Jazz Ce Tex News - centraltexasjazz.org · CenTex Jazz News Fall 2013 Page 3 Calabria Foti and Bob...

The Newsletter of the Central Texas Jazz Society Fall 2013 Volume 6 Number 4

CenTex Jazz News Fall 2013 Page 1

TJO Plays Holman

(continued on Page 5)Tom Fairlie

Saxophone Trio Takes Scholarships

It will be 'the Holman and noth-ing but the man' this Saturday, as the Temple Jazz Orchestra plays

the music of arranger/composer Bill Holman, under the direction of Tom Fairlie. "A Tribute to Bill Hol-man" unfolds this Saturday, November

2, at 7:30 pm in the Mary Alice Marshall Performing Arts Center at Temple College.

Holman's works have been per-formed by the ensembles of Stan

Kenton, Gerry Mulligan, Bud-dy Rich, Maynard Ferguson and Count Basie among many others. (See article on page XX). TJO's draws on this rich legacy with a setlist that includes Kenton's clas-sic version of "Malagueña", "Peta-luma Lu" from Holman's Grammy-award winning CD "A View from the Side", and Holman's takes on

Savannah Durfee

A trio of saxophonists are the winners of this fall's CTJS jazz scholarships. Brent Colwell, CTJS Board Member and head of the CTJS scholarship committee, announced the recipients on October 16.

The scholarship winners are Shamel Jordan, Harker Heights High School; Savannah Durfee, Belton High School; and Dustin Averitt, Temple High School. Shamel and Savannah each received a full ($400) schol-arship, while Dustin received a half scholarship.

The scholarships fully or partially fund a total of 10 one-hour jazz-based lessons from an instructor chosen by the Central Texas Jazz Society. Lessons

began at the end of October. Savannah Durfee is a senior at Belton High School;

her band director is Frank Nelson. She is in her second year of playing saxophone in the Belton High School Jazz Ensemble. "Last year I played second

tenor, and this year I play baritone saxophone", she notes. "I was not moved down; I just enjoy the lustrous baritone sound. It is my favorite of all the saxophones."

Savannah would like to major in music education in college with the goal of becoming a band director. She would also like to play

jazz professionally.Dustin Averitt is a senior at Temple

High School. He is a member of the Temple High School Highlighters, under the direction of Brent Mathe-sen. He currently plays alto and so-prano saxophone with the ensemble, and has been studying with Colin Mason.

"Throughout the years, " Dustin said, "I have been incredibly blessed to have been in outstanding bands that have made it to prestigious fes-tivals and competitions, such as the Essentially Ellington festival and the Swing Central festival. Participating in these competitions has shown me how alive the jazz culture still is in

Ce TexewsJazzN

Dustin Averitt

(continued on Page 9)

Meet the Board…Larry Simonette

Dr. Benjamin IromJim Burns

Bill BerningThomas FairlieBrent ColwellGreg Bashara

David WildJohn R. Francis

PresidentVice PresidentSecretaryTreasurerArtistic DirectorBoard of DirectorsBoard of DirectorsBoard of DirectorsLegal Advisor(Attorney at Law)

Dr. Colin MasonEvan Klaras

Johnny Walker Tim Cates

Alex ParkerJon Fox

Byron SwannGary Smith

Board of DirectorsBoard of DirectorsBoard of DirectorsBoard of DirectorsBoard of DirectorsBoard of DirectorsBoard of DirectorsBoard of Directors

CenTex Jazz News is published quarterly by the Central Texas Jazz Society,

PO Box 643, Temple TX 76503-0643. President: Larry Simonette

Editor: David Wild

For more information:www.centraltexasjazz.org www.wildmusic-jazz.com

www.baylor.edu/baylorjazz/ www.templejc.edu/dept/Music/Jazz/jazz2012.htm


New Scholarship Dates Set for Spring

Brent Colwell

Brent Colwell, chairman of the CTJS Scholarship Committee, has announced new dates for acceptance of scholarship applications for Spring 2014. Materials will be accepted through Friday, December 6, 2013.

The early date is in-tended to allow schol-arships to be awarded by the beginning of the semester, en-abling the recipients to begin lessons as they resume their regular studies.

CTJS will of-fer two full ($400) scholarships and

three half ($200) scholarships. Full scholarships are awarded based on ability and financial need, while

half scholarships are based on ability. The scholar-ships fund applied jazz lessons for area students.

Applicants applying for a scholarship must be enrolled in their school band and jazz band (if appli-cable), at the time of application, and must maintain enrollment during the period of lessons. Home school students are exempt from this requirement, but will need to demonstrate a strong interest in performing jazz. Applicants must be in grade 7 – 12 during the Spring 2014 semester.

Students will receive a total of ten one-hour jazz-based lessons from an instructor chosen by the Central Texas Jazz Society. The lessons will begin in January 2014. All fees will be handled through the Temple College Academie Musique.

For further information and application materials, contact Brent Colwell, CTJS Scholarship Committee Chair at [email protected].

CTJS Jazz Party Details SetJazz aficionados--mark your calendars! The fourth

annual CTJS Jazz Party is just over the horizon!This year's guest artist is vocalist and violinist Cal-

abria Foti. The Los Angeles-based vocalist is an ac-tive performer on the West Coast, with two CDs to her name. She was featured at the 2013 Temple College Jazz Festival.

CTJS will once again sponsor two separate par-

ties. For Waco residents the party starts at 7:30 pm on Friday, February 7, at the Hilton Hotel Waco at 113 S. University Parks Drive. In Temple the music starts at 7:00 pm on Saturday, February 8, at the Hilton Gar-den Inn, 1749 Scott Boulevard (across from Scott & White Hospital).

Both parties will raise funds for the CTJS scholar-ship programs in Waco and Temple (respectively).


Calabria Foti and Bob McChesneyIn Conversation:

Calabria Foti and Bob McChesney

Vocalist/violinist Calabria Foti was the guest artist for the Temple College Jazz Festival's Vocal Jazz Night on Thursday April 4. She will be the guest artist at the CTJS Jazz Parties on February 7, 2014 (Waco) and February 8, 2014 (Temple). At the jazz festival she was backed by the Ben Irom Trio and joined by her husband, trombonist Bob McChesney (Bob was the guest artist with the Temple College Jazz Ensemble the following night). Following her performance, Calabria and Bob joined Ben, and Angie and Dave Wild, for refreshments and conversations. This is part two of excerpts from "the hang".

By David Wild Dave: Is it hard being married to another musician?Calabria: Hah. Ben: That's a good question.Calabria: I don't know any different. Plus there’s

the fact that both my parents are musicians.Bob: I think the risks would be higher, because you

can see what the positives are. You can share your feelings about a particular musical moment, “oh I was playing so good and the guy heard me.”. But the neg-ative is, “what did you take that gig for, the gig doesn't pay, you shouldn't be doing this”, or “I heard you miss that note.” So sometimes you're too close.

Dave: I guess it's just the personality. To me in one sense the advantage for the two of you is that you're an arranger, you like her voice, you can actually come up with things.

Bob: I can mess with it.Calabria: Sometimes it's too close, sometimes it's

“would you listen to my mouthpieces, I like this one but maybe it's too bright.”

Bob: But if you weren't a musician you might get that anyway.

Calabria: But I rely on him so much.***

Dave: Another good question to talk about, how do you teach? We've been through the improvisation thing for instruments, scales and all the rest, but what do you do for singers?

Ben: It's tough. I've taught improv classes for sing-ers and it's very tough to relate to them. They're not trained to sing scales and all.

Calabria: See, I grew up as an instrumentalist. I

sang and played bass on the dance band, but I knew how much time it took to play scales and play reper-toire, etudes and Paganini, so I was into that whole world. And then I had a friend, we were going to NYSMA, which is the New York State Music Asso-ciation competition. She played violin and also sang, but she said, “well I'm just going as a singer; I'm not going as a violinist.” I asked, “Do they make you play scales?” and she said, “no they don't”. And I thought, why? I'm 15, I'm thinking, they don't make the singers sing scales? It seems that the singers are generally the least trained people on the bandstand. So when I talk to students, I say, don't be the last person to know.

Ben: At the clinic today, you said, learn to read. I teach theory at TC and I teach ear training. And sing-ers, instrumentalists--everybody's learning to sightsing on solfedge [solfeggio] and we're singing in all keys.

Calabria: I never learned solfedge. Do re mi. I never learned it.

Ben: Right; I started with numbers; in California they taught numbers. So that's how I learned. And then when I got to UCLA for my masters they wanted me to learn solfedge. That's where I learned it.

Calabria: I had a class with a theory teacher, he sang solfedge, but I said, “is it OK if I just sing the notes?” He said yes of course.

Bob: Do singers not learn pentatonic, flat six scales, because they're lazy, or because they can't do it?

Calabria: No because they haven't been forced to do it.

Bob: Or they just aren't aware of it.

(continued on page 4)


Jazz Talk with Calabria and Bob...(continued from page 3)


Dave: Nobody tells them they need to do it.Bob: Even trom-

bone players miss out on what saxo-phone players play. Saxophone players are over there play-ing all this stuff, the trombones are still doing their warmup, and they miss it. Are singers the same sort of thing?

Calabria: I may be able to offer

something, because I've approached this whole vocal thing as an instrumentalist. I was always in the pit.

Dave: To me that's an advantage. Ben: I know, but it's backwards from how vocalists

approach it.Dave: In fact it's even better because you're on an in-

strument where pitch is crucial. On piano I don't have to worry about pitch--plunk and it's there.

Calabria: And that's what I tell my students. Both instrumentally and vocally you have an instrument on which you have to figure out where the pitch is--muscle memory and all of that stuff. But now as an "old lady" I'm studying with an opera singer, and it's all about technique. I've learned a lot. But in terms of repertoire it's all like (sings) .

Bob: Diatonic major scalesCalabria: Diatonic stuff. I told her, no let me

just bring my stuff and we'll work on my repertoire--because I'm recording a CD of Cole Porter songs for IPO, the record company that did James Moody's last record. So I'm bringing her my repertoire, which is infinitely more difficult than these little sonatinas and vocalese things that she would have anybody else do. She says, “You make me work hard.” But she knows all the stuff. But as a vocalist I think it's all about technique and not that much about repertoire.

Bob: It's about sound production. It's the same thing with trombone exercises. I studied with this guy and you're going(sings triads) but I change all them to be melodic minor scales. Because why should I play the major scale for 20 years in a row? I should be getting these other things under my fingers. I don't think they

do that to singers, they don't push them. The thing is, she's got a talented ear, and it's harder

for people who hear stuff to dive into the mathemati-cal way of playing. But the mathematical way of playing, the way I teach students, that's how you develop the ear. You’re not supposed to be thinking mathematics when you solo, but that's how you open up the ability to hear that and play it. Do you disagree with that? You're shaking your head.

Ben: Well, I'm shaking my head because, I'm just speaking personally, I always have an ear but I also was into the theory, I was into them both equally.

Bob: You can see what you're doing.Calabria: I think you need them both, I think you

need both sides.Dave: I don't even remember, because it's so far

back, but I was all ear. If I get into a situation, usually what takes over is my ear.

Ben: But I will admit that reading was [a challenge]. And you had admitted that earlier, that reading was a challenge for you.

Bob: Yeah I wasn't a great sight-reader, but I'm just thinking, if you're going to listen to something like a Woody Shaw solo or a Michael Brecker [solo]--“Oh yeah I heard him play it so now I'll just go play that when I go solo.” No, you have to go: “On a minor chord you substitute this chord and it shifts back and forth, and then you go (sings) and oh that's a wrong note, and I'm starting to get it. I'm getting it. You're working on it for two weeks, and OK now it's time for the next key. And now it's time to apply it to a song, so every time I play "Green Dolphin Street" I try to shove that thing in there, mechanically. Then a couple of years later, we're playing on the gig and stuff comes out.

Ben: Yeah, you don't think about it. Bob: I can't force it because it won't sound right. But


Bill Holman Viewed from the Side

Bill Holman

In jazz the performer is king; had the Peanuts char-acter Schroeder played jazz, the bust on his piano would have been a soloist like Art Tatum rather than a composer like Beethoven.

But composer/arrangers remain essential (if less heralded) in jazz and particularly in the big band tradition. And Bill Holman, whose works is featured in Saturday's Temple Jazz Orchestra concert, is an essential member of that elite group.

Born in Olive California in 1927, Holman took up clarinet and tenor saxophone in high school. He enrolled at Westlake College of Music in Los Angeles in 1948, studying composition privately with Russ Garcia and saxophone with Lloyd Reese. He started arranging professionally in 1949 (for Charlie Bar-net’s band), but his career took a major turn when he met band leader Stan Kenton through fellow arranger Gene Roland.

Holman’s first charts for the newly formed Stan Ken-ton Orchestra were not quite what Kenton wanted, and Holman was hired to play tenor saxophone in the band instead. After a year or so, however, he began writing for Kenton, who evidently liked his distinctive use of dissonance and counterpoint. His work for Kenton is showcased in the album Contemporary Concepts (1955), with six of its seven charts arranged by Hol-man. Although he left Kenton in 1956, he continued to contribute arrangements to the band well into the 1970s.

Although he performed with Shorty Rogers and others in the late 1950’s, by 1966 Holman had dropped the tenor saxophone to concentrate on composing and arranging. Starting in 1960 he contributed arrange-ments to Gerry Mulligan’s Concert Jazz Band, Woody Herman, Buddy Rich, Terry Gibbs, May-nard Ferguson and Count Basie. He also wrote mu-sic for television and arranged for Peggy Lee, Sarah

Vaughan, Natalie Cole, Tony Bennet, Carmen MacRae, Anita O’Day, and Mel Torme.

In 1975 Holman put together his own band for a performance in Los Angeles, and he kept the group together part-time as a way to hear the charts he was writing for other bands. Two of Holman’s three Grammy Awards are for his big band record-ings: Best Instrumental Composition for “A View from the Side” (1995) and Best Instrumental Ar-rangement of “Straight, No Chaser” (1997). His third Grammy was a 1987 award for Best Instrumental Ar-rangement of “Take the ‘A’ Train” for Doc Severinsen and the Tonight Show Orchestra. (To date Holman has received 14 Grammy nominations).

Since 1980 Holman has also been active in Europe, writing, conducting, and performing extended works for the WDR Symphony Orchestra in Cologne, Ger-many, and the Metropole Orchestra in the Netherlands. In 2000, the Bill Holman Collection of scores and memorabilia became part of the Smithsonian Institu-tion’s permanent collection in Washington, D.C. In 2006, he was inducted into the Rutgers Jazz Hall of Fame, and in 2008, he was doubly honored: a Golden Score Award from the American Society of Music Arrangers and Composers and a place in the American Society of Composers, Authors and Publishers Jazz Wall of Fame. In 2010 Holman was chosen as an NEA Jazz Master.

such jazz standards as "Donna Lee" and "St. Thomas".TJO will be joined by special guests the Temple High

School Highlighters, directed by Brent Mathesen. (Brent is a member of TJO as well). The Highlighters will perform a medly of works by Duke Ellington, the Thad Jones/Mel Lewis classic "Groove Merchant"

and Paul Baker's “Arnge Drank”. One of the High-lighter's featured soloists will be saxophonist Dustin Averitt, a fall CTJS scholarship winner.

Tickets for the concert are $10 for adults and $5 for students and are available in the Temple College Divi-sion of Fine Arts office, at Johnnie’s Cleaners and at the door.

(continued from Page 1)

TJO In Concert: “A Tribute to Bill Holman”


More with Bob and Calabria

if I just listened to Michael Brecker, or Woody Shaw played a lot of superimposed really fast pentatonics, I hear how cool it is but I don't know what it is. I know a guy who can hear that and play it, and [Calabria’s] like that too. She can hear all that stuff and kick back, relax, let her talent take over. But to me it's mechani-cal repetition that makes the body/mind thing work.

You have to repeat whatev-er you want to do, you have to do that 10,000 times before it's going to come out right.

Calabria: He works his butt off. You know, "come on, watch a movie"—no, no, I've got to do work. He's in there for three hours.

Bob: It's more entertain-ing for me to explore a scale than to watch some bad movie. I like movies, but…

Calabria: I used to be that way when I was in college, working on violin concertos. I never watched the movie 2001 Space Odyssey, my mother told me, you’ve got to watch this movie, I saw the monkeys beating the sand, but you know what--I've got concertos to practice. My mother is a great pianist, I said “Ma, I've got to practice.” I was so passionate about learning something else.

Dave: But I think you have to go through that at a certain phase if you want to get anywhere. You actu-ally have to spend hours in the practice room

Bob: People think it's torture but it's actually what you prefer to do...

* * *Bob: Can you tell me some personal stuff about

Coltrane that you've picked up? I talked to Freddie Hubbard on the phone a couple of times. He would say, “Bob come over I'll show you some of the stuff John Coltrane showed me on the changes.” I tried to hook it up but it never happened. What are these se-crets “John Coltrane showed me?” It was intriguing. Do you know any anecdotes?

Dave: There's a concert where Miles didn't show, it's out on video now, which was March 28 of 1960.

Bob: I want to see that.Dave: In Germany. It was the Jazz at the Philhar-

monic tour, so it was Coltrane and it was Getz, and they came out and played “Hackensack” together. And you think Coltrane's not into that kind of stuff.

Bob: No he covers a great range.Dave: Oh yeah, he can cover the thing, but you'd

think he'd have an attitude, “I'm Coltrane, I'm not go-ing to do that”--no, they were jamming along, him and Getz, they both got along really well.

Bob: I've been working on “Naima”.

Angie: That’s beautifulBob: I don't know what

it was like for you, but when I was younger it was just like, oh, crap, this is a ballad; let me fast forward to the hip stuff. But now that I hear what he wrote, it's just a few chords but it's just exactly the right stuff. How did he do that?

Dave: I’ve got a Coltrane overview lecture I do occasionally, with examples--and the earliest Coltrane stuff I've got recorded are solos from 1946, when he was 20 in the Navy Band in Hawaii. They went down to a radio station and they recorded eight tunes.

Calabria: That's amazing.Dave: He's playing alto saxophone with people

from the Army and Navy bands, and they're playing hard tunes, Bird tunes, "Hot House". I play this for students--and when Coltrane gets to the bridge he goes wrong. This is Coltrane. It's like hey, he had to start somewhere, and he really had to work his butt off to get to where you hear him now. His ear had to be developed because he wasn't playing the right changes at that point.

Bob: Come on.Dave: Yeah, of course, but people don't think that,

they think it’s innate talent, it’s always been there.Ben: The “Giant Steps” solo always creates some

(continued from page 4)




argument in class as to whether it's a good solo or a bad solo...

Bob: What?Ben: because if you take a look at it and you see all

the repetition that's going on, but a lot of it is broken triads,

Bob: Chord arpeggiosBen: --but it's extremely fast and the harmonic

rhythm is really fast. Dave: And it's not a diatonic rhythm.Bob: Bad solo?Ben: Well, it's contrived; he worked this out way

ahead of time. Bob: All jazz is worked out

ahead.Ben: And then you put

Tommy Flanagan on there and try and get him to play it--he didn't get a chance to work this out for months.

Dave: Which is why when he gets about two choruses in, you can hear he's saying, "OK, now what?"

Ben: And what he played actually wasn't all that bad, it was kind of cool.

Dave: NoBen: Imagine sight reading that.Bob: Come on, they must have given it to him ahead

of time, no?Dave: The story I read was that he went by Col-

trane's house to go through it and thought it was a ballad.

Bob: Ok. Dave: And he shows up at the gig and it's like,

“Oh...”Calabria: That's hilarious.Ben: Like "Central Park West". But then you've got

Cedar Walton [alternate version] who doesn't take a solo.

Bob: You can blame him for not altering all the V chords on there. He's basically playing dominant ninths on the V chords, and now guys are tearing that stuff to shreds.

Ben: But you do get students who say it's a bad solo, but they're not seeing the whole picture obviously.

Dave: Vijay Iyer, the pianist, wrote an article about that. On one of the outtakes from one of the “Gi-ant Steps” recording session you can hear the guys talking. One of them, probably Coltrane, says, "I don't know if it's a good solo--Am I actually telling a story?" and someone else replies, "Just making the changes on that kind of a tune is telling a story". Just getting through the thing, that's a story in itself.

Calabria: Exactly.Ben: Playing the changes--that's another point that's

made in these arguments. It happened at UT when I was in improv analysis class. Yeah, exactly, it's play-ing changes but is it going somewhere.

Bob: Totally.Ben: Does it build? Bob: It doesn't have to.Ben: There's an argument

there.Calabria: Just getting

through it.Ben: It's subjective. It's

esthetic.Bob: It sounds very cool.

He's flying through the stuff. And he created it; it's a complete modern original creation. He probably got the idea from “[Have you met] Miss Jones” and it goes into the three--

Dave: it may go back further than that.Bob: Everything about it is great; I wish I wrote it.

It's unbelievable.Dave: And it's the bar.Bob: Come on, a saxophone. He must have played

piano.Dave: Yeah, he did. There's a bootleg from the

‘Showboat’ [Philadelphia] in '63, where he sits down and plays "After the Rain" on piano on the break. Not a whole lot of chops, but he's playing all the right changes. And that goes back to your singer thing. All those guys played piano; there are recordings of Miles playing piano.

Bob: If you're going to teach improv, they've got to be able to play the chords at the piano or some instru-ment other than their main instrument.

Calabria: You go to the piano and you go (sings), you work it out.

The Conversation Continues...



Bob: Gary Keller, he teaches at Miami, he's a saxophone player; he was at Fredonia when I was there. I'm a business major, I play pretty good, but I don't know anything. "Gary, what do I do?" "Go get Jerry Coker's Patterns for Jazz, go get the Parker stuff, play all the chords at the piano that you're trying to play, so you can see them and see what their rela-tionships are. Play through all the stuff mechanically, just training yourself over and over. And then learn a tune every week". And if you’ve got some kind of ear you'll be OK.

Dave: It will start making sense to you after a while.Bob: But singers are like--the big thrust of jazz im-

provisation for singers is, “Let yourself go. Let your heart come through.”

Calabria: Sing from your heart.Ben: You’re an instrumentalistBob: If I could do that I would definitely do it.

Meditate, and now I can play on “Giant Steps”...But it just takes thousands of repetitions, then it feels like a meditation after that. Doesn't it? Even though you're playing really technically on something, it becomes a floating effortlessness. The brain has all these little programs that are running without you thinking about them, they just run. If one singer just decided, that's what I'm going to do, it would blow everybody off the planet.

Calabria: I haven't had a jazz vocal program but I've had a lot of different kinds of choirs and instrumental programs, little kids and medium kids. But if I had a collegiate jazz program, I would absolutely make them learn like an instrumentalist.

***[Discussing performances]

Bob: For years I'm torn towards--you watch the heavy bands, like the band you're talking about [Miles Davis at Fillmore] or we went to see Michael Brecker a bunch of times. They come and they just play, right at you. And the guys that understand that, you're fly-ing, you can't believe it. And then there's the other thing that says, you've got to communicate with the audience, you've got to give them something they can sing back, you got to play (sings). So it's like, what the hell am I doing here? It's very confusing. I do feel like when I play I'm trying to play for the audience,

but does it have to be where it's a sing-a-long all the time?

Ben: give them a little bit. It's a balance. Dave: When I’m playing, I’m not dancing around

and smiling and grinning. The whole connection is from the brain down to the fingers--I can't remember to smile, I'm too busy.

Bob: When you try to solo--the construction of the whole thing is so that no matter how “out” it is, there's still a logic to it, where you're trying to communicate with the audience and yourself.

Ben: And the other guys on stage.Bob: And then the other thing is that the audience

also loves a drum solo or a high note and the real obvious melodic lick, that you know is a cheap shot at getting applause. So that is an unanswered question with artists. Are you going to paint a picture that you know they're going to bite into, or are you going to do something that stretches it. But it's not like you're ignoring your audience, you're just trying to twist it a little bit.

Dave: It's like you're having a conversation over here, and you want them to listen in, but you're not go-ing to dumb your conversation down.

Calabria: It's a fine line. There's got to be a point where you say, this is me. You're not selling shoes, you're doing art. At some point you have to say this is what I am and here's my show.

Dave: That’s a communications thing. If the audi-ence is listening to you even somewhat at that level, they'll hear and they'll get it.

Bob: And if it isn't the audience that's got it, it’s this force that says, “Somehow I know what's going on here.” You can't just play all the notes on the chords ; there has to be some sense to it.

Calabria: So I'm really looking forward to working with the kids tomorrow, because we're all in the same boat. That's why I love education because I feel this flow.

Angie: You like to share which is great.Dave: For me it's not even sharing, if you have to sit

down and figure out how to explain this to kids, you learn a lot.

Calabria: Yeah exactly, learning/ teaching/ learning; it’s all a balance.


Talking Jazz with Calabria and Bob


CTJS Awards Fall Scholarships

(continued from Page 1)

n November 2, ‘‘Temple Jazz Or-chestra’, “Mary Alice Marshall Per-forming Arts Center’, Temple College, Temple 7:30 pm n November 7, ‘Keith Fiala and

Grooveskool, featuring Bob Sundberg, Ben Irom and Norm Bergeron’. ‘Back-stage Theatre’, Temple College Performing Arts Building, Temple College, 12:30 pm

n November 8, ‘Dave Wild/Tim Cates’, ‘WiseGuys’, Westview Village, 579 North Valley Mills Road Waco, (254) 732-0582, 7:00 pmn November 8, ‘Kat Kaliski/Sarah Ann Phillips’, ‘No-

lan Creek Winery', 219 S East St, Belton, (254) 613-4475, 9:00 pmn November 9, ‘Greg Bashara/Evan Klaras/Bruce Car-

bonara’, ‘‘Valley Mills Vineyards’, 8532 Highway 6 North, Waco, (254) 848-4343, 8:00 pm n November 14, ‘Dave Wild Trio’’ Elite Cafe, 2132

South Valley Mills Drive, Waco, (254) 754-4941, 6:00 pmn November 15, ‘Kat Kaliski/Sarah Ann Phillips’, ‘No-

lan Creek Winery’, 219 S East St, Belton, (254) 613-4475, 9:00 pmn November 15, ‘Dave Wild/Tim Cates’, ‘Barnett’s

Pub’, 420 Franklin Ave. Waco (254) 714-1356, 7:00 pmn November 29, ‘‘Rob Holbert and Friends, with the

Rob Holbert Group, Greg Bashara/Evan Klaras Duo, Byron

Swann and SJQ Featuring Dave Wild, and others’. ‘Lee Lockwood Museum’, 2801 West Waco Dr, Waco, Waco, 214-914-8332, 7:00 pmn December 9, 'Waco Jazz Orches-

tra’, ‘Ball Performing Arts Center’, McLennan Community College, Waco

7:30 pmn December 21, ‘Dave Wild Trio’’Charlie Brown Christ-

mas Jazz’, ‘‘Valley Mills Vineyards’, 8532 Highway 6 North, Waco, (254) 848-4343, 8:00 pm

America and around the world, and has furthered my education and desire to learn."

Shamel Jordan is a junior at Harker Heights High School, playing saxophone in the Jazz Ensemble under the direction of Chris Amsler. He began playing jazz in middle school in Elkhart Indiana, and continued while a student at Leilehua High School in Wahiawa Hawai'i. He has not yet had the opportunity to study jazz privately and "plans to achieve my goal of becom-ing a professional with the knowledge and skill that I will obtain [from this full scholarship]."

JEN Swings Into DallasThe Jazz Education Network's fifth annual confer-

ence will be held in Dallas January 8 - 11, 2014. The conference unfolds at the Hyatt Regency at Reunion, and features a wide range of performances and presen-tations.

Among those scheduled to perform are The Mintzer, Erskine, Clayton, & Stryker Quartet; Jeff Coffin & The Mu'tet; Caleb Chapman's Crescent Super Band with Randy Brecker & Ed Calle; Bass Ex-tremes featuring Victor Wooten & Steve Bailey; the Jim Widner Big Band; Vertical Voices; Jovino San-tos Neto Quinteto; the University of North Texas One O'Clock Lab Band; California State Long Beach: Pacific Standard Time; the Brad Leali Jazz Orchestra; Houston High School for the Perform-ing Arts Jazz Combo I; and The New Collection.

The conference will also include educational clinics, industry exhibits, networking opportunities, and jam sessions. JEN will present scholarships and awards to students and directors who have been nominated by

their peers. Additionally, JEN will continue its tradi-tion of honoring LeJENds of Jazz Education at its Fundraiser Gala. This year's honorees are Dr. Paris Rutherford and Ed Soph. Percussionist Cándido Camero will also be honored.

JEN is dedicated to building the jazz arts community by advancing education, promoting performance, and developing new audiences. To see a full conference lineup and to register, visit JazzEdNet.org.

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