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The Newsletter of the Central Texas Jazz Society Summer 2013 Volume 6 Number 3

CenTex Jazz News Summer 2013

(continued on Page 10)

CTJS Board RetreatsBack to the Future

CTJS Offers Free Jazz Clinics

Brent Colwell (continued on Page 10)

CTJS will offer a new program this fall to provide jazz clinicians to assist high school and middle school jazz directors.

The CTJS Jazz Clinician program is intended to plug the gap for band directors who would like to have

clinicians work with their students but who lack funding to bring

them to campus. Under the new program, CTJS

will fund a one-hour clinic by a local jazz clinician. The various clinicians can address a range of topics and the specific clinic can be customized to meet the band direc-tor's needs. Other modifications--additional clinics on the day of the visit, for example--would be a subject for discussion between the clinician and the band director.

Current clinicians on the list include Ben Irom, Tom Fairlie, Brent Colwell, Colin Mason,

The CTJS Board of Directors held its annual retreat on May 11 in the event room at Schlotzky's Restaurant in Temple. 11 Board Members representing both Tem-ple and Waco attended the meet-ing.

The Board uses the retreat format to allow members to meet and dis-cuss major topics and long-range plans without the time constraints of its regular hour-long bi-monthly meetings.

Previous retreats have been scheduled at the end of the sum-mer, but this year's earlier session

gave the Board a more timely start on planning for events and programs for the 2013-2014 sea-son. It also accommodated board members who would be away for the summer, avoided scheduling

conflicts in early September and allowed Artistic Director Tom Fairlie to attend before an upcom-ing leave of absence.

A major topic of discussion was the 2014 CTJS Jazz Party. Next year's event will be the fourth in an increasingly successful concert series, and one key to that suc-cess has been early planning. The board agreed to ask Calabria Foti, guest artist at the Thursday Vo-cal Jazz, to be the next Jazz Party guest artist. (Later in May Calabria agreed to perform at the Jazz Par-ties).

Greg Bashara advised that the Waco Jazz Party will be held at the Waco Hilton Hotel in the Three Rivers Ballroom on Friday, Feb-ruary 7, 2014. This large venue was selected to avoid the capacity restrictions which limited sales of tickets to the 2013 Waco event. Tom Fairlie indicated that the Temple Jazz Party is scheduled at the Hilton Garden Inn Temple on Saturday, February 8, 2014.

Due to increased activity in Waco, President Larry Simonette proposed that the Waco CTJS be classified as a "division" of CTJS, and that Evan Klaras be named

CTJS Board of Directors

Meet the Board…Larry Simonette

Dr. Benjamin IromJim Burns

Bill BerningThomas FairlieBrent ColwellGreg Bashara

David WildJohn R. Francis

PresidentVice PresidentSecretaryTreasurerArtistic DirectorBoard of DirectorsBoard of DirectorsBoard of DirectorsLegal Advisor(Attorney at Law)

Dr. Colin MasonEvan Klaras

Johnny Walker Tim Cates

Alex ParkerJon Fox

Byron SwannGary Smith

Board of DirectorsBoard of DirectorsBoard of DirectorsBoard of DirectorsBoard of DirectorsBoard of DirectorsBoard of DirectorsBoard of Directors

CenTex Jazz News is published quarterly by the Central Texas Jazz Society,

PO Box 643, Temple TX 76503-0643. President: Larry Simonette

Editor: David Wild

For more information:www.centraltexasjazz.org www.wildmusic-jazz.com

http://www.baylor.edu/music/jazz/ http://www.templejc.edu/dept/music/jazz.htm

http://www.wacojazzorchestra.com/CenTex Jazz News Summer 2013

Fall Scholarships Now AvailableCTJS has announced that jazz scholarships are now

available for fall 2013. Application materials will be accepted through Friday, September 6, 2013.

This year CTJS will be offering two full scholar-ships ($400.0 each) and three half scholarships ($200.00 each). All lessons will be taught on the Temple College campus. Small-school and home-school applicants are welcome.

The lessons are for fall 2013 only. Applicants applying for a scholarship must meet the fol-lowing criteria:

-- Be enrolled in their school band and jazz band (if appli-cable) at the time of applica-tion. The student must maintain enrollment during the period of the lessons.

-- Home-school students are exempt from the above require-ment but will need to demonstrate a strong interest in performing jazz.

--Directors no longer need to be a member of CTJS in order to have their students apply for the scholar-ship, but are welcome to join.

-- Applicants must be in grades seven to 12 during

the fall 2013 semester.Students receiving a half scholarship ($200.00) will

be responsible for the other half of their lesson fees, ($200.00), plus a $35.00 registration fee. Students receiving a full scholarship ($400.00) will be respon-sible for the $35.00 registration fee. Each student will receive a total of ten one-hour jazz-based lessons

from an instructor chosen by the Central Texas Jazz Society.

Specific instructions about reg-istration and other administrative issues will be provided upon no-tification of scholarship receipt.

Applicants must submit a com-pleted jazz scholarship applica-tion form, an essay describing their background, interests and future plans, an audio or video of their jazz musical performance, and letters of recommendation. The application form and details about the supporting documenta-

tion are available from CTJS.Questions should be directed to Brent Colwell,

CTJS Scholarship Committee Chair, at [email protected].

Previous CTJS scholarship students Jeremy Langthorn, Tom Abercrombie, and Altin Sen-

calar, at a jam session with Ben Irom


The Eric Marienthal Interview

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California-born saxophonist and educator Eric Marienthal began saxophone in the fourth grade. After two years of study at Boston's Berklee College of Music, he spent a year playing with trumpeter Al Hirt in New Orleans. A move to Los Angeles led to a berth in Chick Corea's Elektric Band, with which he recorded six albums (two receiving Grammies).

After the Corea gig Eric went out on his own, performing as leader or sideman on over 50 records for the GRP label alone. He is also the lead altoist with Gordon Goodwin's award-winning Big Phat Band. An extremely active clinician, Eric is the author of a number of instructional books on jazz and the saxophone.

Eric Marienthal was the featured guest soloist at the 2013 Temple College Jazz Festival last April, playing two concerts backed by the Temple Jazz Orchestra. Our Greg Bashara (also “ride” tenor saxophonist with TJO) spent some time talking to Eric during his visit and files this report.

Story and Photos by Greg Bashara

Eric Marienthal’s world travels give him a unique perspective on the global pulse of jazz education. And even though the scenery and languages change, there are many common threads and he’s ‘upbeat’ about what he sees and hears.

Marienthal was the featured guest artist at Temple College’s 2013 Jazz Festival last April, joining the Temple Jazz Orchestra for two performances in Tem-ple (Saturday) and Georgetown (Sunday). (See photo story on page 9).

“I definitely see that the interest in jazz education on the part of the students has never been stronger. It’s so much fun to travel the U.S. and other countries and see the excitement by the students to learn this music (jazz),” Marienthal said.

He was in Shanghai in November last year, and helped start what he hopes will become the annual Shanghai Jazz Festival. “There were literally thou-sands of students,” Mariental said. “Being a part of the Gordon Goodwin Big Phat Band was a real magnet and draw for the high school and college stu-dents,” he said, “--they just love that band.” (Marien-thal played lead alto with the group). “The Big Phat Band has done a lot to kindle the excitement of what’s already there.”

But with all that excitement and enthusiasm, there are issues in the forefront of modern curriculums that continue to threaten the advancement of jazz educa-tion. Marienthal explained, “The main problem I cer-

tainly see that’s repeated everywhere is all about the interest in music programs on the part of the admin-istrations of these schools. And when I look back on how important the humanities were for me in school, it’s ridiculous for administrators to think it’s less im-portant now.”

He added, “I realize the difficult financial decisions that administrations have to make, but to think that everybody will succeed just fine if they’re taught ‘The Three Rs’ and nothing beyond that is preposterous.” Marienthal believes schools might only turn out robots if students are not supported and given the chance to create.

When asked what might help bring about an in-creased awareness, Marienthal said, “I think it has to come from the understanding of the people who are in charge of keeping a program status quo or cutting the program. I think one visit to a jazz performance of what we had last night at Temple College [referring to the Saturday concert with TJO], to see the parking lot full of buses of bands that have travelled hours to get here, and to see the excitement on the kids’ faces when they go up to perform [would do it]. And when they succeed in a performance or win an award, it’s those moments in a student’s life that turn them around.”

Marienthal offers this advice to young students aspiring to make jazz their career. “First of all I’d say


Eric Marienthal Talks About Educationdon’t listen to people that say ‘it’s getting harder and harder to make a career in music, it’s next to impossible.’” He said, “I think music educa-tion is a fantastic career, but if that doesn’t happen to be what you’re interested in, not to say either you’re going to teach or you’re not going to be involved in music. Everybody

creates their own path. What your singular path ends up be-ing truthfully has nothing to do with what the global situation is, it’s all about what you do.”

“In my experience the main piece of advice I try to give students is to be as diverse as you can in your musicianship,” Marienthal explained. “The more areas you can cover the better, such as sight-reading, section playing or in the case of a saxophone player, doubling on other instruments such as flute and clari-net. And strive to have an understanding of improvi-sation and tunes considered jazz standards so you can participate in a jam session.”

Diversity has been a key component in his own career, according to Marienthal. He cites his involve-ment in arranging and composition as well as record-ing and teaching…all examples of areas he says have generated separate revenue streams.

Marienthal’s advice comes from a wealth of experi-ence--he’s been on this path for quite a while. When he was a nine-year-old in fourth grade, several of his friends decided they wanted to be in band, and they all chose saxophone. And even though he says he practiced and made extra efforts through high school, it wasn’t until much later when he entered the famous Berklee College in Boston that he kicked it up several notches.

“When I was at the Berklee College of Music I had a fantastic, legendary teacher named Joe Viola. He was incredible. When I was in high school I practiced, but it wasn’t very disciplined or regimented. Joe really in-

stilled in me not only the importance of a regimented practice routine but, whether he realized it or not, the importance of practicing things that are really enjoy-able. If you practice something you hate, it’s like telling a kid to eat broccoli every night, ‘it’s good for you…eat, eat, eat’. Practice is good for you as well, but you have to do something you want to do or else it’s not going to last,” Marienthal said. “It didn’t take long for me to feel the benefit of a serious practice routine, and in the process I’d think ‘I sound a lot bet-ter than I did two hours ago!’”

Viola also instilled in Eric the importance of improv-ing technique by studying classical literature from such iconic masters as Marcel Mule, whom Viola himself studied with in Paris in the mid 1950s. Is a career in music somehow less valid? Marienthal says, “If students think there’s less emphasis on money that’s not true at all. If you’re providing a house and raising a family, the money’s just as real as if it was made by a lawyer or a doctor.”

“Another piece of advice is to become as exposed as possible through internet sources such as social media. There are so many ways to get your music out there,” Marienthal says. “And there are also so many

much less expensive ways to make recordings. My son for example is a great guitarist and singer/songwriter. He’s got a studio setup in his room that he put together for next to noth-ing, and he’s recording some really great music.”

Marienthal is upbeat about the future of jazz for perform-ers and educators alike. “I certainly see a lot of real pas-

sion on the part of jazz educa-tors. They’re the soldiers at the schools day-in-day-out, motivating the students and propelling them to continue on,” Marienthal said.

Through his passion for jazz, Marienthal has not only in-spired future artists and teach-ers, but he has also found a

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Calabria Foti and Bob McChesneyIn Conversation:

Los Angeles-based Calabria Foti is internationally recognized as a jazz vocal artist and music educator. She is a regular in Los Angeles recording studios both as a vocalist and a violinist. Born into a family of musicians and music educators, her first instruments were jazz guitar and bass before she settled on violin, but she had begun singing long before she picked up an instrument. Calabria met her future husband Bob McChesney when both attended State University of New York-Fredonia. After some symphonic work in Tampa Florida, Bob con-vinced her to move to Los Angeles. Her most recent vo-cal CD, "A Lovely Way To Spend An Evening", features arrangements and performances by Bob.

Photo by Angie Wild

Vocalist/violinist Calabria Foti was the guest artist for the Temple College Jazz Festival's Vocal Jazz Night on Thursday April 4. She was backed by the Ben Irom Trio and joined by her husband, trombonist Bob McChesney (Bob was the guest artist with the Temple College Jazz Ensemble the following night). Following her performance, Calabria and Bob joined Ben and Angie and Dave Wild for refreshments and conversations. Dave provides these excerpts from "the hang".

By David Wild

Dave: We were discussing how the whole studio sys-tem in LA has changed drastically. You were talking about people recording in different places where you’d never expect studio work.

Calabria: Seattle Bob: If you talk to the last generation, like Chuck

Berghofer, the bass player, he said that he did three sessions a day. Everybody did three sessions a day and they could work on the weekends. And the really cool guys like Dick Nash, the trombone player, would turn down everything at night so he could be home with his family. But he could work.

Calabria: 9 to 5.Bob: If there was an hour in the day you could work

it if you wanted. Now if you've got three or four ses-sions in a week, single sessions, it’s like, what a really good week.

Dave: My brother works a lot of shows now.Calabria: He's got so much variety in what he does,

he's a blessed guy, because he's so good, just to do all of that.

Dave: When my brother and I played Vitello's [Los Angeles], I ran into a sax player that I knew from

North Texas—good player, he was the ride tenor player in the One O'Clock one year. And he was strug-gling to get his footing in Los Angeles. To me that’s a music education question. What are you going to do with people like that that are obviously really really talented, where do they go?

Bob: Danilo Perez came out to [Cal State] North-ridge, he was saying that New York is just jammed with so many good players that they can't do anything. There's no space for them to get recognized.

Calabria: To have opportunity, it breaks my heart. I know what these guys are going through.

Bob: LA is not a thriving jazz scene either.Calabria: My kids are in college, they're work-

ing for 8-10 bucks an hour, gas is 4 or 5-- where can they get ahead, where can they get a toe hold? They can't. Now that being said, there's always a wedding or a funeral or a church event or something like that. So there are ways to break in. But my feeling is, you have to be able to conduct or teach--that's why when I talked [at the clinic] about being a generalist--I did it out of economic necessity.

Bob: A couple of funny stories about us--she talks about meeting me in the practice rooms [at SUNY Fredonia]. I was a business major when I played there, I would go into the practice rooms and prac-tice, wanting to be a real musician but I was studying business. We would always be flirting with each other.


Conversations with Calabria and Bob...


Trombonist Bob McChesney began his study of the sliphorn in elementary school. He attended State University of New York at Fredonia as a business major but spent most of his time playing and learning from his fellow students. After graduation he spent six months on the road playing with the Tommy Dorsey "ghost" orchestra. After six months he moved to Los Angeles where he soon became an active jazz and studio musician, recording on hundreds of films and television shows and working with an extensive list of jazz and commercial artists. A passionate music educator, Bob is known for his treatise on the art of "doodle" tonguing, a technique for fast legato articulation, a characteristic of his fluent jazz solos. He teaches at Cal State-Northridge and Cal State-Long Beach.

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So one day I get this call from this guy, “I got a Trust Fund job in the park out here.” He said, ”it's big band music, you just read it down, and I need a third trom-bone player, can you do it? “ OK. “I'll pick you up on the corner at 2 o'clock on Saturday.” So I'm standing there with my case, this van pulls by, and I get in, and she's in the back seat. I find out later she'd been say-ing Dad, Dad, hire Bob this trombone player. That's how we got it started.

Calabria: He's a cute guy, I don't know what his name is but I like him.

Bob: We went out in school and then I graduated, I was a few years older than her. And after I graduated her folks moved to Orlando and she started studying violin in Tampa and Orlando. I ended up out in Cali-fornia after I'd been on the Dorsey band. Meanwhile she was getting really bugged with the scene there in Tampa. So I said, you'd be incredible out here because you’ve got the ears and you do all these different things. They'd notice your talents. This year or two when we'd been apart I was doing day jobs, struggling, just trying to get a casual. I didn't know millions of tunes, and the way the casuals were back then, they'd just start playing tunes one after the other--you needed to know thousands of songs.

Calabria: And that's where I lived because I was playing dance gigs with my parents, from the time I was 12 years old. So I knew all kinds of tunes right there.

Bob: So she moves out, she's totally green. I think she stayed two days with me, but then got her own apartment. She made a couple of calls, and five min-utes later she tells me “I've got a gig this weekend”.

Where? “Playing the Dinah Shore Show at the Play-boy Mansion.” One phone call, maybe two. I'd been out there for two years.

Dave: You don't look as good.Bob: They hadn't seen her! It was only a phone call.Calabria: It was over the phone. I said “Hi, I'm new

in town”. And the guy goes, “What are you doing New Year's Eve?” This is October. I said, “Uh, work-ing for you.” And he goes, “Good. And what are you doing this weekend?” It was just a miracle. I got an apartment, I got a car, and as soon as I plugged in the phone, I called this guy.

Dave: Timing is everythingBob: I must be an idiot, I've been out here calling

people for years, I can't get anything.Calabria: And then he said, “Do you have a tux-

edo?” (laughs). So that was Thursday, and that Sat-urday I was playing the Dinah Shore Show, at the Playboy Mansion, and I could hardly keep my eyes on the parts.

Bob: In the string section.Calabria: And I was agog, so star-struck by all

these people, I was just a small town...Ben: Why was it at the Playboy Mansion?Bob: Back then I think they had big celeb parties and

they hired very famous musicians to put shows on.Calabria: I don't know what the occasion was, but

I was walking around the home, the grounds, I went into the grotto. I thought I was on another planet.

Dave: So somebody like the saxophone player that I was talking about, he moves out there, what is there now?

Calabria: There's plenty of stuff, that's the good


The Conversation Continues...(continued from Page 6)

news, I don't want to sound depressed. But I'm depressed because I can see a downward shrink. But there are still always opportunities.

Bob: About the time we went there, what you used to do, you'd go on a road band, like Buddy's [Rich] band. You would do that for a few years and get on a record. Then you'd move to LA and you'd do all the rehearsal bands for a while. You're rehears-ing with all the working guys, and someone would say, “Hey, I can't make a session on a Love Boat to-morrow; I'll recommend you to the guy.” But every TV show had four or five trombones on it. Now no TV shows have any trombones; except for the Fox cartoons or Dancing with the Stars there's no television work. So I don't know what you'd say to them. It took me 10 years to break in, and she obviously got in a little faster.

Calabria: I was still doing orchestral work. I came out on I think it was a Saturday and had an audition in Santa Barbara, for the Santa Barbara Symphony. At least I had some sort of an anchor gig.

Bob: What is there for him? If he's really, really good, he can call the top guys and say "Can I come take a lesson with you?" They’ll put him through the third degree, but they'll be nice to him. If he's really well liked, some things will happen, but it's going to take years.

Dave: You're both in education, so what do you say to kids who are going to school? That was one of the things I thought about up at North Texas, I'm looking at these amazing kids, that can play rings around what I knew when I was their age, that just know everything--where are they going to go? What are they going to do? What do you tell them when they come in to you?

Calabria: What I tell my kids and what I tell the students, necessity is the mother of invention. They're going to find something else. It may not be the path that your parents took or the last generation took, but you're going to find something.

Bob: There is no clear path. Angie: One size doesn't fit all.Calabria: Exactly. If you're trying just to be a studio

player.... Bob: It's really difficult, I tell them--it doesn't make sense.

If you're going to be an engineer, you know that corpora-tions are hiring so many engineers a year--it doesn't make sense like that.

Angie: And you diversified, which is smart, because you can do so much.

Bob: You've got to go out there and create the thing your-self, it's very hard.

Calabria: One day we were just moseying along, and somehow we got a call from someone, he said I'm pro-

ducing Vesta and she's going to be doing the Arsenio Hall show (which shows you how long ago this was). And she doesn't have charts that are workable, so would you take these down? And I said heck yeah, I have great ears, this is how I grew up. So we got the cassette recording of her show, and we took it down and between the two of us we put the parts together for the band. This was in one day.

Bob: This was so the band could play along with her.

Calabria: So I said yes. I can't remember what we got paid. I think it was pretty good.

Bob: Through the years we've just played weddings and casuals and things like that, which for a while paid pretty good. But then all of a sudden the trend changed, and what gigs there are, they're these little self-contained bands from the agencies which used to hire 20 bands on a Saturday. And she'd be doing one or two ceremonies on a Saturday and I'd have the one until midnight. That's all sort of gone away.

Calabria: Somehow we put it all together, I don't really know how. How we do it I don't know, between the two of us.

Angie: Dozens of others don't make it.Bob: I think sometimes everybody else quit, I just hung

in there--anybody that was reasonable would have quit long ago. For years you don't make much money.

Calabria: But the most fun we have together is like this. Because there's an element of education--I want to inspire, encourage the younger people, and help them get to the next level.

(Part two of the “hang” with Calabria and Bob will appear in our next issue)


Thursday Jazz...Thursday at the Temple Col-

lege Jazz Festival: the Temple College Vocal Jazz Ensemble directed by Priscilla Q. San-tana; Calabria Foti and Bob McChesney with the Ben Irom Trio (April 4, photos by Jim Burns and Angie Wild)

Friday Jazz...Friday at the Jazz Festival:

Calabria does a vocal clinic (Dave Wild at the piano); Bob McChesney with the Temple College Jazz Ensemble directed by Ben Irom (April 5, photos by Jim Burns).


Saturday Jazz...

Saturday at the Jazz Festi-val: Eric Marienthal with the Temple Jazz Orchestra directed by Tom Fairlie (April 6, Photos by Jim Burns)

Monday Jazz...Monday Caliente: The Waco

Jazz Orchestra directed by Tim Cates (May 6, photos by Angie Wild).


Eric Marienthal Has High Hopes(continued from page 4)

way to touch the lives of people in crisis. High Hopes Head Injury Program in Tustin, California is a non-profit recovery center that helps to provide patients and families affordable treatment during the long-term recovery process, in which progress can be very slow. This July marks the 15th annual “Eric Marienthal and Friends Benefit Concert” held for that organization in Newport Beach.

Marienthal recognized a great need, and channeled his passion and skills to make something positive happen. “Sixteen years ago I met High Hopes direc-tor Mark Desmond. They deal with people who have suffered traumatic brain injuries and literally have no where else to turn,” Marienthal said. “Some have

gone through traditional medical therapy, but there’s a limit to what insurance companies will pay,” he added.

And their efforts have really made a difference. “What’s great is to see the community come out, and in the past 15 years we’ve raised 1.5 million dollars,” Marienthal said. The annual concert event has fea-tured a wide array of contemporary jazz artists and various entertainers in the industry, all donating their time to this worthwhile cause. This year’s July con-cert spotlighted Johnny Mathis, Chuck Loeb, Deb-bie Boone, and Gordon Goodwin’s Big Phat Band.

Every time he steps onstage, Marienthal shows future generations of jazz musicians the healing and compel-ling power of music, and ensures that his link in the chain of jazz history is strong and secure.

Board Looks Forward At Retreat(continued from page 1)

vice president in charge of Waco operations. The proposal was approved unanimously. Other issues concerning CTJS governance were also discussed.

The CTJS scholarship programs were reviewed and details of the 2013-2014 Temple-based program were presented by Scholarship Committee chairman Brent Colwell (see the article on page 2). Brent also provid-ed preliminary information about a new CTJS program to provide clinicians to work with high school jazz programs (see the article on page 1). Details on the fall CTJS scholarship program at McLennan Community College are still being finalized.

CTJS Clinicians On The Road(continued from page 1)

Dave Wild, Jon Fox and Byron Swann. Brent Colwell is administering the program as chairman of the CTJS Scholarship committee. For further details on the clinic, or to arrange for a clinic, contact Brent at [email protected].

n August 16, ‘Byron Swann and SJQ’, ‘‘Gourmet Gal-lery’, 2056 North Valley Mills Drive, Waco, 4:30 pm

n August 24, ‘Dave Wild Trio’, ‘Valley Mills Vine-yards’, 8532 Highway 6 North, Waco, 848-4343, 8:00 pmn September 13, ‘Baylor Jazz Ensemble Swing Con-

cert’, ‘McCrary Music Building, Baylor University, Waco 7:30 pm n September 26, 'Waco Jazz Orchestra’, ‘Ball Perform-

ing Arts Center’, McLennan Community College, Waco 7:30 pmn October 8, ‘MCC Faculty Jazz Ensemble, ‘MTA The-

atre’, McLennan Community College, Waco, 299-8283, 7:30 pm n November 2, ‘Temple Jazz Orchestra’,’Music of Bill

Holman’, ‘Mary Alice Marshall Performing Arts Center’, Temple College, Temple, 7:30 pm

The Temple Jazz Orchestra's fall concert on No-vember 2 will feature the music of composer/arranger Bill Holman. In a career spanning some sixty years Holman has written for Stan Kenton, Woody Her-man, Buddy Rich, Count Basie, Gerry Mulligan's Concert Jazz Band and many others.

Vocalist Calabria Foti will be the guest artist for the 2014 CTJS Jazz Parties, at the Waco Hilton on Friday, February 7, and on Saturday, February 8 at the Temple Hilton Garden Inn. Details on Calabria: http://www.calabriafoti.com/.

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