RICHMOND MATTESON: EUPHONIUM INNOVATOR, TEACHER
AND PERFORMER, WITH THREE RECITALS OF
SELECTED WORKS BY FRESCOBALDI,
BACH, SAINT-SAENS, HUTCHINSON,
WHITE, AND OTHERS.
Marcus Dickman, Jr., B.M.E., M.M.
APPROVED:
V4
Major Professor
Committee mber
Committee ember
Dean of the College of Music
Dean of the Robert B. Toulouse Schoolof Graduate Studies
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007k.00/
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RICHMOND MATTESON: EUPHONIUM INNOVATOR,
TEACHER AND PERFORMER
DISSERTATION
Presented to the Graduate Council of the
University of North Texas in Partial
Fulfillment of the Requirements
For the Degree of
DOCTOR OF MUSICAL ARTS
By
Marcus Dickman, Jr., B.M.E., M.M.
Denton, Texas
August, 1997
Dickman, Marcus, Jr., Richmond Matteson: Euphonium
Innovator, Teacher and Performer, with Three Recitals of Selected
Works By Frescobaldi, Bach, Saint-Sa~ns, Hutchinson, White and
Others. Doctor of Musical Arts (Performance), August, 1997, 97 pp., 23
examples, 3 tables, 3 appendices, and bibliography.
An examination is conducted of the life, career and musical styles
of Richmond Matteson, an influential jazz euphonium and tuba
performer of the twentieth century. The study includes a brief history of
the euphonium's role in concert bands. A description of Matteson's
background as a musician and clinician including education,
influences and career changes will also be discussed. Analysis of
Matteson's improvisational style and a transcription from the recording
Dan's Blues is included. A formal analysis of Claude T. Smith's
Variations for Baritone is provided, as well as a brief biography of the
composer. Matteson's stylistic traits which Smith employed for the
composition of Variations for Baritone are illustrated. The conclusion
calls for further study of jazz styles by euphoniumists with more
frequent performances of Variations for Baritone. Appendices include
lists of Matteson's compositions and arrangements, a selected
discography and a list of clinics and performances from 1982-1992.
Tape recordings of all performances submitted as dissertation
requirements are on deposit in the University of North Texas Library.
iii
ACKNOWLEDGMENTS
I would like to recognize my colleagues, friends, teachers and family
who gave their expertise, encouragement and selfless dedication during the
completion of my terminal degree. Special thanks are given to: Donald
Little who has given freely of his time and musicianship, and for his kind
hospitality; Dr. Royce Lumpkin for his proofreading and helpful advice and
guidance; Eugene Corporon for serving on my DMA committee; Peggy
Heinkle-Wolfe who was extremely helpful in the theoretical portions of this
study; and Dr. Priscilla VanZandt for proofreading and giving invaluable
editorial suggestions. I would also like to thank Dr. William Prince, Barry
Greene, and Kevin Bales for their assistance in the reproduction of the
musical examples contained in this paper.
I would like to thank my parents, Marcus, Sr., and Janet Dickman,
for their encouragement and support through the long years of my college
education. To my wife Patrice, and children, Jacob and Corrine, I dedicate
this treatise. Their sacrifice throughout my studies are one of the main
reasons I was able to complete my degree.
A musical discussion without examples is unintelligible. I wish to
thank Mr. Frank Fendorf at Wingert-Jones Music, Inc. for giving me
permission to reproduce selected musical examples.
Last of all, a special note of gratitude to Michelle Matteson for
helping me to document the remarkable life and career of her husband.
iv
TABLE OF CONTENTS
Page
ACKNOW LEDGM ENTS .................................................................. iv
RECITAL PROGRAMS..........................................vii
LIST OF MUSICAL EXAMPLES ..................................................... xi
LIST O F TA BLES ............................................................................. xiii
Chapter
I. INTRODUCTION .......................................................... 1
II. A BRIEF HISTORY OF THE EUPHONIUM AND ITSROLE IN THE AMERICAN CONCERT BAND...................3
III. RICHMOND MATTESON: PERFORMER, EDUCATOR,IN N OVA TO R ............................................................... 10
IV. MATTESON'S CONTRIBUTION TO TUBA ANDEUPHONIUM PERFORMANCE........................................24
V. THE VARIATIONS FOR BARITONE BYCLAUDE T. SM ITH ..................................................... 40
VI. CONCLUSION AND SUMMARY...................................57
V
Appendices
A. MATTESON'S COMPOSITIONS AND ARRANGEMENTSFOR JAZZ ENSEMBLE AND SOLOIST, FOR BRASS BANDAND SOLOIST, FOR BRASS BAND ALONE, PUBLISHEDJAZZ ENSEMBLE COMPOSITIONS, AND TUBAJAZZCOMPOSITIONS AND ARRANGEMENTS......................61
B. SELECTED DISCOGRAPHY OFRICHMOND MATTESON..............................................68
C. MATTESON'S CLINICS AND CONCERTS 1982 - 1990..........70
BIBLIO G RA PH Y ............................................................................ 92
vi
Page
University of North Texas
presents
A Graduate Recital
MARC DICKMAN, euphoniumassisted by
Evelyn Barthold, piano
Monday, June 28, 1993 5:00 p.m. Concert Hall
PROGRAM
Concertino No. 1 in B' Major, Opus 7
Canzona IIfor Basso Solo..........
LeCygne.....................
.. . . .Julius Kiengelarr. Leonard Falcone
Girolamo Frescobaldi
. Camille Saint-Saensarr. Leonard Falcone
- pause -
Sonatina...........................
Barcarolle Et Chanson Bachique ........
Beautiful Colorado...................
.. Warner Hutchison
. .a ..Jules Semler-Collery
. . . . . .' . 0Joseph DeLuca
Presented in partial fulfillment of therequirements for the degree of
Doctor of Musical Arts
vii
University of North Texas
present
A Graduate Recital
MARC DICKMAN, euphonium, bass-tromboneaccompanied by
Evelyn Barthold, pianoassisted by
Larry Jones, trumpet - Bill Stowman, trumpetTom Brantley, trombone 9 Marcia Spence, horn * John Rider, tuba
Monday, June 12, 1995 5:00 pm Concert Hall
Lyric Suite ...................................... Donald H. WhiteAdagio cantabileAllegro guistoAndante sostenuto -Allegro energico
Allegro Maestoso per trombone basso e pianoforte ............. Jan Koetsier
Concert Variations for Euphonium and Piano ................... Jan BachVar. I CapriccioVar. II SicilianoVar. III RipresaVar. IV ScherzoVar. V RecitativoVar. VI CoroVar. VII Fuga
Concert a 6 in Bb from theViolin Concert in E Major, BWV1042 ............ Johann Sebastian Bach
Allegro arr. Ryohei NakagawaAdagioAllegro assai
Presented in partial fulfillment of therequirements for the degree of
Doctor of Musical Arts
viii
University of North Texas
presents
A Graduate Recital
MARC DICKMAN, euphoniumaccompanied by
Judi Rockey Bradetich, piano
Monday, July 1, 1996 6:30 pm Concert Hall
Fantasia..t.o..0...................................Gordon Jacob
Pi ce en Forme de Habafiera........................Maurice Ravel
Morceau De Concours...............................J. Ed. Barat
- pause -
Le Fleur gue tu n'avaisjet. ........................... Georges Bizet
Believe Me If All Those Endearing Young Charms............Simone Mantiaarr. David Werden
Presented in partial fulfillment of therequirements for the degree of
Doctor of Musical Arts
ix
University of North Texas
-u -7
presents
A Graduate Lecture Recital
MARC DICKMAN, euphoniumassisted by
Steven Harlos, piano * Mike McGuirk, bassRich Matschulat, drums
Monday, April 14, 1997 6:30 pm Recital Hall
RICHARD MATTESON: EUPHONIUM INNOVATOR,TEACHER AND PERFORMER WITH THREE
RECITALS OF SELECTED WORKS.BYFRESCOBALDI, BACH, SAINT-SAENS,
HUTCHINSON, AND WHITE
Dan's Blues ................. . Jack PetersenI (as performed by Rich Matteson on the albumEasy Street, Four Leaf Records, FLC 5051, 1980)
Variationsfor Baritone ......... ...... Claude T. Smith
Presented in partial fulfillment of therequirements for the degree of
Doctor of Musical Arts
x
LIST OF MUSICAL EXAMPLES
Example Page
1. Transcription of Richmond Matteson's solo euphoniumimprovisation on "Dan's Blues ".....................28
2. Broken third pattern m. 1........................................................31
2a. Sequential third pattern mm. 81-83. ......................................... 31
2b. Sequential third pattern, upper range mm. 67-68.......................31
3. Use of sequence, chordal outline mm. 4-6..................................32
4. Three-note ascending motive m. 17. ......................................... 32
4a. Reuse of three-note motive with rhythmic displacementm m . 36 - 38 ............................................................................ 33
4b. Third occurrence of three-note motive mm. 65-66.......................33
5. Usage of raised and lowered ninths m. 2...................................34
5a. Repeated blues motive mm. 22-26................................................34
6. Linear ideas with chromatic approach tones mm. 7-11...............35
7. Rhythmic displacement mm. 47-51. ......................................... 35
8. Bebop scale and extreme upper register mm. 52-56. ................... 36
9. Use of extreme upper register. Ascending line to Bb5m m . 77-80. ............................................................................... 36
10. Theme I, andante, Variations for Baritone mm. 9-19. ................ 45
10a. Theme II, allegro, Variations for Baritone, mm. 81-92...............45
11. Variations for Baritone. Entrance of soloist mm. 9-11................... 47
12. Continuation of Theme I and "Jazz Waltz" at RehearsalB m m . 12-22 .............................................................................. 48
xi
13. Theme II, allegro mm. 80-85...................................................50
14. Continuation of Theme II mm. 86-98........................................51
15. Cadenza mm. 63-64.................................................................53
16. Matteson's improvised cadenza from Variations forBaritone mm. 63-64............................................................54
17. Matteson's improvised solo from Variations forBaritone mm. 194-207................................................................56
Xii
LIST OF TABLES
Table Page1. Various names for euphonium/baritone........................................4
2. Chordal progression from Variations for Baritone..........................44
3. Formal Analysis of Variations for Baritone...................................46
xiii
CHAPTER I
INTRODUCTION
The purpose of this study is to demonstrate Richmond Matteson's
influence on euphonium playing styles and how he redefined the musical
potential of the euphonium through his career, his phenomenal
performance techniques, and his contributions to jazz education. The study
also analyzes the Variations for Baritone to demonstrate the techniques
designed by composer Claude T. Smith to showcase Matteson's remarkable
talent as a jazz euphonium performer. A historical perspective of the
euphonium is needed to show how unique Matteson's contributions are.
The euphonium's technical and musical possibilities, as displayed by
Richmond Matteson, prove that the euphonium can and should be utilized
in the areas of jazz and jazz improvisation. After all, the euphonium, like
any instrument, is limited only by the imaginations of the people who play
it.
The euphonium used in a jazz setting, either as a soloist or in an
ensemble, was virtually unheard of until it was pioneered by Richmond
Matteson. Matteson was one of the most active jazz clinicians and
performers in the United States and chose the euphonium as his primary
instrument. He helped increase the instrument's popularity, mainly
through his concert and clinic appearances with young musicians. In 1984
1
2
Matteson traveled to more than 16 states and conducted over 40 clinics and
performances while he was a full-time instructor of improvisation at the
University of North Texas. Matteson most frequently played jazz on the
euphonium, a band instrument that had had little contact with the
classical world and even less exposure as a jazz instrument. His
euphonium performance style has had an impact upon current euphonium
performers and has helped change the image of the instrument from one
with a limited range of performance possibilities to one capable of a wide
range of technique and expression, especially in the jazz idiom.
The Variations for Baritone was composed by Claude T. Smith in
1971. It is the only composition written expressly for euphonium and
concert band to utilize jazz improvisation by the soloist. In this work, Smith
produced a vehicle for Matteson's technique, range, and jazz improvisation
skills on the euphonium. The Variations for Baritone provides a unique
avenue of expression for contemporary euphonium soloists and audiences.
Matteson referred to himself as the only full-time jazz euphonium
soloist in the world. This title has yet to be achieved by anyone else. In
order to understand Matteson's innovations on the euphonium, a brief
history of the euphonium/baritone and its place in wind bands is necessary.
CHAPTER II
A BRIEF HISTORY OF THE EUPHONIUM AND ITS ROLE IN THE
AMERICAN CONCERT BAND
One of the first issues encountered when discussing and researching
the euphonium is the profusion of names for the instrument. In Musical
Wind Instruments, Adam Carse lists 17 names in the euphonium/baritone
category. In The Tuba Family, Clifford Bevan lists over 25 names. (A
partial listing can be found in Table 1.) These instruments are members of
the valved bugle family and are the same length (eight feet), pitched in Bb
and have approximately the same range. The differences among the
instruments are in the amount the tubing widens as it proceeds to the bell.
The euphonium is larger and more conical than a true baritone horn, with
the latter being more cylindrical. The euphonium's more conical bore
allows it to produce a mellow but projected sound.
The euphonium descended from the serpent and ophlicleide as a
tenor-voiced instrument with a cup mouthpiece. With the invention of
valves and rapid improvements made in the various designs, Wilhelm
Wieprecht and Johann Moritz of Germany built a tenor tuba soon after the
invention of their bass tuba in F in 1835.1
3
4
TABLE 1. Various names for euphonium/baritone.
UnitedStatesGreat Britain ItalyGermany France
Euphonium Euphonium Flicorno basso Baryton Saxhorn Basse
Bass Horn Bass Flugel Horn Eufonio Kleine Bass Bugle Basse
Baritone Bombardin_ Tuba tenore Tenorbass Clarion basse2
In 1843, F. Sommer of Weimar built a wider-bored instrument he
named the euphonion. Sommer is considered the father of the euphonium.
Not only did he build one of the first instruments, he was the first known
traveling virtuoso. He toured with the Louis Jullien orchestra from 1849 to
1851 and even tried to change the name of the euphonium to the
sommerphone.'
Aldolphe Sax of Paris, originally from Belgium, patented a complete
family of valved bugle horns in 1843. This action resulted in lawsuits by
Wieprecht, Halary (ophicleide maker) and others to block the patent.
(Wieprecht later abandoned his lawsuit, but others did not.) Sax would
spend great amounts of time and money fighting other instrument makers
over his patents for various instrument designs. Wieprecht felt that Sax
had merely made improvements to his already existing instruments. The
instruments were similar to Wieprecht's horns, but Sax's innovation was
that they had never been manufactured or conceived as a whole family.'
The naming of "saxhorn" for these instruments is attributed to the
Distin family of Great Britain. When they were touring Europe as a brass
ensemble in 1844, they were presented a set of Sax's instruments. The
5
Distin family was so impressed with these instruments they began playing
the saxhorns exclusively. Distin would eventually set up an instrument
shop in Great Britain to sell the saxhorns and manufacture his own line of
instruments. The Distins were the primary creators of the British Brass
Band movement which, in turn, had influence on the American brass
bands.'
The euphonium and baritone have a well-known tradition in the
concert and brass bands; they are considered the most important solo
instruments after the solo cornet and the solo clarinet.' The
euphonium/baritone family is used sparingly in symphony orchestras but
have managed to be utilized in 17 orchestral works. 7 These include;
Ottorino Respighi's Pines of Rome; Gustav Mahler's Symphony No. 7; Leos
Jandicek's Sinfonietta; Gustav Holst's The Planets; Arnold Bax's Overture
to a Picturesque Comedy; Richard Strauss's Ein Heldenleben and Don
Quixote.
By the beginning of the twentieth century, the various instruments
from around Europe had merged into what we now know as the baritone
and euphonium. Even today, there is still some confusion as to what
instruments composers want for their works. Thanks to groups like the
Tubists Universal Brotherhood Association, performers, composers and
students are gaining a better understanding of the capabilities of the
euphonium.
Since its development in the 1840's the euphonium's primary use has
been in the wind band. During the late nineteenth century, municipal
6
brass bands were popular in the United States and remained so until they
were supplanted by the mixed reed and brass band first formed by Patrick
Gilmore in 1859.8 Gilmore, an Irish cornetist, came to Massachusetts in
the 1850's. His initial experience was as a band leader who served in a
Massachusetts regiment during the Civil War.9 After the war, he formed
the Gilmore Band. As one of the first professional bands, they performed
quadrilles, polkas, and popular medleys. They also performed
transcriptions of standard orchestral overtures, excerpts of works of the
masters from Wolfgang A. Mozart to Richard Wagner and many works for
virtuoso soloists. Gilmore set a standard for band programming that
influenced all followers. Other professional bands formed in the 1890's
included those of Victor Herbert and Edwin Franko Goldman. The most
widely known band leader following Gilmore's tradition was the greatest
popularizer of the band in the United States -- the "March King," John
Philip Sousa.'0
John Philip Sousa (1854-1932) is considered the greatest march
composer who ever lived. The time in which Sousa flourished, roughly
1880-1925, was the heyday of the band as a popular musical attraction and
the most prosperous era for the professional touring band."
Sousa had a remarkable talent for marketing his band and his own
compositions as popular entertainment." Sousa's programming closely
resembled that of Gilmore, including his frequent use of soloists. Some
soloists were singers, but most were Sousa's star instrumentalists: for
example, Arthur Pryor on trombone; Herbert L. Clarke and Frank Simon
7
on cornet; and John Perfetto and Simone Mantia on euphonium." As a
solo instrument, the euphonium appeared most frequently in wind bands of
the late-nineteenth century, and, except for the solo cornet and solo
clarinet, the euphonium was the most frequently programmed instrument
in that era. The euphonium offered great technical dexterity, a wide
dynamic range, a warm, expressive tone and sufficient projection to be
heard at a concert whether indoors or outdoors."
The theme and variations was a typical musical form for solos
during this period. The theme in such pieces was usually a slow popular
or operatic tune followed by several variations. Often these variations called
for extremely facile technique by the performers to showcase their
virtuosity. Then, as now, euphoniumists would regularly perform
compositions originally written for trombone or trumpet. Compositions by
euphoniumists Joseph DeLuca and Simone Mantia were virtually the same
as those by cornetist Arban or Clarke. During this era more attention was
given to flare and dazzle than to writing and performing serious music.
Musical substance was secondary to audience appeal."
By the 1920's the working professional bands were becoming less
popular. Also in the 1920's instrumental music programs with bands
began to appear in public schools and colleges. These programs attempted
to combine education with entertainment and to provide pre-professional
training for band directors. Nearly every high school in the nation had
some sort of instrumental program. Thousands of young men and women
were practicing and performing on wind instruments." Many of these
8
people would later become active in music as either listeners or, less
frequently, as performers. Matteson, the son of a band director, was part of
the growth of the American band movement in the 1940's.
9
NOTES
CHAPTER II
1. Clifford Bevan, The Tuba Family. (London: Faber andFaber, 1978), 90.
2. Ibid., 29.
3. Ibid., 92-93.
4. Wally Horwood, Aldophe Sax, His Life and Legacy. (Great Britain:Bramley Books, 1979), 75-76.
5. Bevan, 103-104.
6. Ibid., 94.
7. Roger Oyster and Abe Torchinsky, "Utilizing the Euphonium,"TUBA Journal X/I, 1981, 4.
8. Richard Franko Goldman, The Wind Band (Boston: Allyn and Bacon,Inc., 1961), 49.
9. Norman Lloyd, The Golden Encyclopedia of Music (New York:Golden Press, 1968), 47.
10. Goldman, 50.
11. Ibid., 74
12. Ibid., 71.
13. Ibid., 74.
14. David Royal Miles, An Annotated Bibliography of SelectedContemporary Euphonium Solo Literature by American Composers(Annandale, VA: TUBA Press, 1992), 1.
15. Ibid., 1.
16 Goldman, 95.
CHAPTER III
RICHMOND MATTESON: PERFORMER, EDUCATOR,
INNOVATOR
Richmond Matteson was born on January 12, 1929, in Forest Lake,
Minnesota. Matteson's musical education began early, perhaps because
both of his parents were high school music teachers. Matteson studied
piano from the ages of 3 to 18. And, although his father was a high school
band director, Matteson said, "My father was probably more interested in
my becoming a piano player than a brass player."' When Matteson
reached high school, his father chose the baritone horn for him because
that was the instrument he needed in his school band. 2
Matteson's early exposure to music was through the standard
orchestral repertoire of Beethoven, Mozart, Strauss, and Brahms. As a
result of performing with his father's band, Matteson also was familiar
with the traditional concert band repertoire and standard euphonium solos
such as Beautiful Colorado by Joseph DeLuca and The Carnival of Venice
by Joseph Baptiste Arban. These works require impressive technique and
good breath support, skills that served Matteson well throughout his
career.
The Matteson family's home in Ada, Minnesota, was about 60 miles
from Fargo, North Dakota, where dance bands often stopped to play at the
10
11
local fairgrounds on their way to the bigger cities. Matteson took advantage
of opportunities to listen to their music and said, "I would stand outside of
the pavilion and listen to the bands. Once in a while a really famous band
like Dorsey would come by and play there." 3 While in high school,
Matteson heard a recording of Tommy Dorsey's Boogie Woogie (an
arrangement of an earlier recording by Pinetop Smith) and became
interested in the popular jazz groups of the time. Matteson learned the
piano solo from Boogie Woogie and performed it frequently with his father's
bands.'
In 1946, Matteson's senior year in high school, his family moved to
Rock Island, Illinois. The move allowed Matteson to live at home while
attending Augustana College after his high school graduation. He
frequently listened to the various jazz bands which performed in Rock
Island's jazz clubs, including the young Louie Bellson's group.'
Matteson played his first professional engagements during his
senior year of high school. Matteson remembered:
We formed an unofficial high school jazz band. We'd meet afterschool and each of us contributed a few bucks and bought stockarrangements. The very first gig I ever played was a non-union gigwith this high school jazz band we put together. We played a dancefor the kids at the YMCA. We each got paid a little bit for doing that.6
Because Matteson wanted to work in the jazz idiom, he sold his
euphonium and bought a valve trombone and a bass trumpet. He knew that
the mellow timbre of the euphonium was generally not deemed suitable for
use in dance band trombone sections. Swing-era bands never used
12
euphonium and rarely used tuba. The use of a valve trombone, however,
was fairly common. The bass trumpet, with a timbre closely resembling
that of a trombone, was utilized somewhat less often than the valve
trombone." Matteson easily transferred his knowledge of valve fingerings to
these two instruments instead of having to learn the trombone slide
positions. Other contemporaries of Matteson who perform on valve
trombone are Bob Brookmeyer and Rob McConnell. All three of these
musicians are noted for their modern jazz playing and their arranging and
composition abilities.
Matteson attended Augustana College for two years studying to be a
minister. Matteson explained, "Augustana College had an incredible vocal
program. Their instrumental program back in 1947-1949 was not that
strong. I'm not saying it was bad, but it was not that strong. Because of my
interest in jazz, I didn't really fit in there." When he left Augustana, he
gave up plans on becoming a minister.'
Matteson enlisted in the Army in 1950. After basic training, he was
transferred to Colorado Springs, Colorado, where he played tuba in the
concert band and valve trombone in the jazz band.9
While in the Colorado band, he rehearsed daily with men he believed
to be superior musicians. Matteson also started writing and arranging for
the Army jazz band. At about that same time he discovered the music of
Oscar Peterson and Clifford Brown. Peterson is regarded as one of the most
technically proficient jazz piano performers in the Art Tatum tradition,
and Brown is acknowledged as one of the finest technical and melodic jazz
13
trumpet players. 10 One of the chief benefits that Matteson derived from his
stay in Colorado Springs was that he was inspired to accomplish a complete
mastery of his instruments.
After Matteson finished his Army service in 1952, he spent a short
time with a band on the road. He explained:
When the (Korean) war started to slow down, they started lettingguys out. I got out in May of'52. I was in a total of 21 months.When Dave Owens got out, I went to Detroit with him, and we formeda group. We went on the road and starved! When you're in theArmy, you're playing for guys at the Enlisted Men's Club, and you'vegot a captive audience. They've got no place to go and no money. Soyou sit there and play, and whether they clap or not, you've got a gig.When you go out on the road, you can't play with that samealoofness. If your attitude is, "We're only gonna play our tunes, andwe're only gonna play the heaviest bebop stuff, and the hell with anyof you folks out there," you might last two nights in a club. I soonrealized I had to go to school and learn more about this business."
Matteson, following his father's advice about a choice of colleges,
reminisced: "Although I was a grown man, my father was still a
dominant force; he insisted that I go to the University of Iowa because Bill
Gower was there. I studied tuba with Bill." 12 Matteson had to major in
tuba because the University did not offer a degree for baritone horn.
While attending college, he worked casual night club jobs at least two
nights a week. After he received his bachelor's degree in music education
in 1955, he taught high school band and chorus for two years in Durant,
Iowa. In 1957, he decided to try playing for a living and moved to Las
Vegas, Nevada. Matteson said:
The day I arrived in Las Vegas, I went to work playing bass trumpetwith a band. The band did Dixieland, straight ahead swing likeAirmail Special, and things like that. No bebop. By that time, I was
14
beginning to get a small reputation as a good improvisationalplayer."
The years working and living in Las Vegas were very important for
Matteson because, while there, he gained employment and ultimately
achieved national recognition. While working for Kay Kaiser's former
trumpeter and comedian Ish Kabibble in 1957, Matteson caught the
attention of Bob Scoby, a highly regarded traditional jazz cornet player. In
1958 Matteson became Scoby's bass player. His instrument was an antique
BBb helicon tuba which he had purchased from a music store in Rock
Island, Illinois. He developed a unique style of tuba playing that imitated
the sound and feel of a string bass (See Chapter IV).
On September 18, 1959, Matteson joined the Dukes of Dixieland, the
most popular and well-paid Dixieland band in the nation. They played six
or seven nights a week at nightclubs, appeared on television shows and
recorded regularly. Matteson remembered:
We went into New York and played a night club at night, then did theGary Moore Show during the day. The Dukes were hot. They weredoing all the best gigs, such as major jazz shows on TV, MadisonSquare Garden, the Thunderbird Hotel and the New Frontier Hotel inVegas. We worked opposite a lot of big stars like Ella Fitzgerald,Sarah Vaughn and Billy Eckstine. I got to meet many influentialpeople in the business."
One of the people he met was Louis Armstrong, with whom he
recorded the album Satchmo and the Dukes of Dixieland (1960). This
recording session had a great impact on Matteson's career. When
Matteson asked Armstrong how he could play with such emotion (as if an
audience was there) during a recording session, Louis replied, "Play for
15
someone you love." Matteson would use Armstrong's advice as one of the
cornerstones of his clinics in his later years. Matteson felt that students
playing for someone they loved, rather than playing for critics or juries,
would put the performers at ease and help them concentrate on the sheer
pleasure of music making.
After two years of traveling with the Dukes, Matteson led his own
groups in Las Vegas and arranged for other musicians, including Harry
James and Count Basie. Matteson said:
I formed my own group backing a girl singer and we also did ourown stuff. We went into the Stardust on Easter weekend 1961. Inever went out on the road with what you'd call a main group afterthat. I became what I call a "Nevada musician" because I workedprimarily Las Vegas, Reno, and Lake Tahoe. I also had a group withPete Barbutti and we worked the Nevada circuit."
In the late 1960's Matteson directed a band in Mexico City and
recorded for RCA de Mexico. By 1968, Matteson perceived a shift to rock
music in the Las Vegas entertainment industry." This reduced the
demand for jazz musicians and Matteson moved to Dallas, Texas, to work
for the Getzen Instrument Company as their low brass clinician. Matteson
said, "Every once in a while, in communication with some of my friends
still in Vegas, they would say, 'yea, you escaped.' But I was just lucky.""
He also helped design a valve trombone and euphonium for Getzen.18 Doc
Severinson was also engaged as a clinician by Getzen, and Matteson
benefited from extra work and opportunities because of Severinson's busy
schedule.
16
As a part of his job with Getzen, Matteson visited schools primarily
in Texas, Arkansas, Kansas and Louisiana. He would carry several
Getzen instruments for the students to examine and would lead clinics
with their bands. Matteson said, "About six weeks after I got into doing
clinics, I realized I'd found my niche. I loved it more than anything I ever
did."19
While living in Dallas, Matteson heard about the jazz program at the
University of North Texas in nearby Denton. He wanted to become involved
with jazz education. After meeting Leon Breeden, Director of Jazz Studies
and conductor of the One O'Clock Lab Band, Matteson was invited to visit
and play several times a year. He worked with the bands, performed and
wrote arrangements for the ensembles. Breeden remembered Matteson's
work:
Rich came by my office with some arrangements and asked if myband could read them. The students loved the charts, and Richvisited often. I invited Rich to perform at the 1971 Texas MusicEducators Conference in San Antonio with the One O'Clock LabBand. Rich told me that this performance helped advance his careeras a nationally recognized soloist and clinician.2
By the early 1970's, Matteson began to gain a national reputation as a
jazz performer and teacher. He was one of the main proponents of the jazz
education movement in the late 1960's and early 1970's. He also started
playing euphonium more often because he recognized that this instrument
could become his trademark.
In 1973, Matteson was hired by the University of North Texas as a
full-time instructor in the areas of jazz improvisation and jazz ensemble, a
17
position he held for 13 years. While there, he conducted the Three O'Clock
Lab Band, assisted with the One O'Clock Lab Band, and taught several
sections of jazz improvisation.
In addition to his performing abilities, Matteson was an
accomplished arranger who received his first writing experience in the
Army. Later he wrote extensively for the Hal Wiese Band. Matteson said:
It was a good band with very good musicians and Hal Wiese, God lovehim, would let me write anything I wanted for that band. Every oncein a while we would have a major rehearsal and read my newcharts. If he liked my chart, he would buy it, and if he didn't like it,he wouldn't buy it, and I could rewrite it or whatever. I wrote them,and I copied the parts. At that time, I was able to have my ownworkshop. I could write for a girl singer, for anybody in the band, orfor the band as an ensemble. Once in a while he would ordersomething, but most of the time I was free to write anything. It wasa tremendous opportunity for me to write, make mistakes, correctthem and learn! I suppose he kept a few dozen charts over a coupleof years. That was a great opportunity. I can't remember the actualnumber of charts I wrote, and I don't know how many were thrownout. They weren't all good, that's for sure.2 '
While working at the University of North Texas, Matteson, and his
close friends, Jack Petersen and Phil Wilson, formed a publishing company
called Outrageous Mother. The company had a dual purpose: to provide
high quality music for young bands and to allow composers and arrangers
to earn a larger percentage of profit for their work than was offered by other
publishers. 2
The staff of Outrageous Mother included some of the best known jazz
arrangers and composers: Charles Argersinger, David Caffey, Carrol
DeCamp, Matt Harris, Les Hooper, Paul Kondziela, Jim Linahon, Rob
McConnell, Jack Petersen, Neil Slater, Howie Smith, Rick Stitzel, Mark
18
Taylor, Eugene Thorne, Phil Wilson and Chris Woods. Several of these
published their first arrangements through Matteson's company.
Outrageous Mother was dissolved in 1986 when Matteson accepted a
position as the Koger Distinguished Chair of American Music Studies at
the University of North Florida in Jacksonville. Matteson felt he would
need to direct all of his attention to creating a new jazz program at a then
relatively unknown university. Many of the arrangements owned by
Outrageous Mother were sold to the University of Northern Colorado Jazz
Press and are currently available through that venue.
Since euphonium and tuba were not a part of the contemporary jazz
scene, it was up to Matteson and his associates to invent a way to present
these neglected instruments in a jazz setting. The opportunity came in 1975
when Matteson and Harvey Phillips, then professor of tuba at Indiana
University, were roommates during a TUBA conference at Chandron State
College in Nebraska. They had been hired to present clinics and perform
with various groups. At a reception for the participants, a tuba/euphonium
ensemble from the University of Northern Iowa, directed by Donald Little,
provided entertainment. The group played light classics, polkas,
barbershop quartets and arrangements of popular tunes. Phillips said,
"The group was very good and that gave us the idea of some sort of jazz
group."" Phillips and Matteson came up with the idea of presenting an all-
star jazz group featuring tubas and euphoniums as the only wind
instruments. " Matteson explained why he chose that particular
instrumentation:
19
The instrumentation was three euphoniums, three tubas, piano,bass, guitar and drums. The reason we use six horns is that thecomplete jazz harmony usually requires six or seven parts. Whenwe need seven parts, we arrange instruments in this order, frombottom to top; tuba, tuba, tuba, euphonium, guitar, euphonium andeuphonium. When we need six parts, the tubas would be the bottomthree parts and the euphoniums would be the top three parts. Sincethe range of the guitar is the same as the tuba and euphoniumcombined, the sound of guitar matches these sounds very well and itsounds beautiful.2 5
At the same time (1975), Phillips was organizing the First
International Brass Conference in Montreux, Switzerland, and he booked
the Tubajazz Consort's first engagement there in the summer of 1976. The
euphonium players were Matteson, Ashley Alexander and John
Marcellus. The tuba players were Phillips, Dan Perantoni and Winston
Morris. The rhythm section consisted of Jack Petersen, guitar; Steve
Harlos, piano; Jerry Coleman, drums; and Steve Lespina, bass. 26 Tubajazz
received a standing ovation during their first selection.
Based on the response in Montreux, Phillips was able to book a tour of
Australia in February, 1978. Tubajazz performed to standing-room-only
crowds in Adelaide, the Sydney Opera House, Melbourne and Brisbane. As
good as the group was, Matteson still had occasional problems booking
Tubajazz. He said:
I'd get frustrated trying to book Tubajazz 'cause they hear "tuba" andthe phone goes dead. They can only hear the "oompah," they can'tsee the other side of it. But then the other thing happens. If we get toplay they're all looking at it like "what in the hell are these guysgonna do? They look like a bunch of fire engines up on the stage." Bigheavy-set players, three big tubas and three what they think are littletubas (euphoniums). Then we start playing, and these people justknock themselves out. They all want to apologize to us for what theythought. They say, "This is just incredible!" Then they all want tobecome your agent, so to speak. They want to push Tubajazz. They'll
20
go to other people and say, "Did you hear Tubajazz? Oh man! Whatyou missed!" It has a funny effect that way. We had a lot of goodcomments in Washington D.C. when we played there."
In spite of some negative initial responses, the Matteson-Phillips
Tubajazz Consort performed frequently and recorded two critically
acclaimed albums, Tubajazz (1978) and Superhorn (1979). The albums have
been combined onto a single compact disc entitled Tubajazz, (Mark MJS
57626CD).
In addition to performing with Tubajazz, Matteson continued to
make guest appearances with other groups in the United States and
abroad. His career took another turn in 1985 after he performed twice with
the St. John's River City Band, a professional brass band based in
Jacksonville, Florida. The first performance was in March and the second
in October at the Jacksonville Jazz Festival.
After the Festival performance, Jacksonville businessman and arts
patron Ira Koger invited Matteson to a reception aboard his yacht. The
eventual outcome of this meeting was the creation of an endowment at the
University of North Florida, provided by Koger, that stipulated the hiring of
Matteson to create a jazz studies program. In the summer of 1986,
Matteson accepted an endowed position at University of North Florida
entitled the Koger Distinguished Chair of American Music. Since 1986,
University of North Florida's jazz studies program has received national
and international recognition.
21
Matteson performed numerous times with the St. John's River City
Band. This association culminated in his featured performance with the
band at New York City's Carnegie Hall on September 29, 1987. The
Carnegie Hall concert was another first for Matteson and the jazz
euphonium.
22
NOTES
CHAPTER III
1. Marc Dickman, "Rich Matteson: Portrait of an Original,"TUBA Journal, XIX/II (1991), 46.
2. In the United States there continues to be little differentiation betweenthe baritone horn and the euphonium. A true baritone has a smallerand more cylindrical bore than a euphonium. Most composers andmusic directors in the United States are actually referring to theeuphonium when they mention baritone.
3. Dickman, 46.
4. Ibid.,146.
5. Ibid., 47.
6. Ibid., 47.
7. Notable examples of players of valve trombone during the Swing Erawere Juan Tizol on the valve trombone (in the Duke Ellington Band)and Cy Tuff on bass trumpet (in the Woody Herman Band).
8. Dickman, 47.
9. Toru Miura, "Super Artist Interview - Rich Matteson," Viva Brass,Band Journal, November (1990), 49.
10. Mark Gridley, Jazz Styles and Analysis, Fourth Edition
(Englewood Cliffs, New Jersey: Prentice Hall, 1991), 202.
11. Dickman, 48.
12. Donald L. Little, "T.U.B.A. Profile-Rich Matteson,"TUBA Journal, V/III (1977), 2-6.
13. Dickman, 49.
14. Ibid., 49.
15. Ibid., 49.
16. Ibid., 51.
23
17. Dickman, 51.
18. Michelle Matteson, Pamphlet, Unpublished, 1992.
19. Dickman, 51.
20. Leon Breeden, interview by author, December 12, 1996.
21. Dickman, 48.
22. Jack Petersen, interview by author, December 23, 1996.
23. Harvey Phillips, interview by author, January 4, 1997.
24. Miura, 53.
25. Ibid., 54.
26. The Tubajazz personnel was relatively stable for most of its existence.Ashley Alexander replaced Marcellus soon after the firstperformance. John Allred replaced Alexander after his passing in1989. The rhythm sections varied depending on who was available andwhere the group was performing.
27. Dickman, 58-59.
CHAPTER IV
MATTESON'S CONTRIBUTION TO TUBA AND EUPHONIUM
PERFORMANCE
Early in his professional career Matteson worked primarily as a bass
player in bands like Bob Scobey's and in the Dukes of Dixieland. He
developed a style of walking bass lines on an antique BBb helicon-shaped
tuba he bought in 1958, and he believed the development of this style on tuba
was important to his career:
That was one of the smartest things I ever did. And that's when Istarted seriously playing walking bass. I became known fordeveloping that style on the tuba. I had done it with this horn as acomedy bit when I was with Ish [Kabibble]. I guess I'd been playingit as a secondary instrument just for selling appeal. Ish would bringme out and we'd play a couple of tunes, and I'd play walking bassand take a solo. 1
"Walking" is a 4/4 style of playing bass lines developed on the string
bass. Traditionally, tuba players in Dixieland jazz bands played on beats
one and three of each measure and were mostly limited to the root and fifth
of the chord. The pattern sounds similar to a bass part from a march.2
Matteson, however, was influenced by modern bass players such as Ray
Brown and Slam Stewart -- players who played four quarter notes in each
measure. Matteson imitated their style of jazz playing and developed a
unique sound for a tuba player. After leaving the Dukes of Dixieland,
Matteson did not perform on tuba with a band full-time. Occasionally he
24
25
would play a few selections on the helicon, but most of his playing was on
the valve trombone and euphonium.
Matteson's trademark upper range on the euphonium was evident at
an early age. He gave partial credit for his ability to the lack of an
orthodontist:
I owned the double F [F5]'from age 16 on. They now think sincethose two teeth are crossed, they form a sort of a point for the lip tostretch over, and that helps with the range.... I never had anytrouble hitting those high notes. . . . when I was 36, I could still hitthe F any time I wanted, but I couldn't go beyond it one bit.... I gotreally frustrated that I couldn't play an F sharp.... I startedpracticing and developed a routine that I thought would work and bygolly, it did! '
There is a tradition of high note trumpet players in jazz. Among
these, Louis Armstrong was known for his prowess in the upper register.
Trombonists such as Tommy Dorsey and Frank Rosolino also influenced
Matteson with their playing in the upper register. There is not an
equivalent tradition on the euphonium: Matteson pioneered the
euphonium's upper tessitura.
Because Matteson was gifted with excellent pitch and melodic
memory, he was able to learn tunes easily and to improvise. Matteson
originally began improvising on a tonette, a recorder-like instrument that
his father used to introduce children to music. Matteson said:
I used to improvise on that all the time. My improvising wasn't jazz-based. I was just making up my own melodies and runs and what Ithought was hip at the moment. I would listen to the radio and try toimitate the music I heard. I was always making up stuff on the hornand on the piano. But I wasn't doing it with the thought of becominga great jazz player. I just did it for fun. I'd just sit down and try tomake up something. I really didn't know any modern piano voicingswith the left hand like they started to do in the 40's.
26
Like many other jazz musicians, Matteson learned to improvise by
imitating his favorite players. He said:
When I was a young man learning to improvise, you didn'thave any books, or at least I wasn't aware of any. And I had no ideathere was a college called the University of North Texas, or NorthTexas State, where Jack Petersen was going. . . . We used to listen torecords and copy the solos, or. . . as much of the solo as you couldplay.
One of the first things I learned was a Frank Rosolino lick....But that's the way we learned to play jazz. I remember working onbits and pieces of solos. A couple of ideas from Oscar Peterson, somefrom. Clifford Brown's Joy Spring. Bits and pieces I'd pull off recordsfrom. "Yardbird," Charlie Parker. I also had fallen in love with theBasie Band and the Ellington Band. I'd lift from Paul Gonsalves,Ellington's tenor player. I liked Lester Young.... I think more thantaking whole solos, I'd just take bits and pieces, take two or threebars from this guy and two or three from that guy then figure outhow to make my ideas run into their ideas.6
Matteson acknowledged the fact that college training could add
another dimension to one's playing:
I didn't really practice licks and patterns in all keys until I got intojazz education in 1968. Until then, you'd play mostly in the standardfamiliar keys. You'd play standards and Dixieland tunes in F, Ab,Bb, Eb, but you're not getting into a lot of keys.... You did a lot ofducking in those days, except for the sincerely heavy players. I'm notaccusing Clark Terry of ducking or Oscar Peterson or any of thoseguys.. . . If this chord was really eating your lunch, then you'd workout 5 or 6 ideas that would get you through it, and that was it. I don'tthink people of my era on the road were nearly as dedicated as thecollege students practicing jazz today. And the college kids that go onthe road, they still practice. It was different.'
A study of Matteson's work shows his remarkable skill at playing
logical solos that are held together by use of repetition and imitation. His
improvisations show a well-conceived form that is the mark of a master
craftsman. A fairly typical example of Matteson's performing style is his
improvised solo on "Dan's Blues" from the album Easy Street, recorded in
27
Sweden in 1980. Always swinging and with an affectionate playfulness,
Matteson utilized a modern jazz harmonic vocabulary fused with a
bouncing rhythmic thrust derived from traditional jazz and swing.
As already mentioned, Matteson's use of the euphonium's upper
range became a trademark and he constantly employed it in his improvised
solos. Many of the ideas adopted by Matteson are fairly typical of dozens of
first rate-jazz performers. What makes Matteson so unique is his
application of modern jazz's harmonic and rhythmic language to the
euphonium. Following is a transcribed solo by Matteson followed by an
analysis of his use of contemporary jazz techniques as he applied them to
the euphonium (Example 1).
28
Example 1. Transcription of Richmond Matteson's solo euphonium
improvisation on "Dan's Blues".
Gm in Am7P5) D7P9) Gmin
12 3 4
Cmn F7 Bb EbMaJ7
5 6 7 8
Am7 P5) D7(e5#9) Gmin D7
A F 3AA
9 10 11 12
Gm in Am 7P5) D7P9) Gmia
13 14 15 16
Cmin F7 Bb EbMaj7
17 18 19 20 L-
Am7 5) D7(#5#9) Gmn D7
21 22 23 24
Gmh Am7P5) D7P9) Gmin
~~~Th~ ___a
25 26 '27o2
25 26 27 28
Cmii F7 Emaj7
I I =F7
29 30 31 32
Am7 5) D7#5#9) Gmin D7
~ A
33 3 34 35 36
Gm Am7 )5) Gmn
I I r _ _
37 38 39 40
Cmii F7B E Maj7
lifA A A K
41 42 43 44
Am7 $5) D7 5 9) Gmin D7
A A
45 46 47 48
Gmin Am71
5) D7 ,9) Gmin
49 50 51 52
Cmi F 7 E M a37
A I A a doI
29
55 5653 54
30
Am 7?5) D705#9) Gmix D7
57 58 59 60
Gmih Am7 5) D7 1 9) Gmin
3 3 3
Cm047 B e4a61 62 63 64
c m iiF7B6Et6M a37
65 66 67 68
Am7 t5) D705#9) Gmin D7
69 70- 71 72
Gm i Am7i)5) D7t)9) GmE
A Poo 9= = F '-1:
73 74 75 76
Cm i F7B EMaj7
A I F- 3~T~~i 8
77 78 79 80
Am7 I5) D7#5#9) Gmih D7 Gmin
The form of Dan's Blues is a twelve-bar blues in G minor. Matteson's
motivic development and reuse of material, use of rhythmic displacement,
and coloristic devices such as usage of flatted fifths, altered dominants and
embellishments are evident throughout the solo. The opening motif, a
31
descending sequential third pattern in measure 1, is also used as the
closing material at the end of the solo (Examples 2 and 2a).
Example 2. Sequential third pattern mm. 1.
Gm in
1 2
Example 2a. Sequential third pattern mm. 81-83.
Am 7 (5) D7 (#5#9) Gm nh
81 82 83
Matteson also uses a similar third sequence in the upper range at
measures 67-68. On the recording he performs turns or mordents between
the intervals, something that musical notation has difficulty representing.
Example 2b. Sequential third pattern, upper range mm. 67-68.
Bb EbMajY
67 68
Another type of sequencing is found in measures 5-6. Matteson
extends the respective Cm and F7 chords to the ninth scale degree.
Example 3 shows his sequencing of the motive from measure 5.
32
Example 3. Use of sequential chordal outline mm. 4-6.Gm! Cmi F7
4 5 6
In measure 17 Matteson uses a simple three-note ascending scale
pattern culminating in an arrival on the third of the respective F7 chord in
measure 18 (Example 4).
Example 4. Three-note ascending motive m. 17.
Gmi Cmi e F7
16 17 18
Matteson uses the three-note ascending pattern again in measures
37-38, (Example 4a) and 65-66 (Example 4b). This pattern is also repeated
and shifted by one-half of a beat.
Example 4a. Reuse of three-note motive with rhythmic displacement mm.
36-38.D7 Gmi AWm7(b5) D7 9)
Ip71 3o
36 37 38
33
Example 4b. Third occurrence of three-note motive mm. 65-66.
Cmi F7
65 66
Matteson always used blues inflections as coloristic devices in his
improvisation. These manifest themselves as altered dominant harmonies
(raised and/or flatted ninths on dominant chords) and usage of the flatted
fifth.
In measure 2, the raised and lowered ninths of the D 7 chord are
emphasized. Matteson constantly used raised and lowered ninths in his
improvisations. These occur from the use of the G minor scale as a basis
for the improvisation (Example 5).
Example 5. Usage of raised and lowered ninths m. 2.
Ami7(b5) D7( 9)
2 3
In measure 22 (Example 5a) Matteson begins a repeated "blues" idea
by emphasizing the flatted fifth (Db) of the parent key of G minor. In
measure 24 he shifts the pattern over by one-half beat. Another observation
is that Matteson shortens the motive in measures 25-26 by omitting one note
(truncation).
34
Example 5a. Repeated blues motive mm. 22-26.
D7alt Gmi7
r D7 r -L 3 Fv. E L r F .~~ L
22 23 24
Gmi Ami7 (b D7( 9)
25 26
In measures 7-11, the melodic line emphasizes diatonic notes (with
the exception of two chromatic approach tones from below in measure 10).
Also in measure 10 is the use of the raised ninth of the D 7. The chromatic
approach tones create tension and melodic interest in the melodic lines.
(Example 6)
Example 6. Linear ideas with chromatic approach tones (circled) mm. 7-
11.
I LN1zq
B A
7 8 9
D7alt Gmi7
10Am A1
LOF
E66a7 A mi7(b5)
10 11
35
At the end of measure 47 (Example 7) Matteson begins a three-note
repeated pattern that concludes in measure 51, creating a fascinating
hemiola effect.
Example 7. Rhythmic displacement mm. 47-51.
Gmi7 D7 Gmi
47 48 49
Ami7(b5) D74 9) Gmi
AMi~il50 51
In measures 52, 54 and 56 (Example 8) Matteson uses a descending
bebop scale, a type of mixolydian scale with an added half-step between the
sixth and seventh scale degree.' Also note the use of the extreme upper
register.
Example 8. Bebop scale and extreme upper register mm. 52-56.
Gmi Cmi F7
.12v k 0 M
52 53 54
BL E~ma7
36
Matteson plays an ascending line up to a B5 in measure 77-80
(Example 9) creating a breathtaking climax.
Example 9. Use of extreme upper register. Ascending line to Bb5 mm. 77-
80.Cm i F7B E MaJ7
77 78 79 so
Matteson not only played jazz at a high level, he possessed an
engaging stage presence. Matteson always worked hard to give the
audience a memorable, high-quality musical experience. Matteson
formulated his style of presentation before jazz was considered an art,
much less a discipline worthy of teaching to high school and college
students.
At a typical performance, Matteson would act as master of
ceremonies and, between selections, would tell jokes to the audience.
Comedy not only had an entertainment value, but it also gave Matteson and
the other musicians a much needed rest between selections. Matteson
explained the motivation for his comic interludes:
We always did some comedy and I justified it in my head because Ilearned so much from several comics that I worked with. If you getthe people laughing, they'll sit back and accept anything you do. Ifyou wanted to play Lush Life, they're not gonna dig that particularly,but if you've got them breaking up, you've got them in your hippocket, and you can do Lush Life. '
37
His sense of humor spilled over into his teaching style. Because of
Matteson's gifts for playing and teaching jazz in an exciting and often
humorous way, he increased each student's interest in jazz.
Once a clinic appearance was set, Matteson would arrive a day or two
before the performance. Matteson would rehearse the jazz group with
which he would perform to make sure they adhered to his conception of
ensemble playing and swing feel. Matteson was not necessarily a stickler
for clean ensemble playing, but would always get the group playing with a
good swing feel.
The clinics usually culminated in a performance by Matteson with a
jazz ensemble, or less frequently, with a concert band. Matteson wrote
and/or arranged more than forty jazz band compositions and
arrangements in which he could be featured as a soloist. (See Appendix A.)
These ranged in difficulty from simple arrangements for high school bands
to extremely difficult ones for advanced college and professional bands.
In addition to performances with jazz ensembles, Matteson also
performed Reflective Mood by Sammy Nestico, and Turn Yourself Around
by David Wolpe, both for soloist and concert band. Matteson arranged his
own features for jazz ensemble but had to search for original compositions
to feature himself on euphonium with concert band. Two works were
written especially for Matteson and concert band, Elkhorn Variations by
Jerry Owen and Variations for Baritone by the well-known band composer,
Claude T. Smith. The Getzen Corporation commissioned the Claude T.
Smith piece for Matteson in 1971.
38
NOTES
CHAPTER IV
1. Dickman, 49.
2. Frank Tirro, Jazz, A History, Second Edition. (New York: W. W.Norton & Company, 1993), 128.
3. This study uses a labeling system for pitchesAcoustical Society.
as developed by the
1 15 ma 8va basso-0-0baso.E
" (
Co C2 C3 C4 C5 C6
4. Dickman, 46.
5. Ibid.
6. Ibid.
7. Ibid.
8. Below is an example of a mixolydian scale followed by the mixolydianBebop scale. The G Bebop scale metrically aligns the chord tones of thedominant chord.
G Mixolydian Scale.
7 Ip
*1
G Bebop scale.
9. Dickman, 50.
9-)-
Ida
CHAPTER V
THE VARIATIONS FOR BARITONE BY CLAUDE T. SMITH
The Variations for Baritone was an important work for Matteson
because it was tailored to his unique playing abilities. It is the only existing
work for euphonium soloist to use a combination of the upper tessitura,
swing articulations and improvisation. The skills required for this piece
are not in the domain of most other euphonium players and consequently,
the work is rarely performed.
Claude T. Smith wrote solo works with a particular soloist in mind,
and he adapted his writing style to exploit the performer's unique abilities.
He recognized Matteson as a unequaled performer in the euphonium world
when he composed the Variations for Baritone. Smith enjoyed writing for
soloists, but only did so when requested. He told an interviewer:
I love to do the solo pieces. They're not the kind of thing youcan make a living on, especially when you do one for a virtuosoplayer. There's just so many people who can play it, and you knowthat after the initial performance that it's not going to have a greatamount of sales, but I love to do it. It's a real challenge to do thosekinds of pieces because the people you write them for can do anythingwith their instruments.1
Claude T. Smith received numerous commissions from renowned
soloists, school and military bands, music companies and the Smithsonian
Institution. Concert works recorded by various bands include
39
40
Acclamation, Concert Dance and Intermezzo, Concert Variations,
Credence, Declaration Overture, Eternal Father Strong to Save, Emperata
Overture and Prelude for Band.' His composition Flight, was adopted as
the official march of the National Air and Space Museum of the
Smithsonian Institution. Commissions for solo works came from such
artists as Doc Severinson, Brian Bowman, Gary Foster, Dale Underwood
and Rich Matteson. 3
Claude T. Smith is recognized as an exceptional composer, educator,
conductor, and clinician. He has composed more than 110 works for band,
choir, orchestra, and instrumental solos and ensembles. He was born in
Monroe City, Missouri, and attended Central Methodist College from 1950-
1952. He joined the 371st Army Band during the Korean War and
completed his B.M.E. degree from 1955 to 1958 at the University of Kansas,
where he played first horn in the band.'
Upon completion of his degree, Smith directed school instrumental
music programs in Cozad, Nebraska, Kansas City, Missouri and
Chillicothe, Missouri. In 1976 he moved to Springfield to take a job as
conductor of the Southwest Missouri State University Orchestra and to
teach music theory and composition. Before his death in Kansas City in
1987, he served as educational consultant for Wingert-Jones Music
Company and as a staff composer for Jenson Publications.5
Smith composed hundreds of works for band, chorus, orchestra and
chamber groups. His works for band are some of the most frequently
performed by any composer. Smith would often use multiple and irregular
41
meters. This forced both band students and teachers to learn how to
negotiate a pervasive twentieth-century rhythmic trait.6 Frequent use of
7/8 measures was a Claude T. Smith compositional trait, and they appear
regularly in the Variations for Baritone. Smith believed each instrument
should have interesting parts to play, and he strived to include melodic
material in each part.
Smith was considered an excellent orchestrator and was one of the
first band composers to use percussion to its full potential, especially in his
writing for timpani. His melodies are usually memorable and his music is
not considered dissonant.
Smith knew Matteson personally and was aware of his abilities and
playing style. These characteristics included a complete technical
command of the euphonium, the ability to play in the extreme high range
and a mastery of jazz improvisation. Getzen earlier had commissioned
Smith to write two pieces for Doc Severinson, the Fantasy for Trumpet and
Rondo. Based on this experience, Getzen felt that Smith would write well
for the euphonium and for Matteson. Severinson was known for his skill at
performing the standard trumpet repertoire and would frequently perform
with concert bands. This activity may have given Matteson the idea for a
work specially written for himself.
Matteson performed Smith's Variations for Baritone on April 2, 1976,
for the Chillicothe High School Celebrity Concert with Smith conducting.
Matteson also performed the Variations on the following dates with school
groups:
42
March 21, 1975
November 14, 1975
March 30, 1976
February 26, 1978
April 22, 1978
April 20, 1979
October 19, 1980
February 23, 1982
February 16, 1983
Oak Lawn Community High School, Illinois
Newton High School, Kansas
Everman Senior High School, Texas
East High School, Kansas
College of Lake County, California
McAllen, Texas High School SymphonicBand
University of Nebraska Symphonic WindEnsemble, Omaha
Leander, Texas High School Band
University of Southern California ConcertBand
The title, Variations for Baritone, is somewhat misleading because it
brings to mind the older style of theme and variations as practiced in the
early part of the century. Smith's variations are based upon a single
harmonic structure and several subtle melodic variations result (Table 2).
Table 2. Chordal progression from Variations for Baritone.
mm. 9 mm. 10 mm. 11 mm. 12
Bb maj 7 AhmB 7 Bbmaj 7 Ab 7+11
Bb_ Bb
mm. 13 mm. 14 mm. 15 mm. 16
G min G min9 E0 Eb m 7 Ab . G n m F7
F // // // I
Two contrasting melodies are used over the chord progression. The
first, Theme I, is a flowing cantabile melody (immediately followed by its
43
modal variation), and the latter, Theme II, is a boisterous allegro
(Examples 10 and 10a).
Example 10. Theme I, andante, Variations for Baritone mm. 9-19.
[a tempo] 3
ENO II
9 10 11 12
1.
13 14 15 16
/0-0
17S[rit. .1
18
Example 10a. Theme II, allegro, Variations for Baritone, mm. 81-92.
83 82 83 84
85 86 87 88
3
89 90 91 3 92
The Variations is in the key of Bb major and consists of seven sections
with a short introduction. The form is governed by subtle variations of the
44
two contrasting themes with a "Jazz Waltz" inserted between them (Table
3).
Table 3. Formal Analysis of Variations for Baritone.
Introduction A B A A'mm. 1-8 mm. 9 - 18 mm. 19 - 41 mm. 42 - 51 mm. 52 - 62
B' major Repeated "Jazz Waltz" Band only Bb minorwith soloist with soloist
Theme II Theme I Cycle of Theme I Theme IFragments fifths
Cadenza C B C-Finalemm. 63 - 64 mm. 65 - 132 mm. 133 - 154 mm. 155-214
B major ' - B' minor "Jazz Waltz" Bb MajorBb minor' allegro
Theme II Cycle of fifths Theme II
The Variations for Baritone, as already mentioned, has many unique
features that illustrate and illuminate Matteson's playing style. The
entrance of the soloist at letter A (measure 9) exploits the lyrical aspect of
his playing, while the leaps of major and minor sevenths (and a climax on
a D4) reflect Matteson's technical ability (Examples 10-11).
45
Example 11. Variations for Baritone. Entrance of soloist mm. 9-11..7
1971 Wingert-Jones Music
The "Jazz Waltz" section at letter B calls for a swing feel. (In the
swing style, eighth notes are played unevenly, similar to dotted eighth-
sixteenth note figures.) Smith uses jazz-influenced syncopated rhythms in
all parts (Example 11).
46
Example 12. Continuation of Theme I and "Jazz Waltz" at Rehearsal Bmm. 12-22.
/PlIL L'
C..~ -0
-~ TO
V ________ _____f___ __________________(J I___n__Orr_
I1)
1971, Wingert-Jones Music
The "Jazz Waltz" occurs twice in the composition at measures 19-40
and 133-154. These are the most dissonant, but at the same time,
harmonically static sections of the work. The dissonance comes from the
47
angular melodic line that emphasizes the flatted fifths of the respective
chords. Matteson also enjoyed using altered harmonies in his
improvisations as can be seen in the transcription of Dan's Blues where he
employs similar angular lines and uses flatted fifths. This section begins
with four measures of an A dominant harmony (V7 of D minor) with an
added flatted ninth. As preparation for a modulation back to Bb major,
Smith employs a cycle of dominant chords, D 7 and G7, and reuses the
cadential material from measure 17. Cycles of dominant harmonies are
traits frequently encountered in jazz compositions and used by jazz
performers.
Following a short improvised coda, Theme I is restated by the band
followed by a statement of the first variation by the soloist in the minor
mode. The allegro (Section C) begins with 4/4 measures alternating with
7/8, a Smith trademark. A samba feel is created by use of claves and bongos
with a lively bass line. The soloist enters with material first stated in the
introduction, Theme II. The tempo and range require facility and
endurance from the soloist, qualities that Matteson certainly possessed
(Examples 12 and 13).
48
Example 13. Theme II, allegro mm. 80-85.
-I (CTh
___________
Pt 1 _L
1971 inger-JoneIMusi
Exmpe 3 oninesth mloicmaeralwiha cia naE5imeasure 88. Te fgrsi esrs8-4ar ntekyo bmnr
toalt jraeyueinbn wokthtcetsdfiutfneigptrs
for the M euphon 1%L IIum Oteewetan eorigjo hs okAMteoexectes hes pasage wit aplmb ndMfair
Vi V& - a 0---500im pi
49
Example 14. Continuation of Theme II mm. 86-98.
4LTo 0201-0 4 #8
S S P
1971 Wingert-Jones Music
IW -r-V- -F T F.
pow- Ld
7!!NW
Lv IA M 1- w I
; MftYO'k
%MO
I 10 7,-1 A
ob
--fv-- WA, 'wo J A 104 FIX isv
R L'a As1 8: m :I-1..
-I-Imopmr-mmermaowp-",
P7
Mft
IL I E% r do
Ab
T000I k T -
L I .AL ill _rn i T__ f-]PIP L V I
v AIr
In-TIL W_
7
foolLdpMUM-
_AL77 1 If Am
4f TO)h o M
up --upxg le I ::) :1.In a ir pm A-
44,p-
i F:47 I I 1 1 1 4=4=1 1 i iw -VJ13 40 i I - R0I
w w Li ppr
50
The solo cadenza and its placement is another point of interest. In
classical works, the cadenza is usually placed toward the end of a
composition or, in the sonata form, at the end of the movement. The
cadenza brings the movement to a close.' In the Variations, Smith places it
in the first third of the piece immediately before the first allegro. There is a
distinct stylistic change between the andante and allegro that is
demarcated by the cadenza.
While it is common for the classically-trained soloist to improvise a
cadenza, the classical composer did not indicate the cadenza with a chord
symbol as Smith does. The cadenza placed in measures 63 and 64 (Example
17) is a B major7resolving to a Bb minor7, the prevailing key at the time.
The B major7 replaces an F7, an example of a tritone substitution. This is
commonly used in contemporary jazz and modern compositions. Smith
voiced the B major7 chord with the seventh, a Bb, in the bass (Example 14).
This juxtaposition creates a very dissonant and harmonically unstable
chord resolving to the relatively stable minor seventh chord. Another way
to interpret this harmony is as an Ab minor7 chord over a Bb pedal, a figure
consistent with classical cadenzas and a harmonic configuration Smith
frequently uses in the work.
51
Example 15. Cadenza mm. 63-64.
Matteson interprets the cadenza as a jazz improvisation, not as a
place to manipulate melodic material from earlier in the composition.
Here, Matteson does not quote any motivic material from the composition.
This contrasts with traditional performance practice as used by classically
trained performers. Matteson comes to rest on the tonic of both chords
which helps the listener to hear the resolution from the B major7 down one
half step to the Bb minor7 . The B acts as a leading tone from above. He also
extends the first chord to the ninth and the second chord to the eleventh
scale degree. The cadenza below was transcribed from a recording made in
1975 with the Everman, Texas High School band (Example 15).
52
Example 16. Matteson's improvised cadenza from Variations for Baritone
mm. 63-64.
Rit.Freely
Bma73~~~~l
(7N
11 -a- I I
63 ~I
633
accel. Rit.
P FrL3-j
Many of the compositional and stylistic traits used by Smith can be
found in works by contemporary composers. What separates this work
from that of other solo euphonium compositions is the fact that the
euphonium soloist is asked to improvise over a given chord progression.
The improvisational section makes this work truly a "Third Stream"
composition. Gunther Schuller coined this term in the 1950's and states:
"'Third Stream' is a concept of composing, improvising, and performing
rm".
53
which seeks to fuse, creatively, jazz (and other vernacular music) with
contemporary classical concepts and techniques."9
The Variations for Baritone requires the soloist to, improvise over a
chord progression from measures 194-207, thus enabling the soloist to
compose his own "variation" over a pre-existing harmonic and rhythmic
framework (Example 16). Improvisation is the essence of jazz and is what
makes this piece a unique part of the solo euphonium literature. The
following passage was transcribed from a recording made in 1975 with the
Everman, Texas High School band.
54
Example 17. Matteson's improvised solo from Variations for Baritone,
mm. 194-207.
Jp=5IN Blma7
194 195
A ma7A
196 197
B ma7
198 199
A 7(# 11) Gmi7
200 201 202
203 204
F+7 AF+7 .mw
2051 206 207
The Variations for Baritone is scored for a standard modern wind
band with a full complement of percussion. The Variations is available on
rental from Wingert-Jones Music, Inc. in Kansas City, Missouri. Parts are
provided for piccolo, flute, three clarinets, alto clarinet, bass clarinet, two
.0 7 7 r Ic- -p- 0 AS -0- a . ilp- p- I'-, t I! A k-&- Am
55
oboes, two bassoons, Eb contrabass clarinet, two alto saxes, two tenor saxes,
baritone sax, three cornets, four horns, three trombones, baritone, tuba,
timpani, bass drum, snare drum, crash cymbal, ride cymbal, bongos,
timbales, vibes, chimes, vibraslap, and tambourine.10
56
NOTES
CHAPTER V
1. Mary Louise Jones, "Claude Thomas Smith: American Composer,Conductor, and Music Educator." Dissertation, 1992, 32.
2. Norman E. Smith. March Music Notes. (Lake Charles, Louisiana:Program Notes Press 1986), 380.
3. Ibid.
4. Ibid.
5. Ibid.
6. Jones, 52.
7. Claude T. Smith, Variations for Baritone. Wingert-Jones Music, 1971.
8. Willi Apel, The Harvard Dictionary of Music. (Cambridge:Harvard University Press, 1972), 120.
9. Gunther Schuller, The Swing Era: The Development of Jazz,1930-1945. (New York: Oxford University Press, 1989),12.
10. Claude T. Smith.
CHAPTER VI
CONCLUSION AND SUMMARY
Matteson's career, and the remarkable influence he had in
promoting the euphonium in the jazz idiom, had a lasting impact on the
conception and performing styles of the euphonium. He has inspired
performers and composers to re-evaluate the euphonium's role in diverse
musical situations. Matteson's contributions are especially noteworthy in
light of the euphonium not being employed as a regular member of the
symphony orchestra or jazz ensemble. He was a product of the school band
movement that utilized the baritone horn/euphonium as an important
member of wind and brass bands. He pioneered the use of the euphonium
as a jazz solo voice on par with the saxophone, trumpet and trombone.
Analysis of Matteson's improvisational style reveals usage of a
contemporary jazz harmonic and rhythmic vocabulary. These manifest
themselves in his usage of melodic and harmonic sequencing, non-
harmonic tones, the bebop scale, and blues related ideas. The euphonium's
upper tessitura was constantly utilized by Matteson. Few other euphonium
performers can match his prowess and stamina in the high register.
Matteson's early career was centered on playing valve trombone,
bass trumpet and tuba in various jazz ensembles based in Las Vegas with
57
58
international reputations. He is also noted for developing a walking tuba
style derived from modern jazz bass players.
Matteson co-created Tubajazz, the only professional jazz ensemble
made up of tubas and euphoniums as its only wind instruments. Their
world-wide performances and recordings have inspired countless
euphonium and tuba players to study jazz and to form similar ensembles.
Not all of Matteson's efforts were centered around performing. He is
also noted for his jazz arranging abilities. His publishing company,
Outrageous Mother, was one of the first writer-owned firms to publish easy
arrangements for student jazz ensembles, and they also paid a higher
percentage of the profits to the writers.
Matteson's constant exposure as a clinician with student musicians
led to the commission of the Variations for Baritone by Claude T. Smith. As
seen in the previous examples, Smith composed a unique piece for an
extraordinary euphonium player that can be considered a third stream
composition. Smith adopted many of Matteson's jazz-influenced stylistic
traits in the Variations for Baritone. First and most obvious to the listener
is his utilization of the euphonium's upper tessitura. The upper range and
extreme tessitura are employed throughout the composition. The work
calls for the soloist to play a Bb5 at the conclusion, something that only
Matteson was able to do with any consistency.
The second feature that makes the Variations a singular
composition for euphonium and band is use of a swing feel in the "Jazz
Waltz" section. The soloist and accompaniment are required to play with a
59
swing feel and to use jazz articulations. While usage of swing is not
entirely foreign to concert band works, it is one of the only known
euphonium solo compositions to do so. For the accompanying players, jazz
phrasing and articulations are best executed by performers with
commercial or dance band experience. The Variations for Baritone is an
excellent composition for introducing non-jazz instrumentalists to some
jazz and commercial articulations.
Another jazz influence on Smith's compositional technique is the
composer's choice of harmonic progressions. The composition borrows
from jazz harmonies and chordal progressions. These include use of
ninth, eleventh and thirteenth chords, suspended chords, and dominant
harmonies with raised and lowered ninths. Smith employs a tritone
substitution at several cadences (a B chord substituting for an F 7 chord
functioning as a dominant of Bb).
Players with little or no background in jazz style may have difficulty
performing the Variations for Baritone ; however, to perform this work a
few minor changes can be made that will not negatively affect the essence of
the composition. For example, some of the upper-register melodies can be
taken down an octave, and the improvised cadenza and finale can be
written out as well, without harming the intent of the composer. In fact,
Smith included melodic material for the soloist in the finale in case the
soloist was not skilled at improvising. The author believes that the
Variations for Baritone can and should be performed more frequently by
euphoniumists in the future.
APPENDIX A
MATTESON'S COMPOSITIONS AND ARRANGEMENTS FOR JAZZ
ENSEMBLE AND SOLOIST, FOR BRASS BAND AND SOLOIST, FOR
BRASS BAND ALONE, PUBLISHED JAZZ ENSEMBLE COMPOSITIONS,
AND TUBAJAZZ COMPOSITIONS AND ARRANGEMENTS
60
APPENDIX A
COMPOSITIONS AND ARRANGEMENTSFOR
JAZZ ENSEMBLE AND SOLOIST
The following are original compositions unless otherwise noted.
Title Composer
Baubles Bangles and Beads Borodin
Beautiful Friendship Styne/Kahn
Bebop Minor
Broadway Woods/Mcrae/Bird
Blues It
Carioca Youman
I've Got A Crush On You Gershwin
Davenport Blues Beiderbecke
Don't Get Around Much Anymore Ellington
Doxy Rollins
Easy Street Jones/Carleton
Ellington Medley Ellington
Georgia On My Mind Carmichael
Goin' Easy
Hassles
How Long Has This Been Going On Gershwin
I Got No Bread
I'm Beginning To See The Light Ellington
In A Mellow Tone Ellington
Ira's Tune
61
62
Just Breezing Along With The Breeze
Just The Two Of Us
Just the Way You Are
Like Someone In Love
Little '01 Softy
Love For Sale
Lover Man
Mikki's Blues
My Old Flame
I'm Getting Sentimental Over You
The Shadow Of Your Smile
The Shout
Spoofy
Strike It Rich
Surely We
Swedish Blues
Tahoe
Tangerine
Tickle Toe
What A Wonderful World
Whiting
Joel
Van-Heusen
Porter
Davis/Ramires/Sherma
Johnston/Coslow
Bassman
Mandel
Schertzinger
Young
Savitt
63
ARRANGEMENTS AND COMPOSITIONSFOR
BRASS BAND AND SOLOIST
Bebop Minor
Boat Dockin' Blues
Broadway
Carioca
Don't Get Around Much Anymore
Doxy
Easy Street
Georgia On My Mind
How Long Has This Been Going On?
In A Mellow Tone
Like Someone In Love
Mikki's Blues
My Old Flame
Original Dixieland One Step
Royal Garden Blues
There Is No Greater Love
Woods/Mcrae/Bird
You-Man
Ellington
Rollins
Jones/Carlton
Carmichael
Gershwin
Ellington
Van-Heusen
Johnston/Coslow
LaRocca/Shields
Williams
IshamIn Jones
BRASS BAND ALONE
I Can't Get Started
Undecided
When The Saints Go Marchin' In
Vernon Duke
Shavers/Robin
Traditional
64
PUBLISHED JAZZ ENSEMBLE COMPOSITIONS
Title
Ballad For Holly
Biscuits and Gravy
Blues for Dr. Cranberry
Blues For Punkin
Blues For Rein
Don't Rush The Count
Doo Dit Dot
Going Easy
Happy Days
Hassles
Hey Archie, Your Back
I Got No Bread
Just Hangin' Around
Just The Two Of Us
Kinda Cute
Little Girl Blue
Little '01 Softy
Mikki's Blues
Mikki's Bossa Nova
Moten Swing
No, No, No
Spoofy
Publisher
CPPfBelwin Mills
CPP/Belwin Mills
Southern Music
UNC Jazz Press
CPPfBelwin Mills
UNC Jazz Press
CPPfBelwin Mills
UNC Jazz Press
UNC Jazz Press
UNC Jazz Press
Southern Music
UNC Jazz Press
UNC Jazz Press
UNC Jazz Press
CPP/Belwin Mills
Barnhouse
UNC Jazz Press
UNC Jazz Press
CPPfBelwin Mills
CPP/Belwin Mills
Southern Music
UNC Jazz Press
Surely We
This One's For Snoops
Tricky Chris
A Tube Of Blues
Turkey Toes
UNC Jazz Press
UNC Jazz Press
UNC Jazz Press
UNC Jazz Press
UNC Jazz Press
TUBAJAZZ COMPOSITIONS AND ARRANGEMENTS
Three euphoniums, three tubas, piano, bass, guitar, drums
Original compositions unless noted.
Title
A Tube of Blues
Bye Bye Blues
Cherokee
Christmas Song
C.T. Blues
Georgia On My Mind
Gregory Is Here
Hoagy Medley
In A Mellow Tone
Jingle Bells
Little '01 Softy
Lucky Southern
Composer
Lown/Gray/Bennett/Ham
Noble
Torm6
Carmichael
Silver
Carmichael
Ellington
Jarett
65
66
Oleo
Rush Street Rush Hour
Satin Doll
Senor Blues
Shuckin' and Jivin'
Skylark
Over the Rainbow
Spoofy
Stompin'At the Savoy
Summertime
Tahoe
Things Ain't What They Used To Be
Tribute To Louis
Waltzing Matilda
Without A Song
Rollins
Ellington
Silver
Carmichael/Mercer
Arlen/Harburg
Webb/Goodman/Sampson
Gershwin
Ellington
Australian Folk Tune
Youman/Rose/Eliscu
APPENDIX B
SELECTED DISCOGRAPHY OF RICHMOND MATTESON
67
APPENDIX B
SELECTED DISCOGRAPHY OF RICHMOND MATTESON
Compact Disc
Pardon Our Dust, We're Makin' Changes , Four Leaf Clover, FLCCD 131, 1995.
Mainstream, Fullerton College Jazz Band, JLFC 9012, 1991.
TubaJazz, Mark Records, MJS 57626CD, 1990.
Satchmo and the Dukes of Dixieland, Leisure 0 4900-91052-2, 1960.
Long Playing Album
Easy Street , Four Leaf Records, FLC 5051, 1980.
The Matteson-Phillips Tubajazz Consort, Tubajazz Record Co., 1978.
Groovey, Four Leaf Records, FLC 5060, 1982.
"Superhorn", Mark Records, MJS 57591, 1982.
The Sound of the Wasp, ASI Records, ASI-203, 1975.
The Riverboat Five on a Swinging Date, Mercury, MG 20509, SR60186, 1960.
Something's Always Happening on the River, Bob Scobey's FriscoBand, RCA Victor, LPM-1889, 1960.
Rompin' and Stompin', Bob Scoby's Frisco Band, RCA Victor, LPS2806, 1961.
68
APPENDIX C
MATTESON'S CLINICS AND CONCERTS
69
APPENDIX C
MATTESON'S CLINICS AND CONCERTS
From the years 1968 to 1981, Matteson performed over 500 clinics andconcerts throughout the United States, Canada and Europe. In 1982 hebegan keeping a record of each performance and they are listed below.
1982
January 22-23 Midwestern ConferenceAnn Arbor, Michigan
28-29 Regional Texas Jazz BandHouston, Texas
February 4-6 Illinois All State Band ConferenceSpringfield, Illinois
9-10 Spokane Falls Community CollegeSpokane, Washington
11-13 Casper Community CollegeCasper, Wyoming
19 Cameron University with Count BasieLawton, Oklahoma
23 Leander High SchoolLeander, Texas
March 6 Central Methodist UniversityFayette, Missouri
10-13 University of Hawaii
April 1 Lamberton High School Jazz FestivalLamberton, Minnesota
2 St. Cloud State CollegeSt. Cloud, Minnesota
3 University of Wisconsin at River FallsRiver Falls, Wisconsin
70
71
April 4-9 Conference of World AffairsBoulder, Colorado
16-17 Fullerton CollegeFullerton, California
23-25 Wichita Jazz FestivalWichita, Kansas
30 Quad-City Jazz Ensemble
1983
January 13-15 NAJE ConventionKansas City, Missouri
22 Midwestern Music ConferenceAnn Arbor, Michigan
28 Meridian Junior CollegeMeridian, Mississippi
February 3 Alamo Heights High SchoolSan Antonio, Texas
4-5 Ohio Music Educators ConventionColumbus, Ohio
11-12 University of IowaIowa City, Iowa
16 University of Southern CaliforniaLos Angeles, California
17 Fullerton CollegeFullerton, California
19 California State UniversityLong Beach, California
March 5 A&M High SchoolCollege Station, Texas
12 University of Texas at El Paso
Morgantown, West VirginiaMarch 18
72
19-20
April 16
22-24
May 1
6
17
28
30-31
21-25June
24
June 29 - July 13
July 7
August 3-6
College of Lake CountyGrayslake, Illinois
Cumberland CollegeLebanon, Tennessee
Wichita Jazz FestivalWichita, Kansas
University of Northern ColoradoGreeley, Colorado
Northern Kentucky University
Wright State UniversityDayton, Ohio
Helena, Montana
College of WoosterWooster, Ohio
International TUBA ConferenceUniversity of MarylandCollege Park, Maryland
Performed with U.S. Army Blues Band on thesteps of the U.S. Capitol Building
England -- Pizza Express; German School; TrinitySchool of Music; Ronnie Scott's Club
Recording for radio station with Radio SymphonyHamburg, Germany
DisneylandAnaheim, California
Epcot and the Village LoungeDisney World'Orlando, Florida
University of Texas at Arlington
October 25 Octubafest at North Texas State UniversityDenton, Texas
9-20
October 12
November 8
16
17-18
19
December
20
5
Jefferson CollegeHillsboro, Michigan
University of UtahSalt Lake City, Utah
Western New MexicoSilver City, New Mexico
Chuy'sEl Paso, Texas
University of Texas at El Paso
Tarrant County Junior CollegeTexas
1984
Mary College,Bismark, North Dakota
Oklahoma Music EducatorsOklahoma City
Texas Music Educators ConferenceFt. Worth, Texas
Southwestern UniversityWeatherford, Oklahoma
Rock Valley CollegeRockford, Illinois
Washington State Music Educators Convention
Kansas Music Educators ConventionWichita, Kansas
Youngstown State UniversityYoungstown, Ohio
Kansas UniversityLawrence, Kansas
Hastings College
73
January 20-21
27
February 1
10
17-18
20
23-24
February
March
29
3
17
74
Hastings, Nebraska
18 California State CollegeFresno, California
22 Skyline High SchoolFresno, California
23-24 Kansas City Jazz Festival
26-28 Monterey Peninsula CollegeMonterey, California
29 Skyline CollegeSan Bruno, California
30 Cuesta CollegeSan Luis Obispo, California
April 6-7 Newberry CollegeNewberry, South Carolina
9 Hutchinson Community CollegeHutchinson, Kansas
11-12 Del Mar CollegeCorpus Christi, Texas
7 Rose Hill Jr. High SchoolRedmund, Washington
25 Southwest Texas State UniversitySan Marcos, Texas
29 University of Northern ColoradoGreeley, Colorado
May 8 Powderly High SchoolPowderly, Texas
11 Dodge City High SchoolDodge City, Kansas
12 Arts Festival of AtlantaAtlanta, Georgia
Ohio University18-19
75
Athens, Ohio
June 3-9 International Brass ConferenceIndiana UniversityBloomington, Indiana
10 Jazz AmbassadorsWashington, D.C.
29 Helena Jazz FestivalHelena, Montana
July 18-21 Disneyland All-Star College BandAnaheim, California
24-28 Wayne State College Music CampWayne, Nebraska
August 9-18 Disney World All-Star College BandThe Village Lounge, Orlando, Florida
19-21 Republican National ConventionDallas, Texas
24-26 Monterey Teachers WorkshopMonterey, California
September 13 California State UniversityLong Beach, California
14-15 Dante's Jazz ClubHollywood, California
16 Monterey Jazz FestivalMonterey, California
September 21 University of IowaIowa City
October 23 Oklahoma State UniversityStillwater, Oklahoma
November 9 Houston High School of theVisual & Performing ArtsHouston, Texas
Regional All State Jazz BandDecember 1
76
Alvin, Texas
11 Odessa CollegeOdessa, Texas
1985
January 10-13 National Association of Jazz EducatorsConvention
Dallas, Texas
February 24 Appalachian CollegeBoone, North Carolina
27 North Texas Faculty Concert
March 1-2 Brigham Young UniversityProvo, Utah
8-9 Charles City High SchoolCharles City, Iowa
10 Des Moines Big BandDes Moines, Iowa
11 Coppell High SchoolCoppell, Texas
19-20 Bob Farley Music StoreAlbuquerque, New Mexico
23-24 St. Johns River City BandJacksonville, Florida
April 12 Johnson County Jazz BandCedar Rapids, Iowa
15-17 Edison Community CollegeFt. Myers, Florida
19-20 Mesa CollegeGrand Junction, Colorado
22 Ft. Hayes State UniversityHayes, Kansas
77
26 Belmont CollegeNashville, Tennessee
May 4 McNeese Jazz FestivalLake Charles, Louisiana
19 Quebec City Jazz FestivalQuebec, Canada
29-31 Recorded with the Frankfurt Radio BandFrankfurt, Germany
June 3-4 Ski Big BandSki, Norway
7-8 Oslo Jazz ClubOslo, Norway
10-13 Oslo Jazz Club BenefitOslo, Norway
14-15 Recorded with the Oslo Radio BandOslo, Norway
17-19 Recorded with the Arvika Big BandArvika, Sweden
20-21 Recorded albumStockholm, Sweden
July 11-13 Manhattan College WorkshopManhattan, Kansas
July 13 Manhattan City Park Summer Concert SeriesManhattan, Kansas
17-20 Kansas Bandmasters ConventionHutchinson, Kansas
21-28 Rich Matteson Jazz CampTelluride, Colorado
August 1-4 Disney World All American College Workshopand The Village LoungeOrlando, Florida
Disneyland All American College Workshop6-9
78
Anaheim, California
September
September
October
13
15
U.S. Army Jazz AmbassadorsNorth Texas State UniversityDenton, Texas
Fred Crane Memorial ConcertDallas, Texas
St. Johns River City BandJacksonville Jazz FestivalJacksonville, Florida
North Texas State UniversityDenton, Texas
4-6
31
November 8 The LibraryDenton, Texas
December
11
15
21-22
17-22
Lake Dallas Scholarship FundLake Dallas, Texas
Meridian Junior CollegeMeridian, Mississippi
Dowling High SchoolDes Moines, Iowa
Chicago Midwest ConventionChicago, Illinois
1986
January 8-12 New Mexico State ConventionAlbuquerque, New Mexico
Colorado Music Educators ConventionColorado Springs, Colorado
Northern Arizona UniversityFlagstaff, Arizona
Western Illinois UniversityMacomb, Illinois
Leander High School
30-31
February 1
14-15
March 4
79
Leander, Texas
7-8 Trevecca Nazarene CollegeNashville, Tennessee
10-14 Plattsburgh State UniversityPlattsburgh, New York
18 Augustana CollegeSioux Falls, South Dakota
21 Las Cruces Public SchoolLas Cruces, New Mexico
April 1 Ft. Collins High SchoolFt. Collins, Colorado
2 Air Force AcademyColorado Springs, Colorado
4-5 U. S. Armed Forces School of MusicNorfolk, Virginia
14 Grapevine High SchoolGrapevine, Texas
17 The Drum ShopLas Vegas, Nevada
21 Olathe Public SchoolsOlathe, Kansas
April 22-28 Wichita Jazz FestivalWichita, Kansas
May 9-10 University of MontanaMissoula, Montana
16 Forney High SchoolForney, Texas
29 Chesterton High SchoolChesterton, Indiana
June 8-13 TUBA National ConventionAustin, Texas
80
14 St. Johns River City BandTampa, Florida
15 St. Johns River City BandJacksonville, Florida
July 7-10 Arts in the Park WorkshopManhattan, Kansas
18 All State BandSalem, Oregon
20-26 Rich Matteson Summer CampTelluride, Colorado
August 1-4 Disney World All American College BandOrlando, Florida
1-2 Village LoungeDisney WorldOrlando, Florida
6-9 Disneyland All American College BandAnaheim, California
September 13 Lionel Hampton Concert withthe St. Johns River City BandJacksonville, Florida
29 St. Augustine High SchoolSt. Augustine, Florida
October 10 Jacksonville Jazz FestivalJacksonville, Florida
17 Orange Park High SchoolOrange Park, Florida
30 School of Fine ArtsJacksonville, Florida
November 2 St. Johns River City BandJacksonville, Florida
4 Ed White High SchoolJacksonville, Florida
7
10
17
19-22
25
December 3-4
17-20
January 2
8-12
10
14
21
22-24
February 12-14
16
Middleburg High SchoolMiddleburg, Florida
Stanton Preparatory SchoolJacksonville, Florida
Bishop Kenny High SchoolJacksonville, Florida
Georgia Music Educators AssociationAtlanta, Georgia
Wolfson Senior High SchoolJacksonville, Florida
Disney World Entertainment ArtsOrlando, Florida
Jazz ShowcaseChicago Mid-West ConventionChicago, Illinois
1987
The Jazz Corner -- Radio ShowStereo 90Jacksonville, Florida
8th Annual Western International Band ClinicSeattle, Washington
15th Annual Opera House Jazz FestivalSeattle, Washington
Neptune Beach Library Lecture
Clinic - Orange Park High SchoolClinic - Nease High School
Georgia Music Educators AssociationColumbus, Georgia
"All That Jazz" Jazz ClubJacksonville, Florida
Georgia College
81
82
Milledgeville, Georgia
24 U. S. Army BluesUniversity of North FloridaJacksonville, Florida
24 University of North Florida Jazz EnsembleJacksonville, Florida
March 27-28 Tennessee Technical UniversityCookeville, Tennessee
30 Clinic -- Florida Junior CollegeJacksonville, Florida
April 1-3 Clinic - Disney WorldOrlando, Florida
3-4 "All That Jazz" Jazz ClubJacksonville, Florida
April 8 Clinic -- Florida Junior CollegeJacksonville, Florida
10-11 University of NebraskaLincoln, Nebraska
15-16 University of FloridaGainesville, Florida
24 Western Carolina UniversityCullowhee, North Carolina
May 1-2 "All That Jazz" Jazz ClubJacksonville, Florida
3 St. Johns River City BandJacksonville, Florida
7-9 State Music ContestFt. Pierce, Florida
11 State Music ContestLakeland, Florida
12 University of North Florida Jazz Ensemble"All That Jazz" Jazz Club
83
Jacksonville, Florida
13 Clinic - Nease High SchoolJacksonville, Florida
14-16 State Music ContestTallahassee, Florida
20 Clinic - Baker County High SchoolMacclenny, Florida
21 Clinic - Bradford High SchoolStark, Florida
22 College Jazz FestivalEpcot - Disney WorldOrlando, Florida
May 25 Guest SpeakerBishop Kenny Band BanquetJacksonville, Florida
31 St. Johns River City BandJacksonville, Florida
June 13-20 Clark Terry Summer CampEmporia, Kansas
25-28 Disney World All American College BandOrlando, Florida
July 1-3 Arts in the Park - WorkshopManhattan, Kansas
5-10 Monterey Summer Jazz CampMonterey, California
14-16 Disneyland All American College BandAnaheim, California
17 Four FreshmenFlorida Theater, Jacksonville, Florida
20-26 Rich Matteson Summer CampTelluride, Colorado
Guest soloist with St. Johns River City BandS eptember 25-30
84
Carnegie HallNew York, New York
October 15-17 Judged piano competitionGuest soloist with St. Johns River City BandConducted University of North Florida 1:30 JazzEnsembleJacksonville Jazz Festival
November 21 Conducted University of North Florida 1:30 JazzEnsembleDisney World, Orlando
During 1987 Matteson participated in "The Jazz Corner with RichMatteson" radio show every Friday night from 9:00 - 11:00 p.m.
1988
January 7-10 National Association of Jazz EducatorsConvention
Detroit, Michigan
29 Georgia Music Educators ConventionJekyll Island, Georgia
February 4 Howard UniversityWashington, D.C.
5-6 Tuba/Euphonium ConferenceU.S. Army BandWashington, D.C.
10 Rehearse Sandalwood High SchoolJacksonville, Florida
14 UNF Performance - Tuesday Night Dues BandEpcot CenterDisney WorldOrlando, Florida
22 Villa Nova ClubOrlando, Florida
24-25 Augusta CollegeAugusta, Georgia
85
26-27 Western New MexicoSilver City, New Mexico
March 1 2nd Annual Ira Koger Invitational Jazz FestivalJacksonville, Florida
3 UNF 1:30 Jazz EnsembleCocoa Beach Junior CollegeCocoa Beach, Florida
4 UNF 1:30 Jazz EnsembleSt. Petersburg Junior CollegeSt. Petersburg, Florida
5 UNF 1:30 Jazz EnsembleSuncoast Jazz FestivalTampa, Florida
March 6 Guest Soloist with U.S. Jazz AmbassadorsSuncoast Jazz FestivalTampa, Florida
13 St. Johns River City BandJacksonville, Florida
19 UNF 3:00 Jazz EnsembleDisney WorldOrlando, Florida
22 UNF 1:30 Jazz EnsembleValdosta High SchoolValdosta, Georgia
22 UNF 1:30 Jazz EnsembleLowndes High SchoolValdosta, Georgia
23 UNF 1:30 Jazz EnsembleCentral High SchoolMacon, Georgia
24 UNF 1:30 Jazz EnsembleAtlanta Jazz FestivalAtlanta, Georgia
25 UNF 1:30 Jazz EnsembleLincolnton High School
86
Lincolnton, Georgia
26 UNF 1:30 Jazz EnsembleSavannah, Georgia
April 13 St. Johns River City BandValdosta, Georgia
14-17 Pensacola Jazz FestivalPensacola, Florida
23 Pembroke State UniversityPembroke, North Carolina
April 28 Clinic/ConcertWolfson High SchoolJacksonville, Florida
30 UNF 1:30 Jazz EnsembleGraduation Ceremonies Jacksonville, Florida
May 4-8 MusicfestOrlando, Florida
14 Abraham-Baldwin CollegeTifton, Georgia
25 Guest SpeakerBishop Kenny High School Band BanquetJacksonville, Florida
June 12-13 Bands of AmericaArlington Heights, Illinois
June 26 - July 1 Clark Terry/Rich Matteson Summer Jazz CampEmporia, Kansas
July 4-8 Monterey Summer Music WorkshopMonterey, California
12-14 Disneyland All American CollegeWorkshop/ConcertAnaheim, California
18-24 Rich Matteson Summer Jazz CampTelluride, Colorado
87
August 11-14 Disney World All American CollegeWorkshop/ConcertOrlando, Florida
October 15 UNF 1:30 Jazz EnsembleJacksonville Jazz FestivalJacksonville, Florida
16 Clearwater Jazz FestivalClearwater, Florida
During 1988 Matteson participated in "The Jazz Corner with RichMatteson" radio show every Friday night from 9:00 - 11:00 p.m.
1989
January 4-6 Florida All State BandTampa, Florida
12-15 National Association of Jazz EducatorsConvention
San Diego, California
February 9-10 Southwestern State UniversityWeatherford, Oklahoma
11-14 UNF Third Annual Ira Koger Jazz FestivalJacksonville, Florida
24-25 Mile High Jazz FestivalDenver, Colorado
March 4 Central Methodist CollegeFayette, Missouri
10 Edmonds Community CollegeLynwood, Washington
11 San Jacinto Junior CollegePasadena, Texas
13 Steven's High SchoolRapid City, South Dakota
West Valley High School16
88
Yakima, Washington
March 27 - April 1
April
April
May
6
15
17-20
21-23
29-30
6
May 25 - June 23
June 25-30
July 5-8
12-15
17-23
24-28
September 16
UNF Florida Tour
Brevard All County Jazz BandSatellite Beach, Florida
St. Cloud State UniversitySt. Cloud, Minnesota
UNF Florida Tour
Disney World Jazz FestivalOrlando, Florida
Musicfest USAPhiladelphia, Pennsylvania
Buena Vista CollegeStorm Lake, Iowa
American Wind Symphony Orchestra TourAmsterdam, Rotterdam, and Heusden, Holland.Salle Du Hainaut, France. Brussels, Belgium.Cork, Cogh, Waterford, and Dublin, Ireland.Londonderry and Belfast, Northern Ireland.Glasgow, Scotland.
Clark Terry Summer CampCentral State UniversityOklahoma
Disney World All American College BandOrlando, Florida
Disneyland All American College BandAnaheim, California
Rich Matteson Summer CampTelluride, Colorado
Monterey Teachers Summer Music WorkshopMonterey, California
University of North Florida Jazz CruiseJacksonville, Florida
Ponte Vedra Rotary ClubMarsh LandingPonte Vedra, Florida
St. Johns River City BandJacksonville, Florida
Richard's Jazz ClubSt. Augustine, Florida
Indiana UniversityIndiana, Pennsylvania
University of North Florida Jazz EnsembleJacksonville Jazz FestivalJacksonville, Florida
November 9-10
17
21
December 14-16
Adams State CollegeAlamosa, Colorado
University of North Florida Jazz EnsembleUNF Osprey AuctionJacksonville, Florida
University of North Florida Fall ConcertJacksonville, Florida
Clinic on rehearsing a Jazz Ensemble andperformance by the UNF Jazz EnsembleChicago Mid-West ConventionChicago, Illinois
1990
Performance by the UNF Jazz EnsembleNational Association of Jazz EducatorsConventionNew Orleans, Louisiana
North Dakota State UniversityFargo, North Dakota
Ohio Music Educators ConventionDayton, Ohio
21
89
October
October
1
3-4
10-11
13-14
January 11-14
27
February 1
90
6 Fourth Annual Ira Koger Invitational JazzFestival
Jacksonville, Florida
9 20th Annual Jazz FestivalSouthwestern State UniversityWeatherford, Oklahoma
17 Millikin UniversityDecatur, Illinois
March 6 Northeastern State UniversityTahlequah, Oklahoma
March 13 Gainesville Jazz FestivalGainesville, Florida
April 7 Peru State CollegePeru, Nebraska
10 Johnson City, Tennessee
22 Orlando Jazz SocietyOrlando, Florida
May 4-5 East Valencia CollegeOrlando, Florida
29 DeKalb Community CollegeDeKalb, Illinois
June 24-29 Clark Terry Summer CampCentral State UniversityOklahoma
Disney World All American College BandOrlando, Florida
Disneyland All American College BandAnaheim, California
July 23-29 Rich Matteson Summer Jazz CampTelluride, Colorado
August 1-5 Spokane UniversitySpokane, Washington
91
7-12 International TUBA ConventionSapporo, Japan
October 18-20 James Madison UniversityHarrisonburg, Virginia
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