Coming back is a sentiment that seemed to be shared by students and faculty alike. And why wouldn't they? With a well-outfitted, extraordinarily well-organized music program based, as Martinelli referred, "on the needs of the jazz musician," the workshop was a rare opportunity for aspiring jazz musicians to eat, drink, sleep, breath and in any and all other ways live in a jazz bubble for two weeks.
Playing with world-class jazz musicians and peers, and being exposed to instruction that allowed them to move to the next level in their growth as jazz musiciansregardless of the level on which they currently residedit became clear that few (if any) contemporaries exist to match the Fondazione Siena Jazz. As the Summer Workshop celebrated the 43rd program in the Fondazione's 36 years, despite the changing landscape of the music industryand naysayers notwithstandingthe future of jazz, indeed, looks absolutely bright and secure.
I love jazz because next to my kids, it's the love of my life.
I was first exposed to jazz by Joe Rico from a tiny station in Niagara Falls in 1954 when I was 13.
The best show I ever attended was Maynard Ferguson who blew the roof off Massey Hall in the late 50s.
My advice to new listeners is to listen to everything you can and then listen again.