swing on theBrownstone label. The

Fall 1996

band features vibist Ed Saindon "76,bassist Roger Kimball, and drummerTed Gilmore "78.

Jonathan Smith ’87 of New Yorkcompleted an 11-week stint conduct-ing the musical Sweeney Todd at theGoodspeed Opera House. The pro-duction won the Connecticut Critics’Award for "Best Musical." He ismusic director for the ActorsCompany Theatre in New York.

Tom Stein ’88 of Hubbardston,MA, is performing as bassist, gui-tarist, and vocalist with Blues AfterDark, Chris Baird and theVagabond,s, and folk singer KevinMcCluskey. He is also the manager ofthe Tufts University Music Studio inMedford, MA.

Todd S~ucherman "88 of Chicago,played drums on the summer and falltour with Styx. He also played onnew CDs by Bob Mamet on AtlanticRecords and Brian Culbertson onMesa/Blue Moon Records.

Singer/songwriter/guitarist KellyWild0wsky ’88 of Webster, MA, andher blues band Backyard Strut

Berklee t o d a y 29

It takes more than one note to make great music.Join Our Band!

The Berklee Annual Fund provides unrestricted supportfor the areas of greatest need and potential at Berklce,in addition to providing much-needed scholarshipassistance for new and continuing students. Yoursupport of this important fund will be an investmentin the students of today who will become leaders in

tomorrow’s music industry.

And now, for the first time, donors to Bcrklee’s AnnualFund are eligible to receive frequent flyer miles onAmerican Airlines! Individuals who give $100 ormore will earn miles good for travel to over 500destinations worldwide. In addition to mileage rewards,we are pleased to, offer a complimentary copy ofBerklee."2he FiT:rt Fifty Years to donors of $500 or more.

This incredible book contains 300 pages ofperiod photographs, music highlights, andtwo compact disc recordings.

Don’t hesitate! Send your check today to:Berklee College of Music AnnuaB Fund

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Boston, MA 0221.5-3693, U.S.A.

Questions? Please call (617) 747-2439Internet address: kkimbriel@berklee.edu

released their self-titled CD onMount Scott Records.

Guitarist Eric Breymeier "89 ofShelton, CT, is performing aroundNew Haven with his band Martian.

Pianist/flutist Christian te Delezir’89 of Auray, France, was invited bypianist Martial Solal to give a live soloimprovised concert of his music atRadio France in Paris. The programwas aired nationally on FranceMusique.

Trumpeter Mark Mazor ’89 ofConcord, CA, has reunited his bandFat Lip to play top bay area clubsplaying funk and acid jazz. Mark isalso an executive for Mission HillsMortgage Bankers.

Michael Van Huffel "89 of St. Pa~l,MN, has been working as a graphicdesigner/multimedia artist. In 1995 hewas an art director for the artist for-merly known as Prince. He received agold record and a Golden Reel awardfor the package design for The GoldExperience release.

Vocalist Karen Kapantais-Carr "90 ofBeverly, MA, is featured on the CDCracked Country Christmas, to be

released on Giant Records inNovember. She is currently recordinga solo CD in Nashville.

Anthony [Daddabbo "90 of Astoria,NY, has taken a position as an assis-tant to one of the Talent Buyers atDelsener/Slater Enterprises, a concertpromotions company in NYC.

Vocalist Faw~ Field Drake "90 ofL.A., recorded cuts for the moviesoundtrack ’77l There Was You, star-ring Demi Moore and Tom Hanks.Fawn’s jazz a cappella group AllNight Express appears throughoutthe film.

Bassist Chris Matheos ’90 ofGreensboro, NC, and his trio werefeatured on Principal Records’ JazzVisions summer sampler CD.

Guitarist Max Ridgway ’90 of Alva,OK, released his second CD of freeimprovisations entitled Book ofSecrets with Michael Unruh on bassclarinet.

Shannon Risbon "90 of HoneyBrook, PA, penned a song for CurbRecords which debuted on 3,000radio stations in September. Her firstalbum is in progress.

Mary Ellen Thompson ’90 of Miami,has been a production singer forCarnival Cruiselines ship Ecstasysince February. Thompson and key-boardists Reggi Bishop ’91 and MarkGuttenplan ’79 will be performing onCarnival’s new ship Destiny this fall.

Scott B01and ’91 of West Haven,CT, is the guitarist for the MichaelVescera Project. Vescera, YngwieMalmsteen’s vocalist, released the CDon Pony Canyon InternationalRecords in September.

Tanya Calangione "91 of Dorchester,MA, won the top prize in therock/alternative category of the 1996USA Songwriting competition.

Bassist Gustavo Gregorio "91 ofOsaka, Japan, and his bandGregorio’s Movie, which includespiamst Yumik0 Murak~mi ’~1 and saxo-phonist Eiichiro Arasaki "8~, releasedthe CD Mambonga on Liao Records.

Trombonist Thomas Lonp "~1 ofBerlin, Germany, has been busy per-forming with the Four Freshmen,Bud Shank, the NDR Big Band andthe RIAS Big Band.

Drummer Anders Mogensen "91 ofCopenhagen toured Denmark andSweden with his quartet, and was fea-tured with the Brecker Brothers onthe Doky Brothers recording.

Saxophonist Christian Vuust ’91 ofDenmark, and his band the ChristianVuust Group have released their sec-ond album called Aero.

Erik Bennett ’92 of Alpharetta, GA,wrote "We Were There," a songwhich commemorates the 1996continued on page 32

Karen I(apantais-Carr ’90

30 Berklee today Fall 1996

THE VIRTUOSO BUSINESSMAN

When Martin Kratochvil ’77 came toBerklee from Czechoslovakia tostudy jazz, he got more than he bar-gained for. Aside from attaining awhole new perspective on harmonyfrom then-faculty members GaryBurton and Michael Gibbs,Kratochvil also absorbed ideas aboutAmerican-style economics whichhave helped make him the most suc-cessful businessman in today’s CzechRepublic. Forbes magazine recentlyidentified Kratochvil as that country’swealthiest man. As the visionarybehind the Czech entertainment con-glomerate Bonton A.S., a holdingcompany for music, film, radio, videoproduction, distribution and retailoperations, a busy Kratochvil sits onthe boards of all 19 companies in theBonton Group.

Today his business involves lessactual music making than it did 20years ago when he was pursuing acareer as a pianist and composer. Whenhe came to Berklee in 1976, he wasalready an established artist leading thepopular Czech fusion group Jazz Q.

"I was the first to play FenderRhodes and Moog synthesizers in thecountry in a fusion jazz style.After that, I decided that if I wasto be committed to this path, Ineeded more education, so Idecided to go to Berklee."

His American sojourn alsohelped him reconcile issues thatwould surface later. "The imageof a ’true artist’ in Europe, creat-ed mostly by German philoso-phers," states Kratochvil, "isthat the artist should be poorand have absolutely nothing todo with business. That provedinaccurate when I met GaryBurton who was the embod-iement of the artist of a differenttime. He could direct his ownbusiness and he was a genius inhis musical sphere. I came homewithout fear that if I associatedmyself with business or ran astudio that I would be inferior asa composer."

Back home in 1977,Kratochvil continued to com-pose and perform, soon ventur-ing into film composing. "I

Fall 1996

began writing film music ~vhen JazzQ’s popularity started waning," hestates. "I built my own studio becausethe state-owned facilities had old,outmoded equipment. After a while, Ifelt it was too big a luxury for oneindividual. I began producing forother artists and branched out intoTV serials, radio, and film."

To date, Kratochvil has scoredabout 50 feature films, hundreds ofdocumentaries, and innumerable jin-gles. After he started renting his stu-dio to other artists, it grew into a big-ger operation. When the "VelvetRevolution" came in 1989 andCommunism fell, Kratochvil and hisbusiness partners were ready for thefree-market system that took theplace of Communism. One weekbefore the laws changed, they hadestablished the Bonton record label,the country’s first private company.

"Instead of just creating mastertapes," he says, "we decided to manu-facture and sell the product. Therewas no competition, so we had anedge and sold big numbers." The firstrecord Bonton released was an oldrecording of the new Czech president

Martin Kratochvil ’77:"1 came home without fearthat if I associated myself with business I wouldbe inferior as a composer."

V~clav Havel reading his own playAudience. It sold 105,000 copies.Other success was not far behind.

Breaking 45 years of state-domi-nated fihn making, Bonton producedTank Battalion, a parody of army lifeunder the Russians. Nearly two and ahal{ million people saw it. Kratochvilalso negotiated a licensing agreementfor the Rolling Stones’ Steel Wheelsalbum. Impressive sales led to a distri-bution contract with Sony Music.

Substantial revenues generated byBonton’s early success have provideda rock-solid base for the company. In1992, Bonton was the first Czechcompany to sign a licensing agree-ment with a major video label--Columbia Tristar--igniting the coun-try’s booming home video market.Bonton also opened the first privatelyowned FM radio station in Prague.With Kratochvil pointing the way,Bonton is currently opening recordmegastores, cineplexes, and acquiringtelevision properties.

"I sit on the boards of 19 compa-nies, and this is only the beginning,"says Kratochvil. "Television is an areawhere we are trying to build up. In

the company, I am the one whoinitiates new programs andideas and takes the first steps innegotiations with the govern-ment and business partners. Wejust sold a quarter of the compa-ny to American institutionalinvestors, and we will go publicnext year."

Today, Kratochvil barelyfinds time to perform and writemusic. "I still write jingles forradio, but other composing islimited by my schedule," hesays. "These days, I am playingmostly acoustic piano in a duoor trio format with a guitarist

o~ and/or cellist. I have a new CD’s

~ worth of material but I just~ haven’t found the time to get

together and record it."He still occasionally appears

in Prague’s smoky jazz clubs.Many figure he doesn’t need toplay, but Kratochvil disagrees."The desire to play music issomething that never dies. It issomething I just have to do." ~

Berklee t o d a y 31

BerkleeCOLLEGE

OF MUSIC

Provost/Vice President of Academic Affairs

Berklee College of Music is seeking applicants for the position of Provost/Vi!cePresident of Academic Affairs. A senior academic officer, the Provost reports to theExecutive Vice President of the College regarding educational planning, development,implementation, administration, and assessment of all academic programs.

Founded in 1945, Berklee emphasizes studies in contemporary forms of musicincluding jazz, rock, pop, and concert music with 800 course offerings taught by300 faculty. The college is organized in four divisions, each headed by a dean. Tihecollege offers a four-year bachelor of music degree and a professional diploma in12 major areas of study: Performance, Music Production and Engineering,Songwriting, Music Business/Management, Contemporary Writing andProduction, Jazz Composition, Film Scoring, Composition, Music Synthesis,Music Education, Professional Music, and Music Therapy. Full-time enrollment isabout 2800 students, of whom 40 percent are international.

Berklee is located in Boston, one of the nation’s leading educational, artistic, aridmedical centers. Situated in Boston’s culturally rich Back Bay area, Berklee is closeto Symphony Hail, the Museum of Fine Arts, the Boston Public Library, and adiverse array of commercial, professional, and residential settings.

Candidates should have a solid background as music professionals; appropriateeducational credentials (advanced degrees preferred), or equivalent professionaltraining and experience; demonstrated skills in educational leadership, manage-ment, and planning; college-level teaching experience; and experience managingfaculty in a union environment. This leadership position requires exceptional corn-munication and organizational skills, the ability to work with a broad range ofprograms and personnel, and an understanding of the primary role of excellence inteaching and learning in today’s changing technological environment.

Applicants must submit materials by January 1, 1997. Each application shouldinclude a cover letter and current r~sum8 with telephone and fax numbers and e-mail address. Please include the names, addresses, and phone numbers of at leastfive professional references. Final candidates must be prepared to appear on cam.-pus for two days of interviews and presentations in February 1997. The startingdate for the position will be no later than August 1, 1997.

Provost Search Committeec/o Office of the PresidentBerklee College of Music

1140 Boylston StreetBoston, Massachusetts 02215-3693, U.S.A.

Berklee is an equal opportunity/affirmative action employer.

Olympic Games. It wasrecorded for LegendaryRecords with guitarist SteveReick ’93 and drummer ScottDavidson "92.

Vocalist Liz Forester (a.k.a. LizDeters) "92 of Atlanta, is recov-ering from a facial woundreceived in Rio de Janiero whena stray bullet struck her face.After reconstructive surgery,she sang at a benefit concert forthe Citizen Council’s Victimand Mediation Services of St.Paul, MN.

Drummer Warren DavidGrant "92 of Somerville, MA, istouring Europe with bluesprodigy Monster Mike Welch.He is also recording his secondalbum on the Rounder Label.His first album These Blues AreMine, reached the number threespot on the national bluescharts.

Saxophonist Rob Hall "92 ofNascot Woods, Herts, England,is touring with the Rob HallAcoustic Band with Jim Mullenon guitar and Joachim keigh ’94on drums.

Frederic I~am ’92 of Boston,and his band released a CDcalled Clay Funk Numbersfeaturing Isa Clayderman. Healso operates a daycare facilityin Boston.

Drummer Carlos Ruiz "92 ofSanta Fe, NM, is playing in anAfro-Cuban group calledWagogo with 8lake HiramCarlos is working for an inde-pendent world music labelcalled Triloka Records.

Jonathan Sherman "92 of SanAntonio, TX, is playing hisdueling piano/sing-along gig inclubs from Boston to NewZealand, and is now working ina San Antonio club calledHowl at the Moon.

Michael Benaquist "92 ofBrookline, MA, is playing gui-tar in a big band on a RoyalCaribbean Line cruise ship.

Drummer Don Correu ’93 isplaying around Kansas Citywith blues artist Roland Allen,and will play West Coastvenues this fall.

32 Berklee today Fall 1996

Guitarist Nando Lauria"93 of Miami, FL, hasreleased his second recordNovo Brasil for the NaradaEquinox label. His previousalbum, Points of View,received great reviews fromnumerous magazines.

Saxophonist Jenisa Katz"94 and trumpeter FrankVardar0s ’93 of Boston oper-ate Purple RoseProductions, a music pro-duction company. Theirjazz label, VEE Records.released albums by EduTancredi and el Bandon 33,the Toucan Trio, andMyanna. Vardaros alsoreleased his second CD,Live at the Regattabar,with his jazz funk group,Future Reference.

Scott Koziol "94 of NorthOlmsted, OH, is bassist forAlligator Records recordingartist Tinsley Ellis. He isalso a columnist for BassFrontiers magazine.

Pianist Cornelius Kreusch’94 of New York, played agig at the Blue Note withBerklee alum Will Calhoun"86 and James Genus. Healso played a piano duetconcert on the Internet withHerbie Hancock who wasin Berlin, while Kreuschwas in New York.

Guitarist/vocalist RobertMorris "94 of New York, hasreleased a CD with his bandthe Morris Brothers Bandentitled Stand Out on JRSProductions. The band fea-tures drummer YuichiHirakawa ’95, keyboardistJorgen Kjar "95, and bassistSteven Morris "94.

Pianist Mika Pohjola "94released the CD Myths andBeliefs with his trio (BrunoRaberg bass, R0bert0 Dani"94 drums) and special guestguitarist Mick Goodrick ’67.

Multi-instrumentalistand singer Diane Williams’94 of Louisville, KY, andthe Diane Williams Groupreleased their debut CD on

Fall 1996

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the Moxie/MGK label.The disc is a semifinalist inMusidan magazine’s bestunsigned band competi-tion, and won the TDKEncore and the People’sChoice awards.

Composer MatthiasZimmermann ’94 of Kriens,Switzerland, recipient ofthe 1996 Henry ManciniFellowship, has relocatedto Los Angeles and isworking at the ParamountStudios feature film scorearchives and as a musiccopyist.

Drummer JohnBlackwell Jr. ’95 ofColumbia, SC, played onthe new Cameo albumNasty, and on their 1995and 1996 world tours. Healso played on the recentdebut album by alterna-tive rocker Paul Rucker.

Drummer MarceloContento "95 of Watertown,MA, and his band MagicTouch can be heard on the1996 Boston AnthologyCD.

David Cuetter "95 of SanFrancisco, CA, mixed the

full-length album Curiofor the band GiantProphet on 58/59 Records.

Sean Driscoll "95 ofBoston, received anendorsement deal fromD’Addario Guitar Strings.

Jason Levine "95 ofAntioch, TN, has beenworking with Grammywinning engineer RogerNichols digitally archivingand mastering at DigitalAtomic. They just com-pleted archiving the entireRoy Orbison catalog.

Robert Lipase "95 ofAnent, NY, is teachingdrums at Hartwick Collegeand recording and playingin upstate New York withthe trio Rainmaker.

Richard Tony Morales’95of Los Angeles, graduatedfrom USC in May with anadvanced film scoring andcomposition certificate.

Johnny Rabb ’95 ofCarmichael, CA, toured inApril with guitaristMichael Lee Firkinsaround Europe. He alsodesigned the Johnny Rabbsignature model shard

drums with Paul Hewitt,president of Rocket ShellsDrum Company.

Pianist Andre Spang ’95of Landstuhl, Germany,played in Austria andGermany with MikeShapiro (John PattituciBand), Ralph Humphrey,Joe Porcaro, and DaveLombardo as part of theEuropean Sonor/Zildjiandrum camps. Andre is alsoa piano teacher at theVirtual Music School. Theschools’ homepage can bevisited on the Internet at:http://www.inmac.de/rk/index.htm

Pianist GustavoCasenave "96 of Boston,released a CD entitledBichozwei featuring gui-tarist Thomas Wallisch "97.

Guitarist/songwriterBert Katziamer "96 ofBoston released a CD enti-tled Rebel Yell with hisband of the same name.He penned all songs andplayed with pianist JeanLuc Cohen, and vocalistsThelma Hippolite, RakiyaDiggs, and Ra-re Valverde.

Berklee t o d a }/ 33

WWW MUSICIANS" SURVEYKris Chesky Ph.D. "83, a research assistant professor

at the University of North Texas (UNT), is directorof UNT’s Center for Musician’s Education, Health,and Performance Studies. He and eight colleagues arecollecting data via the web to develop strategies fortreating the medical and psychological problems ofmusicians. Chesky’s web page address is:http://www.scs.unt.edu/surveys/msurvey/index.html

Berklee alumni are encouraged to participate.

FINAL CADENCE

Vocalist/pianistConcetta (Piccolo) Ferzoco"52 of Medford, MA, diedJuly 15 from injuries sus-tained in a car accident. Sheleaves her husband Cletoand son Anthony.

Charles Arcieri ’64 ofRochester, NY, died onJune 17. Donations in his

name may be made to theAmerican HeartAssociation, 40 BroadStreet, Pawtucket, RI.

Fred Anflerson ’65 ofGlendale, CA, died June 23after heart problems.Anderson was an Emmyaward-winning televisionreporter for KABC-TV for27 years.

Pianist Don Grolnick ’68

THINKING OF RETURNING?It’s easier than you might think. There is no re-

admission process for alumni. Just contactReturning Student Coordinator Greg Steele at (617)747 2239, or by fax (617) 247- 8278. Whether youhave just a few credits left, or want to enroll full-time, it only takes a phone call to start the process.Return to Berklee and experience all the new andexciting changes! For best Spring 1997 class andteacher selection, please respond by Nov. 1, 1996.

of New York, died June 1of complications from non-Hodgkins lymplhoma. Hewas known for his workwith James Taylor, PaulSimon, Bonnie Raitt, SteelyDan, James Brown, andscores of others.

Flutist/pianist CaroleKaplan "69 of Newton diedearlier this year.

Bassist Ronald Ross ’78 of

Hasbrouk Heights, NJ,died unexpectedly in July.He leaves his wife Sharon.

Brian Winiewicz "86 ofNorth Abington, MA, diedafter a car accident in SanFrancisco. He had playedin bands in San Franciscoand Massachusetts.

Martin Donovan "94 ofRumson, NJ, died after acar accident February 16.

ALUM NOTES iNFORMATiON FORMFull Name

Address

City State ZIP ____Country Phone

~ This is a new address. Your Internet address:

Last year you attended Berklee Did you receive a 3 Degree Q Diploma?Please give details of newsworthy performances, recordings, music projects, awards, recognitions, or otherevents you would like us to know about (please print or type, use a separate sheet if necessary):

Q Send me more information on the Berklee Alumni Representative program.

Q Send me more information on becoming a Berklee Career Network advisor.Please send this form, along with any publicity, clippings, photos, CDs, or items of interest to:Berklee today, Berklee College of Music, 1140 Boylston Street, Boston, MA 02215-3693. Internet address: msmall@berklee.edu

34 Berklee toflayFall 1996

CODA

Remembering Willis Conover

Rob Hayes

B hen I went off to college, it was to become a radioannouncer. And, in those years, my fellow FM

radio buddies and I had our heroes. At the pinnacle,however, was Willis Conover, Mr. Music USA on theVoice of America (VOA) broadcasts.

Willis had the voice, and lots of artistic freedom, butmost of us had never heard even one of his programs. Forreasons that seemed sensible at the time, the governmenthad made it well-nigh impossible for most Americans tohear Willis. In fact, my first exposure to him came from lis-tening to a series of LPs of his programs that had been sentin error to my radio station.

I remember my jaw dropping when I heard those pipes,and the command with which he used them. To a neo-phyte jazz announcer, he seemed like Mt. Rushmore;huge, decidedly of another time, but somehow unbeliev-ably cool. He was known as the most famous Americanthat most Americans had never heard of. This only addedto his allure.

Conover was in the right place, at the right time, but healso had the right stuff, when he began broadcasting jazzon VOA in 1954. It would have been easy to cave in tomanagement pressure to make "political points" duringhis broadcasts. He refused. By all accounts, this was bothprinciple and pragmatism; he believed that burdening themusic with anti-communist rhetoric would only driveaway some of the people he was trying to reach. Thirtymillion regular listeners worldwide proved his approachthe correct one.

Because electronic jammingwas the rule, many potential listen-ers never heard the program live.This called for extraordinary mea-sures. One crafty Russian fan usedold x-ray film, and an old turntabletone arm as the cutter head, totranscribe Willis’ shows off the air.These lo-fi plastic sheets weresmuggled flat, heard in absolutesecrecy, and then passed to thenext waiting fan. Discovery could

Rob Hayes is Berklee’s director ofpublic information. He still enjoysimposing his musical taste on others.

Willis Conover 1921-1996: The most famou~sAmerican that most Americans had neverheard of.

mean a one-way trip to Siberia, for just a few minutes witha barely audible copy of a shortwave broadcast.

Conover’s shows from Berklee, and his mentions of thecollege on his program, went a long way toward creatingthe reverence in which this institution is held in Europeand around the world. Jan Hammer, Miroslav Vitous, andJoe Zawinul, not to mention Toshiko Akiyoshi, SadaoWatanabe, and thousands more besides, might never havestudied here, except for Willis and the reach of the short-wave. Later, as a trustee, he forged other bonds here.

I was fortunate enough to meet Willis once. Two yearsago, I made a pilgrimage to the VOA and was granted anhour with the man. He was clearly in pain, but most gra-cious, when he shuffled out to meet me. We sat in the verystudio where he had cajoled stories from the likes of Louisand Duke, and where he still broadcast, with considerableeffort, each week. The voice, diminished, was still unmis-takable. I sat at the feet of the master and listened. For aslong as I live, this will be one of the highlights of my life.

After saying goodbye, I reflected upon what I had heardand seen that day. Times were clearly changing. VOA, withthe end of the superpower face-off, was an agency in searchof a mission. The impending loss of Willis was both emblem-atic of all they had been and their very uncertain future. Jazzwas now freely available in the record shops and on the air-waves across eastern Europe. By the time he passed away onMay 17, 1996, Willis and VOA had done their job.

"The funny thing," he said to me, "about being famousoverseas, is that most of myfriends here in the States havenever heard what I do. In a way,it’s a little bit sad." Maybe that willfinally change.

Independent-minded to theend, Willis retained the rights to allof his programs; tens of thousandsof tapes including interviews, jazzfestivals, live performances, andnone of them ever heard here inthe U.S. Here’s hoping that thisone-of-a-kind trove can now findthe right home, where it may final-ly be heard by all jazz fans.Perhaps perestroika can finallybring Willis Conover home. -~

36 8erklee today Fall 1996

Video and Audio Clips

~ IBerklee’a f~’ilitie~

Berklee is now available via the World Wide Web. The initial site is intenaea to answer qves~ions ~na~ oo:entia stu~ents

will have about the college, and allow them to query the Admissions Department for more information, and/or an

application for admission. Included in the site is background information on the college’s mission, faculty, facilities,

majors, student life, and performance opportunities. There are also video and audio files that help to fill in the whole

Berklee picture, through interviews and short sound clips of college-produced recordings. The site is expected to

grow over time, as resources expand, to make room for a variety of other interest areas. Check us out at...

Here’s five hot plugs & Ja~nMan:To~r~ has been extending the gu tar’s sonic boundafes for many years:In the i994 Readers’ Poll n Guitar P ayeI Magazine, he was voted Best Experimenial

Guitarist". lexicon processors have a/wats been an essential ngredient of h!s uniqueSoundscapes and are evident on his new album,"Tripping Over God." ’TamMan

has beeome one o~ my very be~t ~riend~ a

a bemgnly P~yehotie viMtv * .... ~nd Vv~ex t~

Duran Duva~ ~ui~aris~ ~e~ C~~ with his d~ri~g release, Tbo~k This record bel e

uses a air o[ ]amman processors on the new Duran Dura~ of the Year" honors in Bass Pl~ver ~a- " ’ ~p d.him win the "Bass st.... ~ ...... " ~,, are also nromined~ featured on his - r agazmes Readers’ Foil. A ongtime~an ot [exicon processors, ~anring has recently begun to experiment

~o~coming solo a~bum, ’~han~ [o rran~, with ]amman and Vortex, taking his solo bass ~ights into h~erspace."My waote rack ha~ been deMSned

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It’s no secret that Lex~e~aa ~lfig~*~l e~’tFec,e~]¢s~e~ are used by most of the wo:rld’srecording studios, and by many top per-formers. Lexicon’s Pe~aaee Se~e~effects processors are also affordable,and they’re also used by the world’sleading-edge musicians. Like theseplayers and many, many more. So

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1L~ ~.e~xa is widely regarded as one of the finestcomposers on the scene today, Her pristine guitar sound hasbeen called "remarkable" and "fluid" by Musician ~la azi .

A new solo albutt "Words", is due in mid.1995,g ne