The New (High) School for Jazz and Contemporary Music

Recently, I had the great pleasure of sitting down to a conversation with Mr. Scott Grimaldi. Mr. Grimaldi is one of the two band directors responsible for the incredible reputation associated with the Princeton High School bands. Mr. Grimaldi and his colleague Mr. Joe Bongiovi have their hands on something very special, something one might even be able to describe as Princeton’s very own “mini jazz conservatory!” The Princeton High School band department is comprised but certainly not limited to 6 main groups, all centered on the performance, understanding, and celebration of Jazz, the great American art form.

Each performing group is audition based. Students as young as eighth grade begin testing their skills in sight reading, scales, prepared pieces, and of course past experience. Many students involved in the in-school programs will often participate in many extracurricular programs including private lessons, precollege programs, and intensive summer workshops. Students in the past have participated in workshops at The New School for Jazz and Contemporary Music and The Berklee College of Music, just to name a few. Besides your standard high school winter and spring concerts (as it was when I was in high school) the Princeton High School bands perform regularly for once a month fundraiser dances, world-renowned competitions, and some of the finest stages in the world, that’s right… even Carnegie Hall.

In recent years the top two bands at the school, the Studio Band and the Jazz Ensemble have taken top honors and received gold ratings at many competitions, including, the Berklee High School Jazz Festival (four years of consecutive first place wins), and New Jersey State Preliminaries.  This current year both the Studio Band and the Jazz Ensemble received gold ratings. A fun fact about the preliminaries, of the 50 bands that competed this year, 5 gold ratings were given. Of the 5 gold ratings, 2 of them were given to Princeton High School bands. The accomplishments of the band are not the only impressive thing about these young kids. The intelligence and skill that is being provided to these young jazz enthusiasts is also just as impressive.

The curriculum at Princeton’s very own miniature conservatory has some of the same courses and challenges as many top schools for higher education in jazz music. All of the bands rehearse 5 days a week, for the directors, 6 bands a day is one busy schedule!! The two top bands, Studio Band and Jazz Ensemble also rehearse for 3 extra hours on Wednesday nights. It is understood that Wednesday night rehearsals are also open to interested instrumental students currently in the Tiger and Nassau Bands at the high school and of course the instrumentalists in the two middle schools, Cranbury and John Witherspoon. With their busy schedules of classes and rehearsals, the Princeton bands are always looking to build their players’ musical and mental stamina. In order to build these musicians skills, all students are required to learn a wide range in repertoire (including classical transcriptions: for example, the Jazz Ensemble is working on a Bach invention in D Minor arranged for jazz band), scales, modes, chords, listening analysis, form, ear training, sight-reading, melodic and rhythmic dictation, improvisation, even musical current events. Not only are these students provided with logistics of musical technique but they are also provided with historical and stylistic understanding of every piece they perform. For more information about the program and for updated information about performances and events check out the school’s website, http://phs.princetonk12.org/Band/.

An Electronic Esthetic: Getting to Know You

From Gillian Hurst:

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I recently found an electronic music composer interviewee and I was fortunate enough to talk with Westminster Choir College’s own CORTLANDT MATTHEWS! Cortlandt is a Junior (now senior, technically) Sacred Music major at WCC. Over the past few years I have heard some of his music but this was a great opportunity to get inside the artist’s mind.

Q: How did you “get into” electronic music?

A: My folks somehow acquired this English CD of all this crazy dance anthems from the Second Summer of Love when I was like 5 and it was my favorite stuff for a long time. [example of Second Summer of Love track: Ebeneezer Goode by the Shamen http://www.youtube.com/watch?v=YFJdUJg4wOk]

Q: Who/what is your music inspired by?

A: The French House sound for sure like La Roache and Madeon, but I really like Grum, Miike Snow is good too, Nuvo Rich, Discovery

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Tools of the Trade: The Instruments of Folk

So after my last post about a concert featuring the Mountain Dulcimer, I got to thinking: How many more awesome/obscure folk instruments are there that I know nothing about?? So after a little research, I thought I’d introduce you to a few instruments you may not have heard of:

The Autoharp

As you can see, It’s basically a sting instrument and can be plucked or strummed. Wikipedia describes it as “not a harp at all, but a chorded zither.” What’s neat (and “auto”) about it is that that part at the bottom lets you select which chord to play, and then automatically mutes all of the strings not in the chord. Now that sounds like fun! The origins of the autoharp are unknown, but it was first patented in the United States by a man named Charles F. Zimmermann.

Concertina

I couldn’t resist including this one, it’s too adorable!! Basically, it’s exactly what it looks like, which is a tiny accordion. It differs in that each button usually only produces one note at a time, whereas the accordion tends to play in chords. There is an English version, which tends to be chromatic, and a German version, which tends to be diatonic.

Jaw Harp

This is an instrument you’ve likely heard, even if you didn’t know you were hearing it. It’s that “boingy” sound often heard in the rhythm section of folk bands. It’s one of the oldest known musical instruments and is used in folk music all over the world. It gets its name from the fact that it’s held in the mouth and then plucked with the fingers.

Pogo cello

Despite the name, this is actually a percussion instrument. It’s used in blues, bluegrass, other folk, and even rock bands. It’s kind of an individual, homemade thing, but it usually involves a broom handle, a spring, a cooking tin or tambourine, some wire to go across it, and whatever else you wanna throw on there. Then just bang it on the floor in time!

Washboard

It’s pretty obvious to me where this one came from. Someone told their kid to go do their laundry, and instead they decided to work on their musical talents. However, it can be played with a variety of exciting items, such as spoon handles, thimbles, whisks, bottle openers, or just your fingers.

Dobro

This is a specific form of resonator guitar, which is an acoustic guitar with a metal plate attached as a  resonator instead of a wooden sound board. It’s used in country, bluegrass, blues and even some modern electronic music. The name “Dobro” comes from a contraction of “Dopyera brothers,” the brothers who started the Dobro Manufacturing Company to mass-produce the instrument.

Washtub bass

An instrument to go with your washboard and pogo cello, the washtub bass is another homemade instrument. It involves (unsurprisingly) a washtub, a stick, and a string. You put them all together as picture above, and pluck it like a bass instrument. The washtub acts as a resonator for the plucked string. Also unsurprisingly, there are many variations on the washtub bass, such as the box bass, the barrel bass, the gas tank bass, and the tea chest bass. I’m actually not making that up:

Enjoy putting together your new and innovative combos!

A Feast of Jazz

As the summer heat begins to fade and schools and universities open their doors, Palmer Square transforms into the perfect open-air (free) concert hall. Each year, the New Jersey Jazz Society, Ed Polcer, and the Palmer Square Management host the Princeton JazzFeast. This past JazzFeast featured quite the impressive lineup. It took place on September 9^th, 2012. The event began at 12 o’clock with the Princeton Jazztet, which has notably performed at the Trenton2Nite Women in Jazz Festival as well as numerous “jazz-in-school” festivals. Following the University Jazztet was Alan Dale and the New Legacy Jazz Band.

Alan Dale and the New Legacy Jazz Band have been performing at the Princeton JazzFeast since 1992. With a dynamic range of repertoire ranging from classic jazz, swing and big band, to more grooving and Latin styles, the New Legacy Jazz Band is sure to appeal to a widely diverse audience.

Claudio Roditi, trumpet

Next in the line-up was the Claudio Roditi Group, featuring John Dukich (flugel horn and vocals), with Claudio Roditi (trumpet), Daniel Freiberg (piano), Itaiguara Brandoa (bass), Adriano Santos (drums), and Yasuno Katsuki (euphonium). This group was formed as a special collaboration. Claudio Roditi is a Brazillian Jazz trumpeter. He studied at Berklee School of Music where he began to take his strong Brazillian roots and combine them with other influences, for example Jazz trumpeters Clifford Brown and Lee Morgan. He has received two Grammy Award nominations:  first in 1995 for “Symphonic Bossa Nova” and in 2012 for “Brazillian X.”

The cover of Cahterine Russel’s 2010 album, Inside This Heart of Mine

Following the Claudio Roditi Group was renowned singer Catherine Russel. Catherine Russel appeared with Mark Shane (piano,) Matt Munisteri (guitar), Lee Hudson (bass), and Marion Felder (drums). “Catherine Russell is that rarest of entities–a genuine jazz and blues singer–who can sing virtually anything. Her voice is full blown femininity incarnate; a dusky, stalwart, and soulful instrument that radiates interpretive power yet remains touchingly vulnerable.” Catherine Russel this season will appear at the Bern International Jazz Festival in Switzerland, Dizzy’s Club at Jazz at Lincoln Center in Manhattan, the New Mexico Jazz Festival, and the Allen Room at Jazz at Lincoln Center, just to name a few. She has recorded four albums with the World Village Label: Cat (2006), Sentimental Streak (2008), Inside This Heart of Mine (2010), and most recently Strictly Romancin’ (2012).

The 2012 JazzFeast concluded with the New Harmony Rhythm Kings led by Brian Nalepka (bass), featuring Randy Sandke (trumpet), Jim Fryer (trombone), Peter Martinez (clarinet), John Gill (piano), and Kevin Dorn (drums). This outstanding combo of talented musicians is known for a wide range of jazz styles. Known commonly for their performance of popular American music from the 20’s, 30’s, and 40’s, this group was certainly a strong choice to end a memorable day of jazz entertainment.

The 22^nd year of the Princeton JazzFeast Festival of Jazz will occur at the end of this summer. This year’s line-up is yet to be released but I am almost positive with the credentials of the last concert’s performers, this coming concert will be one you won’t want to miss! Admission to the Princeton JazzFeast is free for all! Along with free admission local store and vendors set up shop providing great food and other products. The JazzFeast is an incredible day filled with great food and products from local vendors and of course great music!!

Composition in Education

WHERE do composers come from?

WHAT musical backgrounds do they have that allows them to create music so fluently?

And WHY am I not a composer?

Although it may seem presumptuous, I consider myself to be a relatively musical and creative person. Interpretive dance? You got it. Improvising on the drums? You can count on me. Composing?…. No. One thing I cannot do is compose. But why?

Ladies and gentlemen, in this awkward moment I would like to write a bit about myself and about why this topic is so important to me.

Most of you are aware that I am a student attending Westminster Choir College. What do I study? Music Education. I am going to be a music educator in (hopefully) a couple of years. That is why I am interested in choral music; because I hope to teach in a choral setting someday. In music education, we teach how to listen, to analyze, to react, and to perform to music. One thing that we tend to avoid is to teach how to create music. It suddenly hit me that in all my years in studying the art, I was never really given any opportunity to compose. Why? Like dancing, it is something we music educators tend to avoid teaching because we believe that we are “not good enough” to do so. Also, composition may require the use of music notation, a subject that music teachers need to address along with every other aspect of the intensely vast world of music. Composing music in itself is a very personal, complex, and long process. Thus, is it difficult to teach composition? Yes, if you are like me and have no idea how to do it. Should I avoid teaching it? Nope.

Then perhaps it is best to start learning now.

Now, I’m not saying that we need to teach our students how to write symphonies. But giving the students even the simplest opportunity to compose an original piece might be the most inspiring and fulfilling musical experience to the student who hadn’t been too keen on singing or playing in the school band.

How then, would a music educator teach composition in his/her classroom? There are a number of possible solutions I can think of. One, promote improvisation! Improvisation is creativity on the spot. It requires fast thinking and contributing to what’s going on in the music. Two, little by little does it. Start with the students making small alterations to a folk or a pop song they know. Have them change up the melody, the harmonies, and the rhythm a little. Have them use different instruments to make an arrangement of the piece. Then, perhaps use garageband to record each instrumental/vocal section and present to the class. Three, make it a class project! Have them compose a choral piece that could be sung at the end of the year to the graduating class. Start by having them write poems, studying the natural rhythm of the words, then putting a simple melody to it. Teach a bit of harmony (perhaps 3rds and 5ths to start) but then allow the student’s ears to guide them. You could even have a student conductor for the performance! As such, there are many possibilities we can explore as educators. Let the creativity start with us!

While writing and thinking about composers, I have watched and listened in awe as my schoolmates wove melody with rhythm and harmony to create incredible pieces of music. It is because of composers in the past that music still lives, breathes, and changes today, and it is because of composers today that music making is ensured in the future. I know that there are many things that the music teacher has no time to teach. But creating music should never be one of them.

Lack of Musical Theater Appreciation Today

As someone hoping to have a career as a singer and/or actress, I love musical theater. Perhaps I’m biased, but I believe this great form of entertainment makes the world a better place. However, that may be exactly the problem with it: musical theater tends to be one of those “like it or hate it” things. On one hand are those who adore it. These types are generally involved in performing it to some extent, whether professionally or as amateurs, and are often the most avid theater-goers. Yet on the other end of the spectrum, there are people who don’t know the difference between the Sound of Music and Mary Poppins. They have perhaps have seen one musical in their lives on a trip to a big city, but otherwise have no interest, and change the station whenever a show tune comes on the radio.

There are those who enjoy seeing shows (particularly in an area where they are most readily available, such as NYC), although they are not performers themselves. However, it is often harder to drag an uninterested person to a musical than to a sporting event, or even a classical music concert. Why is there such a divide in interest?

For starters, it may be that musical theater is rarely taken seriously as an art form. While classical music is viewed as more “cultured,” many find musical theater to be nothing more than tap-dancing, flashy costumes, and loud screaming. Yet it is still a story being told, and can be incredibly powerful. Why does film manage to touch people so deeply? Because it is very up- close and personal. Unlike the barrier that lack of understanding sometimes creates in classical music and other more-in-depth forms of art, acting is often easily understood. Live theater can be even more powerful than film. While musical theater adds new elements to the picture, it is still the same basic idea. The language is familiar, and the story is often deeply connected to what is going on in the world at the time. Musical theater has a long history of being involved with important events, which has managed to get its creators into trouble, but it nevertheless has continued. For example, early in musical theater history, Show Boat caused some unease when it addressed issues such as racism, divorce, and single parenting. At a time when much of the popular entertainment consisted of frivolous operettas without much content, this was a shock to society. Renowned collaborators Richard Rodgers and Oscar Hammerstein were also known for bringing into play the issues of the time, such as war (South Pacific and The Sound of Music), marital problems (Carousel), and racial intermixing (Flower Drum Song and The King and I). Perhaps these shows were so successful because audiences could relate to them so well.

Another possible reason for lack of interest in musical theater may be due to lack of available performances. New York City, home to Broadway and more or less the nation’s musical theater capital, naturally has a large number of regular theater-goers. When there are many great performances available, musical theater becomes an entertainment form that’s just as much fun as a ball game, or a movie. However, how can interest be increased in places without such great theaters? Perhaps that is our job as performers; not just to perform, but also to make musicals known to the public. In a place like Princeton, for example, there are many intelligent, cultured individuals who could appreciate musical theater if their interest was only piqued in the right way. Kelsey Theater, for example, does a fabulous job reaching out to its public with great advertising and different ticket deals. They also perform such a variety of different shows that there ends up being something for everyone. This can be a model for smaller groups or student groups. As a student of music myself, I have learned that creating an audience can be just as important as creating the performance.

A shortage of opportunities to perform music theater may also contribute to its sad underestimation. Even when great amateur or community groups exist in a given area, promoting interest is often the problem. Life is already busy, so why waste time performing in a musical? As I discussed in my previous blog, theater education is a valuable asset to anyone’s life. It teaches students important life skills, such as problem solving, teamwork, and overcoming shyness. These lessons can extend to adults as well. So once again, those of us who do perform or teach theater must take it upon ourselves to share its importance. Perhaps music theater will stop being viewed as a shelf-life career that only the crazy go for, and become something that can enrich all lives; either as a new hobby or just as a great form of entertainment.

David Massengill in Princeton

So after looking around for quite a while to find a folksy event in Princeton that didn’t involve contra dancing, I realized that I’d have to wait until The Princeton Folk Music Society’s next concert. They bring in great artists once a month to give a concert, such as Beppe Gambetta. Last month, on April 18th, it was David Massengill.

While I appreciate the guest stars, it seems to me that the members of the society should consider putting on a public concert that draws on the talents of its members, which are certainly not lacking! (As a disclaimer, it’s totally possible the society has done just that, in which case they might consider a little more advertising). Looking around the room when I arrived at the concert, I think the society could also consider some youth outreach. While the concert itself had an excellent turnout (Christ Church was quite full, which means there had to be at least 50 attendees) I could count on two fingers the number of people I could see under the age of 50 (though in all fairness, the room was pretty dark by the time I got there).

Unfortunately, one of those fingers was me, a 21-year-old college music student there primarily for a project (though the concert was quite enjoyable also.) The other youth in the room was a boy who looked to be about eleven or twelve and was glued to his DS game system for the duration of the concert. I was certainly the only one I could see who paid the student price that night (a very reasonable $10). Personally, I think the easy-listening, easy-singing nature of folk music would be an excellent addition to any of the local elementary or middle schools, and probably would interest many of the music students at Westminster or Princeton as well.

Anyways, as the only person under the age of 40 who was not dragged there against my will by my mother, I can say that I found I related surprisingly well to the performance. Mr. Massengill (a native of Tennessee who made his home on the folk scene of Greenwich Village in the ‘70s) was a charming and charismatic performer. He played a fascinating instrument that to the uninitiated looks a bit like a giant, skinny guitar flipped on its side, but what turns out to be the Mountain Dulcimer (also Appalachian Dulcimer). He also played a traditional acoustic guitar, and switched back and forth between the two instruments throughout the concert. He also sang, and most of what he performed were his own compositions, with a few others that the audience knew the words to (“The Great American Dream” for example). He had quite a few unique and interesting original pieces, and he ended with a lovely duet with a young boy.  He  introduced him as a singer in “a local boys’ choir,” which I took to mean the American Boy Choir, considering the excellent soprano technique he used.

Of course I mean no disrespect to the Princeton Folk Music Society. I’m sure they have all manner of outreach and marketing strategies that I wouldn’t know anything about, and they certainly have a dedicated following. I think that they have a wonderful organization and concert series. I also think it would appeal to an even more diverse audience than they already have, and it would be a shame not to share!

A Short Interview with Singer/Songwriter Hannah Larson by Nicole Fragala

Hannah Larson

Finding myself so captivated with the mindset of today’s singer/songwriters, I decided to pick the brain of one of Westminster’s finest. Ms. Hannah Larson took the time to sit down and answer the questions I had about being a self-sufficient artist and what it takes to write, book gigs and create a cd.

Fragala: As a singer/songwriter, what inspires you to write?

Larson: I am inspired by events that happen to me and the people around me. I’m always reflecting and people watching, and somehow it always translates back into my notebook and into a song. Sometimes I feel like I have to write something just to stay sane. One time I wrote a song during math class, another time at the park, another while I was getting gas for my car. Some songs come easier than others. I wrote “Run, Run Away” in 15 minutes. But, the song “Someone” took me over a year to finish. Overall, songwriting is how I communicate the best.

Fragala: Have you performed in Princeton? If so, where?

Larson: I’ve performed in Princeton quite a bit; mostly Small World Coffee on Witherspoon Street, Cafe Improv at the Paul Robeson Center, The Wilson House, Indie Music Night at the Griggstown Pavilion, The Lincoln Club, and Westminster (of course!).

Fragala: How did you begin getting live gigs? (Is there an audition process, a fee, open mic etc.)

Larson: Getting live gigs is mostly based on making connections. The first show I played in Philadelphia was at an open mic at World Cafe Live. I stood in line for an hour and a half just to sign up for a 15 minute slot. I played two of my best songs in front of about 100 people. From there, I received emails with other gig opportunities in Philly. It’s all about networking with other musicians and people in the business.

Fragala: What was it like creating an album?

Larson: Creating an album is an art form in and of itself. It is a BLAST! When I’m in the studio, I am like a kid in a candy store. It’s a long process and is quite different from performing. You have to be spot on when it comes to tempo, pitch, emotion, volume, etc. Listening is key. This is a crucial and critical process. But the best feeling comes when you listen back to a recording and you just KNOW that it’s right. That’s when I’ll listen to it over and over.

Fragala: Who are your inspirations for writing/performing?

Larson: My biggest inspiration is Coldplay for their ability to move an audience. They have so much stage presence and I would die to have that someday. They tell stories through their music and they write the most beautiful melodies and lyrics. Another inspiration is Regina Spektor. When she moved to America, she didn’t have a piano so she would pretend to play on table tops. She went around New York City asking to play her music at different bars. She wouldn’t stop until she made it.

To hear more of Hannah and her music, check out her facebook page at https://www.facebook.com/hannahlarsonmusic!