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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 it's so different than pop and has an emotional pull that other music does not have.
I was first exposed to jazz when I saw Dave Brubeck in 1974.
The first jazz record I bought was Bitches Brew by Miles Davis.