spring 1997 berklee

BerkleeSpring 1997

A Forum for Contemporary Music and Musicians

14 Steve Smith "76:A Different Drummer

19 Musical Collaborations22 Writing Accurate Chord Symbols

SPRING ¯ 1997

VOLUME ° VIII

NUMBER ¯ 3

Contents

ON THE COVER: DrummerSteve Smith ’76 speaks abouthis life and times in the rockand jazz worlds. Story beginson page 14.

LEAD SHEET by Rob Hayes.

BERKLEE BEATEncore Gala nets $110,000, Music Therapy major launched, Berklee’s librarygoes on line, faculty notes, visiting artists, and ~more .

INTERNSHIPS by Andrea KunstFor an increasing number of Berklee interns working in the music industry,an internship brings together theory, practice, and more

A DIFFERENT DRUMMER by Mark Small ’73Whether Steve Smith ’76 is rocking an arena or playing a jazz club, it isall the same to him--part of the American drumming; tradition

COLLABORATIONS by Sky TraughberSuccess in the music business is most often the. result of a series ofcollaborative efforts at several stages

GOING THROUGH CHANGES by Tony Germain ’69Some guidelines for writing accurate chord symbols

ALUM NOTESNews, quotes, and recordings of note

CODA: by John CollinsA Sound Investment

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14

¯ 19

22

24

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Berklee t o d ayA 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 Director of Institutional Advancemen

Kassandra KimbrielAssistant Director for Annual Fund

As the alumni-oriented music magazine of BerkleeCollege of Music, Berklee today is dedicated to inform-rag, 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 a yearby the Berklee College of Music Office of Institutional Ad-vancement. All contents © 1997 by Berklee College of Music.Send all address changes, press releases, letters to the editor, andadvertising inquiries to Berklee todayl Box 333, Berklee Col-lege of Music, i140 Boylston Street, Boston, MA 02215-3693,(617) 747-2325, or via e-mail: [email protected]. Alumni areinvited to send in details of activities suitable for feature cover-age. Unsolicited submissions are accepted.

Berklee t o d a y

LEAD SHEET

Man, I Saw

You on TWRob Hayes

Birector, Office of Public Information

~ n November 28th, better known here in the U.S.A.as Thanksgiving Day, something quite novel hap-

pened on television. Something that had to do with con-temporary music and higher education. Youth, tradition,and excellence were all in there as well. It was interna-tional. And, the soundtrack was certainly a cut abovewhat we are used to on the small screen.

The program was "The Jazz Makers," a half-hourCNN special presentation devoted entirely to one insti-tution: Berklee College of Music. A look at the college’shistoric past, burgeoning present, and promising future,the program was seen all the way around the world.Aired in five different time slots around the clock, it wasseen in prime time across most of the globe. CNN esti-mates its worldwide daily audience at something over170 million homes, or 600 million people.

When CNN first called us, as a result of having readthe Berklee feature in the August Smithsonian magazine,they were intending to film a five-minute piece. Aftertwo days of shooting on campus, the producer told usshe just couldn’t "do Berklee justice in only five min-utes; we want to make this a half-hour special." Onceshe had shown the tape to the CNN execs in Atlanta, wegot the half-hour. A week later, they set the show to air(twice) on Thanksgiving, one of the U.S.’s biggest view-ing days of the year!

By all accounts, CNN not only showed up andbroadcast the program, but folks at the college thinkthey actually got the story right. They saw Berklee as itis: "The M.I.T. of pop, the Juilliard of jazz." After a life-time of reverence within the music world, but compara-tive anonymity in the mass culture, Berklee may beemerging into the light occupied by its better-knownbrethren in higher education.

Someday, I hope, when our alumni engage in theusual, introductory "so, where’d you study?" exchangewith someone new, the inquisitor, knowing precious lit-tle about the music business, will know, right away whata Berklee degree signifies.

By educating the wider world about Berklee, with thevehicle of the media, we are raising further the namerecognition of this college, increasing its stature, and, byextension, the perceived value of a Berklee education.This is no small thing. Our success in convincing themedia to tell the Berklee story is your success, too.

"Man, I saw you on TV!" Yes, isn’t it grand?

Spring 1997

Berklee b e a t

Nsgdds of,lore

from abouttown andaround theworld

ENCORE GALANETS $110,000

On October 19, 1996,over 500 guests packedBoston’s Harvard Club forBerklee’s second annualEncore Gala. Throughoutthe evening, the guests weretreated to performances byscores of Berklee musi-cians, a silent auction, andother festivities. The eventwas an overwhelming suc-cess raising over $110,000.The proceeds, nearly dou-ble the figure raised at lastyear’s gala, will benefitBerklee City Music, thecollege’s scholarship out-reach program for Boston’sdisadvantaged youth.

Preceding the gala partywas a sold-out receptionand dinner for over 300guests. Faculty memberand multi-instrumentalistJerry Seeco and his sextet

Gala Co-chair Mike Dreese (left) and wife Laura recognize IraJackson of BankBoston, one of the gala’s two co-sponsors.

Spring 1997

provideddance musicall night longin the mainballroom. TheBerkleeReverenceGospel Choirpresented twoshow-stop-ping perfor-mances on thestairwell ofthe huge main lobby.Twenty different ensem-bles, comprising over 200musicians, performecl inseven nightclub settingscreated in various rooms ofthe Harvard Club. Thediverse musical offeringsshowcased a wealth of stu-dent and faculty talent inperformances of big bandand small group jazz, blues,classical, r&b, folk, rock,and world music through-out the evening.

This year’s F.ncore Galawas co-sponsored byBankBoston andDonaldson,’ Lufkin, andJenrette. The event was co-chaired by Berklee trusteeand CEO of NewburyComics Mike Dreese andhis wife Laura. The Dreesesalso sponsored the mainballroom. Honorary galaco-chairs were PresidentLee Eliot Berk and SusanBerk. Nightclub sponsors

= included: the Charles~ Howard Trust, Daka

International, LongwoodSecurity Services, W.S.

The R~Bveren~ce Gospel Choir on the stairs

Kenney Company, MillerDyer Spears, ShawmutDesign and Construction,Yamaha Corporation ofAmerica, and "an anony-mous friend."

The silent auction, spon-sored by DakaInternational, was a con-tributing factor in thefinancial success of the gala.On the block were morethan 75 special items rang-ing from a week-long vaca-tion at a private home inMustique in the Caribbeanto personal guided tours ofthe Boston Athenaeum andMuseum of Fine Arts.There was also a wideassortment of autographedmusical instruments, boxedCD collections, and novel-ties--like his and hers lavalamps. The Harvard Clubrocked until midnightwhen the musicians packedup their instruments. Theonly regret heard was thatthere were too few hoursin the evening arid toomany great performancesto choose from.

Berklee t o d a y 3

MUSIC THERAPY DEPARTMENT OPENS

On November 12, 1996, a gather-ing of musicians, educators, and healthcare professionals joined to celebratethe official launch of the college’sMusic Therapy major with a recep-tion, panel discussion, and tour of thenew music therapy facility at 22 TheFenway. Over 100 members of theBerldee and Boston health care com-munities attended the event which wascosponsored by Berklee and BostonHealthNet.

"Because of our foundations in con-temporary music, music technology,and improvisation, we felt we had thepotential to do something distinctiveand at a very high level," PresidentBerk stated. He also noted the impor-tant role that women have played inthe profession, and the role thatBerldee’s new major will have in build-ing a bridge to Boston’s health com-munity. "By creating this major," hesaid, "we would build new bridges

Dr. Suzanne Hanser, left, presents certified music therapist I(aren Wachs a plaquein recognition of her contributions to the music therapy profession.

Boston HealthNet is an urbanhealth care system comprising 11neighborhood health care partnersjoined with the new Boston MedicalCenter and the Boston UniversitySchool of Medicine. During the open-ing reception, Dr. Suzanne Hanser,founding chair of the Music TherapyDepartment, presented Karen Wachs,CMT, of the Community MusicCenter of Boston with a plaque recog-nizing her contributions to the musictherapy profession.

President Lee Eliot Berk welcomedthe crowd with opening remarks,describing Berklee’s derision to createa major in music therapy, and why thearea of music therapy is important tothe mission of the college and to soci-ety. President Berk noted thatBerklee’s program is unique in thatunlike many other college music ther-apy programs, Berklee’s is not classi-cally based.

Berklee today

that didn’t exist before."During the panel discussion which

followed, five health care expertsassessed the many different facets ofmusic therapy, its importance to thecommunity, and its evolving uses incontemporary health care. The mainpoint made by all experts was thatalthough music therapy cannot pro-vide a cure for physical and mental dis-eases like Alzheimer’s, it can helpincrease the quality of life for patients.Berklee’s role in providing the healthcare community with music therapypractitioners will be extensive.

Daniel O’Leary, Executive Directorof the Eastern Massachusetts Chapterof the Alzheimer’s Association,summed up Berklee’s role, "Here wehave a [music therapy] program, andwe know how powerful music therapyc~,n be, and that it does make a differ-ence in people’s lives."

--Julie Pampinella

FRITZE WINS FULLBRIGHT

Assistant Chair of Composition Greg Fritze

Gregory Fritze, assistant chair ofcomposition at Berklee, has beenawarded a Fulbright Senior ResearchGrant to research music by contem-porary Spanish composers for windinstruments. The award wasannounced by the J. William FulbrightForeign Scholarship Board and theUnited States Information Agency.

A member of the Berklee facultyfor 17 years, Fritze is an accom-plished composer and tuba player. Hehas penned over 40 works for orches-tra, concert band, and chamberensemble. Among the many prizeshis compositions have won is theAcademia Angelica Constantiana ofArts and Sciences, awarded in Romefor his string quartet. He has won atotal of eight awards from ASCAP,Meet the Composer Grants, andearned first prize in the 1991 TubaInternational CompositionCompetition. His works have beenrecorded on albums issued by CrystalRecords and Mark Records.

Fritze’s commitment to new musicis evidenced in his conducting of theBerklee Concert Wind Ensemble,with whom he has premiered 30 newcompositions. As a tubist, Fritze hasperformed extensively as soloist intuba concertos and has released a CDwith his own Colonial Tuba Quartet.

Fritze will be based in Bufiol inValencia Province for the next year.His duties will include guest conduct-ing engagements and lectures at theumversities of Valencia and Castall6n.

Spring 1997

CREATING AN ON-RAMP TO THE INFORMATIOIN SUPERHIGHWAY

This fall marked the completion ofextensive renovations in the 150Massachusetts Avenue building, whichexpanded Bet!dee’s library to fiverooms and will ultimately link it to theinformation superhighway. Formerly,the library comprised three largerooms: a reading room, a card catalogroom with a few photocopiers, and alarge room containing the stacks,VCRs, tape decks, and CD players allon the mezzanine level of the building.Today, the library ranges over twofloors. Twin stairways now lead to themezzanine from the MassachusettsAvenue entrance. The mezzanine levelhouses the new four-room MediaCenter. There is an anteroom withsofas and counters with four comput-er terminals where students can sendand receive e-mail messages, a readingroom, and a large room with 40 CDplayers and 18 video machines. Fivelaser disc players will soon be installed.

Behind a glass wall is the fourthroom, a new computer lab with 16workstations outfitted with top-of-the-line Power Mac 7600 computers.Each computer has Claris Works 4.0and Netscape 3.0 software installedproviding students with a gateway tothe Internet. The computers are net-worked to two printers allowing stu-dents to make hard copies of assign-ments or of material downloadedfrom the Internet. A new stairwayleads to the second story wherebooks, musical scores, and periodicalsare now housed.

Many remember the library’s largecollection of vintage recordings, alarge portion of which was on reel-to-reel tape. Though there had been some

CD players installed inrecent years, now thehardware in the libraryhas been updated. In theplace of the 12 CD play-ers and numerous tapedecks, there are now 40CD players. The collec-tion of 7,000 reel-to-reeltapes has been replacedby 8,000 CD recordingsof both new releases andhistoric reissues. As well,one-off CD recordingsof faculty concerts,workshops, and reserve materials arebeing produced by the library staffmembers for use in the library andbeyond.

Back in the 1993-94 academic year,Berklee began to focus long-rangeplanning efforts on the library, as itscollection was then accessible onlythrough a card catalog. The successfulcreation of the campus network dur-ing those years made the possibility ofdeveloping an online library catalogfeasible. Breakthroughs for accessing;information in new ways spurred the’.planning team, spearheaded by Vice:President of Information TechnologyDavid Mash, Executive Vice PresidentGary Burton, and Director ofLearning Resources Gary Haggertyto expand the scope of the projectfrom simply automating the library tomaking its resources and those devel-oped by faculty available over anenhanced campus network.

Today, the vision for Berklee’slibrary has grown from its being afinite source of cataloged materials toa central access point for teaching and

learning resourcesaccessible through-out the college. Theprospects for avail[-ability of learningresources throughthe Internet com-pleted the planning

~ picture, and thea Berklee LearnirLgm Resources Network~ Project was~ launched.

The catalog isnow on line, aridThe stacks are now housed on the library’s second floor.

Spring 1997

The updated listeping room in the library Media Center

will be on the World Wide Web laterthis year. This will permit interestedweb surfers around the world tobrowse the library’s holdings. Off onthe horizon are plans to have all class-rooms and dorm rooms networked tothe library, the Career ResourceCenter, the ensemble library, andother facilities. The campus networkwill also support real-time video andaudio transmission, and will provideaccess to instructional materials storedin the digital domain. These willinclude MIDI, notation, graphics,text, digital audio, and video files, andwill open up new vistas in music edu-cation for the faculty and students.

At some point in the future,instructors will be able to connecttheir laptop computers to wall jacks inany classroom and quickly tap intomaterials from the library for use inclass. It will be possible to select a CDfrom the library and, via a softwareremote controller, play it in class with-out ever handling the disc. Similarly,an excerpt from a book or a scoremight be downloaded and projectedon-screen for in-class analysis. Thesame capabilities are being developedfor student access to the college’s edu-cational materials from their dormrooms or off-campus apartments.

Add to this mix the plan to estab-lish bi-directional communicationbetween Berklee’s information andmedia resources and those of othernational and international facilitiessuch as ilibraries, colleges and universi-ties, professional organizations, andindividuals, and the possibilities forlearning and productivity ascendanother order of magnitude.

Berklee t o d a y 5

Sweetwater Soundfirst opened its doorsin 1979. A whole lotof other music deal-ers have come andgone since then, butthanks to our innova-tive customer com-munications, afford-able prices andfriendly, knowledge-able sales engineers,we’ve grown at anastounding rate. Weoffer thousands ofproducts from thebest names in the industry, like Korg, Roland, Kurzweil,Alesis, Di~]idesion and Tascam, to name just a few. So ifyou’re shopping for equipment, why not make the ri[Ihtcall and find out why thousands of other musicians havemade Sweetwater Sound their first choice for all theirhardware and software needs?

ZILDJIAN CREATES NEWSCHOLARSHIP

Ms. Craigie Zildjian, vice chair ofthe Avedis Zildjian Company, hasestablished the Avedis ZildjianEndowed Scholarship for BerkleeCity Music (BCM) percussionists.

This new Zildjian scholarship willprovide support for the BCM sum-mer program, which enables Boston’stalented at-risk high school studentsto attend the college’s summer per-formance program and participate inmentoring and other programsthroughout the academic year. TheAvedis Zildjian scholarship is the firstcorporate endowed scholarship tohelp support this unique initiative tohelp students gain a college educationin music. Many successful graduatesof the BCM program have beenawarded scholarships to Berklee forfull-time college study after finishinghigh school.

Over the years, many percussion-ists have been helped by otherZildjian scholarships. Last year Ms.Zildjian established another endowedscholarship fund in the name of hergrandfather, Avedis Zildjian, as a wayto honor his legacy in perpetuity.Each year this scholarship is awardedto a gifted percussionist to helpfinance their college studies.

Ms. Zildjian has been a member ofBerklee’s Board of Trustees since1995.

U. PLAN EASES TUITIONWOES IN MASSACHUSETI’S

Berklee is one of 77 colleges anduniversities in Massachusetts partici-pating in the state-sponsored collegesavings program known as the U.Plan. The U. Plan allows Berkleealumni, whether they are parents,grandparents, aunts, or uncles, tosave for a child’s future collegetuition and lock in today’s rates in a

Spring 1997

flexible, structured savings program.The plan offers guaranteed pro--

tection against rising tuition rate,’;with tax-free benefits. Alumni canpre-pay up to 100 percent of collegetuition or purchase individual tuitioncertificates for as little as $300. Thefunds can be applied toward tuitionat any of the 77 participating college:;in Massachusetts.

The Commonwealth’s answer tospiraling college tuition costs ha,’;become a nationally recognizedmodel for structured college saving,’;

programs. Endorsements of the pro-gram have appeared in the WallStreet Journal, the New York Times,Forbes and Kiplinger’s magazines,and other publications.

The 1997 enrollment period runsfrom March 1 to April 30. To partic-ipa.te, complete an application formby April 30.

For further information or toreceive a U-Plan enrollment kit, con-tact the Massachusetts EducationalFinancing Authority (MEFA) (800) 449-MEFA.

Berklee t o d a y 7

BERKLEE TODAYWINS GOLD AWARD

Berklee today Editor Mark Small’73 earned the Gold Award from theCouncil for Advancement andSupport of Education (CASE) as partof the council’s 1996 PublicationsAwards program.

The magazine was judged the bestentry from a pool of magazines pub-lished by colleges and universities inDistrict 1, which covers NewEngland, the Maritimes, and Quebec.

CASE offers the award annually torecognize editors who successfullyutilize their time, budgets, and staff toproduce a first rate publication.

The panel of judges cited the mag-azine’s "gorgeous cover photogra-phy, .... content which is totallyfocused on its market," and "suresense of its mission and audience," asdetermining factors in their decision

Former Berklee today editorAndrew Taylor won the CASE SilverMedal previously. Small has been themagazine’s editor since August 1992.

We’re making music .... Won’t you join us?

Berklec’s fall fund-raising drive generated tremendous support forthe Annual Fund from alumni, parents, and friends alike. Many

thanks to those individuals who responded so generously toour mailing and phone calls.

For those of you who haven’t made a gift yet, we still needyour help. The Annual Fund is an important sonrce ofscholarship assistance for new and continuing students at

Berklec who, without the support of our donors, might notbe able to study at Bcrklec. The Annual Fund allowsBcrklce to attract the most talented and focused musicianswho make up our uniquely diverse and creative commonity.You can make a difference by making a gift to Berklee.

Don’t forget that donors of $100 or more will receive milcagcgood for travel to over §g0 destinations worldwide onAmerican Airlines~! "1~3 make your gift, please send yourcheck or credit card information (Visa and MasterCard only,

please) to Berklee College of Music Annual Fund/"" Office of Institutional Advancement, Box 333,

~ 140 Boylston Street, Boston, MA 02215-3693,U.S.A.

Did you know that Bcrklcc accepts gifts of stocksand securities? We are also happy to provide you

xvith information about making a planned gift ora bequest. Please call the Development Office at

(617) 747--2439 if you would like to discnss yourplanned giving options in detail.

(0ucstions? Please call (617) 747-2439Internct address: [email protected]

ALL IN THE FAMILY

When Berklee admissions officialsrecruit new students in foreign lands,they hope to find that one diamond inthe rough--a young musician whoexhibits great ability and enthusiasmfor learning. The recruiting team onthe international scholarship tour hada right to be happy when they stoppedat the Rimon School in Tel Aviv, Israel,and found not one, but three superiorjazz musicians. And all of them arefrom the same family.

"Right away I could see that Yuval,Anat, and Avishai Cohen were all spe-

From the left, Yuval, Avishai, and Anat Col~en.

cial not just talented, but extraordi-nariIy talented," said Steven Lipman,assistant vice president for enrollment.

His assessment was confirmed byothers, including saxophonist DaveLiebman and Berklee’s Associate VicePresident for International ProgramsLarry Monroe. After a three-yeareffort, all of the Cohens are at Berklee.

The eldest, Yuval, is a 23-year-oldalto saxophonist who has performedwith many accomplished jazz musi-cians, including Sheila Jordan, AdamNussbaum, and Mick Goodrick.

Yuval completed hisBerklee studies lastDecember, and ispreparing for a move toNew York.

Tenor saxophonistAnat, 22, is a fourth-semester Professional

~ Music major who hasplayed gigs with RachelZ and Cindy Blackman.Avishai, 19, is a first-semester student who

began his career nine years ago.Heralded as one of Israel’s finest trum-peters, he worked last year with saxo-phonist Ira Sullivan’s group.

"They are all very, very gifted," saidNew York-based educator ArnieLawrence. "They each have their ownvoice to bring to jazz. Yuval is sort ofthe elder and inspires the other two.Anat has a lot of spirit and a lot ofbeauty in her playing. Avishai isalready a world-class musician."

Surprisingly, the Cohens haveplayed very few gigs together, buthope that the coming months willafford them more opportunities tocollaborate musically.

"We’ve been waiting for themoment when we would all be here,"Yuval said. "It would be great torecord as a family." According toAnat, family bonds raise the quality ofthe music they make. "Reading charts,together, we don’t have to say any-thing. The music comes together likeone person is playing."

--Rob Hochschild

8 Berklee today Spring 1997

As predictably as winter returnswith the cycle of the seasons, the trag-ic patterns of war and peace seem toebb and flow in this century. In thewake of armed conflicts, many livesend and others are changed forever.Fifty years ago, after the last devastat-ing European war, composerJeronimas Kacinskas fled Lithuania forasylum in America, eventually settlinginto a teaching post at Berklee [see hisstory in Berklee today, Spring 1992].This cycle has also repeated as anotherrenowned Eastern European musi-cian, Vuk Kulenovic, has left his coun-try and is teaching at Berklee. Hisstature as both a celebrated composerand an outspoken critic of the Serbianpresident’s murderous policies madehim a marked man at home.

In June of 1992, Kulenovic mobi-lized artists and musicians for aprotest, the first of its type in Belgrade,which placed him in the glare of theinternational media spotlight. It alsoset him at odds with the government.For a year he endured threats, harass-ment, and destruction of his property.An extremist newspaper called for hisexecution.

In conversation, Kulenovic quicklymakes it known that he is tired of dis-cussing the political situation in hishomeland. He feels the prospects forchange are slim. In a recent BostonGlobe interview he stated, "The samecriminals are still in power, and theywill be for the rest of their lives; theyare more popular than ever. The manwho called for my execution is now amember of parliament." Another rea-son for his caution: his mother and sis-ter still live in the country. He worriesthat speaking out could have repercus-sions for them.

In 1993, Kulenovic got himself, hiswife, and two sons out of the crosshairs through a Fulbright scholarshiphosted by New EnglandConservatory. The grant brought himto the United States where he lecturedat Boston Conservatory, Boston andHarvard universities, University ofMiami, and Wesleyan University. Bythe time his lectureship was over in1995, Kulenovic had decided to makeAmerica his permanent home. Lastfall, he joined Berklee’s Composition

A NEW BEGINNINGDepartment faculty, and currentlyteaches counterpoint, instrumenta-tion, and directed studies.

Born in Sarajevo, Yugoslavia, in1946, Kulenovic studied piano andcomposition at Ljubjana’s MusicAcademy in Slovenia. Later he studiedwith Milko Kelemen in Stuttgart,Germany. The compositional stylesthen popular in European conservato-ries--Neo Classicism and 12-tonetechniques--held little allure for him.Kulenovic began writing minimalistmusic before it was fashionable. Earlyin his career his talents were recog-nized and his music was programmedfrequently by European orchestrasand chamber groups throughout the1980s and 1990s. To date he has com-posed over 100 works for symphonyorchestra, chamber ensembles, soloinstruments, film scores, ballets, and.chorus.

Growing up, Kulenovic listened toa variety of music but found greatinspiration in ancient melodies-~espe-cially Balkan folk melodies. A numberof his works reveal this influence."Sometimes I will use the melodic pat--tern, but not an exact quotation of afolk melody," he says. "When I arnusing it, I am sometimes not aware if itis the melody or something else.Maybe it is similar to the way Bartokused folk melodies, although mymusic is very different from his."

He and his family have steadib~adjusted to American life. "My firstyear in the U.S., I felt very confused,but now we have a lot of friends and Ifeel pretty comfortable. This countryfunctions very well with so many dif-ferent cultures here. In some countries;,two or three cultures cannot livetogether, but here it is an incredibleexperiment and very successful."

Kulenovic is finding Americansanxious to perform his music. His gui-tar concerto Landscapes ofDisappearances, was premiered atNew England Conservatory underthe baton of Berklee faculty membe, rGojko Damjanic, who also has con.-ducted his work for piano and orches-tra titled Byzantine Formulae.Kulenovic has found an ardent sup-porter in Composition DepartmentChair Jack Jarrett who conducted First

Composezr Vuk Kulenovic

Rkual Dream, a work for 17 musi-cians. J~Lrrett will also travel toGermany to conduct the FreibergOpera Orchestra in the March pre-miere of Kulenovic’s Magic Harp.

While Kulenovic is among theminority of Berklee faculty memberswith classical music careers, he findsthe atmosphere here invigorating.

"Two of my directed studies stu-dents, Celia Kunzei and AhelaAcherov have written large symphon-ic pieces which I think are both inter-esting and powerful," he says. "I feelBerklee will be the school of the nextcentury. It has the chance to be the bestmusic sc!hool in the world, because inmy opinion, music will not be dividedso much in the future. Ethnic musicstyles will be more in the mainstreamin the next century. Jazz and classicalm~isic, in terms of composition, aremoving closer together.

"My music was always closer topopular genres in a way. For instance,there are rock elements in my stringorchestra piece Mechanical Orpheusan,d in Boogie, a piano concerto." Tofurther this musical cross-pollination,Kulenovic has been writing forGeorge Russell’s Living TimeOrchestra and other ensembles.

The :fecund Kulenovic has hit hisstride in a new land. He composesconstantly and his works are beingperformed somewhere in the worldthree or more times monthly. "I com-pose as much 10 hours each day whenI can," he says. "It’s not because I wantto... it’s because I have to."

Spring 1997 Berklee today 9

FACULTY NOTESFred Lipsius, assistant professor in the

Ensemble Department, released his sec-ond CD, Better Believe M Lipsiusarranged and wrote all of the materialon the CD, which features PerformanceStudies Department Instructor KevinBarry on guitar; alumni Keith O’Quinnon trombone and Jamshied Sharifi onsynthesizer, Will Lee of the "LateShow" band, and members of the BluesBrothers horn section.

Associate Professor Carolyn Willdnsand Guitar Department Chair LarryBaione performed in South America inOctober on a tour sponsored by theU.S. Information Agency.

Peter Spellman, career developmentcoordinator for the Career ResourceCenter, wrote a chapter on promotingmusic over the Internet for the bookThe Musician’s Business and LegalGuide.

Associate Professor of GuitarCharles Chapman and AssociateProfessor of Harmony Steve Rochinski(also a guitarist) have both signed on endorsers for the Evans CustomAmplifier company.

Dan Moretti, assistant professor ofcontemporary writing and production,recently released two CDs. Morettiplays a variety of woodwind instru-ments on Impressions, including tenorand straight alto saxophones; and altoflute, C flute, and rosewood flute. DanMoretti and Brazilia Featuring GregAbate: Live at Chan’s features alumniGreg Abat~ on alto saxophone andflute, Alain Mallet on piano, and per-cussionist Pernell Saturnine. OscarStagnaro, an assistant professor of bass,is also heard on the recording.

Featured on the disc Crosscurrentare Bass Department Instructor JimWhitney and alumni Bertram Lehmann(drums and percussion), CarlClements (saxophones), Ben Cook(piano and keyboards), and Eric Johnson (guitars).

Assodate Professor of Voice BobStol0ff has published a book titledVocal Improvisation Techniques.

Percussion Department ChairDean Anderson released the CDDivinations, a collection of solo per-cussion works which includes a com-position by Woodwind Department

Chair Matt Marvuglio.Assistant Professor of Guitar Bruce

Saunders released an album with theNew York Guitar Trio. The disc, titledRaising the Standard, features fellowguitarists Ben Mender and SteveC~rdenas and was released by thePeriscope MIDI label.

Brelt Wilmott, associate professor ofguitar, penned Mel Bay’s CompleteBook of Harmonic Extensions forGuitar. The book, Wilmott’s secondon guitar harmony, contains a CDdemonstrating selected examples. Hisfirst book on the subject is entitled MelBay’s Complete Book of Harmony,Theory, and Voicing.

The latest CD from GuitarInstructor T0mo Fujita and Blue Funkis entitled Put on Your Funk Face. Thedisc features Piano Instructor DaveLimina, Assistant Professor ofPercussion Larry Finn, and alumnusMike Rivard (bass).

A self-titled debut CD from theband Two Ton Shoe was released on L-shaped Records.It featuresPercussionInstructor DaveiDiCenso (drums,percussion,vocals) and alum-ni Justin Beech(vocals, guitar,and percussion)and Jeff Gilman(bass and vocals).

HarmonyDepartmentChair BarbaraLondon released aCD entitledNaturalProgression. Itfeatures nine ofher original com-positions.]London (flute,piano, and voice),leads a quartetconsisting ofGuitarDepartmentChair LarryB a i e n e ,Harmony

Instructor Rick Kress (drums), andalumnus John Lockwood (bass).

Bass Professor Bruce Gertz and his"Set" have just released their latestCD, entitled Discovery Zone. The CDfeatures a stellar cast of musiciansincluding alumnus John Abercrombie(guitar), Jerry Bergonzi (tenor sax),Joey Calderazzo (piano), and AdamNussbaum (drums).

Percussion Professor Ed Uribepenned the Essence of Afro-CubanPercussion and Drum Set for WarnerBrothers Publishing.

Vice President of InformationTechnology David Mash released thefourth edition of his book Computersand the Music Educator, which detailsuses for synthesizers and computers ina music education curriculum.

Rosie 8untress, administrative assis-tant to the executive vice president,provided vocals and keyboard trackson the debut CD by Flexie entitledGalaxy Park. The disc was released bythe Surreal label.

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18 Ber~,lee t o d a y Spring 1997

A number of distin-guished artists and musicprofessionals stopped byBerklee this fall to sharetheir experience. Kicking offthe series was SteveOppenheimer, senior editorof Electronic Musician mag-azine, who gave a seminartitled "The Inside Dirt onEquipment Reviews." Fromhis vantage point as an edi-tor bombarded with infor-mation about new products,Steve shared his insights onwhere technology is headed.

Grammy Award win-ning country vocalist TrishaYearwood shared her experi-ences breaking into theNashville scene. The plat-inum-selling singer gave herpersonal perspective onmaking a relationship workwhile being married toanother successful musicianwho also tours a lot.

Mum0nsai, a master ofthe Japanese sh,~misen (along-necked lute with threestrings), performed tradi-tional Japanese music andspoke about his instrumentand approach to the music.

Mandolin virtuoso DavidGrisman played a number ofsongs and discussed some ofthe high points of hislengthy career as an acousticmusician.

Jazz pianist JamesWilliams gave a clinicdemonstration with Miles

Singer/songwriter Jimmy Buffet

Spring 1997

FALL VISITING ARTISTS

Banjo innovator Bela Fleck performed at his October clinic.

Griffith and Roger Holland,the two vocalists in hisgroup Intensive Care Unit.

The famed EsterhazyString Quartet came to thecollege to read through stu-dent compositions for stringquartet. The group has beenrecording and touring forover 30 years, focusing oncontemporary music.

Visitors for this year’sBass Days sessions includedHarvie Swartz [’70] and JeffBerlin. At his PerformanceCenter concert, Swartz wasjoined by pianist RandyKlein, guitarist MickGoodrick, and drummer JoeHunt.

Singer/songwriter 3immyBullet conducted a clinic andquestion and answer sessionin the Performance Center.

Pianist and composerDavid Azarian presented atwo-part workshop on

piano and composition. Hewas backed in his perfor-mance by bassist JohnLockwood and drummerJack Diefendorf.

Jazz guitar great JoeDiorio played and answeredquestions in an afternoon

Platinum-selling country vocalist Trisha Yearwood

clinic preceding his appear-ance at the Regattabar inCambridge.

Mark Goldstein, seniorvice president for businessand legal affairs at WarnerBrothers Records, was thisyear’s speaker for the JamesG. Zafris Jr. DistinguishedLecture Series. He discussedcontract negotiations, andbusiness operations at amajor label as the musicindustry approaches themillennium.

Harpist Felice Pomeranzpresented a seminar anddemonstration on tech-

niques and methods forwriting music for the harp.

Banjo innovator BelaFleck, bassist VictorWooten, and percussionistFuture Man performed to apacked house and dis-cussed their new live CD.

Rising jazz vocal starsNnenna Freelon and DianaKrall [’83] each presented aclinic and demonstration.

Philip deGruy playedarrangements of standardsand pop tunes on an instru-ment he calls the "solo gui-tarp". The instrument’s 10tunable harp-like stringspermitted him to tap stylesranging from bossa nova toimpressionism.

Bassist Steve kaSpinapresented a clinic on play-ing acoustic bass.

German keyboardistRainer Biirck presented asession on MIDI process-ing and stochastic compo-sition programs for theMacintosh.

Hit songwriter GraysonHugh spoke about the craftand business of songwrit-ing, and his own career.

West African-bornpianist and composerAbdou Mbacke discussedhis use of traditionalAfrican jungle rhythmsand ritual ceremonial ele-ments in his solo pianocompositions.

Berklee today 11

CAREER SPOTLIGHT

Career Stepping Stones

by Andrea Kunst

~ hen developing players need an objective gauge bywhich to measure their growth, they gig. When com-

posers are ready to premiere their work, they pick theirplayers, schedule a concert, and hear their work from a dif-ferent vantage point. Experience gained from professionalinteractions is invaluable. So when students studying tobecome recording engineers, sound designers, managers,artist reps, or producers know the time to put their talentto the test has come, taking an internship is a logical nextmove.

There is no better way for aspirants to test the waters.Internships expose preprofessionals to the heart of theindustry and involve them in the day-to-day reality oftheir chosen career. Many interns come to a greater under-standing of the relevance of their college course work oncethey are on the job. Often a successful internship can leadto that first job.

John Hurtado is a music synthesis major who developedhis own contacts with the Troupe, a production studio inNew Hampshire. He had decided to take the internship forcredit, so there were a few essentials to get out of the way.John needed the nod from an official company sponsor oron-site supervisor and the consent of Don Puluse, the deanof the Music Technology Division. While each departmentat Berklee has its own list of personal and professional con-tacts in the music industry, students need not adhere to asingle list. However, in the music technology division, pri-ority is given to potential host companies who are lookingto expose a student to the music industry as well as in theirspecific organization. With a booming technology market,Berklee interns are in demand by music industry Davidsand Goliaths nationwide. And while it is true that interns

often start at the bottom of the company hierarchy, theirrole is not simply to be free labor.

Even when students begin an internship expecting noth-ing but the unexpected, they can still be surprised. InternJohn Hurtado relates, "The first thing I realized was thedifference between my two main creative working envi-ronments-the MIDI labs at Berklee and the gear at thestudio. I became aware of how easy--and dangerous--it isto become complacent about all the equipment I am usedto working with in the Berklee labs. At the Troupe, I useda kid-sized Casio keyboard controller that didn’t respond

Chris Hegstrorn ’97: "Experience with high pressure prob-lem solving has enabled me to mature."

12 Berklee t o d a y Spring 1997

to velocity adjustments and an EMUProteus FX synth module to createthe synthesized music." For theuninitiated, John’s observationroughly translates as, "I trained on aFerrari but I’m working with aPinto."

Finding a good internship is justlike finding a good job--you need tostart early and work at it. Berkleeprovides many of the paths to oppor-tunity. In fact, response to studentplacements has been so positive thatthe Music Technology Divisiondecided to restructure their existingprogram to provide greater flexibilityfor students and their industry hosts.

The result of an industry poll is anon-line data base available to MusicTechnology Division majors whohave satisfied the prerequisites. Thedatabase lists over 100 internships andentry-level jobs. A byproduct of thisoutreach is that the word aboutBerklee interns is rippling through theindustry and the division gets callsdaily from new companies seekinginformation about the program. Infact, since the launch of the on-linedatabase, the division currently hasmore internship listings than it hasstudent requests.

It is rewarding to see studentsopen up to all pertinent information,not just that which they think theyneed. John Hurtado’s report to thedean indicates that he learned thingshe did not forsee at his internship.

"The cold hard truth," statesHurtado, "is that a lot of compa-nies-production or otherwise--arewary of how they spend their moneyin light of an oftentimes tricky eco-nomic atmosphere. Why should theyshell out more cash for custom soundeffects, music, etc., when they can justplug in something off a sound effectsCD or CD-ROM? I learned that as asynthesist, you need to utilize yourpowers of persuasion to convince aprospective employer or client thatyour special sound can make theirprojects shine, giving them a compet-itive edge in their market."

Another student, ChristopherHegstrom, started as a sound internfor the stage production of Blue ManGroup at Boston’s Charles Playhouse.He relates, "The first week, fromMonday to Saturday, I was there for

approximately 30hours. I wasexhausted and frus-trated. On Sunday Iarrived and foundout it was technicalsetting day. Theatmosphere wascompletely differ-ent. It was dark andquiet. There was anactor on stage andthe lighting design-ers were testing lightsettings and back-drops. It no longerseemed like a ratrace but resembled achurch service. MyBerklee training equipped me to handlethe technical aspects but there are thingsyou have to learn from experience, suchas what to do when three microphone.,;start emitting a 20 db buzz 30 minutesbefore the house opens, or when arlamp blows and your only spare send.,;high frequencies. Experience with highpressure problem solving has enabledme to mature." Hegstrom is nowemployed as second sound engineer onBlue Man Group.

Brian Gilmore’s internship landedhim in retail, where he was recentlypromoted to assistant manager atDaddy’s Junky Music store inBoston. As Brian explains, "My jobresponsibilities include not only par-tial command of the store, but alsowatching the music industry and itstrends, noting which new equipmentwe should purchase, and overseeingthe artist clinics we host."

Gilmore hopes one day to operatehis own recording studio and recordlabel and has known he needed todevelop both personnel and fiscalmanagement skills. An internship at aretailer has given him access to andpractical experience with the newestproducts on the market. He has alsobeen building connections and goodfaith with area musicians. He feelsthese are critical for success in the cor-ner of industry he is pursuing.

Music Business/ManagementDepartment Chair Don Gorder andExecutive Vice President Gary Burtonset up an internship for Panos Panay ’94at Ted Kurland Associates bookingagency. "It was to be a three-month,

Panos Panay ’94: "Show that you are eager to learn andwilling to work hard, that’s ’when opportunities come."

unpaid internship," recalls Panay, "butI was learning so much that I decided tostay on another three months."

Panay started as an assistant toLaurel Wi.cks, who books the U.S. andCanada. He read every fax that cameinto the office and listened in on dis-cussions to further understand thebusiness. Around that time, Kurlandhad been thinking of hiring an agent tohandle European bookings. After athree-hour lunch meeting, Kurlandoffered to. train Panay for the job.

That was two years ago. Panay hassince booked European tours forartists like Pat Metheny, Chick Corea,Branford Marsalis, Yoko Ono, StewartCopland, and Andy Summers. "Youhave to show that you are eager tolearn and willing to work hard," saysPanay. "That’s when opportunies willcome along." #

iLike the college itself, Berklee’sinternship program manages to bal-ance the traditional with the innova-tive. The college’s department intern-ship advisor helps make it possible forstudents to find a practical experiencethat ideally matches their curriculumand personal goals. For many interns,the program makes important connec-tions beweeen their academic trainingand the rigors of the real world. Forsome, it can be the opening of thedoorway to their future. ~

Andrea Kunst is assistant to the deanof Berklee’s Music TechnologyDivision, and oversees that division’sinternsh{~ program.


A Different Drummer

For Steve Smith 76, rocking a stadium orplaying a quiet jazzclub, it’s all the same part of the American drumming tradition

by MarkSmall "73

Steve Smith is a different drummer. His spec-tacular career, spanning the past twodecades, has at times found him pounding

out high-decibel rock tunes in 50,000-seat arenaswith Journey or supplying sophisticated stick-work with Steps Ahead or his own jazz groupVital Information in the hushed ambiance ofclubs like New York’s Bottom Line.

Unlike many 40-something musicians, Stevewasn’t a rocker who matured into jazz; it wasthe other way around. Growing up in the six-ties, the music of Hendrix, Led Zeppelin, andDeep Purple had a big impact on him, butdrummers like Tony Williams, Elvin Jones, andEric Gravatt were his musical heroes. His firstbreak in the business came in 1976 with JeanLuc Ponty’s band in the midst of both thefusion era and Steve’s seventh semester atBerklee. Opting to continue his education onthe road ultimately led to gigs with platinumrockers Journey and numerous top jazz artists.

For Steve, knowing the history and traditionof American music is as crucial as knowingwhere one is. He considers it part of his job tounderstand the history of drumming inAmerica and to examine the paths down whichpopular music and jazz have traveled since thebirth of the blues. At his home in MarinCounty, California, he has book shelves linedwith histories of the early blues and jazz legendsand CD cases stuffed with remastered historical

14 Berklee t o fl a y

recordings. Testifying of his own place inAmerican popular music are 31 gold and plat-inum records hanging on his wall. Most markhis achievements with Journey, others reflect hiscontributions to top albums by artists likeMariah Carey and Bryan Adams.

The hallway with the platinum records leadsto Neverland, Steve’s state-of-the-art studiowhere he recently recorded Ray of Hope, theseventh CD by Vital Information. With themuch touted reunion of Journey and thetremendous reception of their Trial By Fire discreceived, odds are Steve could have platinumrecord number 32 on his wall by year’s end.

Steve shrugs off questions about his moving soeasily between the rock and the jazz worlds, say-ing, "If you follow the history, it takes all of themystery out of how I play with Journey or StepsAhead they are both branches on the same tree."

Who were some of your most influentialteachers at Berklee?

Drum instructor Gary Chaffee made a bigimpact. He helped me develop my musicalvoice. I thought his ideas were very radical andI really took to them. To this day I still work onthe information he gave me and stay in touchwith him.

Alan Dawson was also a very strong teacherin a different way. He stressed basic coordina-tion and traditional techniques and the jazz tra-

PHOTO 8Y JAY BLAKESBER6

Spring 1997

ome friends of mine who

were great players didn’t do well

career-wise because they were

hurt deeply by the business and

fThose who persevered did better.

dition. Every week I had to learn a standardtune well enough to sing the melody while play-ing his drum exercises. Unlike many drumteachers, he integrated music and drumming sothat you learned the form, and could improviseon it. He helped me build a vocabulary on theinstrument.

Were any fellow students important to yourdevelopment?

At Berklee, I connected with bassist NellStubenhaus [’75] and pianist Orville Wright[’74]. We worked in a nightclub band calledEcstasy. Even though Nell is the same age as me,he had this maturity, and helped to mold me. Hehelped me develop a concept of groove playingand time keeping that I didn’t have before.

I later played with bassists Jeff Berlin [’75]and Kermit Driscoll [’78] and guitarists MikeStern [’75] and Bill Frisell [’77]. Jeff got me anaudition with Jean Luc Ponty. Playing Ponty’smusic was a reach for me. It was fusion withmore emphasis on rock than jazz, and I hadn’tplayed a lot of rock. The audition was a lot ofreading and my reading chops for odd time sig-natures were really up. Ponty and I played a lotof duets, and with the freedom I felt as animprovisor, I got the gig. Working with himreally piqued my interest in rock. He got me tocheck out drummers like Billy Cobham andNarada Michael Walden, and convinced me toget a big set with double bass drums.

Upon leaving Ponty, what shaped yourdecision to go with Montrose when you wereoffered a gig with Freddie Hubbard that sameweek?

After a year with Ponty, I had a lot of inter-est in following through with rock. I felt I had aweakness there. When I moved to L.A., I got an

audition with Montrose, and it seemed the logi-cal path for me to follow. Why not play withreal rock and roll players and get the full experi-ence? Their music was closer to the Jeff BeckGroup’s sound then--all instrumental rock. Theoffer to join Freddie Hubbard’s band seemedlike one I could probably get again. Montroserepresented a doorway into another world.

I guess it really was the doorway into therock world for you.

Yeah, it was. Things worked out with musi-cal experience and success in a way I’d neverdreamt of, but my decision was strictly musical.I played with Montrose for eight months. Onour first tour, the opening act was Van Halen.They had just put out their first record and noone knew them yet. Montrose would play sec-ond, and Journey was the headliner. Steve Perryhad just joined Journey and was just gettingintroduced to the audience. It was an interestingpoint for Journey, because they had been pri-marily a four-piece instrumental rock band--only about half the songs had vocals. AinsleyDunbar, Neal Schon, and Greg Rollie had cometo hear me playing with Ponty in Cleveland andreally liked what I was doing. They asked me tojoin in September of 1978. For me the hook toJourney was their musicianship.

The new Journey record has a dramaticproduction concept and a big rock and rollsound. Your drumming really orchestratesideas in the lyrics on several songs.

I used what is called a China Trash cymbalfor the ride cymbal on "One More." Peoplelove that sound at every session where I’vetaken that cymbal out. On "The Rain" I used aflat ride with rivets and it got a rain kind ofsound.

I’ve developed a concept that custom fits theband. I don’t know that I would have come upwith that if I had not joined Journey. BassistRoss Valory and I work on the rhythms a lot.We tape everything at rehearsal. At the begin-ning, we are just trying ideas and improvising,but as we listen to how a phrase worked, we’lllearn it and fine tune other parts. By the time weget to the studio, we have rehearsed a lot. Thatis different for me. I am used to learning a songthe same day I record it. In Journey, we arethinking more about the composition. The mostcreative process is in writing and rehearsing thesong. When we take it on the road, we have tobe true to the performance on the record.Listeners identify the guitar solo as a melody,and will air drum along with my fills; thosethings become part of the composition. Thisidea was really hard for me coming from a jazzbackground, but I realize a compositional


approach is part of the role drums play in rock.

Not too many members of major rock actslater become sidemen for top jazz artists. Doyou have to alter your technique--matchedgrip versus traditional grip--for such differ-ent musical settings?

I use traditional grip about 90 percent of thetime in either style. I don’t change to matchedgrip for power; it is for the feel I am after. I don’tthink volume is much of an issue in rock drum-ming; it is more the sound. I let the mikes do thework. I don’t play really soft or anything, but Iam not excessively loud. It is the same withsingers. They don’t have to sing really loud;they need to get the right sound and let the mikepick it up. I want a good sound out of my snare,bass drum, toms, and cymbals, so drum size canbe a factor, but you don’t have to be excruciat-ingly loud.

How did the Journey reunion come about?We had always thought about it. I had discus-

sions with various band members over the years,and they seemed pretty open to it. There were alot of unresolved feelings after the breakup. JohnKalodner, an A&R man for Sony, really pushedto get it to happen. He brought us together andhelped us work through any hesitancy we had.Once we played together again, it felt good andthe chemistry was right. We were inspired tomake a go of it. We decided it was best not to doan unplugged version of our greatest hits, but towrite material for a new record.

Did the band write many tunes or just the15 which appear on the disc?

Steve, Jonathan, and Neal got together andcame up with ideas for some songs. They didn’tdo a lot with computers or drum machines.When Ross and I got into the rehearsal studio,we could develop our own parts. One of theproblems that led to the breakup was that theywrote everything with drum machines andsynth bass for the Raised on Radio record. Theycreated our parts for us, which diminished thecreativity for us. So they came in with 15-20very rough song ideas. We rehearsed for a fewmonths fooling around with different chorus orverse ideas. We were working from 10-5 fivedays each week, and developed about 30 songs.We then focused on 20, and got those to com-pletion. The music for a song might take a dayto finish, but the lyric writing can take Jonathanand Steve a lot longer.

Kevin Shirley, the producer, picked 16 out ofthe 20 figuring we would use 12 on the record.We recorded them all, and then no one couldfigure which ones to leave off. The Japanese ver-sion of the CD has all 16 songs, the American

version has 15.Shirley and the record compauy were listen-

ing hard and giving us very critical feedback. Inthe old days, we never heard anything from therecord company. We made the records and theyput them out without heavy involvement fromthe A&R department. Now record making hasdeveloped into a big, high-;isk business with themajority of the product being unsuccessful. Thecompanies are cautious with their investmentdollars, and want to make sure they are going toget a good return. They are more involved nowand less trusting that a band will objectively cre-ate a successful record.

After all of the hits fl~urney has had, thismust add a new twist to doing your job.

Now the heads of the companies are youngerthan us and have grown up in a different era,and maybe don’t understand as well as we dowhat we are doing. That was difficult, but wehad to deal with it. They put us to the test, butthe record debuted on Billboard at numberthree, the single became number one on theadult contemporary chart,, and went up on thetop 100 chart.

When you shifted gears to go back ",into jazzafter leaving Journey, was it a big adjustment?

In 1985, Ross Valory and I got fired fromJourney. It’s a long storT~ and it never shouldhave happened. There were lots of regrets. So Imade a decision not to try to form or joinanother rock band. I focused on jazz playing.The whole time I was in ]ourney, I played gigsaround San Francisco and recorded with key-boardist Tom Coster. I would also go. back toBoston to play with bassist Tim Landers [’80]guitarists Barry Finnerty and Dean Brown[’77], and saxophonist Dave Wiltchesky. Thatevolved into Vital Information. ][ made the firstthree records with that band while I was still inJourney. So I had laid the ground work for what

Journey in 1996,~rom the left:Steve Smith, NealSchon, RossValory, JonathanCain, Steve Perry


I would be doing next.I had a mountain to climb to get some credi-

bility in the jazz world though. Festival promot-ers still saw me as Journey’s drummer. Even tour-ing with Vital Information wasn’t bringing me thecredibility needed to get hired. That came when Istarted playing with Steps Ahead. At a drum clin-ic in Philadelphia with Peter Erskine and LennieWhite, Peter said he had just quit Steps Ahead,and Lennie told me he had just turned down thegig and would recommend me. The next day I gotcalls from Brecker and Mike Manieri both. Theytold me I didn’t need to audition, just to come toNew York and start rehearsing.

That was a transforming and healing experi-ence after getting fired from a successful rockband. The players in Steps Ahead were heroes tome. For them to hire me and be really happywith what I was doing was what I needed. Ilearned a lot about music playing with musiciansof their level.

We did a lot of touring--especially in Europe.I began winning the Modern Drummer magazinepolls. I made connections and gained recognitionfor having made the move from Journey to StepsAhead. I went out of my way to meet promoters,agents, club owners, and record company people.That is how I got connected with IntuitionRecords, which issued the latest Vital InformationCD. Eventually it became time for me to pursuemy own thing, so I left the band after seven yearsto play more dates with Vital Information.

What is your perspective on "fusion" musicthese days?

This is a good question. That term has a nega-tive connotation, and it gets applied to a variety ofartists. At the San Francisco Jazz Festival, theybilled Dave Sanborn as a fusion artist. I love hisplaying, but I don’t think of him as a fusion play-er. Fusion had its heyday with MahavishnuOrchestra, Return to Forever, and WeatherReport. Like so many other eras in jazz--NewOrleans jazz, big band jazz, bebop--I feel fusionhas had its beginning, middle, and end. There wereidentifiable fusion artists, but it was really a bandthing ending with Chick Corea’s Elektric Band.

There are other people playing great music inthat vein--like John Scofield, Steve Coleman, orMike Stern but I feel the original concept hashad its day. Smooth jazz is closer to instrumentalr&b pop like Booker T. and the M.G.s or KingCurtis. What Fourplay, Bob James, or KirkWhalum do in no way resembles the musician-ship or intensity of Mahavishnu, nor does it havethe depth of Weather Report’s music.

The original fusion pioneers were primarilyjazz musicians who grew up absorbing rock.Now players grow up imitating a sound withoutunderstanding its source, and their music is less

potent. That is not to say they are not good play-ers, but they don’t come from as rich a back-ground.

As an artist who mixes jazz and rock, do youthink there is future for this style?

I don’t see a big future for the genre. I do feelthat if you look at older music which has had itsbeginning, middle, and end, there will always berepresentatives of that sound who will continue towork. Louis Armstrong came out of the NewOrleans tradition, though styles changed, he wasa representative of that school of music for the restof his life. Count Basle, Stan Kenton, DizzyGillespie didn’t alter their styles too much in lateryears. Maynard Ferguson and Sonny Rollins con-tinue to work. Brilliant players in any style willalways find a market for the era and music theyare representing. Jazz festival organizers love tobring the living masters in to play.

What does one need to succeed in the business?The playing is a major aspect of being success-

ful, but another key element is to not get knockeddown by disappointment. Some friends of minewho were great players didn’t do well career-wisebecause they were hurt deeply by the businessand never made a recovery from that. Those whopersevered and processed what happened to themand used it to focus their resolve did better.

Whenever I lost a gig, got fired, or was toldthat I wasn’t playing what the leader wanted, Iwould get hurt and angry. But ultimately I wouldtry to see what I could learn from the situation.

You also have to know how to develop per-sonal relationships--that’s what the business isbased on. You have to keep in touch with people,be easy to get along with, and available.

When I was coming up, the concept of a gettinga bio, a photo, and a demo tape wasn’t important,it was all word of mouth. In a way it is still thesame. Those breaking out today do it with abilityand a good attitude. Networking is a big thing. Forme the Bet!dee environment was key. The acade-mics were helpful, but playing--inside and outsideof the school--with other students was reallyimportant. I developed from these relationships.Networking got me into the business.

Is there anything else you’d like to say?Yes. I get asked about the difference between

being a highly schooled and a self-taught musi-cian. All of the great players are self-taught in away. Teachers can guide you and teach you themechanics of your instrument, but the ability toactually play can’t be taught. Playing your instru-ment well is different from playing music well.Getting together with other players and makingthe music happen is a self-learned process. To methat is really clear. -~


Collaborations

Success in the music business is most often theresult of collaborative efforts at several stages

by Sky

Traughber

M" aybe it all began with Adam

and Eve collaborating on.whether or not to eat the

fruit. Throughout history, fruitful col-laborations have produced lastingresults in many human endeavors.Musical collaboration has boostedsome careers, destroyed others, andcaused numerous instances of secondguessing. My own experience observ-ing and playing studio sessions in thewee hours at Stax Records studios inMemphis with Isaac Hayes, DavidPorter, the Bar-Kays, and others, hasmade it easy for me to understand thebenefits of pooling the talents of manyparticipants.

Learning to shareAs collaborator/producer, and for-

mer Island Records Vice PresidentRob Fraboni states, "Most any cre-ative endeavor in records and film isusually a collaborative effort, even ifone person gets the credit. It’s a ques-tion of how it’s viewed. The stimula-tion one person feeds another is very

Sky Traughber, a bassist, is an assistantprofessor in Berklee’s Music Business/Management Department. He hasheld various posts at Stax, CBS andMotown records.

Having an intu-,itive feel fo.’collaborations,is a gift whichseparates A&R’,visonaries fromtrend followers.

valuable." L.A. session drummer andSantana co-producer NduguC!n.ancler adds, "When record compa-ny A&R people tell me that they arenol: in the business of developing pro-ducers, I try to explain to them thatyou use the producer to develop theartist." Ndugu believes the recordindustry is still learning about the"sharing" aspects of collaboration,and that selfishness on either endwon’t work.

Across the board, American society


good A &R person’s insight

could give a product an edge that

will help the sometimes difficult

understanding between those who

make a record and those who sell it.

felt the effects of the "me first" attitudeof the ’80s. It touched creative musictypes as well as those involved in theselfish cronyism which ultimately ledto the savings and loan debacle. But,given the potential financial incentives,you can understand a songwriter say-ing: "You can use my songs if I am theproducer," or a producer saying: "I’llproduce this act, if they use my songs."A successful artist might dictate, "Illsign again with your label if I can per-form my own material and produce."Each function represents a separateincome source.

After a couple of decades of col-laborative successes like those fromthe Motown stable--SmokeyRobinson; Holland, Dozier andHolland; Hal David and BurtBacharach; Phil Spector; Gamble andHuff; Thorn Bell and Linda Creed--which delivered artist-identifiablerecords, we entered an era where safe,formulaic productions seemed to bethe norm.

The era of samenessLionel Ritchie stated in a recent

USA Today article, "At one time, youknew when a Wilson Pickett recordended and a James Brown recordbegan on the radio. Then the corpora-tions discovered the music business,and we became somewhat like a fastfood chain." It is notable that MTV,with its penchant for preferring imageover talent, emerged during the 1980s.The record industry crash of 1979(attributed to overly generous returnpolicies and excessive record budgets)left many scrambling for whateverbrought an immediate dollar. On theother hand, we shouldn’t focus exclu-

sively on the ’80s as the era of same-ness when in 1948, Nat King Colestated: "Now all bands sound practi-cally the same--except Dizzy andKenton. If it appeals to the public,they’ll buy it."

Market niche radio programmingin the 1990s may have contributed tothe feeling of sameness in commercialrecordings. A lot of stations will onlyprogram a musical style identified ascrucial to their target audience, theiradvertisers, and ratings concerns. Onthe other hand, some top 40 stations,such as WXKS in Boston, now pro-gram a diverse offering of artists--Smashing Pumpkins, Prince, R.E.M.,and Marvin Gaye--back to back.Here artists of disparate styles "col-laborate" if you will, to create the sta-tion’s identity. The grooves fit togeth-er. This approach to programmingrequires research and a sense ofadventure, but may be a sign of thefuture of collaborative styles of musicon the airwaves reminiscent of the1950s and 60s when you frequentlyheard the Beatles, Aretha Franklin,and the Rolling Stones back to back.

A rash of record retail shutdownsin 1995 was fueled by price wars anda lack of exciting records. It makesyou wonder if consumers havereached the saturation point with thelack of stylistic diversity in commer-cial releases. I polled about 100 of mystudents last spring on recent break-through artists. They unanimouslynamed l-tootle and the Blowfish andAlanis Morrissette as the mostnotable ones. But two artists appeal-ing basically to the same audience donot make an industry.

Having an intuitive feel for collab-

oration is a gift that separates A&Rvisionaries from trend followers.Veteran arranger, producer, andBerklee faculty member RichardEvans recalled that during the periodwhen he and his two creative collabo-rators produced a string of hits, AristaRecords President Clive Davisoffered the team a lucrative, long-term production deal. When theywere unable to reach a fair sense ofdistribution of dollars among allmembers, Clive took the deal off thetable. He felt that the chemistry of thehit-making unit was due to all collab-orators, and he would not accept onlypart of the team.

A successful A&R professional andstudio producer must recognize whento let an artist go off with his or herown ideas. Although paired with pro-ducers Bumps Blackwell and Hugoand Luigi during his career, SamCooke’s "You Send Me," "Shake," and"A Change Is Gonna Come" wereproducts of Sam’s concept of voice,song, orchestration, and production,with the collaborators filling in wherenecessary. People interviewed for thisarticle felt that althoughL.A./Babyface has produced and writ-ten many smashes, they have not creat-ed many artist identifiable recordings,and may have influenced other up-and-coming producers to follow suit.

"Everything sounds the same,everything looks the same, and itbothers the hell out of me," says JoeMansfield, president of AsylumRecords, Nashville. Mansfield, for-merly a marketing vice president atCBS, Capitol, and Liberty, also oper-ates the Mansfield Group, which han-dles marketing for Garth Brooks. Healso blames the recent retail closingson price wars and lack of excitementin the recordings. Mansfield’sNashville label is going after artiststhat have something different inmusic and look. To his ears, too manyrecent industry offerings have beenboring.

Creating credible, groovy hitsThe issue of diversified recordings

by the industry is addressed in therecently published book Off theCharts by Bruce Haring. He writes:"So the pressure on A&R right now isto have credible, groovy hits. It’s like


nobody wants to sign the Bee Gees orMariah Carey and sell 22 millionrecords. Everybody wants to sign off-spring and sell two million, becauseit’s cool." Even in Mariah Carey’scase, the sudden death of one of hercollaborative producers stifled herdevelopment somewhat. This servesas a reminder that people make hits.

Some areas of music require closerexamination of the collaboration.Doug Wilkins, a vice president atGRP Records, in New York, saysadding vocals to jazz cuts for radio airplay on some formats requires an in-depth look. "Being a small label, wetry to find an up-and-coming produc-er who understands the artist and hisor her catalog," he says.

Crossover backlashJazz and to some extent, country

sometimes have to consider artist, cul-ture, and image. In doing productmanagement for Herbie Hancock’s hit"Ready or Not" with Ray Parker, Jr.,and being close to his organization on"Rockit" with Bill Laswell, I wit-nessed firsthand the backlash someartists receive after leaving their roots,collaborating in another style, and cre-ating a mass appeal hit.

Many felt hurt when the Red HotChili Peppers helped bring .alternativemusic to the mainstream with RickRubin. Elvis Presley and Sam Cookewere criticized for leaving their gospelroots, although they continued to cutgospel albums. Rumor has it whenMaurice White informed RamseyLewis that he was leaving their jazztrio to form a group that fused pop,r&b, rock, jazz, and vocals, Lewistold him to go home and take twoaspirins. Shortly thereafter, Earth,Wind and Fire was born.

Nat King Cole said: "For years wedid nothing but play for musiciansand other hip people. And while weplayed that, we practically starved todeath. When we did click, we clickedwith pop songs, pretty ballads, andnovelty stuff." It was Nat’s collabo-ration with songwriter Eden Ahbezon "Nature Boy" that broke Nataway from jazz and into pop hits.(Many feel that the 21 million recordsNat sold in his first 10 years atCapitol Records actually laid thefoundation of that company.)

"We all stand on the shoulders ofsomeone else," says Michael Johnson,a vice president at RCA Records,New York. Michael also believes thatserious collaboration requires depthand hard work, which is somethingsome A&R departments may haveshied away from by farming out thecreative aspects to production compa-nies. Although there are benefits tothis approach, a good A&R person’sinsight could give the product an edgefrom the record company that willhelp the sometimes difficult under-standing between those who make therecord and those who sell it.

I recently spoke with an A&R per-son from Berklee’s student label,Heavy Rotation Records. He wasconcerned that our newest signees,Seven Acres, were considering cuttingmaterial other than that on theiirdemo, which the label felt stronglyabout. Although creative space isimportant, sometimes the artist has torealize that he or she is collaboratingwith the label to come up with a hit.

After a series of listening sessior~tsbetween the label A&R department,the producer, and the artist, a com-mercially viable finished product wa.sdelivered. Seven Acres bandleaderLarry Orleck admitted, "Sometimes Iwrite hooks that are really excellentbridges, and it took a collaborativeeffort with another songwriter for meto discover that." Orleck feels that hisnew co-writer’s input helps tosmooth the rough edges.

The appeal is in the groovesI have noticed with the studer, t

label how intense their involvement iswith chemistry in the recordings, andI predict that one day they will havean innovative hit. Recent Berkleegraduates Pat Sabatini ’95 (AristaA&R Department), and Karin Allen’95 (Chrysalis Music L.A.) spoke collaboration, and it seems they havea majestic mix of fundamental ideolo-gies and a somewhat naive, experi-mental drive which sometimes helpscreate classic recordings.

In this highly dynamic era of inter-active and technological advances, it iseasy to forget that the basic appeal ofmost hit records is in the music. AsGenevieve Stewart, with the WyntonMarsalis Organization advises, "It

pays to really listen to the musicfirst." A development deal, whereyou experiment with a small budgetfor an initial collaborative effortbetweel:t artist, producer, song, andtechnology, is a useful tool for evalu-ating the music before a full budget isblown and you say "uh oh." That’swhen the finger pointing starts, andthat can tear the creative process apartbefore it begins.

A future with multimediaWhile the creative end of record-

ings must continually address collab-oration, the marketing, promotion,sales, and distribution areas are expe-riencing changes that may enhancetheir collaborative strategies regard-ing reliance on radio and video. "Intoday’s environment," says ParisEley, a vice president at AtlanticRecords, "with technology beingfinely developed, it is important forpromotion people to think of multi-media." Eley feels that the "multi" inmultimedia is the interconnective,co.llaborative element that will sepa-rate the :future of marketing from thepast. "Now people have sourcesother than radio, other ways to getthe full picture."

He tells his promo people to con-nect witlh someone who understandsmultimedia in order to stay on top ofthe game. Ironically, it appears thatwhen Paris, myself and others wereattending CBS conventions in theml.d-1970s, the company had alreadyset: the tone for multimedia in productpresentations on new releases. In someinstances, the collaboration of sightand sound can offer an everlastingimpression, which may have con-tributed to record breaking sales dur-ing this period at CBS. By the sametoken, tlhe music business is still a"street business," and requires a blendof old fashioned "hustle" and newmarketing techniques.

In any case, this is an opportuneand exciting time for people with"original fresh" or "recycled fresh"ideas to get involved in an industrystriving to save its dignity while admit-ting that "A Change Is Gonna Come."As Nat King Cole said, "Everybodywho has a creative mind should sitdown and try to find something new."Perhaps collaboration is the key. ~1

Spring 1997 Berklee t o d a y 21

¯ghGoing Throu Changes

Some guidelines for writing accurate chord symbols

by Tony

Germain "69

"~ ~ ,a, ny musician,s, are familiar with~i/| fake books which give the

.1. I¢ .l.melody and chord symbols so theperformer can fake the accompaniment. Inolder fake books, tunes are often presentedthree to a page and feature incorrect andsometimes too many chord symbols.Notations such as C+ or C6 are usuallyneither very imaginative nor accurate. Thesymbology and the craft of notation hasalways fascinated me. When in Nashville,for example, I noticed that musicians therehave their own methods. When a singerbrings a tape of a tune to the session, thestudio musicians listen and write down theharmonic information in the small note-books that they carry for these occasions.

Chord symbols appear like this on theirnotebook page: 11 44 55 7~7~ 11. Translation:two measures each of I, IV, V, WII and I.Whatever the style of music, chord symbolsare simply a guide to performance; interpre-talon is in the hands of the player.

Since legible doesn’t necessarily meanreadable from a player’s perspective, I havesome thoughts on making chord symbolsaccurate and understandable. I start by indi-cating basic triads and 7th chords and addtensions using parentheses (see examples 1-

Pianist Tony Gerrnain "69, a professor in the EarTraining Department, coauthored the dictationsoftware Harmonic Hearing, and plays on the CDSasha Sings Dinah with vocalist Sasha Daltonn.

5). I prefer using a dash for minor, as in C-7.I prefer using sharps and flats rather thanthe symbols + or - to indicate the raising orlowering of tension notes. Hence, I writeC-7(~5) versus C-7(-5). Although the sign is sometimes used to indicate augment-ed, as in C+7, I feel C7(~5) is clearer.

Tension 11 is not the same as sus 4.Tension 11 indicates that the third of thechord is present. Otherwise, how could youhear C-7(11) without including the E flat?Sus 4 indicates that the fourth is suspendedand no 3rd is present. Using Maj is clear(e.g., CMaj7), but I don’t have a problemwith the use of a triangle for a major seventheither, as long as it is used consistentlythroughout the chart.

A circle is best for indicating diminishedchords (dim can also be used). The use the symbol C-7(b5) is clearer than using thehalf-diminished symbol--a circle with aslash through it. These symbols save timeand are more easily understood by copyists.I advise avoiding words such as "add" inchord symbols. More concise methods areavailable. If you feel the urge to write"omit," notate the voicing instead. When indoubt, write it out.

Chord symbols like C9 or C13 are notspecific enough. If a C-9 is written someplayers would play C-7 with tension 9, butsome might interpret it as a C7 with a flat 9.It is clearer to write C-7(9). Using paren-theses generally indicates tensions, but forsome symbols like C-7(b5), C-(Maj7),


C7(~5), the parentheses contain chord tone.

Symbols for more complicatedchords need more thought. By usinghorizontal and diagonal lines, sym-bols can express the composer’sintent. I use a diagonal line to indicatea chord over a bass note. This is acommon way to represent inversions(see examples 6-8), hybrids (example9), sus 4 chords (examples 10-12), other combinations such as a Maj7(~5) (example 13), or a version C°7 (example 14).

It is advisable to keep the upperstructures of these chord symbols assimple as possible. It is hard enoughto for a player to be able to read andmake accurate judgments on thesetypes of voicings without having tostruggle with symbols that are puz-zling. It is hard to decipher a voicinglike FMaj7/G (play "this" over"that") in real time. Making it morecomplicated, as in D-7(9)/G, (play"this" with "this" over "that"), isunnecessary when writing FMaj7/Gwould give all the information. Thesesymbols allow a writer to create veryinteresting voicings which a playercan easily comprehend.

Polychords can be shown by usinga horizontal line between the struc-tures (examples 15-19). As with theirdiagonal-line counterparts, they takesome getting used to for sight-readingpurposes, but they are also unique intheir ability to present interestingsounds. Example 15 is a standardvoicing for a dominant 7 with 9, ~11and 13. Example 16 can be used foraltered situations.

Mixing altered and natural ten-sions can be interesting, as in example17. One nice thing about using poly-chords is that the resultant sound nei-ther has to be justified, nor qualified(nor even understood), just played.Example 18 shows a C°7 with all ten-sions used, and example 19 shows achord which, since it employs boththe natural and ~9, could be very con-fusing if described with a symbol.

Using these guidelines while for-mulating chord symbols shouldincrease the likelihood that thoseplaying your charts will be able tointerpret the chords correctly. So, sea-son to taste and allow your imagina-tion free reign. ~l

THEM CHAI~IGES

Examples 1-5

(9) (11) (~11) (~3) (~3)C7 C-7 CMaj 7 C7 C7

Examples 6-10

C/G C-7/B~ CMaj7/E G/C D-7/G

Examples 11-15

FMaj7/GD

D~Maj7/G E/C B/C C7

Examples 16-19

G~ G~- D°7 DMaj7C7 C7 C°7 C7

Spring 1997 Berklee t o da y 23

Alum notes

Compiled by

Alex Ball "97

Pianist Cyrus Chestnut ’85has been touring the coun-try with various lineups tosupport his two recentrecordings Earth Storiesand Blessed Quietness.

Rik Tiqory "49 ofCohasset, MA, and hiscompany Rik TinoryProductions were honoredwith the prestigious 3MVisionary Award for con-tribution to the continuinggrowth and advancementof the recording industry.

C. Paul Luongo "50 ofBoston, MA, appeared onCNBC’s "How to Succeedin Business" where he dis-cussed public relations andmarketing techniques forsmall businesses.

Guitarist Ken Thorpe ’65of Dania, FL, has playedprofessionally in southFlorida since 1970 and hasplayed with numerous jazzgreats and has been fea-tured on three albums. Herecently played a gig withBerklee Guitar Departmentfounder Jack Peterson.

Saxophonists George Garzone ’72 (left) and Joe Lovano "72played together on Garzone’s latest CD Fours and Twos forthe NYC label. The pair is backed by bassist John Lockwood’77, pianist Joey Calderazzo, and drummer Bill Snider.

Bill Moody "66 of LasVegas, NV, is a jazz DJ atKUNV-FM in Las Vegas.He has also recently pub-lished his third book titledI Remember Clifford.

Dan Hakala "69 of CostaMesa, CA, cofoundedTalking Owner’s Manual,an educational firm special-izing in product specificcassettes, videos, and prod-ucts understanding elec-tronic and MIDI key-boards from Casio.

Bassist Rick Petrone ’69of Greenwich, CT, alongwith drummer .Joe Corsello’65 released Freelancin’ onSeaside/Cat’s Paw Records.This is the second record-ing with pianist/leaderJoyce DiCamillo withwhom they have played for15 years.

Bassist I~arvie Swartz "70produced and played onthe Manhattan MorningCD by veteran saxophonist

Leonard Hochman. Thedisc was released on theJazzheads label, which isowned by Randy Klein "71.

Pianist Charles Mymit ’71of Rego Park, NY, signed arecording and publishingcontract with AmericatoneRecords International. TheCD, The Romantic Pianoof Chuck Mymit will bereleased in 1997.

Pianist and songwriterB.J. Snowden "73 ofBillerica, MA, released herfirst CD, Life in the USAand Canada, for theDeMilo Record label.

Michael Terry ’73 ofTrumbull, CT, has pro-duced and arranged jinglesfor companies such as LongJohn Silver’s, Playtex,Wrangler Jeans, and manyothers. He has also con-ducted the AtlantaSymphony Orchestra and

continued on page 26


Alumni ChapterPresidents andcoordinators:New YorkTom Sheehan ’75Consultant(212) 459-9150

OrlandoStan Kubit ’71Orlando MusicTeachers Inc.(407) 741-6006

ChicagoDougMurphy ’90The Star Store(708) 343-1750Tom Castonzo ’87(708) 488-1208

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

Boston~ehannie 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) 725-3690

EnglandLawrenceJones ’80Brighton,E. Sussex, G.B.44-1273-707621

RomeClaudioZanhieri ’9306-7184053

TokyoMichikoYoshino ’90042-241-4347

CLASS CONNECTIONSFirst of all, thank you for your support in

1996. Our best wishes to you in this new year.This past November was a busy month for

California alumni. On November 2, theHuntington Hotel was the scene of a wellattended Berklee/San Francisco Jazz FestivalAlumni Reception, where Berklee today EditorMark Small "73 presented guitarist AI DiMeola ’74with the Distinguished Alumnus Award. Alsothat night, Director of Scholarships and StudentEmployment Damien Bracken introduced thewinner of the San Francisco JazzFestival/Berklee scholarship, Noah Waldman,who will attend Berklee in January.

On November 6, the Berklee Center in LosAngeles presented a music publishing panel dis-cussion with David Kowal ’75 as moderator. OnNovember 8, in conjunction with the AudioEngineering Society (AES) Conference, a largenumber of alumni, guests, faculty, and studentsgathered for a reception at the HollywoodHyatt Hotel, where alumnus and Vice Presidentof Soundelux Media Labs Scott Gershin "84,received a Distinguished Alumnus Award.

This past December 15, L.A. alumni andguests flocked to Rive Gauche for a smashingholiday social. The event was hosted by PeterGordon ’78 of the Berklee Center of Los Angeles,and Leanne Summers ’88, president of theSouthern California Alumni Chapter.

On January 10, at the annual conference ofthe International Association of Jazz Educators(IAJE), alumni, guests, faculty, staff, and stu-dents joined President Lee Eliot Berk at a recep-tion at the Chicago Hyatt Regency Hotel.Student Jeremy Pelt and his quartet performed.

On January 19, alumni, trustees, guests, andfaculty assembled at the Hyatt on Sunset for theannual alumni brunch in Los Angeles. In a pre-sentation ceremony, Elli0tt Easton "74, former

AI Di Meola (left), received a Distinguished Alumnusaward from Berklee ¢odayeditor Mark Small.

From the right, former Cars guitarist Elliott Easton’74, and David Grossman "79, vice president oftelevision music’, at Viacom/Paramount after theyeach received distinguished alumni awards atthe January 19, LA. alumni brunch.

guitarist with the Cars, and David Grossman "79,vice p~~esident of television music atViacom/Paramount, each received aDisting~Lished Alumnus Award.

In conjunction with the BerkleeInternational Network (BIN) scholarship tour,Fundacio L’Aula de Musica in Barcelona hostedan alumni reception :for alumni, faculty, staff,and prospective st~udents November 21.Another was held on December 12 in Greece bythe Centre of Music Studies Philippos Nakas.

This past year also brought some changesamong ~]umni chapter presidents and coordi-nators. Due to his busy teaching schedule at theNew Sclhool, studio projects, and impendingfatherhood, New York alumni chapter presi-dent Steve Ward "87 stepped down. The newalumni representative from New York is TomSheehan "75. You will be hearing from Tomshortly. In Chicago, alumni coordinator DougMurphy’90 has been joined by Tom Castonzo ’87,as co-coordinator. In .Athens, we are currentlylooking for a replacement for Samy Elgazzar’93.Nashville’s co-coordinator Mark Corradetti ’87has been holding the fort while colleague Betsydacks0n ’84 recuperates from surgery.

Stay tuned :for upcoming events in yourarea. For’ Boston area alumni, watch for infor-mation on a March 3 Women in Music recep-tion and concert.

Anyone who is wired can direct e-mailinquiries to the Office of Alumni Relations at:[email protected]

That’s all for now.

--Sarah Bodge, Assistant Director ofDevelopment for Alumni Relations


composed the music forthe TNT documentary All:The Whole Story.

Cathy SegaI-Garcia ’74of Toluca Lake, CA, hasbeen performing weekly atCasa del Sole in NorthHollywood, and present-ing vocal clinics on thevoice, performance, andprofessionalism.

Guitarist Jeff Ciampa ’75of New York, has releasedhis latest album Signs ofLife on Wavetone Records.Alumni Richard Martinez"70 (keyboards) and BillyDrewes ’70 (saxophone)also played on the album.

Jeff Ciampa "75

Keyboardist AlbertWeisman ’75 of SpringValley, NY, is playingHammond B3 organ withBo Diddley’s group. InJanuary, they toured Japanand Australia.

Composer HummieMann ’76 of Culver City,CA, received a 1996Emmy Award for out-standing individualachievement in musiccomposition for a series.

Bassist David Sahadi ’76of Jamestown, CA, hasbeen working with a groupplaying original songs andplaying in the pit of musi-cal theater productions.

Joseph Michael Cuda "77of Elmira Heights, NY, hasbeen music director at theLove Church inHorseheads, NY, for thepast seven years. He isworking on a gospelrecording with the LoveChurch music team.

Daniel Slider "78 ofNewhall, CA, scored atelevision movie for ABCentitled Touched By Evil,which stars Paula Abdul.He also scored two NBCspecials, "Comedy Duos"and "Crimes of theCentury."

Songwriter MarkWerchowski ’78of Oriskany, NY,won a specialaward for song-writing fromASCAP. It wasbestowed byASCAP’s popu-lar awards panelfor Mark’s song"Christmas in theValley."

Guitarist J0nCatler ’79 of NewYork, releasedthe CD CrashLanding with histrio the CatlerBrothers. His useof 49-note peroctave tumng

system has gotten theattention of many musicjournalists.

Guitarist Mike IDeMicco’79 of Glenford, NY, is fea-tured on three new recordings. With the Dolphins,he recorded DigitalDolphins; with the LeeShaw Trio, Essence; andwith Livingston Taylor,Bicycle. With his own trio,he recorded a CD of hisown originals and jazzstandards.

Drummer OsamiMizuno "’79 of Tokyo,Japan, is leading his owngroup called the Hi-Hats.In April, he will teach at

the PercussionGallery inTokyo and hisprogram will becalled "AlanDawson DrumSchool inJapan--spon-sored byLudwigDrums."

P a uBettencourt "80of WestWarwick,has been per--forming withGeri Verdi inarea clubs andhas a recordingin progresswhich he will release in’97.

Composer Larry Holiday"80 of Covington, KY, iscomposing and arrangingmusic for TKR CableTelevision of NorthernKentucky. He also mar-kets computer generatedatmosphere tapes to busi-nesses and accompanimenttapes to musicians.

Harmonica and vibesplayer Hendrik Meurkens’80 of New York, hasreleased his sixth CD,Poema Brasileiro, for the

Philip Bynoe "81

Concord label. The discfeatures vocalist Ivan Lins,trumpeter Claudio Roditi"70, and pianist MarkSoskin, and others.

Songwriter Reed PhilipVertelney "80 of Van Nuys,CA, has signed a new pub-lishing deal with ChrysalisMusic Publishing. He alsowrote a recent number oneR&B single with LutherVandross called "YourSecret Love."

Guitarist GreganWortman "80 ofcontinued on page 28

26 E~erkiee today Spring 1997

Best wishes to one and all for anexcellent 1997. The past year sawcontinuing growth in the number ofalumni activities. Six events were heldthroughout 1996, and the new year isshaping up to be at least as busy. Theannual alumni brunch January 19began this year in fine style with astrong alumni turnout and a largecollege contingent in attendance.Congratulations to this year’sDistinguished Alumni Award recipi-ents, Elliot Easton ’74 (former Carsguitarist) and David Gr0ssman ’78(vice president of television music,Paramount/Viacom).

The next alumni seminar, sched-uled for early March, is currently inthe planning stages. This session willbe moderated by David Van Slyke ’82,and will offer an insight into the fast-paced world of post productionsound and the various career pathsavailable within this field. I will havemore details soon.

Speaking of post productionsound, the alumni reception held inconjunction with last November’sAudio Engineering Society (AES)convention was both enjoyable andsuccessful. There was a large numberin attendance, most having careers inthe audio field. I was truly impressedat the number of success stories andthat so many in this field stay intouch as a community.

The most recent alumni seminar,held last November, looked into thetopic of music publishing. The dis-cussion was moderated by DavidKowal "75 and the panelists were NeilPortnow (vice president, ZombaMusic Services), Mary Jo Mennella(vice president and general manager,Fox Music Publishing), songwriterAlan Roy Scott (whose creditsinclude cuts by Celine Dion, LutherVandross, Gloria Estefan, and PattiLaBelle), Brendan Okrent (seniordirector of repertory, ASCAP), andentertainment attorney Jay Cooper(his clients include Sheryl Crow, JohnWilliams, and Joni Mitchell). Thepanel dealt with numerous issues thatfocused on how composers and song-writers can maximize their publish-ing opportunities. Of particularinterest was a discussion on the major

L.A. NEWSBRIEFS

impact that the internet is having oi~tthe publishing world.

As for alumni in the news.., con-.gratulations to songwriter Reed1/erteiney "80 for his Grammy nomi-nation, in the Best R&B Song catego-ry for the latest number one single byLuther Vandross entitled "YourSecret Love." He also penned the endtitle tune for the recent film The FirstWives Club.

In the world of film and televisionmusic... Hummie Mann "76 scored therecent critically acclaimed CBS minis-eries In Cold Blood, and has just com-pleted a television movie, First Do NoHarm, featuring Meryl Streep. ErnestTr0ost ’78 scored the CBS movie Calmat Sunset for the Hallmark Hall ofFame. Daniel Slider ’78 recently scoredan ABC movie, starring Paula Abdul,entitled Touched By Evil. He also didtwo specials for NBC, "ComedyDuos" and "Crimes of the Century."Recent credits for Lawrence Shragge’77 include What Kind of Mother AreYou? and Clover for HallmarkEntertainment, William Faulkner’sThe Old Man for the Hallmark Hallof Fame, and The Wrong Guy, a fea-ture film for Hollywood Pictures.

Peter Rodgers Melnick ’86 com-posed the music for the ABC movieFor Hope and is currently working onthe upcoming Diane Keaton movieThe Only Thrill. In the recent Warner

Brothers film My Fellow Americans,Mihoko Tokoro ’85 can be heard on thesoundtrack singing "We’re in theMoney." Kevin Eubanks "79 foundtime away from the "Tonight Show"to score the recent HBO movieRebound..

A number of MP&E alumni havealso been busy.., dames Saez "93 haswo:rked on records for Porno ForPyros, Toni Braxton, Liza Minnelli,Vanessa Williams, Celine Dion, andPhillip Bailey. He also toured the U.S.and Canada with Porno for Pyros,not only providing technical support,but playing ~itar on stage.

1~1io Torrinello "93 was featured inan inte~iew in last October~ Mixmagazine. George Haddad "~ has beenwor~ng as a sound effects editor onthe television series "Hercules" andalso as a sound designer on HBO andShowtime movies such as If TheseWalls Could Talk and One Man, OneVote. David Van Slyke "82 has workedas a sound editor on the movies BarbWire, The Phantom, and Star Trek:First Contact, and was a sounddesigner on Harriet the Spy. Davidalso received an Emmy Award nomi-nation for his work on "The X-Files."

That’s it for now. Stay in touch.

Peter Gordon ’78, director, BerkleeCenter in I~os Angeles

Music publishing panelists (from the left): ,Jay Coeper, Neil Portnow, David Kowal’75,Brenden Okrent, Peter Gordon ’78, and Mary Jo I~lennella.


Guitarist Richie Zellon ’83 has released a new album titled TheNazca Lines on which he mixes influences from Peru, Cuba,Brazil, and Argentina on standards and originals as well as ver-sions of the Jimi Hendrix tunes "Fire" and "Purple Haze."

Woodstock, NY, hosted the1996 season of "PsychoCircus," an eclectic musicand art hour originally pro-duced and broadcast in sev-eral Maine cities and NewYork. Gregan plans to takehis show to the Santa Cruz,CA, area in 1997.

Cornetist AndersBergcrantz ’81 of Malmo,Sweden, toured Swedenalong with a quartet featur-ing Richie Beirach onpiano, Ron McClure onbass and Adam Nussbaumon drums. The band willrelease a live CD in 1997 onDragon Records.

Bassist Philip Bynoe ’81of Malden, MA, is playingbass in the Steve Vai bandand they are on tour withG3--Joe Satriani, EricJohnson and Steve Vai.After this tour, they willcontinue to tour the world.

Keyboardist KathyDiGiulio Sheppard "81 ofNew York is organizing aBerklee scholarship concertfor May. The event will fea-

28 Berklee t 0 d a y

ture her Zappa tribute bandTinseltown Rebellion andother performers.

Keyboardist and com-poser David Rosenthal "81 ofNew York orchestratedYngwie Malmsteen’sConcerto Suite for ElectricGuitar. The l 1-movementcomposition was scored forfull orchestra with choir,and will be recorded withthe Prague Philharmonic.

Ken Selcer "81 ofCambridge, MA, has beenbusy performing in theband Somebody’s Sisterwho were finalists inMusician magazine’s bestunsigned band contest for1996. Berklee studentFausto Cuevas also plays inthe band.

Keyboard playerJacques Swyngedouw ’81 ofBelgium, signed a contractwith the Film Museum ofBrussels to play behindsilent movies. He also playsregularly at the Hotel Meauin Liege.

Violinist llZenjamin

Smeall ’82 of Green Bay,WI, will graduate with aPh.D in music educationfrom the University ofSouthern California inMay. He is also arrangingthe strings and is a featuredjazz violinist on a new CDby Green Bay’s Rockin’Jimmy and the BluesWeasels.

David Twiss ’82 ofHubbardston, MA, isdirector of music at St.Patrick’s Catholic Churchin Rutland, MA.

Mike Wood "82 ofBloomington, IN, is thedirector of jazz studies atHamilton College. Hewrote a nine-movementjazz and chamber musicsuite which was performedlast fall.

Guitarist Richie Zellon’83 of Sanford, FL, hasreleased a new CD entitledThe Nazca Lines. Featuredon the disc are Berklee fac-ulty members OscarStagnaro and GeorgeGarzone ’72, drummerIgnacio Berroa, percussion-ist Alex Acuha, and pianistJose Luis Madueho.

Drummer Zoro "82 ofSylmar, CA, is currentlytouring with Frankie Valli

and the Four Seasons. Hewill also be performing atthe Pop, Rock, FunkFestival in Atlanta inMarch, and recently mar-ried Renee Strong.

Composer DonBreithaupt "84 ofMississauga, Ontario, co-wrote a book titledPrecious and Few: PopMusic in the EarlySeventies for St. Martin’sGriffin. The book examinesin detail the pop, rock, andsoul music created betweenthe breakup of the Beatlesand the onslaught of disco.

Steve Corn ’84 of VanNuys, CA, is the newdirector of music at LiveEntertainment film pro-duction company.

Saxophonist JeffRobinson ’84 of Arlington,MA, and his trio featuringBlake Newman ’88 on bassand Dwight Hart ’94 ondrums, plays every Sundayat the Middle EastRestaurant for the jazz andpoetry night.

Bassist Scott Roewe "84of Los Angeles, has beenvery busy with. his bandWild Colonials, whoreleased their second CDThis Can’t Be Life on

From the geft: Shark, Scott Roewe ’84, Angela McCluskey,Thaddeus Corea, and Paul Cantelon of the Wild Colonials. Theband released il~’s second album This Can’t Be Life for GeffenRecords. Rowe contributes bass, saxophone, penny whistle,melodica, and didgeridoo to the band’s eclectic pop sound.

Spring 1997

Geffen Records. Scott also penned thetheme for the TV show "Rescue 911."

3ames Ingenit0 - CPD-6101 Weldon/Forrester- CPB-2501 I

Michael Rivard ’85

Acoustic bassist Michael Rivard ’85has recorded with Jonatha Brooksand the Story, Morphine, PattyLarkin, and Dan Houge. InNovember he performed at India’sJazz Yatra festival with the ensembleNatraj.

Saxophonist John Scarpulla "85 ofHuntington Station, NY, is currentlywriting, recording, and playing leadtenor sax for a forthcoming release onEpic/Sony. He is also the cofounderalong with John Wheeler of the East4th Horns.

Drummer Ken Serio ’85 of LongIsland City, NY, and his trio releasedthe debut CD Tomorrow’s AnotherDay on Mirror Wizard Music, which

On a break on the set of the film Floating, shot attheParadise Rock Club in Boston, are (from the left)Jonathan Quint, extra Heidi Johanna Vierthaler ’87,Chad Lowe, and Vierthaler’s fellow extras GavaTsetan, and Angelo Magni ’2,000.

Spring 1997

Mac Chrupcala - SSMC 133 Joyce DiCamii]o- SSJC 141

Rick Stepton - SSRS 140 Jim Porcella - SS-0137

Krakowsky/Masso - SSAK 139

John Conner - SS-0138

For a Free Catalog or to Order, (gall or Write:416 Wilson Blvd. Mineola, NY 11501 ̄ (516) 746-5221

features guitarist Vic Juris and alumShinpei Shiratori ’85 on piano.

Bradley Smith "85 of Manchester,NH, recorded two CDs withAustralian singer Simone Waddell,who currently attends Berklee, andfaculty bassist Jim Stinnett. The CDs

are entitled Take MyLove and Make ItHappen. He also oper-ates a piano tuning busi-ness.

Charles Carlini ’86 ofNew York, has pro-duced events in NewYork City such as a trib-ute concert to jazz gui-tarist Tal Farlow, andworkshops with PatMartino, JohnAbercrombie "67, andother legendary gui-tarists.

Tenor saxophonistSidney Smith ’86 (a.k.a.Sid the Kid) of Boston,released the album Tearsof a Lion on his own

Solo Records label. Sid was backedby: keyboardists Rollin Floss "70, YaskoKubolla "88, Alex Alessandroni ’86, andStavros Latsias "90; bassists JimPeter:son ’8;8 and Barton Brown "80;guitarists Nlerida Tojas ’84 and MarkWhiffield "8’7; and drummers WarrenGrant "93 and Gene Jackson ’84.

Guitarist Jesse Cook "87 ofToronto, Canada, released his critical-ly acclaimed second album, Tempest,for the Narada record label.

David Posner "87 of New York isnow working as a paramedic forNYC EMS. He also plays around theNew York and New Jersey area withhis band Alexis Machine.

Drummer Bobby Borg "88 ofPrinceton, NJ, has been performingwith the rock group Warrant. Thispast October, Warrant 96 Belly toBelly was released on CMC/BMGRecords on which he played drumsand percussion.

Luciana Ferraz de O~iveira ’88 of RioDe Janiero, Brazil, teaches music atthe British School of Rio de Janeiro,and has had two exhibitions of her

Berklee t o d a y 29

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paintings and drawings.Raju Gurung ’88 of

Kathmandu, Nepal,released his first solo albumof modern Nepali music.He has also been teachingprivately and making docu-mentary videos.

Pianist Matt Johnson ’88of Newton, MA, hasreleased his third albumEnd of a Day on the Dolce& Nuit Productions label.This album blends contem-porary jazz, new age, andclassical music and featuressongs inspired by the birthof his son.

Vocalist/guitarist CnsySheridan ’88 of Moab, UT,has been touring to pro-mote her new live album onWaterbug Records.

Clarinetist Harry Skoler"88 of Haverhill, MA,released a Benny Goodmantribute CD titledReflections on the Art ofSwing for BrownstoneRecordings.

Singer/guitarist JustinBeech "89 of Milton, MA, iswriting and recording withTwo Ton Shoe, and playingsolo gigs around Boston.

30 Berklee t 0 d a y

Christopher Chagnard ’89is conductor and musicaldirector of the NothwestSinfonietta in Tacoma,WA. The orchestra cele-brated its fifth anniversaryon November 22, 1996,with an all-Mozart pro-gram. In May, the orches-tra will premiere a workcomposed by Chagnard.

Drummer Christopher d.Fassbender ’89 of GrandRapids, MI, is playing fulltime in a traditionalblues/R&B band called theHawktones. They releasedtheir first CD Live in theKitchen this past winter.

Paul Stiller ’89 ofBoston, MA, and themembers of a cappellagroup Vox One releasedtheir new CD Out Thereon Accurate Records. VoxOne consists of JodiJenkins ’93, YumikoMatsuoka ’89, PaulPampinella ’90, and newbass Benni Chawes ’95.

Mike Caffrey ’90 of NewYork, is the president ofMonster Island Records,the first Internet-basedindependent record label.

Caffrey produces CDquality recordings andloads a selection of full-length songs from each ofits artists onto his web site.

Fawn Field Drake ’90 ofHollywood, CA, recordedcuts for the movie sound-track of Till There Was You,starring Demi Moore andTom Hanks. Drake and her

Vocalist Ralina Miriam Cardona ’91

a cappella group, All-NiteExpress, appear through-out the film. She alsoscored the music for SilentWitness of New York, abattered women’s benefithosted by the JuniorLeague of NorthernWestchester and SusanSarandon.

Deborah Phillips Lauer"90 of Concord, NH, mar-ried Derek Reed Lauer onAugust 10, 1996. She iscurrently a third-year lawstudent at Franklin PierceLaw Center in Concord.

Guitarist Marc Pollack’90 of Chicago, IL, hasbeen busy recording andperforming with his bandthe Stuarts and is planningan independent recordingproject in 1997.

Rolland a. Williston "90 ofBrighton, MA, is produc-tion director of IntegratedRhythm & Noise which, incooperation with NewSilver Age Productions,premiered the VirtualSynthesizer Museum, anon-line museum.

Vocalist Ralina MiriamCardona ’91 of Carolina,continued on page 32

Spring 1997

HERE ON EARTH WITH INGRID JENSEN "89When trumpeter Ingrid Jensen

"89 was at Berklee, Herb Pomeroyused to predict her destiny as thegrande dame of jazz. He joked thatone day little children would circleher rocking chair saying, "tell usanother story of the old days." Asif preparing for the fulfillment ofPomeroy’s prophecy, Ingrid is cat-aloging her stories in a journal ofher experiences on the road. Pagespace filled up fast in 1996--a busyyear for Jensen. She finished hersecond CD, Here on Earth (whichwill be released in March on theEnja label), and toured so muchthat she estimates she was only inher New York apartment for threeweeks during the past six months.

"Last fall," she says, "I flewback from Switzerland and washome for five days before flying offagain to Berlin. From there, I camedirectly to Boston for a clinic andan evening concert with GeorgeGarzone ’72 at the BerkleePerformance Center. I went backto New York for a day and a halfbefore leaving again for Chile on a10-day tour." While she admits thisis more hectic than usual, the trum-peter seems to be on the short listof numerous band leaders.

When she is home, she can befound playing with composerMaria Schneider’s big band atVisiones in the Village on Mondaynights. She might be spotted on thebandstand in New York and else-where with groups such as Diva,Magali Souriau’s [’94] band, or

Ingrid Jensen "89

Swedish composer Maggie Olin’ssextet. She plays as much as possiblewith her own band usuallybooked as a quintet with a tenor oralto player on the front line with her.Later this year, she plans to tourJapan with her sister Christine, arespected composer and alto playerwho is on the music faculty atMontreal’s McGill University.

Jensen began cultivating herEuropean connections during afour-month sojourn in Denmarkjust after she left Berldee. Furthercontacts developed when she madeAustria her home base. She playedand recorded with the Vienna ArtOrchestra and later taught trumpetat the Linz Bruckner Conservatoryfor two and a half years. A contractwith Enja Records soon followedand has opened up new opportuni-ties to play with great musicians.

"Enja gives me a lot of freedomto choose both the players and whatto play," she says. "It has been abeautiful relationship. The newalbum has some vocal things sungby Jill Seifers "91. I wrote lyrics fora Bill Evans tune and one by KennyWheeler. Personnel includes saxo-phonist Gary Bartz, drummer BillStewart, bassist Dwayne Bumot ’91,and pianist George Colligan.

Jensen rarely hustles for gigs.Her approach to the business isvery low key. "I know this proba-bly sounds naive," she says, "but forthe most part people just call me. Iput just about all of my time andenergy into the music. I figure that

when I am ready, theopportunities willcome my way. Maybein the future I will geta manager if I can findsomeone who under-stands that for me, it isnot about makingmoney or gettingfamous. I want to findgood places to playand make good music.

~ That makes the situa-~ tion rewarding all the

way around." ~1

Spring 1997 8erklee today 31

From the left, Danny Blume, Arif Mardin ’58, Winston Roye, Joe Mardin ’85,and Danielle Gerber. The band Danielle’s Mouth, which includes everyonepictured except Arif, released their self-titled all, urn on Joe Mardin’sNuNoise Records label. They have gotten rave reviews in the rock press.

Puerto Rico, released herself-titled debut album onthe Produccion DeCrescendo label.

Dino Hermann "91 of LosAngeles performed digitalediting chores for Disney’s25th anniversary album,and for the TV series"Baywatch" and"Waynehead." He alsoworked on Natalie Cole’slatest album, several featurefilms, and commercials.

Giovanni Moltoni "91 ofTurin, Italy, released theCD Directions with hisquartet featuring trombon-ist Hal Crook’71, bassist PaulDel Nero "87, and drummerMarcello Pellitteri ’95 for thePenta Flowers label.

Ittai Rosenbaum ’91 ofMevaseret, Israel, produceda CD of songs fromKurdistan. The criticallyacclaimed disc was releasedon MCI Records Israel.

Steven Bergman "92 ofSomerville, MA, had hisoratorio Time of the Treesfeatured this year on the ToHeal the Earth CD releasedby ZC Records. He is cur-rently musical director ofthe Worcester Foothills

Theater in Worcester, MA.A play he cowrote, Ja& theRipper: The WbitechapelMusical, was performed atthe Boston Center for theArts.

Drummer AmyBlazawski ’92 of E.Hartford, CT, has beenplaying and recording withher ska band the RudieBrass Dance Band. She isalso a music therapist at aConnecticut hospital.

Bassist Ivan Bodley ’92 ofBrooklyn, NY, has playedwith Percy Sledge, MarthaReeves and the Vandellas,Gloria Gaynor, and others.He also completed a featurefilm soundtrack recordingwith David Johansen,Rupert Holmes and theUptown Horns.

MatthmN Davidson ’92 ofCambridge, MA, com-posed and performed all theparts on his Blue ForrestMass CD released inJanuary on the Stretta label.

Edgar Gresores ’92 ofFarmington, CT, is thesenior multimedia sounddesigner at FunnyBoneInteractive in Canton, CT.He produces audio for their

flagship prod-uct StayTooned.

ComposerRichardKlessig "92 ofOklahomaCity com-posed a ballettitled DonJuan whichwill premiereduring 1997,the 25thanniversaryseason ofBalletOklahoma.

PianistN a n d oMichelin ’92 ofBrookline,MA, hasreleased his

first American CD onBrownstone recordings.The disc, titled FacingSouth, features saxophonist

member of Mike Keneally’sband Beer for Dolphins.Their new double-live CDHalf Alive in Hollywood isout on Immune Records.

Jeremy Bliel~ "K~ of SantaMonica, CA, is a copyrightsupervisor for WarnerChappell Music.

Alberto Cabe~lo "93 ofNew York is managing theVenezuelan band LosAmigos Invisible, who aresigned to the Luaka Boplabel. Cabello’s recordingsfrom the 1980s with thegroup Sentimento Muertohave been released inVenezuela by Polygram.

Guitarist Torsten deWinkel ’K~ and pianist SasiShalom "~ released the CDLong Time Coming for theNew York Jazz Guerrillalabel. On the disc are saxo-phonist Ravi Coltrane,bassist Buster Williams, anddrummer A1 Foster.

Peter Wettre ’92

Jerry Bergonzi, drummerFernando Huergo "92, andbassist Steve I.angone "93playing Nando’s originalmusic.

Saxophonist Peter Wettre"92 of Oslo, Norway,released his debut CD PigVirus on Curling LegsRecords. He is touringIndia performing with bothclassical and jazz musicians.He will tour Norway inFebruary of 1997 promot-ing the new disc.

Bassist Bryan Belier’93 ofN. Hollywood, CA, is a

Guitarist Jimmy Melillo’93 of Shelton, CT, has beenplaying the East Coast withthe modern psychedelicrock band 4:20. They werenamed best new band bythe Hartford Advocate, andMelillo received theReaders’ Choice award asbest guitarist.

James Starr ’93 ofHolden, MA, is an intern atGiant Studios. Last year heworked at Emerald CityStudio in Boston and atCritique Studios. He wasan engineer on Peter

32 Be&lee t 0 d a y Spring 1997

Halperin’s song "Magic inthe Ocean" on the albumThe Vineyard Sound,Volume Two.

Kate Cardwell ’94 ofSomerville, MA, and MaxLichtensein ’95 have formedTin Drum Productions, acompany specializing inmusic for film, video, andmulitmedia. They recentlycompleted work on ABC’sNFL Monday NightFootball, a 3-D interactiveCD-ROM game.

Guitarist Mike Chlasciak"94 of Bayonne, NJ, recentlypresented his "Terror GuitarClinic" in Boston. Mikeendorses Mesa Boogie andAda amps; and Morley ped-als, and he has been featuredin Guitar World and Guitarmagazines

Composer ThomasInsana "94 of Weehawken,NJ, had his song "Time’sUp" in the movie The FirstWives Club.

Errol Shinassi Rackipov"94 of Miami, FL, received amaster’s degree in jazz per-formance from theUniversity of Miami. He is apart-time professor thereand at Florida InternationalUniversity. He also wonJazziz magazine’s"Percussionists on Fire" tal-ent contest.

Pianist Bill Rinehart ’94 ofBrookline, MA, is continu-ing his studies in Berklee’smaster’s degree program andhas joined the faculty of theBrookline Music School. Healso plays solo piano at theHampshire House restau-rant in Boston.

Henry Char "95 ofCartagena, Colombia, wonthe arranging award forinstrumental group in thenational awards of theColombian CulturalInstitute.

Marina Freytag "95 ofSchloeben, Germany,became the head of the VocalDepartment at the Jazz and

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Pianist Steve Hamilton’95, now living in London,has appeared with PercySledge, vibraphonistBobby Hutcherson, trum-pet player FreddieHubbard, former ArtBlakey saxophonist DaleBarlow, and toured withsax player Pee Wee Ellis.

Keyboardist CamaraKamhon ’95 of Baltimore,MD, works as music direc-tor/keyboardist to multi-platinum recordingartist/producer Dr. Dre.He was featured on the Dr.Dre Presents: TheAftermath CD. He recent-ly completed the score for a90-minute documentaryentitled Family Name pro-duced by Opelika Pictures.

Bassist Chris Luard "95 ofBoston, released a CDtitled Chris Luard’s Satin

Coast: Somewhere BetweenThought. The CD featuresalums Dave Burazza ’94, DanMagay ’95, Justin Mullens"95, Masumi Iraha ’97, andNicholas Mustelin "97.

Shinya Miyamo,to ’95 ofAstoria, NY, released tlheCD Off The Cuff byEdison with the Weatheron which he played drumsand handled many produc-tion chores. Band mem-bers include David Sherman’94, Ben Butler ’94, DanGrennes ’94, and JessicaMeider "95.

Swedish bassist JohanMaximilian Siever~t ’95 andhis Maximilian group, con-sisting of saxophonistJerry Bergonzi, pianistGunther Kuermayr ’96, anddrummer Marc Gratama"97, played nine Europeancities and released theirsecond CD The Windowin the fall of 1996.

Bassist Stefan Held "96,of New York, endorses LaBella Strings and recordeda CD with AustralianFunk Band Theleu.

Antti danhunen "95 ofNew York, and his bandPurple Helmet recentlytoured Scandinavia. Theyalso played the Saiskos]?anna festival in southern]Finland.

Paul Connolly "96 ofBoston, founded RedhillRecords and PaulConnolly Management.Redhill has released a sologuitar recording Warfare,Psalm 144 by GeorgeCollichio and Steel Shineto Rust by modern rockband Ember Daze.

Vocalist Brian Lucas ’96of Richmond, VA, hasbeen performing at KingsDominion in Dosswell,VA. He also is the musicaldiirector for Theatre IV.


NEIGHBORS TO THE NORTH~NEST

From left to right: Gordon Nicholson "70, Doug Rusu ’82, Paul Shihadeh ’90, ChandelleRimmer "93, and Marcel Hamel "93. All serve on the music faculty of western Canada’sGrant MacEwan Community College (a.k.a., "Little Berklee")

Tucked away in west-ern Canada, GrantMacEwan CommunityCollege (GMCC) Edmonton, Alberta,Canada, has becomeknown in many circles as"Little Berklee" because itis one of the few institu-tions in Canada with amusic curriculum which isbased on jazz, pop, androck. GMCC’s connec-tions to Berklee are strongin that five alumni are cur-rently members of themusic faculty.

The ties to Berklee go inboth directions however.George Naylor, formerJasper Place campus direc-tor, founded the music pro-gram in 1972 and soonhired Robert Myers, who isnow Berklee’s vice presi-dent for academic affairsand curriculum. Myersworked with Naylor tobuild the program and cre-ate a music departmentteam from 1974-83.

34 Berklee t o d a y

Presently, GMCC has25 music faculty mem-bers to serve over 200 stu-dents in the two-yeardiploma program from acollege-wide base of33,000 students at thethree GMCC campuses.

Paul Shihadeh ’90, thedepartment’s newest fac-ulty member, is the sec-tion head of the BassDepartment. A summacure laude graduate ofBerklee who majored inProfessional Music, Paulis active in the Canadianmusic scene as a per-former. He has playedwith the Edmonton andCalgary SymphonyOrchestras and is one ofthe most in-demand ses-sion players in westernCanada. Paul and hisjazz/fusion projectPazzPort are planning torelease a CD in the nearfuture.

Chandelle Rimmer ’93,who graduated summa

cure laude with her degreein vocal performance,joined the faculty as apart-time vocal instructorand directs the jazz choir.Also a graduate ofGMCC’s music programin 1989, Chandelle is veryactive in the music com-munity teaching voice pri-vately and throughGMCC’s Arts OutreachDepartment. She performsprofessionally in a numberof musical settings includ-ing jazz, pop and country.

Marcel Hamel ’93 hasbeen on faculty since 1983.Upon graduating fromGMCC’s studio recordingand performance course,he took a sabbatical from1991-93 to attend Berkleeand graduated summa curelaude with a dual major inMusic Synthesis andMP&E. Marcel is anactive keyboard player inEdmonton and stays busydoing music for corporatevideos, commercials, and

info-mercials. Marceland Chandelle were mar-ried in May of 1.994.

In addition to teachingmusic theory, ear train-ing, and guitar atGMCC, Doug Rusu "82 isa performer and writer,playing such prestigiousgigs with the EdmontonSymphony Orchestra forPavorotti, Bill Conti, andthe Chieftains. One if hislatest writing projectswas the soundtrack for"St. Patrick" for the Artsand Entertainment net-work’s "Biography"show.

Gordon Nicholsongraduated from Berkleein 1970 magna curelaude, and from theUniversity of Alberta in1971 with a master’sdegree in composition.He has taught composi-tion, arranging, etc. atGMCC since 1973.Currently completing hisPh.D. in compositionalprocess, he is composinga work commissioned bythe Canada Council forDuo Dilemme, a saxo-phone-piano duo inLausanne, Switzerland.Nicholson’s last workwas a 20-minute piece forthe Edmonton group, theHammerhead Consort, aquartet of two pianistsand two percussionists.The work, Hammersuite,appears on their latestCD.

Many of GrantMacEwan’s graduateshave gone on to furtherstudy at various post-secondary institutions inCanada and the U.S.,including Berklee. Youcan check out GrantMacEwan CommunityCollege’s Web site at:http://www.gmcc.ab.ca

Spring 1997

FINAL CADENCEPianist Vincent Howard

"75 of Gary, IN, diedAugust 4, 1995, after alengthy illness. Prior to hispassing, he was minister ofmusic at Centennial UnitedMethodist Church in Gary;and a member of the popu-lar northwest Indiana bandTogether.

Art Porter "78 of Chicagodied November 23, 1996.Porter, a saxophonist,drowned when the boat inwhich he was riding cap-sized on the Kratha TaekReservoir in WesternThailand. Porter was in thecountry to perform at theThailand International JazzFestival ’96.

As a teenager, Porter wasarrested for being tooyoung to play in nightclubs

with his father’s band inLittle Rock, AR. His casecaught the attention of then-attorney genral Clintonwho pushed the "Art PorterBill" through the legislature.It allows underaged musi-clans to work in clubs if alegal guardian is present.

Robert Anderson ’84 ofBoston died unexpectedly-on January 10, 1997. Bobgraduated with a degreefrom Berklee’s MP&EDepartment. He is survivedby his wife Jodi and hismother Marjorie. The fami-ly has set up a BobAnderson Memorial fund atBerklee. For informationabout the fund, call (617)747-2438.

Word has reached us thattrumpeter Andrew Sutton ’88of Brockport, NY, alsorecently passed away.

THINK ABOUT THE BAR PROGRAM

Berklee Alumni Representatives (BAR) visit doz-ens of high sc]hools, conferences, and college fairseach year, talking about their Berklee experiencesand answering questions about the college from tal-ented young musicians.

If you are interested in sharing your time and tal-ent to help us reach the next generation of musicindustry leaders, call us at (800) 421-0084, or markthe BAR info box in the alum notes form on page 30.We will send you more information on the BARprogram along with an application. Join us.

One less headache: Chiara Civello "97 wonthis year’s Boston Jazz Snciety Scholarship.

ALUM NOTES INFORMATION FOI~MFull Name

Address

City State ZIP__ Country_ Phone

This is a new address. Your Internet address:

Last year you attended Berklee Did you receive a Q Degree GI 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):

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

~ 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, I :t40 BoyIston Street, Boston, MA 02215-3693. Internet address: [email protected]


CODA

A Sound Investment

John Collins

H n an article for World, Theatre magazine in 1950,Tyrone Guthrie wrote: 1940 was the date when the

people of Great Britain decided that a little state support,’encouragement’ was the delicate term used, should be givento certain arts which had, till then, been dependent entirelyupon private financial enterprise. It is significant that thedecision was only taken when the nation found itself in atruly desperate position." It was symbolic of the long era ofprivate arts patronage in Great Britain coming to an end.

At that time, America also relied principally upon privatelargesse for arts support, but soon found the need to publiclyfund arts education and programming as well. The old worldpatronage system simply could no longer afford to exist, andthe arts, along with public education, became part of ourgrowing democratic society. Twentieth century economicsand demographics, while wonderful for opening up the artsto people of all classes, could not depend upon privatepatronage which almost by definition is exclusive.

The decline of arts education in America is due to manyfactors in the past few years. Hand in hand, economic anddemographic changes have led the way down the path.While we all realize that it is a path of diminishing returns,we are not yet ready as a society to turn around.

We can’t just blame economic hardship, our culture haschanged as well. The Norman Rockwell illustration of ayoung person receiving a lesson at an upright piano, or theimage of the family gathered around the piano singing hasdisappeared. Surviving school music programs still followthe time-honored classical tradition, butare no longer culturally relevant to thosegrowing up with contemporary music.

No amount of funding will attract stu-.dents to play any kind of music that is notfun for them. Without structured musiceducation we have a generation of studentswith headphones on, tuning out the worldand tuning in as passive listeners, perhapsbecause they haven’t had the opportunityto learn how to play music with their peers.

By proving that music study produces

John Collins is Berklee’s vice presidentfor institutional advancement. This art#cle first appeared in the October 26, 1996issue of Billboard magazine.

36 Berklee t o d a y

John Collins: "Without structuredmusic education, we have a gen-eration of passive listeners."

tangible results in other academic areas, some hope thatAmericans will rally to fund music education once again.Indeed, recent scientific studies show that listening toMozart before a test can improve scores, and that teachingyoung children to play keyboards or sing melodies improvesspatial reasoning.

Beyond citing these spin-off benefits, in making the casefor music education, individuals, corporations, foundations,and the government should reconsider the basics: music hasit’s own intrinsic value. At Berldee’s 1995 commencement,James Taylor told the graduates: "Music is soul food." Musicis not peripheral to our lives; it is a natural part of our being.Because music is part of our souls, or our brains, or ourhearts, it is an integral part of our daily lives. Few celebra-tions are conducted without music. Music gives each gener-ation its identity, providing historical context. Music can alsoplay a role in the political agenda-setting process.

An article in Business Week (January 15, 1996) pegs themusic recording business as a $40 billion inkiustry. In thisindustry, success is measured in quarterly short-term salesgains and increased market share. While the return on invest-ing in music education is not as tangible as measurable CDsales, we all need to address the long-term picture to see whatmusic adds to society and to life.

How? In this age of mega-mergers as disparate associa-tions form alliances, I suggest music industry take a dynam-ic leading role with the movie, television, advertising, andcommunication industries. They each should be interested in

making a long-term investment in theirfuture~3ur culture.

I wonder what the U.S. budget allotsfor music education per student in com-parison to the amount spent by the musicindustry to promote passive music listen-ing, or by the entertainment business topromote movie going or television watch-ing. I wonder what would happen if thesebusinesses invested some of their develop-ment budgets in music education. Whatwould happen if our government allocatedpart of the sales tax on recording purchas-es to fund revitalizing music education inthe school system? Naive ideas perhaps;but return on the investment just mightyield more than imagined for us all. ~!

Spring 1997

Berklee is now available via the World Wide Web. The initial site is intended to answer questions that potential students

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...

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