BcrklecSummer 1997

to dayA Forum for Contemporary Music and Musicians

14 Brad V~’hifford ’71 and Joey Kramer’70:Nine Lives wil:h Aerosmith

22 Lyle M~~ys on Composing

Musical I

SUMMER ¯ 1997

VOLUME ¯ IX

NUMBER ¯ 1

Contents

ON THE COVER: GuitaristBrad Whitford ’71 and drum-mer Joey Kramer ’70 lookback at 25 years of living onthe edge with Aerosmith.

LEAD SHEET by Gary Burton

BERKLEE BEATHonorary degrees for Chick Corea, Andrad Crouch, and the late HenryMancini, Joe Viola tribute, faculty notes:, visiting artists, and more

THE MENTOR WITH THE HORN by Rob HochschildOver course of his 40 years on the Berklee faculty,Ray Kotwica taught his students much n~tore than trumpet

ROCK ’N" ROLL SURVIVORS by Mark Small ’73After many setbacks, Brad Whitford ’71, Joey Kramer ’70, andAerosmith land on their feet with Nine Lives

GETTING IN SYNC by Mark Small ’73Several TV and film music insiders share their perspective on thethe state of the art and the business of post production music

LYLE MAYS ON COMPOSING by Robert Doezema ’76A conversation with Pat Metheny’s cowriter

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

CODA by Bob MulveyFocusing on Abilities .

12

14

19

25

36

Brrklee t o dA Publication of the Office of Institutional Advancement

EditorIVlark L. Small ’73

Copy EditorLisa Burrell

Graphics ConsultantDave Miranda

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 Advancement

Kassandra KimbrielAssistant Director for Annual Fund

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

Berklee today (ISSN 1052-3839) is published three times 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 today, Box 333, Berklee Col-lege of Music, 1140 Boylston Street, Boston, MA 02215-3693,(617) 747-2325, or via e-mail: msmall@berklee.edu. Alumni areinvited to send in details of activities suitable for feature cover-age. Unsolicited submissions are accepted.

LEAD SHEET

F~ture

PlannzngGary Burton

Executive Vice President

~’~ ecently; I took a 1970s-era alumnus on a tour of ournewest facilities. As usual, conversation centered on the

impressive changes at Berklee. Change has become as much apart of the culture here as chord scales and ensemble auditions.It is also a challenge; poorly managed change yields less thanoptimum rest,Its. The key is successful planning.

Continuous planning is the most important responsibili-ty of an institution’s leaders. It provides a foundation foranticipating where we are going, and establishes a process fororderly transition. Reliable data are essential, as are discus-sion, feedback, and follow-up through assessment.

As we near the midpoint in Berldee’s current five-yearplanning cycle, it is time to reflect on how we are doing andwhat comes next. We began this cycle in 1994-95 by review-ing our College Mission Statement, which confirms ourcommitment to providing students with a practical educa-tion in conteraporary music.

Next, we organized our data about enrollment trends invarious majors, our perceived strengths and weaknesses, anda study of relevant external data on music industry sales,population demographics, and economic trends in the coun-tries from which most of our students originate.

Based on this information, we drafted a vision statementsetting forth the primary goals and initiatives we sought toachieve during the five-year planning cycle. Our vision state-ment, called "Shaping Our Future," and supporting docu-mentation were widely distributed throughout our collegecommunity for feedback and final versions reflected thisinput. Many members of the Berklee community havereceived some of this material.

Planning should not be a straight-jacket, so we continual-ly assess progress and make adjustments as needed. We arenow starting the third year of our planning cycle, and arerenewing the cycle of information gathering. This will moldour new vision statement for the period that lies ahead.

It is satisfying to report that major projects designed tomeet the goals set forth in "Shaping Our Future" are pro-ceeding and are benefiting the college. In addition to theobvious gains of a well organized planning effort, there arehidden benefits resulting from focusing the human resourcesof our talented leadership teams and our faculty, staff, andstudents on our shared goals and ideals. As we look ahead,the momentum of our entire community working togetherensures our success. We are very proud of Berklee’s manyaccomplishments and look forward to showing our visitorsthe outcome of years of creative change.

2 Berklee today Summer 1997

GreateSt ~4its

Kenny G: The Moment John Coltrane:(Arista) 11252A Love SupremeThe Roy HargravelChristian(Impulse) ~ 11256McBrldelStephen Scoff Trio: Jimmy Smith &Parker’s Mood Was Montgomery:(Verve) 00393 D~namicDuo(Verve)~ 05949

Billy Ecksfine: Verve JazzMasters (Verve) 06031The Best Of Bud Powell(Blue Note) ~ 06064Sonny Rollins:Saxophone Colossus(Prestige/Fantasy) 06244The Best Of David Sanborn(Reprise) 06274Cannonball Adderley:Verve Jazz Masters(Verve) ~ 06320Herbie Hancock: MaidenVoyage (Blue Note) ~ 06730The Best Of Art Tatum(Pablo) 06733Christian McBride: Geffin’To ~t (Verve) O6863Nicholas Payton: From ThisMoment (Verve) 08071Max Roach: Deeds Not Wc~ds(Fantasy/OJC) ~ 08074

Quincy Jones: Q’s Jack Joint(warner Bros.IQweSt) 05113Duke,Ellington: Verve JazzMasters (Verve) ~: 05731Dinah Washington: VerveJazz Masters (Verve)~ 05746Renny Jordan: Ught To Dark(4TH & BWAY) 05794Ben Webster: King Of TheTenors (Verve) ~ 05~-4The Best Of Tuck & Patti(Windham Hill) O6003

The EssentialSarah Vaughan: The GreatSands (Verve) 00899Joe Henderson: So Near,So Far (Musings For Miles)(Verve) 01200Fourptay: Elixit(Warner Bros.) 02142Sten Getz & JaVa Gilberto(Verve) 02348Vince Guaraldi: A BoyNamed Chorlie Brown(Fantasy) 02403~ O_.41e&~e: Groavin’ High(savoy Jazz) 02421Etta James: Mystery Lady(Songs Of BiIIie Holiday)(Private Music) 02561A Tribute To MilesFeaturing Miles’ mid-’60slineup: Shorter, Hancock.Carter & Williams.(Qwest/Reprise) 02741John ~ & Pat Meff~ny:. Omeffe Coleman:I Can See Your House From The Shape Of Jc~z To ComeHere (Blue Note) 02744 (Rhino) 080876erc~d~ Giving Myse~ Yellowjockels: CollectionTO YOU (Atlantic Jazz) 02889(GRP) 08225Michael Franks: Diana Krall: Only Trust YourAbandoned Garden Heart (GRP) ~ 08290(Warner Bros.) 03541 Lee Ritenour & Lany Carlton:Jaco Pastoitus: Larry & Lee (GRP) 08559The Birthday Concert(Warner Bros.) 03554Girl From Ipanema--

The Antonio Carlos JoblmGraver Washington Jr.: Songbook Ella, Sarah, Dizzy,Winelight (E1ektra) ~ 03606many more. (Verve)¢ 08578McCoy Tyner: The Real The Bridges OfMcCoy (Blue Note) 03734 Madison County/Sdtrk.Keith Jarrefl: At The Blue Dinah Washington,Note (ECM) ~ 04525 Johnny Hartman, more.Najee flays Songs From The (MaDam) 08709Key Of IJfe (EMI) 05016 The Best Of Chat Baker PlaysThe Best Of George Benson(Pacific Jazz) 08940(Warner Bros.) 05099Carla BleylSteve Swallow/

Ancly Sheppard:Songs With Legs(ECM) 08980The Best Of Miles Davis:The Capitol/Blue Note Years(Blue Note) 1 I000Paili Austin: The UltimateCollection (GRP) 11078The Best Of David Benoit(1987-1995) (GRP) 11081Joe Sample:Old Places Old Faces(Warner Bros.) 12013

¯ gxctuai,ve jazz Cl) eompttatton~David Sanborn:

~ge Banson: That’s Right Songs From The Night Before

Diana Krall:(GRP) 15598 (EleldTa) 15992

All For You (A Dedication Loui~ Armstrong: Dianne Reeves:To The Nat King Cole Trio) What A Wonderful World The Palo Alto Sessions(Impulse) ~ 12315(De_cca Jazz) ~ 12176 (Blue Note) ~ 12376Mark Whilfield: 7th Ave. ~ss Freeman & Henry ~ For All SeasonsStroll (Verve) 11154The L~ppingtens: Brave New (Atlantic Jazz) 12504Billy Cobham: Spectrum Worl_d (GRP) 12181 Spyro Gyra: Heart Of The(Atlantic) 11225Herbie Hancock: The New Night (GRP) 12596BabbyMcFer~n:Bang!Z(x>mStan_dard (Verve) 12232 WesMentgomery:(Blue Note) 11666ChatiieHadenQuaffetwe@.CofeatestHiJs (A&M) £: 12635Jacky Tefrasson: Reach Now Is The Hour Wayne Shortec. Speak No(BlueNote) 11,58~9(Verve) ¢ 12300 Evil (B]ueNote) ~ 12642John McLau#hlln: Junko Onishi: Piano Quintet Nicholas Payton: GumboThe Promise (Verve) 11’?~_~Suite (BIue Note) ~ 12306 Nouveau (Verve) ~ 12693The Gem/Mulligan SO x)k McCoy Tynet:(Pacific Jazz) ~n~1986

Kansas City/~:0rk. Joshua1he Bue Note Yeors (Best O0 Redman, Nicholas Pay~on,

Cyrus Chestnut: BI~ Note) ¢ 12310 many more. (Verve) 12696Earth Stories Earl I[lugh: Sudden Burst Of M~es Davis; Live A/cund(Atlantic Jazz) 1~335Ener_gy (Warner Bros.) 12339World (Warner Bros.) 12699McCoy Tyner: Prelude And Christian McBride: NumberBob James Trk): Straight UpSonata (Faritasy) ~ lZ377 ,Two Express (Verve) 12489(Warner Bros,) 12702

BUSINESS REPI_Y MAIIL_FIRST-CLASS MAIL PERMIT NO. 5071 INDIANAPOUS IN

POSTAGE WILL BE PAID BY ADDRI=SSEE

B~I~ G ~~

PO BOX 91155INDIANAPOLIS IN 462£9-9504

IINO POSTAGENECESSARYIFMAILED

IN THEUNITED STATES

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Tony Williams Lifetime:Spectrum--The Anthology(Verve) ~ 16944Miles Davis: B’rth Of The Cool

e(Capitol Jazz) 54138

IIIll~i~~~~i~~liPOCO de

Kenny G: BreathlessLuCia. AI (Atista) 54317Di Meola, Count Basie: The Standards

(Verve) 80235

Diane Tommy ]:)orsey Orchestra:Schuar: The 17 Number Ones

I Blues Tar (RCA) 81489Charlie Parker:Conf’rmatlon--Best Of ;he Verve Years{’Verve) ~ 00401

SchuUr: Nine Simone: Saga Of The

iIl~l~’ |

Good Life And Hard Times(RCA) 16819Oscar Paterson: The Song Is

Songbooks(Verve) ~: 12694Ella Filzgerald: Return To Forever Featuring

Medeski Martin And Wood: The Best Of The Song Books Chick Corea: Return To TheShack-man (verve) 34616 7thGd{~/~ave) ~¢ 12772(Gramavision) 16585 Earl Klugh: Love Songs Glenn Miller:Bob James & Kirk Whalum: (Blue Note) ~ 16542 The Lost RecordingsJoined At The Hip ~/Le~ Mc~ann~ (RCA Victor) ~ 15689~Vamer Bros.) 15892 Swiss Movement B(~la Fleck & The Flecldones:LarryCadlon: The Gift (Rhino) ~ 16631 L~eArt~:~ner~o~.) ~ 15891(GRP) 15961

Cassandra Wilson: Blue Skies Ben Webster:Eric Reed: Mus~ca!e

I~ ’~ (Verve) ~ 16654 The Warm MoodsIlmpulse) 15963 (Reprise) ~ 16886Natalie Cole: Stardust Bobby Lyle: The Power Of Gateway: In The Moment(Elekha) 15991 To~c,h(AtlonlicJazz) ~ 16702 (ECM) 08549Ging, er Baker Trio: Failing Off Oscar Pelerson: We Get Marcus Roberls PlaysThereof (Atlantic) ~ I8086

~S~ Requests (Verve) ~ 16763 Effin~on (Nevus) 08909Cyrus Chestnut: Blessed

~John Abercrombie Trio: Tom Scott & The LA, Express:Quietness--A Collection Of Tactics (ECM) ~ 16803 B{uestreak (GRP) 13087~,~tmns Spirituals And Carols

lantic Jazz) 6088 Yellow ackets: Blue Hats Mark Whilfleld: Forever Love Benny Cade~ New Yo~ N~hts Ernest Ranglin:Take 6: Brothers (Warner Bros.) ~ 689 (Verve) ~ 18101 (MusicMasters) ~ 16807 BelowlheBasel’ne(Re~rise) 16112 Joe Henderson: Big Band Dinah Washington: In The Eric Marienthah Collection (Island ~amaica) ~ 13092Befiycalter. l’mYours, You’re (verve) ~ 16125 LGndOfH~i(’Z’~/e) ~ 16289 (GRP) ~ 16871 WaymanTisdale:

in The ZoneMine (Verve) ~ 16123 Incognito: Nancy Wilson & Pee Wee Russell: Jazz (Me Jazz) 15676Beneath The Surface Cannonball Adderley Orginal (GRP) ~ 16873

Larry Geldings: Big Stuff(Verve/Forecast) 16175 (BlueNote) ¢ 16296 Jozz At Midnight (WamerBros.) 15726Paul Desmond: Polka Dots The Best Of Randy Crawford Chef Baker, Dizzy GiIIespie, Gate Barbieri: Caliente!Bush: Razorblade Suitcase And Moonbeams (Warner Bros.) 16329 Sonny Rollins, many more. (A&M) 16197_Gre_~_rna)_ 16559 (Bluebird) ~ 16212The Best O~ Bobby McFerrin (RCA Victor) ~ 16902

The Best Of Ckmnad: Art Blakey: Moanin’ (Blue Note) g~ 16334 Shirley Horn: Loving YouDonald Byrd: A Hew Pe~sbect~e

Rogha (RCA) 16815 (Blue Note) ~ 16213 ¯ (Blue Note) ~ 16216The Bes~ O1 John Scofield (Verve) ~ 16943

Dexter Gordon: Our Man InJim Brickman: Picture This Eric Dolphy: Out To Lunch(Windham Hill) 16836 (Blue Note) ~ 16219 (Blue Note) g: 16335 Keiko Matsui: No Borders Paris (Blue Note) ~ 16226

--- - The Best Of Louis 8~s~n (MCA) ~ 18063Shine/Sdffk. Music of Best Of Dexter Gordon Jazz Passengers: In LoveDavid Hirschfeider &oTners. IBlue Note) ~ 16223 (Pablo) __ 16398 Joe Henderson: In ’N Out (High Street) 16299

(Philips) ~ 16853 Stanley Jordan: Magic Carmen Mc1!a~: (Blue Note) ~ 16294-- George Shearing:..... Touch (Blue Note) ~ 16232 Great American Songbook ~aries Mingus: ~i~ FavoRte ThingsRachmaninov, -Piano Concerto No. 3 Lee Morgan: The Sidewinder (Atlantic) ~ 16418 Antibes (Rhino) ~ 18212 ~relarc .Jazz) ~ 16973

David Helfgoti, pianist & (Blue Note) ~: 16236 Ramsay Lewis: The In Crowd Carmen McBae: Carmen Lester Young:hero of the tllm ~$hine ~ ’ Dianne Reeves: The Grand (Chess) ~ 16422 Sin~s Monk (Nevus) 30114 The "Kansas Cily" Sessions(RCA Victor Re~ Seal) 16935 Enoounter {Blue Note) 16238 Ella Fitzgerald & J~hn Coltrane: Giant Steps (GRP) ~ 16875

~~. ~~e--’~-L Horace Silver: The Jody Louis Armstrong: Volum~ I (Atlantic) ~ 34589 Holly Cole:Grind (Blue Note) ~ 16241 (verve) ~ 16454 It Happened One Night

SVA/, Too Shod & Lit" Kim, Cannonball Adderiey: (Metro ~lue) ~ 16468

Whitney Houston:more. [Jive) ~ 18220 Dizzy Gillespie: Sonny Side George Winston: Semethin’ Else George Benson:Up (Verve) ~ 16281 LJnus & Lucy.- (Blue Note) 35422 Weekend In LA.¯ e Preacher’s WifelSdftk Frank Sinatra: All The Best Django Reinhardt With The Music Of Vince Guareldi

16204 (Dancing Cat) ~ 16472 Glenn Miller etch.: In The (Warner Bros.) 02167_(_A~s_t~)~ ........... (~Capitol) ~ 05012 St~phane Greppelli:Rod Stewart: Evtta/Sd4Yk. Souvenirs (Verve) g: 16284 Joe Williams~very~ Digital Mood (GRP) 43293 Oscar Paterson Meetstt We Fal~ In Love TonignT Featuring Madonna, Buddy Rich: Rich Versus The Best Of The Verve Years Chariie Parker: Now’s The Roy Hal§rove And Ralph Moore(Warner Bros.) 16332 (Warner Bros.) ~ 16331 Roach (Verve) ~ 16285 (verve) ~ 01591 Time (Verve) ~ 43997 (Telarc Jazz) 15944

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The Music Of John Coltrane(Warner Bros.) 13467

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Marcus Printup: Unveiled(Blue Note) 15568Joe Zawinul: Stories Of TheDanube--For Orchestra In 7Movements (Philips) 15686Art Porter: Lay Your HandsOn Me (Verve) 15695Jimmy Scotl:. Heaven(Warner Bros,) 15731Dave Kaz: Off The BeatenPath (Capitol) 15739Sonny Fortune: From NowOn (Blue Note) 15813Gary Burton: Collection(GRP) ~ 1~3SMichael Breaker: Tales FromThe Hudson (Impulse)

Joon-Luc Panty:Live At Chene Park(Atlantic Jazz) 15874Don Byron: Bug Music(Nonesuch) 15882

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Berklee b e a t

~eT.~s of note

torn about:own and~round the"~orld

COREA, CROUCH,AND MANCINIHONORED

As the long-anticipatedwarm weather finallyarrived in Boston on the firstweek of May, so did gradua-tion for over 500 seniors.This year, the collegeawarded honorary doctor-ates to jazz legend ChickCorea, gospel music super-star Andra8 Crouch, andbestowed a degree upon thelate, great film composerHenry Mancini. Acceptingthe posthumous award forher husband was Mrs.Ginny Mancini.

On Saturday, May 10,Berklee’s Yo Team Produc-tions staff and 34 studentsingers and instrumentalists(the majority of whom weregraduating seniors), present-ed an unforgettable tributeto the three honorees. The

heepskins in hand: from the left, Andra~ Crouch, Virginia~lancini, and Chick Corea with President Lee Eliot Berk.

show featuredsuch Manciniclassics as the"Peter Gunn"and "PinkPanther"themes, MoonRiver," and"The Days ofWine andRoses." ChickCorea was Chick Coreawell repre-sented with renditions ofworks culled from his 35years as a .composer.Highlights were "Spain,""Light Years," "Hymn ofthe Seventh Galaxy," and"Day Dance." In a surprisecameo appearance, Coreaand Gary Burton took thestage and served up a rollick-ing duet version .of Corea’s"Armando’s Rhumba."

The finale was a medleyof three Crouch l:unes: ’TllBe Thinking of You," "iMyTribute," and "Got MeSome Angels." Augmentingthe singers onstage was the80-voice Berklee ReverenceGospel Ensemble.. Togetlher,they brought the concert toan inspirational climax.

After the show, the hon-orees were enthusiastic.Corea simply said, "I wasknocked out." Crouch stat-ed, "I knew the music wouldbe good, but I never expect-ed that such young musi-cians would be so sensitive."

The next morning at theCommencement ceremonyat the Hynes Convention

congratulates a graduate.

Center, President Lee EliotBerk, citing Corea’s 55albums and eight GrammyAwards, called him "one ofthe most creative jazz musi-cians in the industry." OfAndra4 Crouch, Berk said,"He has earned an interna-tional reputation as one ofthe top gospel music artistsof our time." Crouch haspenned over 300 songs,some of which have becomegospel standards, sold mil-lions of albums, and wonnine Grammys.

Berk called HenryMancini "one of the mostgifted and versatile com-posers of his era." The mas-terful composer scored 70motion pictures, made con-tributions to more than 100others, recorded 90 albums,and received 20 GrammyAwards, four Oscars, and aGolden Globe Award. Inreceiving the degree, Mrs.Mancini stated, "Of all theawards he received in hislifetime, I think this onewould have pleased himmore than anything."

Jmmer 1997 Berklee today 3

WOODWIND STARS TURN OUT FOR JOI-" VIOLA TRIBUTE

On April 12, a number of giftedsaxophonists returned to the college toperform in a tribute concert forProfessor Emeritus Joe Viola. Thebeloved faculty member taught atBerklee for 50 years.

Vibraharpist Gary Burton kickedoff the event in the packed BertdeePerformance Center. Backed by gui-tarist Mick Goodrick ’69, bassistChristian Bausch ’96, and studentdrummer Sebastiaan de Krom, Burtonfeatured three of Viola’s former stu-dents who have also toured with theBurton band. Tenor men DonnyMcCaslin ’88 and Tommy Smith ’86dueled on "I Hear a Rhapsody." Altoplayer Jim Odgren ’75 stepped up tothe mike on "Isfahan" before all threetraded choruses on Chick Corea’s "SeaJourney" to end the segment.

Jane Ira Bloom, not a Berklee alum-na, but a former Viola student, playedan evocative medley of "Wee SmallHours" and her own "MidnightMeasure" with a rhythm section com-prising pianist Vincent Bourgeyx ’97,drummer Steve Haas ’96, and bassistIan Martin ’96. Bloom’s soprano saxproduced striking piano harmonicsduring the medley’s unaccompaniedsection as she played arpeggios into thegrand piano as Bourgeyx pressed thesustain pedal. After the applauseended, Bloom read a tribute from"saxophone doctor" Emilio Lyons,who learned the saxophone repairtrade from Viola. Although presentonstage, Lyons asked Bloom to readhis tribute, feeling too overwhelmed tospeak the words himself.

From the left: Performance Division Dean IVlatt Marvuglioand Woodwind Department Chair Bill Pierce make pre-sentations to Joe and Alice Viola.

From the left: Tommy Smith ’86, JiimOdgren "75, and Donny McCaslin "88

Javon Jackson and DonaldHarrison rounded out the first half ofthe show. Jackson chose thetune "Bolivar" to showcasehis muscular tenor lines, whileHarrison played a virtuosic, acappella intro to a lively bluesromp.

The second half openedwith presentations by LeeEliot Berk, Larry Monroe, andMatt Marvuglio to Viola andhis wife Alice, who joinedthem on the stage. Monroeread a proclamation by BostonMayor Thomas Meninodeclaring April 12, 1997 Joe

Viola Day inBoston. Acongratulatory letterwas also sent fromMassachuse, ttsGovernor WilliamWeld. Viola’s sonand daughter eachshared warm anec-dotes. Before thealumni took thestage again, grand-son Robbie played apiano piece whichwas dedicated toGrandpa Viola.

Three alto saxo-

phonists, Carol Chaikin ’80, GeorRobert ’84, and Mark Gross ",assembled to play the head"Minority" and then turned it overGross whose extended solo leftstone unturned. Chaikin blew en~getic Iines in a brisk-tempoed renttion of "Pent Up House" for her sp<light number. Swiss alumnus GeorRobert, who traveled the greatest d:tance to appear in the concert, mast~fully probed the melody and chochanges to "Polka DotsMoonbeams," which Viola once cotided was his favorite jazz ballad.

A new incarnation of the Berk]Saxophone Quartet founded by Vkin the 1960s, rendered Jerry Dodgial"Thank You" with original memkJohn LaPorta (tenor) assisted by Ferrante (baritone), Bruce Nifong (alto), and Jaime Fatas ’92 (sopran,Armed with his clarinet LaPolreturned to center stage to play tangular blues head and solo onown piece "J.V."

Alto madness: from the right, Carol ChaikinIVlark Gross "88, and George Robert ’84

For their solo numbers Richie C,’67 chose the ballad "Now I H~Everything" and Andy McG~picked "In a Sentimental Moobefore being joined by Bill Pierce :and LaPorta for a showdown"Oleo," the concert finale.

After it was over, Viola comment"When I heard they were planning ttI thought about 50 people would sh~up, but there were so many in the hIt was great to see my former studeand to hear them play so well." Concproceeds have been used to establishendowed scholarship in Viola’s nam~

4 Berklee to day

MR. KAMEN’S OPUSThe triumphant spirit and emo-

tional conclusion that made the film"Mr. Holland’s Opus" a hit took holdof a Berldee Performance Center audi-ence during a February 28 visit fromthe film’s composer, Michael Kamen.Only two days prior, Kamen hadreceived a Grammy Award for themovie’s theme, "An AmericanSymphony." Kamen conducted theBertdee Wind Ensemble in the BPC ina performance of his winning compo-sition while the final scene from thefilm played on a screen behind theBerldee musicians.

Kamen’s visit to the college wasthe first stop of a four-city promo-tional tour for his newly establishedMr. Holland’s Opus Foundation(www.mhopus.org). The nonprofitfoundation was created by Kamen toput instruments into the hands ofyouth across the United States, espe-cially in areas where budget cutshave eliminated public school musicand arts programs. Kamen’s effort issupported by Apple Computer,Sony Publishing ATV and BMI, thePearl, Yamaha, Avedis Zildjian cor-porations, and by private donations.The foundation’s director is Berkleealumna Gillian Baylow ’95.

"When I first began setting up theFoundation, I knew that it would bevitally important to partner with a col-lege level program," says Baylow fromthe Foundation’s Toluca Lake,California, office. "Berldee was suchan incredible place of learning for me,that I immediately approached thecollege for their involvement."

Coincidentally, around the time

that Baylow began her discussionswith the college, Kamen bumped intoComposition Department AssistantChair Greg Fritze at an off-campusevent. Fritze asked Kamen if he wouldcome to Berklee and conduct theWind Ensemble. Having once beforebeen to Ber!dee to present a visitingartist clinic, Kamen was eager toreturn with Baylow to distribute thefirst of many instruments that will bepresented by the foundation.

The evening began with the 50-piece Wind Ensemble--comprisingstudents, faculty, and four BerkleeCity Music students--performingthree pieces, two composed by stu-dents, under the direction of Fritze.Before taking the podium to lead theensemble through "An AmericanSymphony," Kamen presented instru-ments to Oleg Gusyatin, AbekuWilson, DeVron Warner, and BrentIrvine~ All four are part of BerldeeCity Music, which provides Bostonyouth with after-school and full-time.music education at no charge. Among;the instruments was a guitar auto-.graphed by Eric Clapton, a saxophonebought for the foundation by David.Sanborn, and a double bass. Irvine, asecond-semester student attending the’,college on a four-year, full-tuition.,City Music Continuing Scholarship,was later invited to appear withKamen on CNN to discuss how thefoundation’s benevolence hasenhanced his learning experience.

With the Wind Ensemble poised tobegin its guest conductor’s piece,Kamen raised his baton as a projectionscreen was lowered at the back of the

stage. For the rest of theevening, life and art wereseparated by just a fewfeet as the WindEnsemble performed insync with a clip of themovie’s closing scene, aperformance of "AnAmerican Symphony.:"At the conclusion, theaudience jumped to itsfeet, applauding Kamenfor his musicianship andhis humanity.

Composer Michael Kamen (center) poses with stu-dents after conducting the Berklee Wind Ensemble. ---Allen Bus,~

Summer 1997

NEW SCHOLARSHIPS

Scholarship funds have beenrecently been established in memo-ry of two alumni of the college. TheYale Thompson Scholarship Fundhas been created by the Thompsonfamily in memory of MP&E majorYale Thompson. The award will goto a returning MP&E major begin-ning his or her final year. The fami-ly and friends of the late DanielGavini ’93 have established a fundspecifically to provide a scholarshipfor a student from Holliston HighSchool in Massachusetts who willattend the Berklee SummerPerformance Program, or for a full-time student from Holliston or oneof its neighboring towns. Both theYale Thompson and Daniel Gavinischolarships will be awarded yearlystarting in the spring of 1998.

Three new area alumni scholar-ships were established this year withincome generated by alumni concertsin Nashville and San Francisco, andfrom an educational program in LosAngeles presented by the BerkleeCenter in Los Angeles. Scholarshipswill be awarded to worthy studentswho come from each of those geo-graphic areas. The alumni chapters ineach area wilt continue to add contri-butions to the funds through futureconcerts and other types of fundrais-ers, and will be involved in selectingthe award recipients from their area.

A scholarship fund begun by JoeViola to aid his woodwind students,was augmented with funds raised atthe Joe Viola Tribute concert heldon April 12. [See page 4 for relatedstory.] The first recipients of thisscholarslhip will be named duringthe spring scholarship awards cere-monies in April of 1998.

Thanks to the generosity ofnumerous alumni, parents, friends,faculty, and staff, 77 percent ofBerklee’s students received someform of financial aid during the1996-97 academic year~.

Berklee has a total of 64 named,endowed scholarships that are award-ed to deserving students annually. Forinformal:ion about establishing anendowed scholarship, call Director ofDevelopment Marjorie O’Malley at(617) 747-2569.

Berklee to do y 5

TWO NEW TRUSTEES

Berklee’s board of trusteesChair Will Davis announced theappointment of Don Rose andDolores Johnson to the board.Both will serve on the institu-tional advancement committee.

Rose is president andcofounder of Rykodisc, one ofAmerica’s most successful inde-pendent record labels. Rykodisc’scatalog includes recordings byartists such as Morphine, DavidBowie, King Sunny Ade, JimiHendrix, Elvis Costello, BruceCockburn, Frank Zappa, andMedeski, Martin, and Wood.

Don Rose

Berklee President Lee EliotBerk said of Rose’s appointment,"We are fortunate to have some-one on our board who has madesuch an impact on the interna-tional music industry. Don sets astrong example for our studentswho are planning careers inmusic business."

Dolores Johnson

6 Berklee today

Dolores Johnson was named to theboard of trustees in April. Johnson issenior director of marketing at LotusDevelopment Corporation in Cam--bridge. She manages worldwide mar-.keting for Lotus’ strategic partner-ships with 16 international telecomorganizations.

.Johnson has received numeroushonors including the AT&T andHarlem Y.M.C.A. Black Achievers inIndustry Award for outstanding busi-ness and community contributions,

the AT&T Special Merit Award foroutstanding performance, and theDigital Equipment Corporation’s TopPerformer award. She is listed in Who’sWho Among American Women.

President Berk stated, "I amextremely pleased to join the board oftrustees in welcoming Dolores as thenewest member. We look forward toutilizing the marketing and technologyexpertise she has gained through hersuccessful career in senior managementpositions at several corporations."

Summer 1997

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BERKLEE’S 1997 SUMMER PROGRAMS HEAT UP

For the summer of 1997, Berkleewill present an assortment of educa-tional offerings ranging from perfor-mance workshops to music technol-ogy instruction to English as a sec-ond language classes.

A perennial favorite is Berklee’sFive Week Summer PerformanceProgram, which runs from July 6through August 8. Participantsreceive five weeks of intensive train-ing in performance with Berklee fac-ulty members and an array of visitingartists. The program is popular withhigh school age students, and offersplenty of performing opportunities,and everyone a spot onstage in theprogram’s final concert series.

The 1997 Berklee Guitar Sessionswill run August 17 through August22. The program sharpens playingskills through intensive workshops,style labs, ensembles, and lessons fromthe guitar faculty. Professional bassplayers and drummers will be on handfor the ensembles.

Berklee’s Music TechnologyDivision presents three days ofseminars on music production formusicians, songwriters, and educa-tor July 17-22. Attendees will par-ticipate in seminars and have hands-on access to the Berklee recording

studios and music synthesis labs.The World Percussion Festival

runs August 12-17. Its emphasis i.s onpractical playing experience through avariety of performance activities, clin-ics, and concerts for all percussionistsand educators interested in worldmusic. Festival attendees will beplaced in groups with percussionistsof similar training and ability.

The Summer String Fling, July 31through August 2, is open to all vio-lin, viola, and cello players wanting todevelop improvisational skills in con-temporary idioms such as jazz, rock,blues, and country.

The International MusiciansEnglish Language Institute (IMELI)

is held at the Berklee campus fromJuly 25 to August 22, and is designedfor students who speak English as asecond language. Mornings are spentlearning English grammar and vocab-ulary; afternoons are for exploringthe culture of the United States ingeneral and specific customs ofBoston and of Berklee. The curricu-lum also includes cultural activitiesnear the campus.

Bet!dee’s Los Angeles PerformanceProgram is held at the Claremont-McKenna College campus just outsideof Los Angeles from July 20 to 26.This is a unique opportunity to workwith some of Berldee’s best faculty aswell as top West Coast alumni andguest artists. This program offersinstrumental and vocal workshops,and special guitar sessions, providingplenty of performance opportunitiesin ensembles with students of similartraining levels and skills.

Applicants to all programs mustbe at least 15 years old to enroll, andperformers must have been playingtheir instrument for at least one year.Housing and meal plans are availablefor each course of study. Call theSummer Hotline at (617) 747-8870for application information andtuition and housing costs.

GIVING ONE HUNDRED AND TEN PERCENT

The item topping Larry Senibaldi’sretirement summer agenda after teach-ing guitar at Berklee for 34 years, is,ironically, studying guitar. "I’ll finallyhave the time to do it," he says. "I wantto learn more tunes and work withclassical music too."

Larry Senibaldi retires after 34 years.

For many years, Senibaldi taughteight hours a day, five days a week,and played gigs on the weekend tosupport his wife and six children.Now, the kids are grown, and he isfree to pursue just what he wants inmusic. "When I do something, I liketo give it my all," he says. "I feel I gaveit 110 percent here. I think I onlymissed 15 days of work total. I’ll dothe same in retirement, but I will begiving myself 110 percent."

Senibaldi studied at Berklee in tlhe1950s. "I was a student in 1957 afi:er Igot out of the service," he says. "In tlheArmy’s 28th Infantry Division Band, Ilearned how much I didn’t know."

After Bertdee, he played in areaclubs with various bands. He and :for-mer Guitar Department Chair Bill

Leavitt were playing the same circuitbut had never met. "I finally got to playwith him in a show which called fortwo guitars. Shortly after that, he calledand asked me to teach at Berklee." Therest, as they say, is history.

Senibaldi taught some greats duringhis tenure. "I had Mike Stern for threeyears," he recalls, "and, for a fewsemesters, Reeves Gabrels and JohnScofield. I even taught A1Di Meola fora little while. I have made a lot offriends here over the years. I’ve savedthe letters I’ve gotten from former stu-dents all around the world. Once in awhile, someone like Stern or Gabrelsmentions me in a magazine interview."

Now he dreams of leading a group,writing music, learning violin concer-tos on guitar... 110 percent.

8 Berklee t o d a y Summer 1997

Susan Berk, wife of President Lee Eliot Berk

A FEW MINUTES WITH SUSAN BERK

Over the years, Susan Berk hasserved the college and assisted her hus-band in numerous quiet ways. A casein point, she will oversee public art dis-plays that the college plans to set up inseveral buildings in an effort toenhance the architecture for visitors,staff, and Berldee students. Anotherexample: President Berk was recentlyinvited to chair the National MusicFoundation’s Education Committee;Susan was also invited to be a member.

Voluntary public service--bothinside and outside of Berklee--hasalways been an important componentof Susan’s schedule. Educated forpublic school teaching, a student ofthe visual artsl and a lover of children,Susan volunteers two days each weekat Boston’s Charles Sumner School asa teacher’s helper assisting the elemen-tary students with reading and art.

Lee and Susan open their homefor special college events and meet-ings. "We entertain the trustees andguests from around the world," shesays. "We have hosted events rangingfrom Passover Seders and IAJE[International Association of JazzEducators] receptions, to formal din-ners with a theme. Bringing peopletogether and making friends for thecollege in our home and at outsideevents is a very important endeavor,and it is fun too."

A native of New London,Connecticut, Susan Berk’s initiationto the Berklee scene came in 1975."The summer after I had received mymaster’s degree from the University

Summer 1997

of Pennsylvania," she says, "Itook a job in Boston givingtours of the city for the BostonAid to the Blind. Around thattime, I was introduced to Leeby a friend. Our first date wasat Cafe Vendome. I was a half-hour late, but Lee was stillthere when I arrived--Ithought patience was a good

~ trait on his part. After dinner,

~ we walked down to the John~ Hancock Hall where many~ Berklee concerts were held~ back then.~ "The concert that night was

by Mike Gibbs’ Only ChromeWaterfall Orchestra. That was

my introduction to Berklee. As I gotto know Lee better, he took methrough the building which is nowthe Berklee Performance Center. Thebasement was a bowling alley then,and I thought his plans to make it afirst-rate theater were overly ambi-tious. But he clearly had the vision ofwhat it could become."

Susan and Lee were married inOctober 1975. Susan then worked atthe John E Kennedy Library, butafter their two daughters Nancy andLucy were born, Susan decided towork out of their home. Shelaunched a successful tour- andevents-planning business calledUncommon Boston. "It all startedwhen Lee met with a mother and sonfrom California," she recalls. "Theywanted to see some historical sites inBoston, and Lee asked if I wouldtake them around. I tailored the tripto the high school-age son’s interests.

Later, I arranged cus-tom tours for other peo-ple as well. Word got outand soon corporationslike General Electricstarted calling me to taketheir foreign visitorsaround. I even workedon a major HarvardBusiness School reunionfor the fabulous Class of1961."

Addison Wesley

Jill Blume in the late 1980s. "Ourbook sold well--over 17,000copies--and went into second andthird printings," she says. "Soon thebusiness was listed in popular travelbooks published by Fodor andFrol:amer. That gave us credibility."As the business grew steadily over a10-year period, Susan found thatthere was insufficient time for otherareas of her life, particularly familyand volunteer activities.

The talents developed in herbusiness became a college asset asshe channeled that creativity intoBerklee events. For a dinner wel-coming new Berklee trustees thatwas held on Lincoln’s Birthday afew years ago, Susan found a histo-rian who dressed as AbrahamLincoln, mingled with the guests,and spoke in character on episodesfrom Lincoln’s life. "I surprisedIAJE people for a planning sessionat our home," she says. "Knowingthat their next conference would bein Texas, I had a Texas motif for theparty and the huge cake."

One of Susan’s great passions isart. "I’ve always had a good eye forit," she says, "and I enjoy sketch-ing." Susan will balance overseeingBerktee’s public art installationswith other voluntary civic and char-itable commitments. "I know I can’tbe a volunteer here five days aweek--it’s not in my artistic tem-perament," she jokes. "I love theenvironment at Berklee, though.This college is a beehive of musicalactivity, and I enjoy the creativeartists and students I meet here."

published UncommonBoston, a book Susanco-wrote with author

Susan Berk greets bassist Milt Hinton at a Berklee-hosted exhibit oti his historic photography.

Berklee t o d a y 9

FACULTY NOTES

Associate Professor of Voice VivianReed was profiled in the May 2, 1997edition of the Chronicle of HigherEducation. Journalist David Wheelerattended Reed’s classes for two days towrite the story.

Librarian John V0igt authored arti-cles on Gil Evans and MortonFeldman for a book and CD-ROMrelease slated for 1998. He played basson the CDs Tri-P-Let with the JemeelMoondoc Trio and on Sabir Mateen.Both discs are on the Eremite label. Hehas also been backing AssociateProfessor Carolyn Wilkins, street poetBilly Barnum, performance artist BeaLicata, Thurston Moore of SonicYouth, and guitarist Bern Nix at vari-ous gigs.

Assistant Professor of Piano MarcR0ssi released the CD entitled WeMust Continue for the MMC labelRossi is joined on the recording byPercussion Professor Ed Uribe, guitaristBruce Arnold, drummer Alan Hall,bassist Bill Urmson, and shekere play-er Syd Smart.

Guitar Professor Garrison Fewefiand Assistant Professor of Piano LaszloGardony released a live duo albumtitled Reflection of a Clear Moon forthe Accurate label. The recording wasmade during a live broadcast inBudapest for Hungarian NationalRadio. It is Fewell’s third release onalumnus Russ Gershon’s Accuratelabel. Gardony also performed inNorway, Finland, Belgium, and at theAlterknit Theatre in New York thisspring.

Assistant Professor of EnsembleFred Lipsius has authored a new bookand play-a-long CD entitled ReadingKey Jazz Rhythms. The CD featuresAssistant Professor of Guitar JackPezanelli, Assistant Professor of BassDave Clark, and Lipsius on keyboard.The book is published by AdvanceMusic.

Professor of Guitar Lain/Senibaldiand Professor of Music EducationDeanna Kidd (vocals) are heard on thePaint the Town Red CD on the KTDmusic 1abet. The work is an originalmusical theater production writtenand produced by Berklee alumnusMichael W. Donovan ’78.

Assistant Professor of HarmonyBruce lialz played Hammond B3 organand piano on Transformations, the sec-ond disc he has released for theAudioquest Music label. It featuresPerformance Studies Instructor lievinBar~ (guitar) and Assistant Professorof Bass Dave Clark.

Associate Professor of Guitar MikeIhde’s performance at the 14th AnnualPedal Steel Guitar Festival inBurghclere, England, was so impres-sive to festival attendees that he hasbeen invited back for next year’s event.

Associate Professor Bruno Ri~bergplays bass on the Myths and BeliefsCD by keyboardist Mika Pohjola ’93.Also heard are Roberto Dani ’94(drums) and Mick Goodrick ’67 (gui-tar). Bruce Millard ’83 was productionassistant and Bob Pat~on engineered.

Guitar Instructor Tomo Fujita hasreleased the blues/fusion CD Put onYour Funk Face, which features 11Fujita originals. The disc was named"Demo of the Month" by GuitarPlayer magazinein March.

Brazilianvocalist andAssistant Pro-fessor of EarTraining l.uciana$ouza releasedQuintet Music,which featuresAssociate Pro-fessor of Wood-winds GeorgeGarzone (saxo-phone), bassistJohn Lockwood’77, pianist DaveKikoski ’81, andIgnacio Berroaon drums.

AssistantChair of FilmScoring MichaelRendish orches-trated Love atSundown, musicwritten by theKing of Thailand.He also conduct-ed the work’s pre-miere with the

Bangkok Symphony and the BillPierce Quintet featuring Chair ofWoodwinds Bill Pierce (saxophone),Ensemble Instructor Ron Mahdi (bass),Associate Professor of PerformanceStudies lien Cervenka (trumpet),Associate Professor of Percussiondohn Ramsey (drums), and EnsembleInstructor Consuelo Candelaria(piano).

Associate Professor of EnsembleMarcello Pellitteri (drums) plays Celtic Tales, a new release on SonyRecords by Gildas Bocl6 ’85 (bass) andJean-Baptiste Bocl6 ’85 (vibes).

Assistant Professor of Bass JoeSanlerre has released The Scenic Routeon AudioImage Records. Featured onthe CD are Assistant Professor ofGuitar don Finn and WoodwindInstructor Din0 Gov0ni.

Associate Professor of GuitarCharles Chapman performed a sologuitar set at the NAMM Show inAnaheim, California, this January forAcoustic Guitar magazine.

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A wide range of profes-sionals and industry brightlights visited the campus toshare anecdotes and impartknowledge to Berldee stu-dents and faculty membersthis spring. Launching theseries was Lisa Moen, seniordirector of product develop-ment for Broadcast DataSystems. She described newsystems which have revolu-tionized airplay informationgathering.

Country hit songwriterGary Burr conducted classeson the craft and business ofsongwriting. He also con-ducted a master class withstudent ~ongwriters.

Mark Ledford, vocalist,multi-instrumentalist, stu-dio musician, and touringsideman with the PatMetheny Group, presenteda clinic for students of theVoice Department.

Panamanian-born pianistBanilo P~rez gave an after-noon clinic and performedwith his trio in an eveningconcert at the BerkleePerformance Center.

Bert H01man, AllmanBrothers Band manager,spoke candidly about therealities of managing a rockband and shared insights onthe logistics of touring.

Dr. Charles Furman andAmelia Furman spoke aboutmusic therapy and workingwith special needs students.

SPRING VISITING ARTISTS

Tony Brown, president of MCA Records-Nashville, in Studio L3

Tony Brown, president ofMCA Records-Nashvilledivision, spoke about pro-ducing hit country recordsin the morning on April 25.That afternoon, Brown con-ducted a master class inBerklee’s Studio L3.

Grammy-Award-win-ning film score composerMichael Kamen spoke abouthis career in an afternoonclinic preceding his eveningappearance as guest conduc-tor of the Berklee ConcertWind Ensemble.

Participating in the PianoWeek activities was AndyLaVerne who came for a con-cert and clinic on reharmo-nization and improvisation.

Music Hall, presented aseminar on applying elec-tronic percussion to vari-ous genres duringPercussion Week in April.

Blue Note recordingartist Fareed Haque gave aclinic on electric and classi-cal guitar styles duringGuitar Week in April. Alsoon hand for Guitar Weekactivities was ManhattanSchool of Music ProfessorR0dney 30nes. Jones playedin a Performance Centerconcert with saxophonistBill Pierce, bassist JohnLockwood, and drummerSebastian DeKrom.

Trombonist BobBrookmeyer and pianist

Boston Globe reporter Alisa Valdes leads a panel discussion.

Summer 1997

Hit country songwriter I~ary Burr coaches a student.

Vocalist Rebecca Parispresented a clinic on singingjazz standards for the VoiceDepartment.

Boston Globe reporterand Berklee alumna AlisaValdes moderate.d a livelypanel discussion aboutwomen in the music indus-try. Panel members inclndedBoston Music Awardsfounder Candace Avery,Assistant Professor ofGuitar tauren Passacelli,songwriter Deb Pastemak,Rykodisc Director of A&RErica Ruben, jazz vocalistEula Lawrence, and song-writer Laurie Geltman.

Mario DeCiutiis, principalpercussionist at Radio ’City

Kenny Werner were theProfessional Writing Div-ision’s artists in residencefor the spring semester.They performed and held anumber of discussions oncomposition, harmony,and performing.

Ron Boston, artist devel-opment rep for PolyGramGroup Distribution inWoburn, MA, gave a pre-sentation on how majorlabels develop an artist.

Bassist Avery Sharp, alongtime sideman forMcCoy Tyner, and jazzviolinist John Blake Jr.,were guest clinicians forthe String Department inApril.

gerklee today 11

FACULTY PROFILE

The Mentor with the Horn

by Rob Hochschild

~ ay Kotwica, a member of the Berklee faculty for 40years, has played trumpet with some of the true

entertainment legends of this century, including JudyGarland, Nat King Cole, and Tony Bennett. But oneearly music learning experience that he passes on to hisstudents came in a less conspicuous situation, aboard aboat in Boston Harbor in the 1940s.

"It was a harbor cruise called Roll and Toss with SydRoss," Berklee’s Brass Chair Emeritus Ray Kotwica said

Ray Kotwica circa 1960. He joined the faculty in 1957 and wasnamed distinguished chair of the Brass Department in 1989.

in reference to the floating ballroom shows. "Playing onthe boat was, in a way, tougher than other gigs. When theboat started swaying, the tempo might change, and itwould be harder to read the chart. You had to be sure toknow the tune.. It forced me to stop relying on reading andon other players."

It is this sort of common sense approach to 1earningmusic that has always informed the teaching methods ofKotwica, one of Berklee’s most popular faculty memberssince joining the college in 1957.

As trumpet: chair and, eventually, Berklee’s first BrassDepartment chair, Kotwica set the tone for his department,earning a reputation as a demanding yet caring privateinstructor. Kotwica’s teaching style has nurtured the talentof many trumpeters, including Berklee alumni WallaceRoney, Claudio Roditi, Tiger Okoshi, and Lin Biviano.

"He is a very smart man and has an amazing capacityfor insight," said Biviano, who went on to work with bigbands led by Count Basle, Woody Herman, and MaynardFerguson after studying with Kotwica in the mid-1960s."A lesson with Ray was not just about playing the trum-pet, but about how to approach the business, how to be awell respected and well received person."

Lessons in music business began at an early age forKotwica, who was already playing professionally inBoston’s top vaudeville theaters by the time he graduatedfrom high school in 1945. Versatility was an important talent Kotwica developed at this time, having to provide amusical backdrop for a range of performers, includingsingers, dancers, jugglers, and even animal acts.

After high school, Kotwica earned a degree in classicaltrumpet at Boston University while playing big band gigs

12 Berklee today Summer 1997

at clubs, theaters, and on cruise boats.At Blinstrub’s Village in South

Boston, Kotwica accompanied starslike Nat King Cole, Harry Belafonte,Steve Lawrence, and Eydie Gorme.And at a former Boston club, theLatin Quarter, Kotwica formed along friendship with WoodwindChair Emeritus Joe Viola when thepair played in a house band thatbacked up Pearl Bailey and BillyEckstine, among others.

"Ray is the most consistent trum-pet player I’ve ever worked with,"Viola said. "Guys would be clammingnotes all over the place, but I neverheard Ray bust any notes. He couldhandle any situation."

Kotwica made his strongest markon the Boston music scene in the the-ater, particularly as lead trumpet play-er at the Shubert Theater. His playingwas a highlight of many Broadwayhits, including Camelot, Hello Dolly,Cats, and A Chorus Line.

At a time when shows frequentlyopened in Boston before hittingBroadway, Kotwica became knownin the 1950s and 1960s as a reliablelead player, a great source of musi-cian referrals, and a consummatetheater professional.

"If you play in the theater, youhave to learn the business," explainedKotwica. "What you can do, whatyou can’t do, how to get along withconductors."

Theater contractors came to dependheavily on Kotwica’s familiarity withthe best musicians in town, and hisability to line up players perfectly suit-ed for particular gigs. "Many peoplegot their first [theater] gig on my rec-ommendation," said Kotwica. "Attimes when we were at the Shubert,there might be seven or eight peoplefrom Berklee in the band."

One of the many musiciansKotwica helped land theater gigs wastrumpeter and retired Berldee facultymember Herb Pomeroy. "I learnedmore about playing [in musicals] fromRay than anyone," he remembered.Sitting next to him helped meimmensely with musicality in that situ-ation, anticipating parts, turning pages.Ray is very skilled in the idiom."

While Kotwica was becoming amaster of the musical, he was continu-ing to develop as an educator; he put

Summer 1997

his distinctive stampon Berklee’sTrumpet Depart-ment. Kotwicahelped studentsmaster the funda-mentals of musicand the music indus-try, and coauthoreda book with JoeViola titled ChordStudies for Trumpet.

"I’ve alwaysemphasized gettinga good sound andlearning tunes with-out the music,"Kotwica said. But his advice to youngtrumpeters would inevitably includetips on establishing and maintaining aprofessional career. "I would tell themto take any gigs they could get andeventually someone would hear them.Whether you’re playing a wedding orCarnegie Hall, someone with a goodsound always stands out."

One aspect of Kotwica’s personal-ity that has always enhanced his edu-cational style is his sense of humor."Ray has a joke for every occasion,"said Biviano. "He would be the one in.the pit band to crack a joke and make:everyone relax. He would make..everyone feel at ease because of his;personality."

"He has a legendary sense ofhumor that keeps the peace betweendifferent factions," added Professorof Trombone Phil Wilson. "I cartremember times I would be arguingwith John LaPorta or one of the otherfaculty members about a teachingapproach, and Ray would alway!;have a funny line to break the tension.Then, no matter what the problemwas, he would come up with a solu-tion right in the middle of the road."

Berklee recognized Kotwica in1989 by appointing him Distinguish-ed Chair of the Brass Department:,which combined the trumpet andtrombone departments.

In the last few years, Kotwica hasbrought his seasoned teaching skills toyoung students in Boston’s inner-cityschools through the Berklee CityMusic (BCM) outreach program..BCM’s mentoring component, whichprovides young musicians a free educa-tion by matching them with Berldee

BCM student Mark Goncalves: "Ray made me aware of thetiny little things that make you into a great player."

student and faculty tutors, wasstrengthened in 1991 when Kotwicavohmteered to join the mentoringteam. One student, 18-year-old trum-peter Mark Goncalves, began studyingwith him when he was 12 years old.

"Ray made me aware of the tinylittle things that make you into a greatplayer," Goncalves said. "Plus, he toldme the facts-of-life things that youneed to get by. He’s a great teacherbecause he’s given me the foundationto do whatever I want in my career.He’s like a grandfather to me."

Kotwica’s BCM efforts were recog-nized in April 1996 when he receivedthe Pro Arts Public Service in the Artsaward in a ceremony at Boston CityHall. The award is given annually toeducators who use their creative talentsfor community service.

]Late last year, Kotwica suffered astroke. He has been recovering at arehabilitation center in Rhode Island.While Berklee is forced to do withoutKotwica’s contributions for the timebeing, current faculty members can’thelp but pass along their mentor’swisdom.

iBiviano, now a member of thetrumpet faculty, remembers howKotwica always took Berklee’s trum-pet students under his wing. "Hetried to put us on the right road,"Biviano realls. "So many times, I tellmy students I’m just teaching themwhat Ray taught me." ~1

Get well wishes can be sent to Rayc/o The Professional PerformanceDivision, Box 135, Berklee College ofMusic, 1,140 Boylston Street, Boston,MA 02215.

Berklee today 13

Rock ’n’ Roll S~~r’vivors

Feelin’ lucky, Brad Whitford ’7I andJoey Kramer ’70 go beyondNine Lives with Aerosmith, the band that is living for 10.

by Mark

Small "73

TOP PHOTO OF JOEY KRAMERBY KEVlN MAZURPHOTO OF BRAO WHITFORD8Y GENE KIRKLAND

N1cne Lives is a fitting title for the latestD by Aerosmith, one of America’s

ongest surviving and greatest rockbands. The new disc is the band’s first underthe terms of a deal (reportedly worth as muchas $30 million) the band inked in 1991 withColumbia, the label which originally signedthem in 1972. From the first notes of the titlecut--Steven Tyler’s scream, the snarling gui-tars of Brad Whitford ’71 and Joe Perry, andthe thundering rhythm section of drummerJoey Kramer ’70 and bassist Tom Hamilton--it’s clear that this quintet of 40-somethingrockers still possesses all the fire and energy ithad 25 years ago.

Over the course of its two and a halfdecades, the band has claimed its own corner inthe pantheon of rock icons. Aerosmith hasplayed to packed stadiums around the world,sold over 70 million records, won countlessawards (including three Grammys), and influ-enced numerous up-and-coming bands. Theyare also enjoying an unprecedented wave ofpopularity among a generation that wasn’teven born when the band began playing. Thiswide fan base supplied the fuel that rocketedNine Lives to the number-one spot on theBillboard 200 chart a week after its release.

Whifford and Kramer took a few minutes tospeak with me as the band was gearing up for aScandinavian tour to support the new disc. In

their pre-Aerosmith days back in the early ’70s,Whitford, from Reading, Massachusetts, andKramer, from Yonkers, New York, had eachcome to Bet!dee at age 19 seeking to refine theirmusical skills. "My desire to become a betterdrum,ner drew me to Berklee," recalls Kramer. "Igot discouraged, though, when I knew it wasn’tgoing to happen. This was 27 years ago, when theprima:ry focus at Ber!dee was jazz. My drumteacher wanted me to play with traditional grip,not matched grip like I had been doing as a self-taught, street-type of player."

Around that time, opportunity knocked forKramer when Joe Perry and Tom Hamilton,who were putting a band together withKramer’s former high school buddy StevenTallarico (a.k.a. Steven Tyler), came to Kramer’sapartment on Hemenway Street to audition himfor what would become Aerosmith. "I knewthat I wanted to play," he says, "and when Irealized what was happening with the band, Ileft Berklee to go and do that."

Wihitford, who studied at the college untilearly 1971, recalls, "Right after I finished thespring semester, I went to Nantucket to play witha friend’s group. We also played some gigs up inNew Hampshire, that is where I met the guys inAerosmith. Their other guitarist wasn’t workingout and they came to see me play in Sunapee,New Hampshire. Later they asked me to join.

"We started out playing originals and cover

Summer 1997 Berklee today 15

erosrnith can’t make a rec-

ord that sounds like that, people

would wonder what happened.

Our approach is more hard-

edged, not ne~t tidy.Brad Whitford

Brad Whitford: Allof the ingredientshave to be there.A lot of peopledon’t appreciatethe chemistry.

tunes we wished we had written. The collegesand clubs in New Hampshire and Vermontdidn’t care that we weren’t playing top-40hits. In those early days we rehearsed in whatis now the Berklee Performance Center. It wasthe Fenway Theater back then. We auditionedthere for Frank Connelly, who became ourfirst manager. He paid us each a hundred dol-lars a week whether we worked or not--because he wanted us to have ’walking aroundmoney’ until things happened. He had a visionof what this band could become."

Kramer recalls, "We were with Connelly,who was promoting big shows in Boston backthen, until about 1972. He moved us up to thenext level and got us with management in NewYork City."

The New York management team of SteveLeber and David Krebs helped Aerosmith getsigned to their first recording contract withColumbia in 1972. Soon, the band was set up inBoston’s Intermedia Sound Studios to recordtheir eponymous debut album, Aerosmith.

Released in January of 1973, the album con-rained their first hit, "Dream On." Critics, inhindsight, now point to that song as the firstpower ballad.

It was a rags-to-riches scenario. The momen-tum of their growing popularity thrust the bandinto high gear. They released an album each yearfor seven years and toured almost continuously.Living with the spoils of the band’s tremendoussuccess, however, proved a more severe test oftheir mettle than attaining them did. Brokenmarriages, lawsuits over contractual issues, sub-stance abuse of disastrous proportions, and ahost of other hazards encountered in the fastlane dogged the band.

By 1979, morale and productivity had deteri-orated to the point that Joe Perry left to fronthis own band. Whitford followed suit in 1981.Tyler, Kramer, and Hamilton hired replace-ments for the two guitarists, and Aerosmithcontinued touring and recording, but the magicwas gone. On their own, Perry and Whitforddiscovered starting over was very difficult.

"We found that other projects didn’t work,"states; Whitford. "All of the ingredients have tobe there. It happens to a lot of people who don’tappreciate the chemistry. That’s what wasbehind Rodgers and Hammerstein, Lennon andMcCartney, and Steven Tyler and Joe Perry.You can’t explain that, it just is. When you takeit away, it isn’t -- it is one of those God things."

The original band members reunited in 1985after a five-year hiatus and released Done WithMirrors, their first album under a new contractwith Geffen Records. They embarked on anextensive tour but had to cancel it midwaythrough when continued drug and alcoholproblems made finishing the tour impossible.The group’s then-manager Tim Collins and theentire band checked into the Caron Foundationrehab center in Pennsylvania where eachachieved sobriety through a 12-step program.

In control of themselves for the first time inyears and with renewed vigor, the band startedtouring again and, over the next several years,recorded five platinum albums for Geffen. Theyearned their first Grammy Award for "Janie’sGot a Gun" from 1989’s Pump album, followedby Grammys for "Livin’ on the Edge" in 1994,and "’Crazy" in 1995.

After finishing a major tour and deliveringBig Ones, their last album under the Geffencontract in 1994, it appeared the band couldfocus its energy on their long-awaited releasefor Columbia unfettered. Perhaps it was theintense pressure to come up with a blockbusterunder the new multimillion dollar contract, butthe process of making Nine Lives was anythingbut easy. The trouble started early in 1996, soonafter Alanis Morrisette producer Glenn Ballard

16 Berklee today Summer 1997

started cowriting and recording with the bandin Miami. The first casualty was Joey Kramer.

"This album was a crisis in progress from thetime we started until we finished," statesKramer. "There were so many things that hap-pened." Kramer was overtaken by a "bluefunk," as he describes it, after receiving the newsthat his father had died.

"There were a lot of things going on in mypersonal life," he says, "and I went through adeep depression. I had to go away to take care ofit." Kramer caught a flight to Boston in the midstof the sessions with no word of when he mightbe back. "My problems came right after prepro-duction and everybody had to deal with it.Going through that phase of the album I believecontributed to how it came out though. If thingsdidn’t go that way, we probably wouldn’t havethe album that we have today. I don’t know if itis necessary to go through that amount of pain,but it seems to be that way for us."

With the agreed-upon September 1996 releasedate looming, the band decided to forge aheadwith session drummer Steve Ferrone. But, as tal-ented as Ferrone is, he didn’t bring Kramer’sbrand of thrash to the sessions. Kramer returnedwithin a few months and recur Ferrone’s drumtracks. "That is part of what really helped me getback in touch with what it is that I do," he says."It was very validating to see that an Aerosmithalbum couldn’t be done without me. Steve isprobably 100 times the musician that I’ll ever bein terms of being a schooled player; he’s just nota rock-and-roll drummer. It just shows you thatthere is room for everybody. He does what hedoes and I do what I do. I only specialize in onething, but I am grateful to know that there arefew who do it."

By June 1996, tension in the studio betweenTyler and other band members began to mount.On the verge of splitting up, the band decided tostop working and check into a rehab center inCalifornia for conflict resolution counseling.They emerged 11 days later having decided theyneeded a change in management. Summarily, TimCollins was fired, and Wendy Laister was hired.

The band had already completed half of theanxiously anticipated album with (QuincyJones protege) Glen Ballard producing whenColumbia executives listened to the tracks andsaid it didn’t sound like an Aerosmith record-ing. "It was difficult to hear that, being in themiddle of it," says Whitford. "I remembergoing home and listening and thinking, they areright, this isn’t the right sound. So we went intoa studio in New York with another producer,Kevin Shirley, and cut everything over again. Itworked out so much better because we endedup redoing some songs that we initially haddecided weren’t strong enough to be on the

Summer 1997

record. One of those was ’Hole in My Soul,’which I had thought was incredihle when I firstheard it, but some elements weren’t gelling. Theway we did it the first time, it was too light-- likea pop-rock tune. Aerosmith can’t make a recordthat sounds like that, people would wonder whathappened. Our approach is more hard-edged, notneat and tidy."

Shirley, who has produced albums forSilverchair and Journey, took the band back totheir rock-and-roll roots, away from the syn-thesizers, loops, and drum machines Ballardemployed in his approach to the album."Shirley said, ’you guys are a rock band, let’s dothis the way you do a performance,’" recallsWhitford. "We have done that for other recordsand there are a few ways to go at it. You can setup live and just fix up the solos later, or you cando a lot of fixing. Shirley didn’t want to fix any-thing. He made sure the drum sounds going totape were the ones that would be on the album.He wasn’t going to use a sampled sound for thebass drum later--which we did on Pump,Permanent Vacation, and Get a Grip. Shirleywanted to move away from that and get anorganic sound all the way through."

"On Pump and Get a Grip, we used a lot ofsampled drum sounds," adds Kramm; "so thedrums are right in your face. That was good forthe time, and I still really like it. On this album,everything is mixed to form a big picture ratherthan as five separate things to be heard on theirown. It is a band sound. What contributes tothat is there are no sampled sounds--it is juststraight drums. Also, the bass drum is notmixed out as far as before; it is blended in as acolor in the picture. That is different for us, butit contributes more to the sound of the band."

The end result is an album that rocks as hardas anything Aerosmith ever recorded. Andwhile it is a hard rock album, a very subtle styl-istic nod toward the Beatles can be detected in

Joey Kramer: Wehave seen a lot ofthings come andgo, but we arestill here.

Berklee t o d a y 17

Aerosmithclockwisefrom the left:Steven Tyler,Tom Hamilton,Brad Whitford,Joey Kramer,and Joe Perry

18

some of the vocal, harmonies, the orchestrations,and in the sounds of traditional Indian instru-ments blended with electric guitars.

"The [Beatles] influence has always been therefor all of us in the band," says Whitford. "Theywere a huge influence on us, so at some point thatwas bound to come out in the music. I don’t feelthe music is derivative, but stylistically there isthat influence. It is not easy to get that kind ofmagic on a record without copying them.

"On the song ’Taste of India,’ we originallythought sitar would work. We met a guy inNew York who knew a lot of Indian musiciansand he suggested a sarangi player. We got himinto the studio and just let him blow. It was fas-cinating, the initial stuff he played was incredi-ble. In the end, we didn’t need any other play-ers, he really gave the whole flavor we werelooking for."

Regarding the orchestrations, Whitford com-ments, "On our past albums, strings or otherorchestrations were done as an afterthought, notas a part of the process of recording the song. Webrought [arranger] David Campbell in very earlyto the sessions. We listened together and dis-cussed what we wanted to do before the songswere completed. That made David a part of theprocess, and those parts became key elements ofthe songs--a much more integrated sound."

Once again bucking the odds, Aerosmith tri-umphed over adversity, rising phoenix-likefrom the ashes to make an album everyone isenthusiastic about. "I learned a great lessonfrom all of this," says Kramer. "God sometimeshas a very weird sense of humor. As a band, weseem to function best under pressure and adver-sity. Without it, you don’t move forward.

Berklee t o d a y

Personally, there is a lot of strengthbetween the five of us. I’m glad thatI got to be a part of this albumbecause there was a time whenthere was a possibility that I wasn’tgoing to be a part of it."

Whitford muses, "It is as if obsta-cles keep coming up and we go, ’Ohyeah?’ Like a fighter, when someonesays we’re all washed up, we goback, train harder, and come outfighting. You can’t always get arecord like this where you are verypleased with every aspect of it. Onother albums, you might feel there isa weak link or a couple of tracks thatyou weren’t one hundred percentbehind. In a band, there is always acertain amount of compromise, butthis album seems to make everyonein the band really happy."

The degree of commitmentAerosmith possesses as a band is

seldom seen and is one good reason they are atthe top of their form after 25 years. While it isnot unusual for solo artists to have performingcareers spanning 50 or more years, it is rare fora rock band’s original lineup to have that kind oflongevity. Whitford recalls, "When I was atBerklee, I didn’t think I would be doing thiswhen I was 45. It makes me think of ChuckBerry showing up to his gigs with his guitar inthe back of his car and then working with apickup band." When asked if he foreseesAerosmith still going at it when its members hittheir sixties, he states, "I don’t see why wewouldn’t. We can certainly continue to makerecords, but we might have to modify personalappearances somewhat, but probably not awhole lot."

Kramer is more cautious. "We have seen a lotof things come and go and we are still here," hesays. "There is a lot of energy in the band, but Ichoose to live one day at a time. I want to getthrough this tour and this record and see whatprogresses. I am happy with my part in all ofthis. I still really enjoy the playing. This bandhas never been about the money."

"I tell people we are the biggest fans," saysWhitford. "We are right there and we aren’t surewhat makes it work. We know if we show up, itworks. We go to see the show too. There isalways something going on -- good or bad. It isnever boring. We keep coming back to see whatwill happen next. Our personalities are just dri-ven enough that we keep at it, and are having areally good time doing it."

Looking back over the past 25 years, Kramerreflects, "This has been an education that goesbeyond what you learn in college." ~]

Summer 1997

Getting in Sy~n,c

An inside perspective on the burgeoning businessof pl~cing songs in movies and TV shows

by Mark

Small "73

Summer 1997

"~’~i~’~henever you hear a song behind the~i Jll / action in a movie, or see actors on cam-I¢ I¢ era lip synching or playing instru-

ments, it is probably the fruit of a music supervi-sor’s labors. Music supervision is becoming anincreasingly popular career choice for those witha musical background, an eye for film, and somebusiness and legal acumen. Duties range fromhelping a director find the right songs for asoundtrack and obtaining clearances from musicpublishers, to being on a movie set to coach actorsand camera men to make a staged musical perfor-mance look real.

As a career, music supervision promises theexcitement of being a part of the film, TV, andrecording industries, the possibility of pitchingyour own material for soundtracks, and a nicepaycheck. What follows is a view of the chal-lenges and rewards of this increasingly popularfield from independent music supervisors, a tele-vision music executive, and songwriters.

Many hatsMarty Wereski ’74 wears many hats in the

television music field. He works as an indepen-dent music supervisor and music editor, andoperates a music publishing business with sevenwriters contributing to his library. Wereskicame to Los Angeles in 1977 after a three-yearstint as a guitarist in a road band. He startedworking at MCA and made enough connec-tions to start getting his original songs into TVshows and films. That launched his publishingbusiness, Mar-Tune Music, which is now a key

part of his professional life. A subsequent job asa music supervisor for a company producing car-toons completed his tutelage.

I meet with Wereski in a dubbing room onthe Sony Studios where he and a team of engi-neers are mixing sound effects, dialogue, andunderscore for an episode of "Dark Skies." "Iam frequently hired as a music editor, but tak-ing on music supervision responsibilities worksto my advantage," Wereski says." "Part of mydeal is that they will use music from my library.The TV composers I work with, like MichaelHonik ["Dark Sldes"] or Mark Snow ["XFiles"and "Millennium"] have just five days towrite all the underscore for their shows. Theydon’t have time to write the songs, so they justtell me to take care of that.

"We supplied everything for ’E.R.’ in its firstyear through Warner Brothers. We also did’Nowlhere M[an’ a~.d most of the movies of theweek. A lot of the directors and music editors Ihave worked with call me back because the musicin my catalog will work and is constantly beingupdated.

"In episodic TV and movies of the week, theremay not be a large budget for music. They can’tpay $,25,000 to license a song by an artist ofMadonna’s stature. They will call me and ask if Ihave a song in the style they want. Someonecalled me recently asking if I had any French rapmusic for ’E.R.’ Not wanting to turn them down,I said I’d check. I made a quick call to songwriterBarbara Jordan in Boston. She went into the stu-dio and cut: something and got it to me by

Berklee today 19

ven when it is a bad problem,

you learn from it. Personally, I like

it when something comes out of left

field, it keeps things interesting.

David Gross,nan, V.P. of Television Music, Paramount-Viaco*n

overnight mail. The next day they hadit on the dubbing stage. In television,time is a key factor. Being able to deliv-er what they need quickly puts you onestep closer than the next guy."

Wereski also gets calls to solveproblems the studio has encountered."Once, for a movie of the week," hesays, "they shot a scene at a salsa clubto an artist’s CD, and no one hadchecked to see if they could get thelicense for that song. After they hadfinished production, they couldn’t usethe song. The actors appeared on cam-era lip synching.

"It was an incredible oversightbecause they never would have gottena license to use an artist’s original mas-ter with another group lip synching it.We wrote and recorded new trackswith a salsa beat at the same tempo andconstructed our lyric to move as theoriginal did. These little legal catchesare important; every music supervisorhas to know about them."

View from the topIn his office on the Paramount lot

off Melrose Boulevard in Hollywood,David Grossman ’79 speaks of how inhis Berklee years all he ever wanted todo for a living was play drums. Afterseveral years of dubs, weddings, anddemo sessions around Los Angeles,Grossman took a job at ColumbiaPictures Television in 1986 as a musicsupervisor. That led to his present posi-tion as vice president of television musicfor Paramount-Viacom. Grossmanhasn’t hung up his sticks entirelythough. On rare occasions, he might sitin as a substitute drummer for an on-camera musical scene.

As an executive in Paramount-

2.8 Berklee t o d a y

Viacom’s TV Music Division, he isresponsible for the quality of all musi-cal elements in 33 TV shows. His dutiesinclude reading scripts to devdop ashow’s music budget and musicalapproach, hammering out songwriteror composer agreements, negotiatinglicensing fees, and solving union orlegal problems.

"I handle a wide variety of musicalissues here," he says. "I don’t go to thesessions like I used to. I have staffmembers going to the set when wehave on-camera musicians, and musiceditors and music supervisors whoattend dubbing sessions. I get directlyinvolved only if they are having prob-lems, if the executive producers aregoing to be there, or if another set ofears will help.

"We may hire an outside musicsupervisor when there will be a lot ofinteraction between producers and thetalent, and a lot of submissions fromrecord companies and publishers. If Iknow the project is going to be lookingtoward a record deal, I may bring in amusic supervisor with ties to the recordcommunity to establish a relationshipwith a label to release a soundtrack forthe show.

"Recently, I was looking for a musicsupervisor to be a finder for an eclecticmix of music for one series. I neededsomeone with good ears to identify thetracks and a good sense of film--some-one who could watch a scene andremember a song from 20 years agothat would create a cool ambiance forthe show. That project’s executive pro-ducer likes things to be unexpected--sounds that people don’t normally hearon a TV show.

"I find that most good music super-

visors have really strong businesschops. They have to know the businessenough to know up front all about pre-records [songs to be performed on-camera], when we have to bring in cer-tain songwriters and lyricists, whatrecording studios to use, and what thepublishing issues and licensing parame-ters are. For example, they have toknow not to bring someone on boardwho has a publishing deal when we willneed to own the publishing. They haveto know all this before someone writesa tune which becomes a productiontrack with actors singing to it, and I amunable to make the deal on the backend.

"The longer someone is a musicsupervisor, the better they get at antici-pating problems. The exciting part ofthe job comes when you are thrownsomething unexpected. Even when it isa bad problem, you learn from it.Personally, I like it when somethingcomes out of left field; it keeps thingsinteresting."

Two views on songs in filmBonnie Greenberg has been a music

supervisor for a decade. She is presidentof her own music supervising compa-ny, Ocean Cities Entertainment, andhas worked on such top movies as TheMask, The Long Kiss Goodnight, andThe Truth About Cats and Dogs. Herfirst job, however, was as a music attor-ney at a record company. The opportu-nity to get involved with films camewhen a friend asked her to do the legalwork on a movie he was producing.

"I figured I would learn somethingand get paid for it," she recalls. "As Igot involved in clearing the music forthe film, a little light bulb went on andI saw that the interplay of music andfilm was where all my interests cametogether. The first labor-intensive filmthat I did was Hair Spray, a JohnWaters film. I handled everything fromthe licensing and legal work to perfor-mance numbers on camera. Later, Istopped doing.le, gal work to do straightmusic supervision--just the creativeissues. I don’t do clearances or dealmaking anymore."

I catch up with Greenberg at anediting suite at Sony Studios where sheand two assistants are preparing a tem-porary soundtrack or temp score forthe upcoming film My Best Friend’s

Summer 1997

Marry Wereski "74--Owner, President,Mar-Tune Music Publishing

David Grossman ’79--V.P. TelevisionMusic, Paramount-Viacom

Bonnie Greenberg--Owner, President,Ocean Citiies Entertainment

Wedding. The director is preparing hiscut, and Greenberg is editing in songsand segments culled from other filmscores to approximate the sound thedirector wants. "Most movies don’tplay very well without music," shesays. "When this is done, the moviewill have an emotional flow and can beshown to studio executives and othertest audiences."

Greenberg has seen a recent shift inthe business regarding music in films."Being a music supervisor is becomingmore about creating hit soundtrackalbums than finding music that worksfor a movie," she says. "Today, everyrecord company has a soundtrack divi-sion, and there are soundtrack releasesfor most movies. Before, there was asoundtrack album if one was called for.Now, in some instances, it is the tailwagging the dog. I did a film last yearcalled Dead Presidents, and the sound-track sold nearly 700,000 copies, eventhough the movie wasn’t too success-ful. There was no single, just good peri-od music which worked very well withthe scenes and was great for listening.

"There is huge pressure now formusic supervisors to help make a hitsoundtrack. In my opinion, the prima-ry focus of the music should be toenhance the visual image and help cre-ate more visceral impact. This trend forhit soundtracks comes from MTV.Every time a single from a movie is inrotation, it is free advertisement for thatfilm. Air time is expensive, so getting itfree from a record company promoting

Summer 1997

a single appeals to the movie studio."Greenberg says she is not worried

about the soundtrack issue having apermanent negative impact on filmmusic as an art form. "I like to thinkthere are enough directors, studio exec-utives, record company people, andothers in various positions who willretain artistic integrity and stay true tothe product being created. I also assumethat this trend will end some day."

The songwriter’s viewTunesmith Reed Vertelney ’80 has a

different take on songs in films. A suc-cessful songwriter, Vertelney has writ-ten for many top artists includingLuther Vandross. Five of Vandross’platinum-selling records feature,Vertelney’s songs. His work is also.heard in the films First Wives Club,Smile, and White Men Can’t Jump. I1~the latter two, his songs were part ofthe soundtrack, but he cowrote the end.title song for First Wives Club, whichwas a hit single for vocalist PuffJohnson in Europe.

"Fitms are great if you get them,"Vertelney says. "Getting your songinto a film can be very lucrative. Theypay a sync fee, which goes to the writer,and that could be as much as $50,000. Ifyour song is the single, the record com-pany will shoot a video with the artist,and the film company will be pushingit too. Having two big guns trying toget something happening for your songis great.

"On the downside, a lot of times

you are asked to write on spec, whichcan be frustrating. They might tell youthey are looking for an alternative rocksong for a certain scene. You call themback after writing one only to learnthat they’ve decided they want anR&B song instead.

"At Chrysalis, where I am a staffwriter, there is a person whose job is tofind out about film projects and thenfind staff songwriters whose musicmight fit a particular scene. He mayarrange for me to go to the screeningof a new film just going into post pro-duction. I will go with some otherwriters and hear the temp track, andlearn what kinds of songs the produc-er wants. I did that for One Fine Day,and I left really wanting to get on thefilm. It took me a little longer than itshould have to write something. WhenI played it for the film people, theyreally liked it, but I was a week late.You have to be able to work fast.

"If I were to recommend some tipsfor getting songs into films, I wouldsay to be persistent without being toopushy with the music supervisors andothers in the music division. Youshould stay in touch to see what theyare looking for. If they know that youdo quality work, they will tell youwhat they need. They are waiting forsongs, so you have to let them knowthat you might have what they want.Make sure they haven’t changed thedirection they want the song to take orthat they haven’t already gotten one. Itpays to become friendly with the

Berklee t o d a y 21

Jazz WorkshoBass and

by Dave Weigert

Reed Vertelney "80--Staff Songwriter,Chrysalis Records

receptionist at the film studio."

"Relationships fuel this business"Barbara Jordan has seen the world

of post-production music from allsides. She is a songwriter ("MelrosePlace," "X-Files"), a music publisher(Daylight, House of Yes) with a cata-log that includes her own songs andthose of writers she represents. As amusic supervisor, she worked on thefilm Blind Side. She teaches advancedsongwriting at Berklee, presentsworkshops on songwriting through-out the country, and has pennedSongwriters Playground: InnovativeExerdses in Creative Songwriting.

"Relationships fuel this business,"she says. "I have an extensive networkof relationships with a wide range ofperformers and cowriters on bothcoasts. This allows me to quicklywrite, produce, and deliver masters foruse in film and television.

"My broad perspective as musicsupervisor, publisher, and songwritermakes it very likely that I’ll under-stand what someone is asking for andnail it. This is a highly collaborativebusiness. You have to work underenormous pressure and deliver prod-uct in an almost impossibly shortperiod of time. It’s essential that youknow and trust the people you workwith. For example, I met MartyWereski when I was supervising themusic for an HBO film--he was areplacement music editor that day. Wehit it off and have been helping eachother out ever since."

Barbara Jordan--Songwriter, Direcltor,Heaw Hitters Music

Regarding becoming a rclusicsupervisor, Jordan says: "There is noobvious career or educational path tothe field--that is pretty much true ofthe entire entertainment industry.Bonnie Greenberg teaches the onlyclass I know of in music supervision atU.C.L.A., and I cover the field in myadvanced songwriting course atBerklee. A music publisher or n’lusiclawyer may segue into music supervi-sion from the business end, but thereis no substitute for practical experi-ence as a music supervisor and a goodknowledge of music history."

Jordan has concerns about thefuture for songwriters in film and tele-vision. "One thing that seems increas-ingly apparent is that license fees forall but the biggest hit songs are shrink-ing. Intense competition among song-writers and music publishers to placetheir material in film and televisionand the lack of a composers and lyri-cists union to establish minimum fees,ensures that production companiescan acquire music for next to nothing.Survival in this context depends,again, primarily upon your pets(realrelationships established with peoplein the business, and the ability to sup-ply a broad range of material."

Jordan’s advice to those wanting toexplore the world of film and televi-sion music is: "Learn your craft thor-oughly and increase your network offriends and associates in the business.Also, rub the lucky stone every daybecause talent is only part of what youwill need." ~1

parts andtune.jazz classics IHerbie Hanc~includedWee< Ellis, RL nte a.o.

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22 Berklee to day Summer 1997

¯

Lyle Mays on Corc.,F, oslng

A conversation with the Grarnrny-winning cowriterand keyboardist of the Pat Metheny Group

by Robert

Doezema "76

Summer 1997

When you sit down to write and face anemp~y page, where do you begin?

Maybe the most interesting thing to say isthat I still panic. I still freak out at the begin-ning of any project, fully convinced that Iwill never be able to write anything everagain, I’ve lost it, and that nothing I can comeup with is any good. It’s amazing to me thatafter all these years of experiencing that verything, it surprises me when it happens andI’m locked into that state of panic again--it’sinevitable. You just have to put in the timeand work through it.

What tools do you use in your work as awriter?

Being able to use the computer as a multi-track recorder, as a way of archiving sounds,manipulating sounds, and all the other thingsyou can do with computer technology todayhas changed everything. The main thing I haveto say is that I feel incredibly fortunate to havelearned to deal with music before the technol-ogy. Consequently, I can harness technologyto work on musical ideas that I am confidentwill work out rather than just diving into thehigh tech world with a kind of "gee-whiz"attitude that leads to looping two bars of any-thing together and saying, "Wow, this is great."I’m still closer to a traditional composing men-

Professor Robert Doezema 76 # a guitarist,arranger, and composer. His study of the life andmusic of Pat Metheny and the Pat MethenyGroup was published by Tufts University.

tality than any kind of "looping" mentality. Ihope that remains.

You and Pat Metheny have a musical part-nership s;panning more than 20 years. How isthe writing process different when collaborat-ing with another writer?

I think that gets more into the psychologyof working with another person. In that situ-ation, you have to swallow your ego at timesbecause the person you’re collaborating withwill inevitably not like some of the musicalideas you have fallen in love with and viceversa. It’s difficult at times to face someoneyou respect as a musician who has a differentmusical opinion. In a collaboration, it’s morehow you deal with that situation than any-thing else. Pat and I have both come to trusteach other and to understand that when wereach a consensus that it is the best of bothworlds. But that sounds too easy, it’s harderpsychologically to get there.

Pat and I are very different in ourapproaches. I’m interested in getting down tothe details, inventing the music from theground up, and in expanding the form. Pat’smuch more into songs. That is what he lovesdoing a~nd he’s great at it. What we have man-aged to do together is to create some pieces ofmusic that we hope combine the best of thosetwo worlds where there is the "hook" elementof the tune and also the other compositionalelemen*~. We try to work off each other’sstrengths and keep what’s good about whatboth of us do. I think that’s a good match. Wekeep tabs on each other so the music doesn’t

Berklee t o d a y 23

Berklee

get too complex or too simple. Neither of us getsexcessive in any particular direction.

Describe your collaboration with Metheny on"Minuano (Six Eight)" from the Pat MethenyGroup CD Still Life (Talking).

In that case, Pat brought in the main idea forthe tune first--the B minor F# minor section--that really tapped into a Brazilian groove thatboth of us really love. So it was fertile territory, aplace that both of us were familiar with. Afterthat, it was my inclination to find other thingsthat were related to it. To me, the compositionalapproach is a kind of search that I’ve likened toanthropology: you come up with an idea andthen you instantly start asking, "What is relatedto this ?" If you liken a musical idea to an artifactfrom a culture, you want to ask questions abouthow the people lived, what else did they do, whatwere their lives like, that sort of thing.

In music, the search always leads me to tryingto find related ideas, things that are compatible,that really flesh out the "culture" of a musicalidea. After I heard Pat’s original idea, I instantlystarted looking for other ways to treat thosemusical elements, the groove, and the mood.That led to the opening section of "Minuano,"which is a moodier version of Pat’s original idea.It also led to the interludes that start with themarimba section, which is a little more of aSpanish take on things, followed by the brass sec-tion, which continues the rhythmic displace-ments established in the marimba section whileproviding for new chord motion and scalechanges. It’s all a search to find related ideas.

Describe your ideas about extending the formin Metheny/Mays compositions.

I felt that in the jazz world there was way toomuch attention placed on just blowing onchanges--the form being an afterthought. Thetune is played, solo.,; are played on the chordchanges of a tune, and the tune is played again,that’s the form. For me, the European classicaltradition dealt with form in such elaborate ways.It was natural for me to look for ways to expandthe tune/play-on-changes mentality.

What I have felt may have been a contributionto the jazz world has been my willingness toforgo the "second solo." In the situation wherethe tune was played, the first solo has happened,and now it’s time for the second solo; often I’mmore willing to look for a continuation of themusic and forgo my solo spot. It furthers theplot, propels the music, and makes it more inter-esting. You can listen to what we have done andfind numerous places where ]7 have forgone thesolo to extend the form with written music.

You often introduce new musical material at

today

the end of the arrangement, as in "Phase Dance. "Again that is nothing new. Beethoven may

have created waves doing that in Vienna but itshouldn’t create waves when we do it now.Evidently these techniques still have some life.

The interludes you have written in place ofthe second solo in "Minuano (Six Eight)" have similar dramatic effect.

They add drama in that the propulsion of theharmonic rhythm is upset. In the traditional jazzform, you get an endless repetition of the chordchanges. After a while, that settles into an expec-tation, so when you upset that, it creates drama.You could achieve a similar effect by throwing ina completely different set of chord changes andanother solo, but it’s also interesting to playaround with the idea of a development sectionwhere a motivic element of the piece is dealt withcompositionally. I think people respond to thatwhether or not they can analyze it intellectually.

Iqow do you know when you have it right?Can you be objective about your own work ?

That’s easy because it’s never right. There wasan artist who said something to the effect that apainting is never finished but abandoned.

Hbw do you know when it’s time to move on?It helps to have a good producer who will say,

"Okay, you’ve spent enough time on this sectionand it’s time to go to something else." This is ahuge problem with me. I will just go over andover, endlessly tweaking things and making mar-ginal changes that no one may ever hear. But it’svery tricky. If you write too quickly and don’tchange anything, you may capture the momentbut you then may miss the opportunity to makethe music as good as it can be. On the other hand,if yon tweak endlessly, you may end up ruiningthe original idea that made it great.

Personally, I wouldn’t want to forgo thetweaking process. Sometimes that’s when youcan really make the music sparkle. There’s nomagic in just having it wrong. If you go back andlook at the sketch books of Beethoven, he wasunbelievable in changing things. So when you’rein the recording studio, the trick is to find a bal-ance between tweaking the ideas and illuminat-ing the ideas but stopping short of ruining whatwas magical about them in the first place.

~at advice do you have to share with aspir-ing writers?

If we could codify music it wouldn’t be thisesoteric art form that baffles, puzzles, anddelights us. There are no answers--there can’t be.If there were answers, it wouldn’t be an art form.That’s part of what draws us to it and drives uscrazy at the same time. ~

Summer 1997

Alum notes

Compiled by

Alex Ball "97Trumpeter Charlie Lake

"54 of Revere, MA, has pro-duced a new CD by FrankCapp’s Juggernaut BigBand for Concord Records.The disc is entitled Play ItAgain, Sam and featuresmusic penned by SalNistico.

Bassist Gene Perla ’65 ofBasking Ridge, NJ, and hisband Stone Alliance reunit-ed after a 13-year hiatus.The group includes DonAlias on drums, KennyKirkland on keyboards andMitch Stein on guitar.

Composer All Clausen"66 of Los Angeles has cele-brated the release of the CDThe Simpsons: Songs in theKey of Springfield." OriginalMusic From The TelevisionSeries. Clausen is the com-poser and conductor for theseries. The CD features a

Janice DeBIois (left), Cybill Shepherd, and Tony DeBIois ’96on the set of the CBS movie Journey of the Heart. Shepherdportrayed Janice in the film inspired by events in theDeBIois’ lives. Tony, a pianist, is a blind, autistic savant.

Summer 1997

From the left: Rykodisc recording artist Bruce Cockburn "65,Rykodisc President Don Rose, and Gary Burton ’62 backstageafter Cockburn’s April 11 conce=t at the Berklee PerformanceCenter. Burton played vibes with Cockburn on three songs.

collection of original songs,and underscore composed,arranged, and orchestrated-by Clausen.

Gary Anderso~l ’69, com-poser from Skillma, NJ,composed a tribute to theParalympics. "Triumph ofthe Spirit," was performedby the Atlanta SymphonyOrchestra.

Trombonist JamesCunningham ’71 of Pierson,FL, recently played his 25thand final season with ClydeBeatty-Cote BrothersCircus.

Keyboardist dlohnNovello ’73 of Hollywood,and his instrumental groupNiacin, with Novello on B3and piano, Billy Sheehan onbass, and Dennis Chamberson drums, played a sold outBlue Note tour in Japan andIndonesia to promote theirnew CD. Novel[o writes amonthly column forKeyboard Magazine Japan.

Drummer Jim Payne ’73sells his book Give theDrummer Some on theinternet. Check it out atwww.ftmkydrummer.com

Saxophonist RemyFilipovitch ’74 of Germanyperformed in a series ofconcerts at the Jazz Festivalin Tabarka, Tunisia. He alsoheld a iazz workshop withTunisian participants.Filipovitch led the Work-shop Orchestra in the festi-val’s final concert.

Drummer Jeffrey Meyer’74 of New York produced,wrote for, and performedon New Orleans drummerJohnny Vidacovich’s newCD entitled Bank Street.The album was awarded the1996 Best ContemporaryJazz Album by Offbeatmagazine.

Michael Hatfield ’75 ofSan Francisco is co-ownerof Hatfield and Walkercontinued on page 27

Berklee t o d a ~’ 25

Alumni ChapterPresidents andcoordinators:

New YorkTom Sheehan ’75Consultant(212) 459-9150

OrlandoStan Kubit ’7iOrlando MusicTeachers, Inc.(407) 741-6006

ChicagoDougMurphy ’90The 3tar Store(708) 343-1750Tom Castonzo ’87(708) 488-1208

NashvillePamelaDent ’95(615) 662-9112MarkCorradetti ’87(615) 365-8052

BostonJeannie Deva ’75The Voice Studio(617) 536-4553

San FranciscoDmitriMatheny ’89Penumbra(510) 428-2328

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

Puerto RicoRalinaCardona ’9ICrescendo(809) 725-3690

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

RomeClaudioZanhieri ’9306-7184053

TokyoMichikoYoshino ’90042-241-4347

GreeceMikeAcholadiotis ’84016-926019

CLASS CONNECTIONS

As usual, there has been a lot going on,both here on campus and at our alumni chap-ters. At Berklee during Black History Monthin February, pianist Cyrus Chestnut ’85 receiveda distinguished alumnus award from OrvilleWright, chair of Berklee’s Black HistoryMonth committee.

At the Women in Music celebration onMarch 3, Ear Training Department Chair GregBad01at0 "72 presented faculty memberRoherta Radley ’75 with a music educationaward. Later that evening, faculty pianistJoanne Brackeen, backed by Ravi Coltrane,IraColeman "85, and Tony Reedus, performed.

On March 17, Nashville marked a firstwhen alumni co-coordinator Mark Corradetti’87 organized a Nashville alumni scholarshipfundraiser, called "Nashville Alumni Eveningof Music" at Club Mere Bulles. Special thanksgo to Pamela Dent "95, Melissa Lewis ’93, DrewWalen "95, Alan Powell "89, guest performerMark Dreher, and the management at MereBulles for making this a successful event.Another thank-you goes to Diane ReBIwho was our photographer for the evening.

The following night, alumni and studentsgathered at the Bluebird Care where theysampled hors d’oenvres and listened to per-formances by songwriters Gary Culley ’89,Joe Doyle ’87, Debra Adams ’89, and HunterMoore ’77. I had the pleasure of presentingthe Grammy-nominated songwriting teamof Gillian Welch ’92 and David Rawlings ’92with distinguished alumni awards. Theevening ended with a clinicians’ showcasefeaturing Beth ]Nielsen Chapman andfriends. On another note from Nashville,Betsy Jackson "84 has announced she is step-ping down as alumni co-coordinator; she’llbe sorely missed. Pamela [Dent ’95 is the new

David Rawlings "92 and Gillian Welch "92 receiveddistinguished alumni awards from Sarah B0dge.

From the right: Tom Sheehan ’75, Sue Devine, SethSaltzman "81, Loretta Mu~oz, and Joel Goodman"84, wlho participated in an April Berklee/ASCAPpanel discussion sponsored by the New YorkAlumni Chapter at ASCAP headquarters.

alumni co-coordinator.On April 17, the New York headquarters of

ASCAP was the scene of a Berklee/ASCAPseminar and panel discussion that drew a num-ber of area alumni. Moderated by alumni chap-ter president Tom Sheehan ’75, the panel includ-ed ASCAP personnel Seth Saltzman ’81, direc-tor of performances; Loretta Mufioz, assistantvice president of repertory; Sue Devine, associ-ate director of film and music, and composerJoel Goodman "84 were excellent. Due to thisseminar’s popularity, alumni have requestedthat we present a seminar in the fall on musicpublishing.

Not to be outdone, Boston area alumnigathered at the Westin Copley Hotel on April27 for a brunch and a seminar billed as"Current Trends in Record Production." Thepanel was moderated by Greater Boston AreaAlumni Chapter President aeannie Deva "75,and included faculty member Mitch Benoff;Jim Anderson "75, vice president of SoundTechniques, Inc.; and Assistant Chair of MusicProduction and Engineering Stephen Webber.A highlight during this event was the presenta-tion of a distinguished alumnus award to Tom"Tiger" Okoshi "75 by Acting Chair of the BrassDepartment Phil Wilson. Tiger gave a verywarm and touching acceptance speech.

You can e-mail your inquiries and requeststo me in the Office of Alumni Relations at<sbodge@ber!dee.edu>.

Stay tuned for upcoming alumni events inyour area.

--Sarah Bodge, Assistant Director ofDevelopment for Alumni Relations

26 Berklee t o d a y Summer 1997

Trad

Light and Sound, and iskeyboardist for theFabulous Bud E. LuvShow. The website he cre-ated for Bud E. Luv(www.budeluv.com) haswon six awards, and wasnamed the Yahoo "Pick ofthe Week."

Pianist Rob Monnsey ’75of New York just got backfrom a tour of the BlueNote clubs in Fukuoka,Tokyo, and Osaka, Japan.Also, his arrangement ofDan Lins’ "Comecar deNovo" was performed bythe Carnegie Hall JazzBand under the directionof Jon Faddis on March 6.

Trumpeter "liger Okoshi’75 of Needham, MA, per-formed at Clayton StateCollege in Morrow, GA.The 1996-97 ConcertSeries at Clayton State’sSpivey Hall was held in

February.Trumpeter David

Polansky ’75 of Natick,MA, was commissioned byAmherst Ballet TheatreCompany to arrange a 12-minute waltz medley for aSpringfield SymphonyOrchestra concert inMarch. David also signed acontract with ConnectionIII Video of Los Angeles,licensing two of his origi-nal children’s pieces forhome video release.

Guitarist Riner Scivally’75 of South Pasadena, CA,is currently teaching atboth the University ofSouthern California andPasadena City College.Riner also plays in PutterSmith’s group along withRay Pizzi ’64 and KevinTullius.

Pianist Misha Segal "75of Los Angeles signed on

as composer and musicdirector for the firstMonkees special "ALizard Sunning Itself on aRock." Misha ;also recentlymarried Joanne Markis.

Bassist Fred Stone "75 ofRochester, NY, receivedhis master’s degree in jazzhistory from EastmanSchool of Music and hasproduced recordings forBob DiBaudo Trio as wellas his own CD. He willpublish three bass booksnext yea~:

Vocalist Jerry Velona ’75of Boston, and his groupJV and the Varsity Band,(a.k.a. Boston’s HottestR&B Band) have beenplaying gigs .all over theBoston area

Guitarist .~;teve Eckels’77 of Las Cruces, NM, iscurrently an instructor ofguitar at New Mexico

State University in LasCruces, New Mexico. Heis the author of six guitarbooks published by MelBay Publishing, and is acolumnist for FingerstyleGuitar magazine.

Saxophonist BrianGephart ’77 of Evanston,IL, coleads the BrianGephart-Bob Long Quar-tet with pianist Bob Long’70. They recently releaseda CD Water Logic, featur-ing Gephart on tenor andsoprano saxes, Long onpiano, Ken Haebich onbass, Mark Ott on drums,and special guest, guitaristHenry Johnson.

Guitarist Jamie Glaser’77 of North Hills, CA,appears on Jean LucPonty’s album Live atChene Park, on AtlanticRecords.continued on page 29

Summer 1997 Berklee t o d a y 27

L,A= NEWSSRIEFSSome very special memories,

both from my days as a student andalso as a member of the WoodwindDepartment, were brought to mindon April 12 at the Joe Viola TributeConcert at the Berklee PerformanceCenter. This marvelous evening ofmusic and testimonials left a clearimpression of the inspiration andgoodwill that Joe has created over thepast 52 years.

One particularly memorablemoment, among numerous excellentperformances, came from JohnLaPorta, who composed a wonderfulclarinet blues especially for this event.Former students of Joe especially willunderstand when I say that I feel veryfortunate to have studied with such aremarkable teacher.

Another successful alumni seminarwas held recently at the Todd-AOStudios in Hollywood. The sessionwas entitled "Making the Cut," andthe topic was postproduction sound.Sound editor David Van Slyke ’8:~served as moderator, and the pan-elists were recording mixer Hm0Ponsdomenech "83, music editorStephen Lotwis "83, recordist andmixer Ethan Chase "85, and foley edi-tor Tammy Fearing "92.

The discussion focused on careeropportunities in this field, the differentcareer specialties and perspectives ofeach panelist, and issues involved in

qualifying for the union. The sound-stage setting at Todd-AO was perfectfor this event and the audience feed-back was very positive. For those whowere unable to attend, video copies areavailable through this office.

On March 22rid, the 44th AnnualGolden Reel Awards, recognizingexcellence in sound editing, wereannounced. Among the nomineeswere David Bondelevitch "85, ChrisBrooks ’80, Tammy Fearing, Davidl VanSlyke, Curtis Ronsh ’80, MarryWeresld ’74, and Scott Gershin ’84.Congratulations to Scott for winningin the Sound Editing for an AnimatedFeature category for his work on TheHunchback of Notre Dame.

The recent Grammy Awards nom-inations also featured an impressiveroster of Berklee alumni, includingTracy Bonham ’88, Reed Verte~ney ’80,Vinnie Colaiuta "75, Bob James "58,Harvey Mason ’68, Mike Stern ’75, JoeZawinul "59, Gi~lian Welch "82, and ArifMardin ’61. Grammy winners includedAlan Broadbent ’69 and Quincy Jones’51. It seems there is rarely a musicindustry awards event without a sig-nificant Berklee presence.

In a remarkable showing thatspeaks volumes about the college’s filmscoring program, last year’s majorEmmy Awards for television musicboth went to Berklee alumni ErnestTroost "78 and Hummie Mann "76. It will

"Making the Cut" panelists (from the left): Elmo Ponsdomenech "83, TammyFearing ’92, David Van Slyke ’82, Stephen Lotwis ’83, and Ethan Chase ’85.

be interesting to watch for this year’snominees.

As for alumni in the news . . .Roger Belion ’75 composed and con-ducted the original score to therecent CBS miniseries The Last Don.Working in collaboration withAngelo Badalamenti, who composedthe theme music, Roger composedand orchestrated almost 130 minutesof music for this six-hour saga, all intwo weeks! Curt Sobel ’78 served asmusic consultant and composed fourcues with Gary Shreiner "79 for the fea-ture film Donnie Brasco. Curt wasalso music producer and orchestratorfor the film Blood and Wine, starringJack Nicholson. He is currently scor-ing the new Island Pictures featureBody Count. Alan Silvestri "69 is thecomposer for the current 20thCentury Fox hit Volcano. NicholasPike ’77 scored the ABC remake ofStephen King’s The Shining. HummieMann scored the HBO movie TheSecond Civil War. Steve Marston "76composed the main title and under-score for "Action Man," a 26-showsyndicated series. He has also scoredepisodes of the A&E series "AncientMysteries" and "The Puzzle Club"for the Family Channel, and pennedmain title music for Ultra Force andSiegfried and Roy: The Legend ofSarmoti for Fox. Tony DiMito ’87served as the music editor on theSamuel Jackson film Eve’s Bayou.Branford Marsalis ’80 is currentlycomposing for the CBS sitcom"Temporarily Yours." Frank Macchia"80 co-composed the music for theCBS show "Cold Case" and is collab-orating with composer Van DykeParks on Oliver Twist for Disney. JanStevens "81 continues to have successwith Mattel, having completed themusic for his seventh commercial fortheir Hot Wheels products. RhinoRecords has released Songs in the Keyof Springfield, a collection of cutsfrom "The Simpsons" televisionseries. The disc features 51 quick cutsand melodies by the series composerAIf Clausen ’66.

That’s it for now. Stay in touch.

Peter Gordon "78, director,Berklee Center in Los Angeles

28 Berklee t 0 d a y Summer 1997

Guitarist Malcolm Granger ’77 ofSouth Yarmouth, MA, recently playedat Cambridge’s Regattabar with theJane Gang, a seven-piece westernswing group.

Guitarist Peter Hume ’78 ofNorthridge, CA, has been the musicaldirector for singer Melissa Manchesterfor 14 years. Over the holidays, Peterworked with composer Craig Saranon a feature film called Stinkers. Heplayed guitar and assisted with theorchestration.

Bassist Ed Friedland "79 of Tucson,AZ, published his third book, JazzBass, for Hal Leonard Publishing. Hisfourth, Bass Improvisation, will be outnext year. Ed is a contributing editorfor Bass Player magazine and writes amonthly column.

Drummer Osami Mizuno ’79 ofTokyo recently opened the AlanDawson Drum School in Tokyo inhonor of the late great drum teacher.Osami also operates ShootingstarStudio.

Saxophonist Michael Sirkin "79 ofNorth Hollywood, CA, and the hard-core rock band Bottom 12 will tourEurope in August. Michael can also beheard playing sax on the theme songfor the "Jenny McCarthy Show."

Pianist Larry Holiday "80 ofCovington, KY, is currently playingwith Cincinnati-based jazz group theLast Boppers. Larry also hosts a pro-gram titled "Jazzbeat" for Cable ofNorthern Kentucky. The show spot-lights local and national jazz artists.

Floyd Knight Jr. ’80 of Olathe, KS,has completed his first year as anaccount representative at Waddell and

Guitarist John Durant "83 releasedSilent Extinction Beyond the Zero withhelp from Tony Levin and David Torn.

Summer 1997

Reed. He currently services more than130 accounts.

Drummer Anthony Resta "80 ofWestford, MA, has been heavilyinvolved in the new Duran Duranrecord as part of the TV Mania pro-duction team. He serves as mixer, pro-grammer, and drummer.

Guitarist James Robo ’80 of VirginiaBeach, VA, is a U.S. Navy Chief PettyOfficer and a guitar instructor at theArmed Forces School of Music inVirginia Beach.

Drummer Bill Spoke ’80 ofHollywood, CA, is currently playingwith the jazz-rock band Puregroundand with a mainstream jazz group. Billplayed on Jerry Mundo’s record onMcC Records.

Pianist Carol Welsmao "80 ofToronto, Canada, released her debutCD Lucky to Be Me, and was named1996 Female Jazz Vocalist of the Yearby The Jazz Report magazine.

Trumpeter Dennis Keating ’81 andpianist Julie Keating ’81 of Parhump,NV, have been guest artists in the LasVegas area church scene. Julie hasplayed with Placido Domingo andCrystal Gayle. Dennis is music direc-tor at the Rosemary Clarke MiddleSchool. They recently formed JazzyJava and played on New Year’s Eve atCommon Grounds Gourmet Cafe.

Saxophonist Scott Robinson ’81 ofWest New York, NJ, is an artistendorser for Vandoren reeds andmouthpieces. He has also recordedand appeared with Anthony Braxton,Ruby Braff, and the Carnegie HallJazz Band.

Drummer Joseph Napolitano "82(a.k.a. Nap) of Norton, MA, releasedhis solo techno CD entitled Attentionon Spire Records.

Guitarist and faculty memberLauren Passarelli "82 of Boston, hasbeen engineering projects atWellspring Sound in Concord, MA,and coproducing the band Crave atPassaBrown Studios with CindyBrown ’83. Lauren was recently namedDebut Artist of the Month byAcoustic Research and Technology.

The Old St. Joseph’s Church choirin De Pere, WI, performed a piece thatguitarist Benjamin Smeall "82 of GreenBay, WI, composed and arranged forthe Easter mass. Benjamin was the fea-tured guitarist in the performance.

Pete Prown ’83

Guitarist Jon Durant ’83 ofCohasset, MA, has released a new CDSilent Extinction Beyond the Zero,with Tony Levin on stick and bass,and drummer Vinny Sabatino ’88.Fellow guitarist David Torn mixed thedisc which was released on Durant’sown Alchemy Records label.

Bassist Andreas Lonardoni ’83 ofBeriin, Germany, is recording andproducing the CD Bass Moods forEMI/Selected Sound. Lonardoni isalso touring with the AndreasLonardoni Group and writing andproducing music for radio and televi-sion programs.

Pianist Duncan Millar ’83 ofLondon has released an album in theU.K. on China Records, and has hadseveral tracks released in the U.S. onthe indie labels Moonshine andInstinct Records.

G-uitarist Pete Prown "83 ofWallingford, PA, just authored thetext Legends of Guitar: The EssentialReference of Rock’s GreatestGuitarists, published by Hal LeonardPublications. Pete is also editor-in-chief of Guitar Shop magazine.

Trumpeter Bryant Allard ’84 ofTigard, OR, is performing regularlywitlh his jazz quintet around thePortland area, and is working on hisfirst CD, which will be released in thefall. Bryant created his own companyM.U.S.E (Musical Understandingthrough Sound Education), whichoffers band programs in privateschools.

Bassist Andro Kotula ’84 of Ojai,

Berklee t o d a y 29

Guitarist Sergio Brandao ’84 released the CD Manga Rosa

CA, is currently comanagerof singer/songwriter KennyLoggins. Andro is alsorecording and performingwith his progressive electricfunk fusion group SpaceBones.

Pianist David Masher ’84of Rowley, MA, has beenextremely busy creating theanimation for the PBS chil-

dren’s series "Where inTime is Carmen Sandiego."In the show’s off-seasonDavid designs web pagesand CD--ROMs. With hiswife Jean, he created theMerriam-WebsterDictiona)7 for Children.

Guitarist ClaudioRagazzi ’84 of Belmont,MA, released his third CD

Sur, Exiles & Dreams. Hisband features bassist OscarStagnaro, pianist Dart0Eskenazi ’90, singer OlgaRoman ’90, drummer MartinRichards "85, percussionistPernell Saturino ’93, bassistLionel Girardeau "89, anddrummer FernandoMartinez.

Saxophonist JeffRobinson "84 of Arlington,MA, and his group the JeffRobinson Trio played JazzVespers at the UniversityLutheran Church inCambridge’s HarvardSquare in March. The ser-vice featm’ed AndyCormier on wampet.

Pianist Barl~/ Rocklin "84of Revere, MA, is the musi-cal director for TheOdyssey, a new musicalbeing presented in a concertversion at the BostonCenter for the Arts and fea-tures faculty guitaristJackson Schultz.

Bassist Tom Shad ’84 ofHoboken, NJ, has beenplaying Chapraan stick andpercussion in. off-Broadwayshow Blue Man Group,Tubes in New York since

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Sergio Brandao ’84 ofJamaica Plain, MA,released the CD BrazilianLandscapes with Hiroflonshuku ’90 (flute), AydinEsen ’84 (piano), SteveLangone ’93 (drums),Fernando Hueroo ’92 (bass),and Anders Bostrom "89(flute).

Pianist Eddie Horst ’85 ofAtlanta, GA, is composing,producing, and recordingmusic for TV and film. Hedid a CNN special called"The Presidents," and pro-mos for the TV show"Xena." Upcoming pro-jects include a feature filmshot in Atlanta and anorchestral medley of EltonJohn songs.

damshied Sharifi "85 ofNew York, released a CDin June entitled A Prayerfor the Soul of Layla whichfeatures Paula Cole ’90,Skuli Sverrisson "90, CyrilAtef "90, Hassan Hakmoun,and Pedro Aznar.

Composer Susan B0tti"86 of New York had heroperatic work Telaio:Desdemona for soprano,harp, piano, percussionand string quartet, per-formed at the New YorkSociety for Ethical Culturein May.

Drummer Daniel Cantor’86 of Watertown, MA,guitarist Stephen Mayone’87, and their bandHummer have performedat TT the Bear’s in Bostonand the club CBGB’s inNew York.

New York vocalistMichael Cataldo ’86, is thelead singer of Lives of aCell, a world beat/popgroup that has performedthroughout New York andToronto.

Pianist Christian Jacob"86 of Van iNuys, CA,released his debut CD enti-tled Maynard Ferguson

30 Berklee t 0 d a y Summer 1997

Pianist Christian Jacob ’86

Presents Christian Jacob onConcord Records.

Guitarist Rudy Linka "86of New York has a newCD on Enja Records titledAlways Double Czech Thedisc features Rudy on gui-tar, 6eorge Mraz "70 onbass, and Marvin "Smitty"Smith ’81 on drums.

Bassist Ed Broms ’87 ofJamaica Plain has beenplaying the music of WillieDixon at the CharlesPlayhouse in Boston.

Pianist Mark Cohen "87of Sherman Oaks, CA, is aproduction manager forfilms, and is producingthree films for his owncompany.

Pianist Jon Ernst ’87 ofLos Angeles can be seen as"Pianoboy" on MTV’s hitgame show "Single Out,"where contestants get theopportunity to choosetheir ideal mate from a stu-dio audience.

Pianist Satoko Fujii "87 ofNew York has releasedIndication, a solo pianoCD, and How Many?, aduo album with trumpeterNatsuki Tamura.

Bassist Terie Gewelt ’87of Oslo, Norway, plays ondrummer Billy Cobham’sCD Nordic, and on a newECM release with drum-mer Jon Christensen andpianist Mikael Alperin.

Pianist and vocalist Yuk0

Ueyama ’87 of Tokyoreleased her debut CDWoman in Love for theRubicon label.

Drummer Bobby Borg’88 of Los Angeles, is tour-ing with the hard rockband Warrant in support oftheir album Belly to Bellyon CMC/BMG Records.Warrant will be openingfor Alice Cooper mAugust and September.

Drummer Daniel Foote"88 of Weston, MA, is in theBoston Music Award-win-ning group Eye 2 Eye.They have released theirsecond CD, Chill andListen.

Keyboardist Rich Lamb’88 of Hoboken, NJ, is afreelance engineer, doingsound for Blue ManGroup, Tubes, and is co-producing Donya Lane’snew album.

Guitarist JosephLodespoto Jr. "88 of ValleyStream, NY, recentlyreceived a "Demo of theMonth" review in GuitarPlayer magazine, and was aguest columnist.

Drummer Robert Place’88 of Stoughton, MA, isdrummer for theAllstonians who releasedAllston Beat on MoonRecords NYC.

Saxophonist Christian Vuust "91, Eskimo singer/hunterKigutikaq Duneq, aad Tobias Sji~gren recorded Thule Spirit.

Country vocalist NolaRose Shepherd ’88 ofBrighton, MA, and herband Nola Rose and theThorns released their debutCD which is entitledThought I Heard an Angel.Playing in the band back-ing Nola are guitarist TomYates ’86, bassist PhilLipman ’86, and drummerScott Sherman "85.

Clarinetist Harry Skoler"88 of Haverhill, MA, andhis quartet released a trib-ute to Benn,y Goodmantitled Reflections on the Artof Swing. Skoler was on thecover of the April issue ofStrictly Jazz magazine.

Vic Della Pello "89 ofUnion, NJ, released

Clockwise: Phil Lipman ’86, Scott Sherman ’85, Tom Yates’86, and Nola Rose Shepherd ’88, a.k.a. Nola Rose and theThorns, released their debut country CD.

.Roomful of Songs, a liveCD with nine of his origi-nal tunes.

Pianist Kenny Lerum ’89of Fairview, NJ, and hiswife Ellen Cabaluna "90formed the publishingcompanies Colour’d Mu-sic, Inc. and Soul PurposeMusic. They have writtenfor theater, soundtracks,and several R&B and poprecordings.

Saxophonist SilvioMessana "89 of New Yorkhas collaborated on thescores for such featurefilms as Ransom, Ready toWear and Looking forRichard.

Bassist James Mobius"89 of Brookline, MA, hasreleased a CD of worldpop music with his bandNajarian, which performsaround Massachusetts.

Guitarist Frank M0bus’89 of Berlin, Germany, wasa coproducer and co-leaderon Carlos Bica’s albumAzul, released by Poly-Gram Records. He alsoplayed on a CD by theNed Irving Quintet 1996,and on the Ernst Bier-Mack Goldsbury QuartetCD At Night When YouGo to Sleep.

Drummer Tatsuya Osaki’89 of Astoria, NY, and hisNew York Fantasia Bandwere hailed by the New

Summer 1997 Berklee today 31

York Times for their "first-rate playing" in backingthe cast of the musicalPrimitive World.

Songwriter/guitaristAlan Powell ’89 ofNashville released Seeds, aCD featuring 10 of hisoriginal songs.

Keyboardist ScottSheriff "89 of Franklin, TN,has been touring withSteven Curtis Chapman asbandleader and key-boardist. Scott recentlyproduced a song on theGrammy-winning AndradCrouch Tribute recording.

Guitarist MorrisAcevedo "90 of SanFrancisco, CA, has starteda jazz guitar ensemble atU.C. Berkeley, and hasplayed on Emily Bezar’sCD Moon in Grenadine.

Guitarist Joy Basu "90 ofNorth Hollywood, CA,finished his self-titleddebut instrumental CDwhich was released byBandai Music in Japan.

Fawn Field Drake "90 ofHollywood, CA, appearsas calendar model for "OldHollywood Glamour,"and for 1998 calendarsentitled "After Five" and"Beautiful Women." She iswriting and performingsongs for a children’s cas-sette and book.

Tad Hilton ’90 of Clive,IA, launched Great PlainsRecording Studio two

Drummer Bobby Borg "88

32 Berklee t o d a y

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years ago and has justopened two subsidiaries,Great Plains Records andFeather-Rock Publishing.

Pianist Nick Ketter ’913 ofAtlanta, GA, completedediting and mixing "Willthe Circle Be Unbroken?,"a 26-part radio documen-tary for Public RadioInternational hosted byNational Public Radiocommentator VertamaeOrosvenor.

Bassist Chris Matheos ’90of Greensboro, NC, has anew bass instructionalbook entitled ReggaeGrooves For the ElectricBass which will be releasedthis summer by Mel BayPublications.

Drummer AndrewPayne "9g of Virginia Beach,VA, is drumming on the1997 "It’s All About God"tour with Christian record-ing artist iRebecca St. James.

Andrew also endorses interviews with JewishCappella drumsticks, holocaust survivors.

Drummer Hans Saxophonist ChristianSchumann ’9,13 of New 1/uust "91 of Norsgade,York, artistic director of Denmark, recorded a CD"JazzReach," debuted his which fuses traditionalperformance outreach pro- Greenlandic songs withgram for young people at pop, jazz, and classicalManhattan’s Merkin Hall influences. The disc, Thuleon April 3. Performing Spirit, features Polarwith Schumann were Eskimo singer Kigutikaqpianist/composer Larry Duneq and guitarist TobiasGoldings, saxophonist Sjagren, and was releasedMark Gross ’88, bassist on Virgin Records.Dwayne Burno ’91, and nar- Vocalist Grazynarator Vernice Miller. Auguscik ’92 of Chicago

Lynette Gittens ’91 of recently released her criti-Boston has been featured cally acclaimed debut CDas vocalist at concerts by titled Don’t Let Me Go.the Jazz Composers Guitarist Ken Barr ’92 ofAlliance Sax Quartet. Alpharetta, GA, played

Pianist Ittai Rosenbaumguitar on Nashville-based"91 of Mevaseret, Israel, has band Blu Greene’s newcompleted scoring a docu- CD. Ken is also workingmentary film called Live on another CD inWitness. The film is a Nashville withkeyboardistSteven Spielberg project Jeff Bruner.which utilizes videotaped continued on page 34

Summer 1997

For Guitar Player magazineAssistant Editor Andy Ellis ’71,returning to Berklee on assignmentafter a 26-year hiatus brought tomind memories and realizations."Coming back," he says, "I haveseen a lot of ghosts. I have seenmyself in the eyes of some of thestudents as they wander aroundoverwhelmed. But I have also seenthe excitement in the eyes of peo-ple who are learning their instru-ment and feel thrilled by a sense ofdiscovery."

At the college for a week inFebruary, Andy took privatelessons, participated in ensembles,and sat in on classes to gatherinformation for a special editionof his monthly "Sessions"instructional column. [The piecehe was writing will appear in theAugust issue of Guitar Player.] Alot has changed over the yearssince Andy walked the Berkleehallways as a teenager.

"When I was a Berklee student,I was going to see Hendrix, JanisJoplin, and the Who on weekends.Then on Monday, I would go tomy classes and try to reconcilethat with playing some prettysquare music in guitar ensembleswith people playing arch-top gui-tars. I left Berklee to go out andlearn how to write songs and howto approach a career, those thingsweren’t being taught. Now com-ing back 26 years later, I find thatall of the pieces of the puzzle I feltwere missing then are here now."

Upon leaving the school, Ellisand a friend who was a drummerwent to Germany and played in aband together for a few yearsbefore returning to the States. Afew years after that, during what heterms his "acoustic, singer/song-writer phase," he lived inNashville from 1979 to the mid1980s. He knocked around wait-ing to gain a toehold in the busi-ness. A real opportunity camewhen A-team session guitarist JonGoin recommended Ellis toBrown Bannister, who was pro-

RIGHT PLACE, WRITE TIME

ducing Amy Grant’s StraightAhead album.

"The producer was looking forsomething a little different," herecalls. "Jon recommended that hecall me to come in and playChapman Stick. On the song"Angels," there was a long solospot they wanted me to play in. Iplayed it and they liked it. Nextthing I know, the song wasreleased as the first single from therecord, and the album took off.

"By the time this happened, Ihad left Nashville for family rea-sons and was living in Eugene,Oregon. It was one of those bit-tersweet experiences. I had justmoved there, and was watching theGrammy Awards broadcast. Amy’ssong "Angels" was nominated forSong of the Year. She came out anddid the song with her group andshe had two guitar players in theband who had worked out mysolo. On top of that, she won aGrammy with the song! I was bothelated and totally bummed out. Ihad played on a song that won aGrammy, but I was far away fromthe industry and couldn’t reap thebenefits of that win professionally.I learned a lesson. If you are notright under people’s noses in theindustry, they don’t have the timeor in many cases, imagination to gofind you."

Philosophical rather than for-lorn as he looks back, Ellis relates,"It must have been the right thingfor me to be in Eugene becauseright after that I got my first jobwriting for a fledgling music mag-azine. They got me a Mac andstarted me out with a great salary. Iwas writing about MIDI stuff andcomputers and learned aboutmusic journalism on the job. Later,I began freelancing for Keyboardmagazine and eventually I wasoffered a full-time position there.Switching to Guitar Player maga-zine was just a walk down the hall[both titles are owned by MillerFreeman, Inc., and are under thesame roof in San Francisco]. So

Andy Ellis ’71: "You have to be hon-est with yourself about what it isthat you really do best."

had I not been in Eugene, I prob-ably would not be a journalisttoday.

"My favorite thing aboutwor!dng at Guitar Player is meet-ing a nonstop stream of reallyexcellent guitarists--all differenttype,,;. I get to spend quality, one-on-one time with players likeEric Johnson, John Lee Hooker,Stew’, Cropper, and others. I getpaid to talk with them and watchthem. play. Make no mistake, theydo not let :me in the door becauseof who I am, it is Guitar Playermagazine that gives me the clubcard. I am very respectful of thisprivilege, I know I won’t have itforever.

"Sometimes you have to behonest with yourself about whatyou really do best. I am better atthis than I was in my music career.We all have dreams about howmusic is going to work for us andwhat we will get out of it. On onehand, you need the drive, dedica-tion, and passion for music; on theother, you h~ve to be flexibleenough to let it show you whereyou belong. If you are too hard-headed, you won’t see the cluesthat are presented to you. If youare not open, you may miss agreat opportunity." ;~

Summer 1997 Berklee today 33

Seth Freeman ’92 of the rock band Little Johnproduced a CD to benefit the New England Homefor Little Wanderers. Kids at Heart is a compilationof acoustic pop tunes and ballads by 18 Bostonbands. Four of the groups on the disc featureBerklee alumni. The disc is released nationally onLittle John’s own Crane Mountain Records, withassistance from Artists Only Records. For moreinformation, you can visit the Little John web site:<cranemountain.com>.

Pianist Steven Bergman’92 of Somerville, MA, hadhis musical Jack the Ripper."The Whitechapel Musicalwrap up the sixth seasonfor the CentastagePerformance Group.

Flutist KimberlyTheodore "92 of LosAngeles is assistant pro-gram director at the classi-cal radio station KKGO-FM. Her programming isalso heard over sister sta-tions KKHI-FM in SanFrancisco and XBACH-AM in San Diego.

Bassist Jan Uwe keisse’92 of Hamburg, Germany,is electric bassist for theGerman production of LosMiserables, which openedin Duisburg.

Drummer Don Correu ’93of Kansas City, MO, is cur-rently playing with rockband Tezer who are playingthroughout the Midwestregion.

Bassist Marc Ensign "93of Fair Lawn, NJ, wrote aninstructional bass bookentitled Slappin’: AComplete Study of SlapTechniques for Bass pub-lished by Mel BayPublications. On theaccompanying CD, Ensignplays bass and Eric Panyan"93 plays drums.

Pianist Mika Pohjola "93of New York has releasedthe CD Myths & Beliefs,which features AssociateProfessor in the EnsembleDepartment Bruno Raberg

34 Berklee t o d a y

on acoustic bass, drummerRoberto Dani ’94, and gui-tarist Mick Goodrick ’67with Pohjola on piano.

Pianist Dong-Sung Kim"93 of K~vachun, Korea, hascomposed and arranged allthe songs with theUkrainian Kiev NationalSymphony Orchestra andKiev Radio Chorus for aCD for the KoreanHistorical Drama of KBS.

Guitarist DanielMoncada "93 of JamaicaPlain performed his origi-naI songs in Caracas,Venezuela, with his groupTeam Malin.

Pianist Naoko Sakurada"93 of ’Tokyo publishedPiano Play Book forYamaha Music Media, areference book for the peo-ple who study improvisingby piano.

Guitarist MichaelChlasciak ’94 of Bayonne,NJ, appeared in the March’97 Guitar Player maga-zine Spotlight column. Herecently finished a vocalrecord with Pain Museum.

Vocalist Mirugia de Cuba’94 of Oranjestad, Aruba,released her debut CDtitled 9 Months.

Pianist CorneliusKreusch "94 of New Yorktoured Europe this springwith his band Black MudSound :featuring bassistAnthony Cox and drum-mer Will Calhoun "86.

Pianist Scott Rouse "94of Burbank, CA, started

Image Music Productions,a music editing, program-ming, sound design, andCD mastering facility.

Drummer JohnBlackwell ’~5 of Columbia,SC, can be heard on themovie soundtrack LoveJones, playing on the tune"Hopeless" with DionneFarris. John played withthe group Cameo on"Sinbad’s Old FunkFestival" which aired onHBO.

Pianist Kasson Crooker"95 of AIlston, MA, is doingsound design and musicproduction for Papyrus, avideo game company.

Drummer Jon D0w~ing’95 of West Springfield,MA, has been busy con-ducting workshops at highschools and colleges inWestern Massachusetts.

Vocalist Ethan Eubanks’95 of Boston and his bandRedtime are playingaround New England.They have opened forCorey Clover; No Doubt,and Chucklehead.

Percussionist TakuHiran0 "95 of Santa Clarita,CA, plays with vocalistTevin Campbell. Berkleealumni in the band includemusical director and key-boardist Jimmy Varner ’85,keyboardist ~onn Wyatt ’84,vocalist Kevin Macklin ’87,and sound engineer ReggieLove ’86.

Vocalist Sonya Kolowrat"95 of SaIem, MA, has been

named publicity assistantat the Rykodisc 1abel.

Guitarist R. TonyMorales "95 of Hollywood,CA, has been writingmusic cues for the soapopera "Another World."Tony also participated inthe ASCAP/Fred KarlinFilm Scoring Workshop.

Bassist Steven Taylor ’95of Royal Oak, MI, hasjoined the alternative rockgroup Vudu Hippies,whose indie releaseTrampoline has gottengreat reviews.

Vocalist R0h Riles ’~8 ofNew York, released theCD Straight Down aCrooked Road and is play-ing around the northeastwith Andy Fox "97.

Guitarist Gregory Hogan’96 of Allston, MA, andRichard Durkee "96 startedthe record labelSignal2Noise Records.Their first release is a com-pilation called 2 MuchNoise in Boston.

Engineer Brett Blanden"96 of Boston recorded thesoundtrack for a CD-ROM titled Caminantes.The disc chronicles a1,500-mile trek acrossMexico. Alfredo Villela "98composed the music whichfeatures faculty memberTom Rhea playing EVI.The CD has gotten ravereviews in five computermagazines.

Saxophonist DavidRavasio ’96 of Imperia,Italy, released Boston Skies,a CD featuring six of hisjazz originals.

Clarinetist EnricoCerretti "~7 of Bostonreleased his first CD,Stargazer, backed by agroup of Berklee studentsincluding ChristopherCrocco and Theo Chou(guitars), Tony Castillo(keyboards), Sho Ichikawa(bass), and Joss Duque(percussion).

Summer 1997

FINAL CADENCESaxophonist and band-

leader Christ0s Pappas(a.k.a. Chris Powers) diedApril 11 at the University ofMassachusetts MedicalCenter in Worcester, MA.Pappas was leader of theChris Powers Orchestra,the house band at theCommodore Ballroom inLowell, for many years. Healso led the Eddy HowardOrchestra in recent years.He is survived by his broth-ers Harry and Menelaos.

John Artemieff "76 died athis home in Harvard, MA,on December 25, 1996. Aguitarist when he attendedBerklee, Artemieff ulti-mately received his master’sdegree in physical therapyfrom Boston University,and worked as a physical

therapist at EmersonHospital in Concord, MA.He is survived by his wifeSusan, his parents, and hissister Mary.

Arve Nilsen ’90 ofGrimstad, Norway, died onFebruary 26, 1997, after atraffic accident in SouthernNorway. Nilsen had justfinished a tour of the UnitedStates as percussionist withsinger Marit Ha:tta Overli.The group was featured onCNN and Fox-TV. Nilsenis survived by his wifeGrete, his parents, his sisterNina and brother Norvald.

We have also recentlylearned that freelance bassistCharlie LaChapelle ’61 ofBrookline, MA, and GabrielFI0res ’00 of Woord, Aruba,(formerly a member of theAlehembra House Band),have passed away.

....... 31finki~,g ofRe~,tt~rx~tng?

It’s easier than you might think.There is no itead,~ission processfor alumni. Just co~tact ~eturn~no Student

~eO Steele ~n th~ Office of the ~oistra~ at

~ ~ ~ o~ by f~: (~ 7) 247~27& ~e~r youto enroll f~ll-tim~ or h~v~ just a f~ c~editsle~ to oraduate, it only t~k~s ~ phon~ c~llto sta~ the process. ~etum to B~rkle~ and

~her~ ~s sL~ll tim~ to ~nrol[ for the Sommerand/or Fail ’97 semester.

Registration for Sumrner ’97: W~ay 22 - 23, 1997Classes begin May 27.

Registrattion fol’ Fall ’97: September 2 - 5, 1997Classes Ibegin September 8.

ALUM NOTES INFORMATION FORMI

Full 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 iDegree? ~1 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).

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

Summer 1997Berkiee t o d a y 35

CODA

Focusing on Abilities

Bob Mulvey

~l~nyone who has sought to master a musical instrumentor who has grappled with understanding and applying

music theory can imagine the increased challenges thesetasks present to music students with physical or learning dis-abilities. With role models like Stevie Wonder, ItzhakPerlman, George Shearing, and David Helfgott (the subjectof the recent film Shine), today’s young musicians focusingon abilities rather than disabilities are learning to understandand perform music in unique and individual ways.

Last year, Berklee graduated Tony DeBlois, a blind, autis-tic musical savant who, with creative academic accommoda-tions and teaching methods, completed all requirements fora diploma in piano performance. Tony’s success gainednational attention. There are currently over 60 other studentsenrolled at Berldee who are overcoming learning differencesto find success in their music education.

Since the passage of Section 504 of the FederalRehabilitation Act of 1973 and the Americans withDisabilities Act of 1990, all post-secondary institutions haveextended admissions opportunities to students of differinglearning styles. Increasing public sensitivity, teacher train-ing, and reasonable., changes in curricular requirements, stu-dents with disabilities such as blindness, dyslexia, autism,and attention deficit disorder (A.D.D.) are finding successin college programs nationwide. Over the last 10 years,Berklee has welcomed students with such challenges andhas made accommodations to meet their individual needswhile maintaining the integrity of the curriculum.

The education of these students is a col-laborative effort of college administrators,support staff and facul~ parents, and fel-low students. At the admission stage,applicants may volunteer informationidentifying them as students in possibleneed of academic or residential accommo-dations. Since students who are "otherwisequalified" cannot be rejected because oftheir disability, it is to the student’s advan-tage to self-identify early in the applicationprocess so that appropriate accommoda-tions can be arranged.

Bob Mulvey is a counselor and SpecialServices Coordinator for Berklee’sStudent Counseling Center.

Bob Mulvey: "It is a collaborativeeffort to successfully educatestudents with disabilities."

36 Berklee t o d a y

Stuart Berk, currently a dual major in guitar performanceand jazz composition, has experienced both attention andmemory deficits. With creative teaching methods from a vari-ety of departments and the use of Berklee’s academic supportservices, Berk is currently maintaining an A-minus averageand was recently awarded a Berklee AchievementScholarship. In meetings held twice monthly with otherlearning disabled students he has shared his experiences ofstruggling and succeeding in ear training. Berk co-leads themeetings with faculty member MiLch Haupers and me.

Research into the causes of learning disabilities has yield-ed differing views, but it is commonly agreed upon thatlearning differences are caused by dysfunctions in the partsof the nervous system affecting the learning process.Dyslexia, for example, is a language-based reading disabilitythat can severely limit language skills including vocabularyacquisition, understanding of grammar, and spelling. It canalso affect both comprehension and accuracy in readingmusic. A.D.D. can also limit the understanding of classroompresentations and written materials. Those diagnosed with itcan focus on assigned tasks only for a limited time beforetheir attention begins to drift. Although medication can helpthe condition, it has proven more useful at Berklee to havean informed and sensitive faculty and staff to help these stu-dents. Instituting accommodations--such as offering extraminutes on timed exams--greatly reduces the stress of test-ing for learning disabled students and affords them anopportunity to demonstrate their knowledge and ability.

Unique learning issues arise for blindstudents. Since much of the process inlearning music relies on the visual, sight-impaired students, Learning Center staff,faculty, and support personnel must becontinuously creative to adapt the curricu-lum for them. These students are offeredsubstitutions for required courses thatwould emphasize their learning differ-ences and miss their abilities.

Laws alone cannot create success forstudents with disabilities. Cooperativeefforts between faculty, staff, and studentsdetermined to rise above perceived limita-tions are needed. While there is room forfurther development, Berklee is well on itsway to handling those necessary efforts. N

Summer 1997

merits in Countless ar

par-

and staff

scholarship

by 77

Your support

improve-

p and financial aid

renovations

~:~ and materials

¯ facility maintenance

It is your continued commitment which

allows talented musicians the opportu~nity

to pursue their dreamS of 5ecoming]ea~l;:-

ers inthe music industry. On behalf of the

entire Berklee comm~ni~v;~many thanks

for your contrib~ion~

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