The 29th Annual IAJE Conference: A Jazz Merry-Go-Round

This article was first published on All About Jazz in February 2002.

As always, the annual Conference of the International Association for Jazz Education (IAJE for short) in January was an absolute blast and as always, there was far too much going on for any mere mortal to see, hear and experience in four swiftly passing days. But we did the best we could.

This year's 29th annual event was held January 9-12, 2002 at the Convention Center and adjacent Hyatt Regency Hotel in Long Beach, California, with evening and other large sessions at the nebulously connected Performing Arts Center. The weather was lovely, sunny and pleasant, and the facilities were more spacious and accessible than some we've experienced in the past (even though a number of sessions were still crowded beyond capacity, which can happen when more than 7,000 people are involved).

National Public Radio (NPR) had a broadcast booth at the Convention Center from which it sent live feeds to conference host station KLON-FM in Long Beach and WBGO-FM in Newark, NJ. NPR also produced a day-long Jazz symposium on Wednesday, January 9, with panels on topics of interest to Jazz professionals.

This year's theme, Uniting the Global Jazz Community, was reinforced by the presence of attendees from more than thirty countries and performing groups from Canada, Europe, Peru, Israel and even Kazakhstan (the Almaty Youth Ensemble, making its third appearance at an IAJE conference). In that same spirit, the European Jazz Festivals Organization (EJFO) presented its inaugural International Jazz Award and $20,000 honorarium to Austrian composer / keyboardist / bandleader Joe Zawinul. The ceremony was held during a special tribute concert by Germany's WDR Big Band directed by multiple Grammy award winner Vince Mendoza and featuring Weather Report alumni Peter Erskine, Alex Acuna and Victor Bailey with other guest artists who had played with Zawinul during his long career.

On Friday, January 11, the National Endowment for the Arts (NEA) bestowed its Jazz Masters Awards on tenor saxophonist / composer / arranger Frank Foster, bassist Percy Heath and pianist / composer McCoy Tyner. The awards, each of which includes a $20,000 grant, preceded evening performances by the Dave Brubeck Quartet and the Clayton-Hamilton Jazz Orchestra with special guest vocalist Dee Dee Bridgewater.

The IAJE President's Award, which honors individuals who have made an extraordinary impact on the goals and missions of the organization, was presented to Jazz / pop impresario Quincy Jones; the IAJE Hall of Fame Award, recognizing those whose musical contributions and dedication to Jazz Education have led to innovations in Jazz education worldwide, to pianist / composer Dave Brubeck; and the IAJE Humanitarian Award, established in 1982 to honor members whose love for teaching transcends the usual academic environment, to drummer Ed Thigpen.

As is the case every year, a number of outstanding young musicians were honored with Clifford Brown / Stan Getz Fellowships, co-sponsored by the IAJE and the National Foundation for the Advancement of the Arts and funded by the Herb Alpert Jazz Endowment. This year's recipients were trumpeter William Artope Jr. (Evanston, IL), guitarist Brian Green (North Hollywood, CA), pianist Gerald Clayton (Los Angeles, CA), bassist Andrew Peate (Bellevue, WA) and drummer Jason Nazary (Snellville, GA).

The popular Sisters in Jazz Collegiate Competition, sponsored by BET on Jazz and Jamey Aebersold Inc., returned with a performance by a quintet composed of alto saxophonists Tineke Postma (Conservatorium von Amsterdam) and Becky Noble (McGill University), pianist Daniela Schachter (Berklee College of Music), bassist Renee Marie Cruz (New School University) and drummer Alyssa Falk (Crane School of Music, SUNY Potsdam).

At Thursday's opening session (there was a concert Wednesday evening but that doesn't count), drummer John Hollenbeck accepted the Gil Evans Fellowship for his composition, "A Blessing," which was performed by the U.S. Air Force Band of the Rockies, the Falconaires, with Theo Bleckman as guest vocalist. The ASCAP / IAJE Commission, celebrating the 80th birthday of pianist / composer Dr. Billy Taylor (who was ill and unable to attend the conference), was given to Jovino Santos in the "established Jazz composer" category and to Jason Goldman in the "emerging Jazz composer" grouping. Neto's "Billyssimo" was performed by the Falconaires, Goldman's "Catch Me If You Can" by the Jason Goldman Nonet.

More than 150 Jazz artists and clinicians took part in a variety of performances and seminars including Brubeck; Gary Burton and Makoto Ozone; Diane Schuur; the Tiger Okoshi Quartet; Tower of Power; Greg Osby; Al DiMeola; the Billy Childs Chamber Sextet; Masters of Groove; the Winard Harper Sextet; Don Braden; the Steve Wilson Quartet; the Joey DeFrancesco Trio; JoAnn Brackeen; the Richie Cole Alto Madness Orchestra; Charlie Haden; Carmen Lundy; Ruben Alvarez; Poncho Sanchez; Marc Cary; the Shelly Berg / Frank Potenza Duo; The Either / Orchestra; Rodney Jones; the Pete Escovedo Band with Sheila E; Joe Chambers; Ann Collins; Alan Pasqua; Dave Carpenter; Gregg Field; Vic Mendoza; Bob Mintzer; Airto Moreira; Lewis Nash; Ed Neumeister; Ellen Rowe; Randy Sabien; Bob Sheppard; Bobby Shew; Tierney Sutton and Mike Tomaro. The conference offered a record number of concerts, seminars, showcases and exhibits.

Our main purpose, of course, was to see and hear as many big bands as we could, starting Wednesday evening with the University of North Texas Two O'Clock Band and guest drummer Steve Houghton presenting excerpts from their new Shelly Manne tribute album The Manne We Love: Gershwin Revisited, followed by one of the conference's unequivocal highlights, Gordon Goodwin's incendiary Big Phat Band blazing through a number of selections from their album Swingin' for the Fences and backing legendary saxophonist James Moody on Strayhorn's "'A' Train," Johnny Green's lovely standard "Body and Soul" (both on tenor) and a blistering rendition of "Cherokee" (with Moody simply awesome on flute). The other headliners were saxophonist Christine Jensen's Sextet (with sister Ingrid on trumpet) and trumpeter Russell Gunn's Ethnomusicology, but we didn't stay for them.

Thursday morning opened on another upbeat note (after breakfast at the Long Beach Cafe) with a performance by the splendid Jazz Ensemble from Long Beach Polytechnic High School directed by Chris Stevens. The young players acquitted themselves quite well, as did their guests, trombonist Bill Reichenbach (on his own composition, "I Got It Good and That Ain't Bad") and tenor saxophonist Tim Armacost ("Animated"). I thought Stevens was using only three trumpets until I realized that sophomore Derek Baldwin (hope I got the name right) is so small I couldn't see him above the music stand! He more than made up for it with a nifty flugel solo on a Tom Kubis chart that I believe is titled "Caught in the Heart." The ensemble closed with Neal Finn's "Worth the Effort," which our attending the performance certainly was.

At noon, we caught a session by the Hamilton Academy of Music from Los Angeles directed by Dan Taguchi with guest trumpeter Marvin Stamm who blew us away on three numbers, Bobby Shew's "Blue" and his own "Golden Pond" and "Lock and Load." Another highlight was the ensemble's take on the "Theme from Frasier, arranged by Gordon Goodwin. At one o'clock we were off to see the outstanding Cal State-Los Angeles Jazz Orchestra under Jeff Benedict's able baton. The topnotch program included Thad Jones' "Sticks," Jerry Dodgion's "Thank You," a Latin version of the standard "Tenderly," Pat Metheny's "Are We There Yet?" (arranged by Bob Curnow) and Bob Washut's "Guarabe."

The afternoon wasn't over yet. Before the exhibit hall opened at six o'clock we had time to see and hear the Cal State-Fullerton Jazz Ensemble directed by Chuck Tumlinson and the Thornton Jazz Orchestra from the University of Southern California presided over by Shelly Berg. The ensemble opened with "Stellar" and also played Cedar Walton's "Ojos de Rio," Ellington's "In a Mellow Tone" (arranged by Jazz Master Frank Foster) and Alan Blaylock's "Chiaroscuro." Guest pianist James Williams, a wonderful player, joined the ensemble on Ray Noble's "The Touch of Your Lips," Rick Margitza's "Widow's Walk" and Slide Hampton's "Slide's Derangement." The Thornton Orchestra was equally effective in a program that encompassed works by Quincy Jones, Thad Jones, Steve Campos, Vince Mendoza and Jason Goldman and enterprising solos by saxophonists Billy Kerr (Campos' "Iambica") and Daniel Silva and trombonist Karin Harris, among others. We tried to see Richie Cole's Alto Madness Orchestra but there was no room at the inn.

Schmoozing and strolling in the spacious exhibition hall cost us a chance to hear Germany's WDR Big Band but we had plenty of time to break for supper before going to the Terrace Theatre (in the Performing Arts Center) for a concert by the Bob Florence Big Band (we passed up an 8:30 appearance by saxophonist Don Braden and the Contemporary Standards Ensemble). I've been a fan of Bob Florence's since hearing his album Name Band 1959 that same year, and I've yet to say anything unkind or unflattering about him but I must report that I found this particular performance disappointing. Bob seems to have hit a compositional wall; he has fallen in love with a certain phrase (or riff, if you will) and apparently can't resist using it over and over again even when it is inappropriate or simply doesn't fit the arrangement. It wounds me to have to say that I find it repetitive and boring, but I have no choice. I hope this is a temporary lapse and that Bob will develop some fresher ideas for his next album, which should be released later this year. Even though I didn't much care for the charts, the band played marvelously, as always how could it do otherwise with such topnotch players as Ron Stout, Wayne Bergeron, Charlie Loper, Bob McChesney, Bob Efford, Don Shelton, Kim Richmond, Trey Henry and Florence himself in the lineup? Drummer Dick Weller was also impressive, as was the band's newest addition, guitarist Larry Koonse. And the lone ballad, Michel Legrand's "You Must Believe in Spring," was a lovely oasis in an otherwise arid excursion.

Later that evening we stopped by the Center Theatre to catch the U.S. Air Force Falconaires with guest vocalist Diane Schuur but left after three numbers "Deedles Is My Name," "Travelin' Light," "Besame Mucho." A little Schuur goes a long way.

Friday (and Saturday) morning began with one of our favorite sessions, "Instrumental New Music Reading," in which a hand-picked group of first-class musicians sight-reads new charts and leaves me in awe of their remarkable talents. I'm sure they make mistakes but none that I can hear. At eleven we were at the Convention Center ballroom to hear the Cal State-Northridge "A" Band under director Matt Harris. The band played a Latin tune by Swedish composer Lars Jansson, "The Prez" (nice solo by tenor Kelly Corbin) and a vocal, "Are We Dreaming" (didn't catch the singer's name) and was joined by guest bassist Gary Pratt and tenor Rob Lockart for Harris's "Reflections" and Dave Holland's "Razor's Edge." The ensemble wrapped it up with three more cordial numbers including "Xanadu," on which trombonist Dave Hickock shined.

After lunch it was back to business, this time to hear the Riverside Community College Jazz Ensemble 1 (Charlie Richard, director) in a program that included "Love for Sale," "The Brotherhood of Man," "You Go to My Head," "Victoria Avenue," "Downpour" and another composition by Gordon Goodwin, "A Few Good Men." The Cal State-Long Beach Studio One Ensemble was our choice at three o'clock (instead of the Either / Orchestra). Director Neal Finn's undergrads opened with "Giant Steps," slowed the tempo for a vocal version of "What Kind of Fool Am I?," then revved it up again for Frank Foster's "Blues in Hoss' Flat." Trumpeter Charlie Davis, who once played lead for taskmaster Buddy Rich, joined the band for "La Virgen de la Macarena" and "A Trumpeter's Prayer" ("I don't mean to bring back any unpleasant memories," Finn quipped, "but if you miss a note you're fired"). He didn't, and he wasn't. Alto saxophonist Eric Marienthal didn't miss any notes either as he let out all the stops on crackling versions of "Four Brothers," "Danny Boy" and "Artistry in Rhythm."

We had time for one more session before supper and chose to hear the Cuesta College Evening Jazz Ensemble with guest tenors Tom Scott and Chris Vadala. The CCEJE, directed by George Stone, was amply stocked with musicians who didn't resemble your garden variety college students, nor did they play like them. Some were graying, others balding, but they were in no way over the hill or fading. This was an electrifying band with a number of topnotch soloists including alto Dave Becker, tenor Scott Wright, guitarist Jameson Swanagon, pianist Bob Harway and drummer Jim Stromberg who sparked the ensemble's driving rhythm section (Swanagon, Harway, bassist Ken Hustad). Highlights included Tadd Dameron's "Our Delight" with crisp solos by Harway, Becker and Wright, Vadala's warm solo on Ellington's "In a Sentimental Mood," arranged by Mike Crotty, Scott's appearances on "I've Got You Under My Skin" and his own composition, "Back Burner," and the ensemble's finale, Don Menza's "Paddlin' Madeline."

Friday evening's star attractions were the Dave Brubeck Quartet, the Clayton-Hamilton Jazz Orchestra with guest vocalist Dee Dee Bridgewater, the Gary Burton / Makoto Ozone Duo, the Dave Ranelin Trombone Choir's tribute to J.J. Johnson and Dave Acuna and Justin Almario's TOLU. We skipped 'em all.

By Saturday morning we'd stopped taking notes so the rest is from our (impaired) memory. After the Instrumental New Music Reading Session, we bided our time until one o'clock, then strolled over to the Convention Center ballroom for a performance by Synthesis, the Brigham Young University Jazz Ensemble, directed by Ray Smith. The band opened well with Charles Mingus' "Moanin,'" then turned to Maria Schneider's "Allegresse," which is when we headed for the Terrace Theatre to catch the last few numbers by the Air Force Falconaires with guest pianist Frank Mantooth, who as it turns out is an alumnus. Can't recall what they played but it was good.

At three o'clock we were back in the ballroom for a Tribute to Chick Corea by the Fullerton College Jazz Band led by Dr. Gregory Woll with guest artists Bruce Babad (reeds), Jeff Hawley (bass) and Sean Billings (trumpet). The concert opened with "Electric City" and continued with the world premiere of the three-movement "Hymn of the Seventh Galaxy Trilogy" before moving on to "Blue Miles," "Got a Match" and the rollicking finale, "La Fiesta." Looking at the four o'clock program, we decided to squeeze into the Convention Center Promenade Room 103 (it was standing-room-only) to hear a performance by the AAJC Historically Black Colleges and Universities All-Star Jazz Ensemble. To me, this was the high point of a gahering that included many memorable moments, and one of the best ideas the IAJE (or whoever thought of it) has ever had. If they don't do it again next year they'll hear from at least one disgruntled big-band enthusiast; I can guarantee that. This band was smokin' from the get-go, and the soloists were superlative, especially trumpeter Sean Jones (a graduate student at Rutgers University) who electrified the audience with his enormous energy, awesome technique and rapid-fire Dizzy Gillespie / Clifford Brown-like phrasings. Jones was in a zone, and if there had been a Thelonious Monk Institute competition that afternoon he'd have won going away. As the concert wound down (no one wanted it to end), legendary composer / arranger / bandleader Gerald Wilson was escorted onstage to conduct the last numbers, and the octogenarian displayed more liveliness and enthusiasm than many a twenty-year-old as he briskly shepherded the ensemble through a trio of his compositions before accepting a well-earned standing ovation. My own hands didn't want to stop moving but at last they did, and as a bonus I was able to meet and shake hands with the great Frank Foster, which was icing on the cake.

The performance ran overtime but we were able to catch at least a part of trumpeter Bobby Shew's appearance with Bob Washut's splendid Jazz Band One from the University of Northern Iowa. Again the memory is faulty, but according to the program Bobby played on "Serengeti," "Elegy for Bud" and "Zec" while the ensemble performed "Hotel le Hot," "Now He Sings, Now He Sobs," "Utviklingssang" and "Days of Wine and Roses," the last with faculty member Chris Merz on soprano sax. For some reason known only to the powers-that-be, the IAJE Community College All-Star Big Band and a continuation of the North Texas University Two O'Clock Band / Steve Houghton Quintet's tribute to Shelly Manne were scheduled during that same hour, which meant we had to forgo those pleasures.

Later that evening (much later) we were at the Terrace Theatre for a concert by the WDR Big Band with guest drummer Peter Erskine, but frankly, there wasn't much happening there so we packed our suitcases, phoned Super Shuttle for a ride the next morning to LAX, and started making plans to reconvene next year in Toronto, Canada, for the IAJE's 30th conference and the first to be held outside the continental United States. In Long Beach the IAJE seemed to have its act together, as it usually does; now if I could only get them to replace that outdated space ad in Cadence magazine that continues to promote the 25th annual conference in January '98 in New York City...

That's all the news for now, big-band lovers. Until next time, keep swingin'!

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