October 2011 Percussion News

Transcription

percussion news
The newsletter of the PERCUSSIVE ARTS SOCIETY
IN THIS ISSUE:
3
People and Places 4
In Memoriam:
David Searcy
5
Summer Camps and
Festivals
16
PASIC Posters
22
2011 Drum Corps
International World
Championships 24
In Memoriam:
Marty Hurley
27
Industry News
28
Classifieds 35
NON PROFIT ORG.
U.S. POSTAGE PAID
PONTIAC IL
PERMIT NO. 19
Society Update
OCTOBER 2011
PASIC After Dark
Evening concerts will keep Indy grooving
In less than 60 days, the Indiana Convention Center and Westin Hotel–Indianapolis will be bustling with the sounds of percussionists and
drummers from around the world—all celebrating the 50th Anniversary
of the Percussive Arts Society and enjoying the special offerings of PASIC 2011. As always, this year’s PASIC will present spectacular concerts
every evening that are sure to intrigue the ears of every attendee.
WEDNESDAY EVENING (Nov. 9)
The star-studded concert presented by the New Music/Research Committee will feature the best performers of a generation of percussionists focused on
the creation and performance of new music. This retrospective of important works
of recent years will include compositions by Iannis Xenakis, Brian Ferneyhough, David Lang,
Michael Gordon, and Julia Wolfe, and a tribute to Chinese composers Qu Xiao-song, Tan Dun, and Guo Wen-Jing. Performers
will include Steven Schick, Percussion Group Cincinnati, Douglas Perkins, So Percussion and Mantra Percussion.
THURSDAY EVENING (Nov. 10)
PASIC 2011 will present the world premiere of “Concerto No. 2 for Percussion Section, Timpani and Orchestra” by Joseph
Schwantner, in the making since 2006 and specifically written for the Percussive Arts Society’s 50th Anniversary. Schwantner,
considered one of the greatest living American composers, has created a concerto that includes a large, varied collection of
percussion instruments including waterphone, stainless steel mixing bowls, Tibetan singing bowls, brake drums, rainsticks, and
amplified marimba. The Schwantner piece will be premiered in the beautiful Hilbert Circle Theater by the Indianapolis Symphony Orchestra, conducted by Hans Graf. General admission tickets are free to PASIC attendees; however, there are limited
seats available and only one ticket is allowed per registration. Make sure you have registered for PASIC 2011 and then e-mail
[email protected] to reserve your seat for this world-premiere event. Don’t miss Joseph Schwantner’s discussion about the premiere at 4:00 p.m. on Thursday.
FRIDAY EVENING (Nov. 11)
On Friday night, PASIC 2011 presents a show for the ages as the U.S. Army Blues Band, featuring Steve Fidyk, takes the
stage for a night of jazz. Celebrating its 39th year and widely considered the best working big band in the country, the U.S.
Army Blues Band will welcome to the stage guest drummers Keith Carlock, Peter Erskine, Simon Phillips, John Riley, Ed Soph,
and Emil Richards (vibes) to share the spotlight with Fidyk. Expect a high-energy show with top-rated playing from the finest
musicians in the nation.
SATURDAY EVENING (Nov. 12)
Saturday brings PASIC 2011 to a close with a huge birthday party for PAS. The celebration begins with the incomparable
Grammy-award winning Poncho Sanchez and his Latin Jazz Band. Poncho last performed in Indianapolis for the 2009 Indy
Jazz Fest and received rave reviews. His show is known to spark an “instant party,” which is exactly what will be happening
Saturday night as we celebrate 50 years of the Percussive Arts Society. A cash bar will be available during the concert, and the
back room will be opened immediately following Poncho’s performance for an after-concert hang with more live music. Come
out for the late-night hang with some of the best percussionists and drummers in the world.
OCTOBER 2011 2 percussion newS
www.pas.org
SOCIETY UPDATE
scholarship/
assistantship news
& Summer Workshops
By MICHAEL KENYON
2012–13 Board of Directors Election
The Percussive Arts Society will hold its
election for the 2012–13 Board of Directors
term throughout the month of October. We
are honored to present to the membership
this outstanding slate of candidates who
are willing to serve in this vital leadership
role. Your role as a member is to cast your
vote for those individuals you feel will best
provide the vision and leadership to successfully lead our organization into the future.
All current PAS members with active e-mail
accounts will be able to vote through our
online election. An e-mail invitation will arrive soon with all the information needed to
complete your vote online. Information on
all of the candidates and a ballot are available in the back of this issue for those who
would like to cast a paper ballot. The election
will conclude on October 31, and any mailed
or faxed ballots must be received in the office at that time.
2012 PAS Hall of Fame Nominations
Nominations for the PAS Hall of Fame
2012 Inductees will be accepted through
September 30. To review the entire list of
Hall of Fame members and how to submit
a nomination visit the PAS website at www.
pas.org/experience/halloffame.aspx.
Rhythm! Celebrates PAS 50th
Anniversary
Be sure to schedule some time to visit
Rhythm! as you plan your convention schedule. In celebration of the PAS 50th Anniversary, the central plaza will feature an exhibit
on the history of PAS and Gallery I will
feature a new exhibit, Instrument Origins:
Wood Skin Metal, that is highly interactive
and displays some beautiful instruments not
previously on display.
For 2011, the PASIC Listening Lab will
be held in the Rhythm! Reading Room all
day Thursday through Saturday, and the Research Poster Presentations will also be on
display just outside the Reading Room.
A special display in the Reading Room
this year will be two Gladstone Snare drums,
serial numbers 0 and 1, as well as other
unique pieces you will not want to miss.
Rhythm! Discovery Center hours during PASIC will be 9:00 a.m.. – 7:00 p.m.
Wednesday–Saturday, and 9:00 a.m. – 5:00
p.m. on Sunday. w
The December & February issues
of Percussion News will include a
listing of Scholarship/
Assistantship News.
The February and April issues of
Percussion News will include a
listing of Summer Workshops.
Deadlines
December: October 15
February issue: December 15
April issue: February 15
Send information to PAS
110 W. Washington Street, Suite A
Indianapolis, IN 46204
E-mail: [email protected]
Percussion News Staff: Rick Mattingly, Editor • Hillary Henry, Art Director
The Percussive Arts Society® (PAS®) is a music service organization promoting percussion education, research, performance and appreciation throughout the world. Percussion News
is published six times a year: February, April, June, August, October and December by the Percussive Arts Society. Correspondence regarding change of address, membership,
other business matters of the Society, and editorial and advertising material should be sent to: Percussive Arts Society, 110 W. Washington Street, Suite A, Indianapolis, IN
46204; telephone: (317) 974-4488; fax (317) 974-4499; e-mail: [email protected]. • POSTMASTER: Send address changes to: Percussion News, 110 W. Washington Street,
Suite A, Indianapolis, IN 46204. • COPYRIGHT © 2011 by the Percussive Arts Society. Reproduction of any part of this publication without permission from PAS is prohibited
by law. • Printed in the USA by Johnson Press of America, Pontiac, Illinois.
www.pas.org
percussiON nEWS 3 OCTOBER 2011
people and places
AUSTRALIA
ptimum Percussion (Carolyn Watson,
Eisteddfod Coordinator) presented the
12th Annual Australian Percussion Eisteddfod
on August 27–28 in Sydney. Adjudicators and
clinicians included James Campbell (University
of Kentucky), Gray France (Australian National University, PAS Australia Chapter President), Sergei Golovko (Melbourne Percussion
Ensemble School and Marimba Academy), and
Allan Watson (Australian Opera and Ballet
Orchestra). Each year, Optimum Percussion
holds the Australian Percussion Eisteddfod in
Sydney, Brisbane, or Melbourne, where primary
and high school students can compete in solo
or ensemble events. Schools and percussionists
from all over Australia have attended this event
since its inception.
O
April 11–21 in the Academic Hall, which was
also the host location of the Universal Marimba
Competition in July. This Academy was open
for intermediate, advanced, and professional
marimba players and provided a great opportunity to take private lessons with marimba
virtuoso Ludwig Albert and assistant Lin Chin
Cheng. The Academy hosted students from
Poland, Uruguay, Hong Kong, Bulgaria, South
Korea, Taiwan, Mexico, Japan, Thailand, Spain,
Tenerife, Serbia, and Belgium, who shared the
closing concerts with the lecturers. Adams, Innovative Percussion, Concorde, and Pustjens
Percussion Products co-sponsored this event.
The next edition will take place in July 2012; for
information visit www.ludwigalbert.com.
mus, the UFPE hand-chime ensemble under
the direction of Dr. Flavio Medeiros. Students
also had the opportunity to participate in a variety of community-based workshops including
pandeiro lessons with Claudio Santana, maracatu workshops with Corpos Percussivos directed by Jorge Martin, and samba classes with
Monobloco under the direction of Celso Alvim.
The exchange was the concluding project of
the five-year Music Alive! FIPSE-CAPES
grant for student exchanges and collaborative
projects between West Virginia University,
East Carolina University, Universidade Federal
do Pernambuco, and Universidade Federal do
Rio de Janeiro. Supplemental funding for this
exchange was generously provided by the West
Virginia University College of Creative Arts
and East Carolina University.
CANADA
n celebration of the 40th anniversary season of
Nexus, two back-to-back performances were
given by the Toronto-based quartet on July 31
as part of the Ottawa International Chamber
Music Festival Chamberfest at St. Brigid’s
Centre for the Arts. The first performance was
a full Nexus solo concert featuring works by
Steve Reich, John Cage, and Nexus member
Bill Cahn, as well as several of the group’s signature novelty ragtime xylophone arrangements
featuring Bob Becker. Also joining Nexus for
this event was the Canadian percussion group
Torq.
I
BELGIUM
he fifth edition of the Ludwig Albert International Marimba Academy took place
BRAZIL
embers of the West Virginia University
African Music and Dance Ensemble
(Zane Cupec, John Lofink, John Posey) under
the direction of Dr. Michael B. Vercelli participated in a three-week cultural exchange to
Recife and Rio de Janeiro May 19–June 9. Collaborating on the exchange were Dr. Christine
Gustafson (flute, East Carolina University), Dr.
Michael Sammons (percussion, University of
South Alabama), Dr. Sergio Alvares (ethnomusicology, Universidade Federal do Rio de
Janeiro), and Dr. Mauro Maibrada (guitar, Universidade Federal do Pernambuco). Workshops
and master classes were presented at the UFPE
and UFRJ on African percussion (Vercelli/
WVU African Music and Dance Ensemble),
snare drum (Sammons), flute (Gustafson), guitar (Maibrada), the Brazilian Choro (Alvares),
maracatu with UFPE Professor of Percussion
Antonio Barreto, and a performance by Txai-
Stanton Moore
Ludwig Albert, Lin Ching Cheng and students at the Ludwig Albert International Marimba Academy
G
alactic drummer Stanton Moore recently
completed a clinic/performance tour of
Australia, where he delighted drummers with
his New Orleans-flavored funky style. Stanton’s
appearances were part of the Drumscene Live
Australia Tour 2011, sponsored by Drumtek, the country’s largest percussion retailer.
From Aug. 14–21 Stanton and his tour mates
crossed the continent, entertaining drummers
in Brisbane, Sydney, Canberra, Newcastle, and
Adelaide. They finished up at the 2011 edition
of Australia’s Ultimate Drummers Weekend &
Drum Expo in Melbourne, where Stanton conducted master classes on Aug. 20 and closed the
show on Aug. 21.
T
M
CHINA
r. Michael B. Vercelli (West Virginia
University) was in residency at the Central
Conservatory of Music, Beijing China from
June 25–29 (Prof. Zhang Boyu, host). The residency concluded a two-year project centered on
Internet-based instruction of the gyil (Ghanaian xylophone). Workshops and lessons focused
on gyil repertoire and hand drumming tech-
D
www.pas.org
nique and performances by individual CCOM
students.
CUBA
oSA Cuba held its annual workshop and
festival March 6–13. The week started with
a conference and an introduction to Cuban
music by ethnomusicologist Dr. Olavo Alen,
followed by a personalized introduction tour
to Old Havana and other historic sites. Conga
drum classes were conducted by Tomas Ramos
“El Panga” Julio Lopez from Klimax, Yaroldi
Abreu from Irakere and Chucho Valdes. Timbale classes were conducted by Jean Roberto
Figueroa from Klimax with his personal
“timba rhythm” approach to that instrument.
Special guest Roberto Smith, the inventor of
the new foot maraca shaker manufactured by
LP, demonstrated the ultimate independence
in performance as a solo percussionist covering
all the percussion parts. Legendary timbalero
Amadito Valdes of Buena Vista Social Club
fame spoke about his philosophy and approach
K
to soloing while demonstrating the classic way
of playing danzón. Drumset was taught by
Juan Carlos Rojas “El Peje” (Chucho Valdez
drummer) and session drummer Oliver Valdes,
each exemplifying his own creative approach to
Cuban rhythms on the drumset. Assisting with
translation and “hands on” instruction were
Aldo Mazza and Memo Acevedo. Highlights of the workshop were a special
class with Cuban percussion group Percuba
Ensemble teaching rumba and traditional concepts in performance, and seeing Amadito Valdés, Oliver Valdes, Jesus and Yuliet Abreu from
Los Papines and Enrique Pla do an impromptu
jam/descarga. KoSA participants were also
given the opportunity to see live performances
with top Cuban artists and dance troupes
throughout the week. The winners of the national percussionist contest performed live and
received prizes of drums, congas, timbales, bongos, and cymbals offered graciously by sponsors
LP, Sabian, Evans, and Mapex.
In Memoriam
David Searcy
By Michael Quinn
D
avid Searcy, timpanist of the La Scala Opera
orchestra for more than three decades, died on
August 2, 2011, after a long illness.
David was a singular authority among colleagues all over the world, and for many young
timpanists and percussionists an inspiring teacher
and fatherly friend. His playing career, both lyric
and symphonic, and his innate musical curiosity
made the scope of his knowledge of the repertoire
probably the broadest, and his interpretation of
that repertoire the deepest, of any timpanist ever.
His never-flagging interest in music history fueled
his conviction of the worth of tradition in an ever
more unsettled world, and he looked always to
pass on the cultural heritage of his instrument and its practice to those who sought his presence.
Born in Richmond, California, on January 21, 1946, David first studied in his home city of
Oakland, and in his teens was a student of Roland Kohloff. In 1964 he went to Tanglewood,
then remained on the East Coast to study with Vic Firth, and in 1965 gave in to a long-held
wish to play in Europe when a timpani opening in the Musikselskabet Harmonien in Bergen,
Norway, made the move possible. Two years later he was looking for new challenges, other
concepts, and a new artistic orientation. In Vienna he studied with Richard Hochrainer, and
then found his true mentor and guide in Robert Hinze in Hamburg, Germany.
In 1968 he became solo timpanist of the Bavarian State Opera in Munich, where he remained until 1972 when Claudio Abbado invited him to join the orchestra at La Scala. Later,
when Abbado founded the European Youth Orchestra and the Gustav Mahler Youth Orchestra, David was his first choice for a percussion tutor.
From 1980 until his death, David guided the percussion class at Milan’s Civic Music
School. Here, he formed a whole new generation of timpanists for Italy and Europe, and a
few more distant parts of the world as well. He was also visiting Professor at the Royal Academy of Music in London.
David brought a wholesome fantasy into the world and no one, not even his peers, ever left
his company without taking away some bit of knowledge that made music, or playing, or even
life, a bit clearer and more meaningful. For that we’ll be ever grateful to him.
www.pas.org
ITALY
n April 2–3, KoSA held its first official
workshop in Turin in collaboration with
the GM Drum School in Torino, directed by
Gigi Morello. Aldo Mazza (Repercussion,
KoSA Founder and Artistic Director) and
drumset artist Sergio Bellotti (Berklee College
of Music) were invited to lead and instruct a
two-day intensive workshop covering the topic
“it is about the groove.” Covering a broad range
of topics, from drumset to hand and world percussion, the classes included both performing
and interactive sessions.
At the end of the first day, the 50 participants in Torino were treated to a live video
connection to New York where KoSA artist
alumnus and digital media expert Allan Molnar facilitated a live interactive video discussion
with KoSA alumni faculty artists Mike Mainieri, Marcus Santos, Michael Wimberley and
Jim Royle.
The two-day intensive workshop culminated
in a public jam session at a local club in the
famous Piazza Immanuele. Bellotti and Mazza
were joined by local musicians in an evening of
jamming and hanging with many students and
local musicians.
KoSA Italy sponsors were LP, Sabian, ProMark, Evans, Zildjian, Vic Firth, Ringo Music,
and Vibe Drums.
O
MOROCCO
es Crawford performed twice on drumset with Between Worlds at the Gnaoua
Festival in Essaouira this summer. The first
show was for an estimated audience of 25,000
on June 23. The June 24 show was a collaborative concert with Gnaouan superstar musician
Hamid Kesri, held on top of an old Potuguese
W
fort. Festival Creative Director and internationally known French/Algerian drummer Karim
Ziad shared drumset duties on this second
concert. Between Worlds included Broto Roy
on tablas. SERBIA
he Stankovic Percussion Ensemble has
been very active this year, playing over 60
concerts in Serbia and Montenegro. In February Jeff Queen presented a clinic and two concerts with the SPE Drumline in Belgrade and
Novi Sad. In July the group had guests from
Southern Missouri University and Illinois State
University for a five-day workshop, clinic, and
two performances with the ensemble. Clinicians were Matt Brusca, Josh Zimmer, Gregg
Walker, Arthur Johnson, and Kevin Ranney.
The clinic was supported by the U.S. Embassy
in Belgrade. Two Serbian graduate students
will continue their studies in the U.S. Milos
Branisavljevic received a full scholarship to the
Berklee College of Music, and Igor Stojanovic
received a full scholarship to Benedict College.
T
SOUTH KOREA
he Taiwan International Percussion
Convention (formerly the Taipei International Percussion Convention) was held in
May, sponsored by the Ju Percussion Group.
The event featured 13 groups from 10 nations
performing 26 concerts in eight cities. Guest
artists included Nebojsa Zivkovic (Germany),
Svet Stoyanov (Bulgaria), TaCTuS (France),
PercaDu (Israel), the Amsterdam Percussion
Group (Holland), the Seoul Percussion Ensemble and Hannuri Yeon-Hee Dan (South
Korea), Okada ( Japan), Azaguno (USA), and
Strike Percussion (New Zealand).
T
USA
Alabama
he 5th Annual JSU Grey Drummers
Summer Gig was held June 23–25 at
Jacksonville State University. The Grey Drummers are part of the band alumni organization
known as the Grey Echelon. The Marching
Southerners of JSU is entering its 55th year in
2011. Spearheaded and organized by Daniel
Hammond, the Summer Gig has grown every
year since its inception. Clinics were presented
by Richard McLendon (I.P. Educator Artist
and JSU graduate), Hammond ( JSU graduate),
Jim Dinkins (DCI percussion judge 1977–97),
Clint Gillespie ( JSU Assistant Band Director and JSU graduate), special guest speakers
John C. Smith (Hawthorne Caballeros Alumni
Drum and Bugle Corps, Hawthorne, NJ) and
Bob Peterson (Hawthorne Caballeros and the
World Drum Corps Hall of Fame), Dr. David
L. Walters ( JSU Band Director Emeritus), and
Daisy Cordona ( JSU graduate).
The three-day event included music sectionals, full ensemble music rehearsals of the drum
music played by JSU drum lines over the years,
clinics, and social activities. JSU percussionists
from 1956 to the present were in attendance
and came from Texas, Kentucky, Tennessee,
Alabama, and Georgia. Percussion instruments,
provided by Hammond, were rebuilt and used
to provide instruments that were used during
each time period of the drum line’s history.
T
Alaska
rom July 17–23, nine advanced-level
percussionists participated in the Alaska
Midnight Sun Chamber Percussion Intensive.
This program was part of the annual Fairbanks
Summer Arts Festival and was held at the University of Alaska Fairbanks. Morris Palter was
the program director and Bob Becker was the
guest faculty member. Participants performed
two dedicated concerts including a complete
performance of Steve Reich’s “Drumming” and
a series of smaller chamber works including
“Away Without Leave,” “Unseen Child,” and
“Turning Point” by Becker, as well as works by
Toru Takemitsu, John Cage, and Edgard Varèse.
This event was sponsored in part by Yamaha,
Sabian, and Black Swamp.
F
California
im Greiner recently conducted a drum circle
at the 39th Annual Santa Cruz Wharf to
Wharf Race. The 10K race attracts 15,000 runners from all 50 states and over 20 countries,
including elite African runners, and has raised
over $300,000 for area school athletic programs.
Jim’s drum circle helps motivate the runners at
the starting line and has become a Wharf to
Wharf Race tradition. His drum circle was one
of 50 musical groups that lined the race course
along the scenic coast from the Santa Cruz
Wharf to the Capitola Wharf in the Monterey
Bay area.
J
Jeff Queen with the Stankovic Percussion Ensemble Drumline
www.pas.org
www.pas.org
D
rumChannel.com and Los Angeles Music
Academy College of Music hosted the
Second Annual Drummer’s Reality Camp June
29–July 2. Guest artists included Alex Acuña,
Kenny Aronoff, Terry Bozzio, Jim Keltner,
Cobus Potgieter, Gil Sharone, Thomas
Pridgen, and L.A. Music Academy’s Ralph
Humphrey, Dave Beyer, Aaron Serfaty, Tony
Inzalaco, and Joe Porcaro. The four-day event
took place at L.A. Music Academy in Pasadena.
Campers were treated to workshops, lessons,
master classes, special performances, meet &
greets/autograph sessions, a DW Drums factory
tour, and an in-studio, live clinic by Bozzio at
DrumChannel.com studios.
Colorado
he Aspen Music Festival and School
Percussion Department featuring faculty
T
artists Jonathan Haas, David Herbert, Doug
Howard, and Tom Stubbs were joined by 19
percussion students from around the world
along with guest artists Collin Currie, Keith
Aleo, and Michael Udow. Currie performed
the Rouse percussion concerto, “Der Gerettete
Alberich,” with the Festival Orchestra and
presented a master class. Aleo and Udow offered their expertise to the percussion class
along with the weekly master classes given by
the faculty. Elliot Beck served as the Aspen
Conductors Academy fellowship principal timpanist, Simon Gomez Gallego was the winner
of the Charles Owen Memorial Fellowship,
and Ryan Nestor served as the percussionist for
the Aspen Contemporary ensemble under the
direction of Sidney Hodgkinson.
The percussion ensemble, under the direction
of Haas, presented as a part of the Shakespeare
mini festival an unprecedented performance
of Harrison Birstwhistle’s “For o, for o, the
hobby horse is forgot,” which included actors
from the AMFS Opera program. Other works
on the program included “Omphalo Centric
Lecture” by Nigel Westlake, “Tak-Nara” for
percussion quartet by Nebojsa Jovan Zivkovic,
“20 Minutes off the Pavement” by David Friedman with Matthew Lau, vibraphone soloist,
and “First Concerto for Flute and Percussion”
by Lou Harrison with Nadine Asin, flute soloist. Charles Rosmarin was the winner of the
Messian Exotic Birds audition, which resulted
in a performance with acclaimed pianist David
Friend and members of the AMFS percussion
department.
Connecticut
rammy Award-winning percussionist,
composer, and songwriter Ralph MacDonald was honored with a day all to himself
on the final evening of the Jazz-up July music
festival in Stamford. MacDonald, a 35-year
Stamford resident, was emotionally overcome
by the surprise honor, which came in the form
of a proclamation by Mayor Michael Pavia:
“We have the greatest resources in the world,
and we are about to see one of them, live and in
person,” Pavia said. “Ralph MacDonald, today is
your day on behalf of the citizens of Stamford.”
He and fellow Stamford resident Dennis Collins performed a set of songs at the start of the
concert, paving the way for the evening’s headliner, Roberta Flack.
G
Kentucky
had Floyd, Director of Percussion Studies
at Campbellsville University, presented a
variety of percussion clinics and master classes
to several high schools and middle schools
throughout Kentucky during a one-week tour
in May. The schools included Old Kentucky
Home Middle School, Shelby County High
School, Spencer County Middle School, South
Warren Schools, Bullitt Lick Middle School,
and Lebanon Middle School. The clinics focused on a number of topics including snare
drum, keyboard percussion, timpani, and drumset. The clinics were sponsored by Innovative
Percussion.
C
Jim Greiner in front of the world-famous Giant Dipper roller coaster at the Santa Cruz Beach Boardwalk.
Maryland
he Drumset and Percussion Camp, part
of the Goucher Summer Arts Institute,
was held at Goucher College in Baltimore July
10–23 for percussionists ages 13–18. Teaching
and performing faculty members consisted of
Wes Crawford (camp director, Goucher College), Kwame Ansah-Brew (Goucher College),
Phil Bronson (drummer for Jonathan Scales
Fourchestra), Greg Clark (Raheem Devaughn,
Greyson Chance), Orlando Cotto (Darin
Atwater, Andy Gonzalez, Michael Spiro), Jerome Herskovitz (Goucher College), Jeremy
Hummel (formerly with Breaking Benjamin),
T
Aspen Music Festival and School percussion department at 12,500 feet
www.pas.org
www.pas.org
Dr. Michelle Humphreys (Towson University,
Shepherd University), Keith Larsen (Baltimore
Drum Company), John Locke (Goucher College, Baltimore Symphony), Marshall Maley
(VA/DC PAS Chapter President), Joe McCarthy (AfroBop Alliance), Mike Miller (Old
Mill High School), John Parsons (drummer
with Navy Commodores), K. S. Resmi (S.
Indian vocalist), N. Scott Robinson (Goucher
College), Jonathan Scales ( Jonathan Scales
Fourchestra), Scott Tiemann (Avec), and Cody
Wright (bassist for Jonathan Scales Fourchestra). Offerings included jazz combos, concert
percussion ensemble, Brazilian drumming
ensemble, drumline, steel pan ensemble, West
African ensemble, world percussion ensemble,
and dance accompaniment, as well as numerous clinics, workshops, and concerts. Sponsors
included Baltimore Drum Company, Chuck
Levin’s Washington Music Center, Cooperman
Drums, Dream Cymbals, Evans, Goucher College Music Dept., Innovative Percussion, Locke
Percussion, Maley’s McLean Music, MidAtlantic Drum, MusicAndGames4U.com, MyDrumLesson.com, Pearl, ProLogix Percussion,
Pro-Mark, Remo, Sabian, Vic Firth, Yamaha,
and Zildjian. Visit www.DrumsetAndPercussionCamp.org for further info.
New Hampshire
eld from July 4–16 at the Enfield Shaker
Museum in Enfield, the inaugural Chosen
Vale International Percussion Seminar was a
resounding success. As part of the Center for
Advanced Musical Studies, the percussion seminar was hosted by Pearl/Adams artist Doug
Perkins and CAMS director Edward Carroll.
The seminar was attended by 30 talented, young
musicians, coming from across the U.S. as well
H
as from Italy, Brazil, Canada, and Japan to study
and perform at the two-week seminar. Pearl
Drums and Adams Musical instruments provided a full array of keyboard percussion, drums,
and hardware to be used at Chosen Vale.
Chosen Vale offered a truly unique experience to all of the attendees. Not only did nationally and internationally recognized faculty
teach at the event, including Matthew Duvall
and Tom Freer, but prominent composers were
also in attendance to discuss and work with
students. As part of a collaborative process,
composers Steve Reich, Steven Mackey, Larry
Polansky, David Rosenboom, Christian Wolff,
and Joseph Schwantner all visited Chosen Vale
to give lectures or coaching sessions on their
works.
Students prepared four concerts of chamber
music over the two-week period. Over the
course of the seminar, members of the guest
faculty gave lectures, lessons, and master classes
for the students. With almost all events at the
seminar held in a group setting, all attendees
were able to benefit from the constructive criticism, encouragement, and support offered by
the faculty.
New York
arry S. Levine was one of the featured
clinicians at the Woodstock Music Trade
Show in May. Promoting his acclaimed, awardwinning instructional series, “Drumistix—from
Pad to Performance,” he played to a capacity
crowd. Levine’s interactive class demonstrated
and covered such topics as rudimental applications, stylistic development, and drumming/
musical awareness. The event was supported
by Yamaha, Sabian, Regal Tip/Calato, Aquarian, LT Lug Locks, SKB Cases, HHot Hat,
L
Ja Music, KMC Music, Mountain Rythym,
PAS, Classic Drummer magazine, the LIDC,
NARAS, and LARAS.
O
n March 29, KoSA held its KoSA NYC
one-day workshop including clinics
and concerts at Lehman College. Clinicians
were Arnie Lang, Aldo Mazza, Johanthan
Haas, Allan Molnar, Scott Kettner, Mike
Clark, and Victor Rendón joined by his group
Co-Tim-Bó (Victor, Chembo Corniel, Guillermo “Memo” Acevedo, Cascadu, and Yasuyo
Kimura). The event started with Lang (NY
Philharmonic), Haas (NYU) and Mazza (Repercussion), who engaged in a workshop on
“The Percussion Section in the Concert Band.”
Participants included Penelope Jacono directing the Celia Cruz High School Percussion
Section performing “American Faces” by David
Holsinger. The clinicians then gave valuable
suggestions for improving performance such as
stick selection, playing position in relation to
the conductor, attack and articulation of specific
note values, and dynamics.
Kettner took the audience on a musical journey to Brazil covering the Northeast rhythm
known as Maracatu and demonstrated and
discussed some of the similarities between Brazilian and New Orleans drumming. Clark, who
is known for his work with Herbie Hancock,
covered the topic “From Swing to Linear Funk”
and performed and demonstrated with special
guest Jerry Z on organ. The final clinician of the
day was Rendón joined by his group, Co-TimBó. The group started with a performance featuring batá drums and segued into a traditional
Cuban bembé. A discussion of the different
rumba styles then followed, which included
yambú, rumba columbia, guaguancó, and the
relatively new style of guarapachangueo. The
clinic ended with the performance of a percussion arrangement of “Manteca,” which featured
the group and guests Mazza, Molnar, and
Kettner. The event culminated with a performance by
the 80-piece Lehman College Concert Band
(led by Alan Hollander) performing “Mambo
#5” arranged by Armando Rodriguez and Victor Rendón. Lang joined the group on timpani,
along with Mazza, Molnar and others. Many thanks to the KoSA NYC sponsors:
Sabian, Evans, LP Music, Vic Firth, Remo,
Lang Percussion, Pro-Mark, Toca, Istanbul
Agop, Tama, and DW.
N
Drumset and Percussion Camp Faculty Concert performers (L–R): K.S. Resmi, Orlando Cotto, Jeremy Hummel,
N. Scott Robinson, Wes Crawford (host), Jonathan Scales, and Jonathan Scales Fourchestra members Phil
Bronson and Cody Wright.
exus joined forces with the Canadian
Brass in an Independence Day weekend
performance at the historic Maverick Hall in
Woodstock, hosted by Nexus member Garry
Kvistad. The concert was titled “Stars and
Stripes” and featured traditional American
songs and marches. Much of the music was
arranged by former Nexus member Robin
Engelman for the recently released CD, Stars
and Stripes: Canadian Brass Salute America.
www.pas.org
www.pas.org
The CD features members of Nexus with the
Canadian Brass, and for weeks it was on the
Billboard Classical Chart peaking at Number
Two. Among the highlights in the Woodstock
concert were Bill Cahn’s arrangement of Copland’s “Fanfare for the Common Man” followed
by Peter Schickele (aka “P.D.Q. Bach”) personally introducing his own “Fanfare for the Common Cold.”
B
ill Cahn, a member of Nexus and Professor of Percussion at the Eastman School
of Music, facilitated a Creative Music Making
workshop for 14 participants as part of the
week-long summer percussion institute directed
by Eastman Professor Michael Burritt. The
workshop focused on freeform improvisation
based on Bill’s book, Creative Music Making,
published by Routledge Books. Each participant had the opportunity to perform and record
an improvised piece for immediate playback,
listening, analysis, and discussion. Earlier in
the week, Bill performed in an improvised duet
titled “Ready to Hatch” on Burritt’s solo faculty
recital in the Eastman School’s new Hatch Recital Hall. In addition to Burritt’s daily sessions,
additional workshops were presented by Lee
Vinson, Jacob Nissly, and John Beck.
Pennsylvania
uey Percussion Duo (Gene Koshinski
and Tim Broscious) completed a sixweek residency at the International Performing Arts Institute Summer Music Festival in
Kingston from June 26 to Aug. 6. The duo filled
the festival with performances, master classes,
clinics, workshops, private lessons, and sideby-side experiences in large ensembles. One
highlight was a performance of Koshinski’s
“Concerto for Marimba and Choir,” presented
on July 2 with the Performing Artist Institute Choir with Koshinski (marimba soloist),
Tim Broscious, Mike Dobson, and Matt
Q
Smallcomb (percussion). On July 31, the duo
presented a special program entitled “Meditation and Imagery,” which featured new and
standard works for percussion including George
Crumb’s “Quest” for guitar, soprano sax, harp,
double bass, and two percussion, performed by
Performing Arts Institute faculty members. The
festival was generously sponsored by Sabian,
Remo, Innovative Percussion, and Korogi Marimbas. J
uly 10–16 marked the annual Summer Music
Camp (Grant Moore, director) held at Elizabethtown College. James Armstrong, Instructor of Percussion at Elizabethtown College and
Millersville University, oversaw all percussion
activities and was assisted by students Katelyn
Santee (Etown College) and Forrest Black
(Millersville University). The week-long camp
catered to over 150 young musicians grades
7–12 in all disciplines of music. Percussion
activities included daily master classes presented by Armstrong in all areas of percussion,
percussion ensemble rehearsals, as well as section rehearsals with large ensembles. Evening
concerts featured faculty and student chamber
ensembles, including the Music Camp Percussion Ensemble, Latin Jazz Percussion Ensemble, and the Faculty Percussion Trio. The camp
closed with a finale concert that highlighted
students performing within the large ensemble
setting. Armstrong was sponsored in part by
Yamaha, Sabian, and Vic Firth.
S
am Ruttenberg and his student Justin
Faulkner (Branford Marsalis) shared the
bill with singer Jo Thompson at the Philadelphia Jazz Clef Club. It was a tribute to the late
Lena Horne whom Sam played with years ago.
South Carolina
he 1st annual nief-norf Summer Festival enjoyed enormous success during its
T
ten-day run from June 1–10. The event was
generously hosted by Furman University in
Greenville and allowed participants from
around the U.S. to participate in the performance and study of some of the most prominent pieces from the percussion repertoire.
Utilizing a selection of generously borrowed
instruments from Yamaha and Pearl/Adams,
nief-norf ’s offering included six concerts in ten
days, all free and open to the general public.
The festival began with an evening concert
by the faculty group the nief-norf Project,
who performed Christopher Adler’s compelling work “Pines Long Slept in Sunshine,” as
well as works by Mark Applebaum and Steve
Reich. Days later, the participants headed
downtown to Falls Park and presented Terry
Riley’s “In C” and John Zorn’s “Cobra” to a
vibrant and enthusiastic audience of all ages.
The festival also included a first-rate evening
performance by emerging solo artist Ryan
Nestor, which included a rendition of Roger
Reynolds’ “Watershed,” and a more informal
Cabaret Concert made-up of solo performances
by the participants, which was highlighted by
Caleb Herron’s closing performance of Vinko
Globokar’s “Corporel.” Additionally, composers
Caroline Mallonee and Steven Snowden visited
campus, presented master classes and coachings,
and then heard their pieces presented in concert
next to works by Alexandre Lunsqui, Stuart
Saunders Smith, and the vintage sounds of Mario Davidovsky’s “Synchronisms No. 5.”
After more than a week of discussion,
rehearing, and hang-time, the participants
presented a final concert on June 9 as part of
Furman’s Music by the Lake concert series, attended by over 500 people. The performers gave
a performance of John Luther Adams’ “Qilyaun,” which was surrounded by David Crowell’s
“The Day After...,” Christopher Adler’s “Signals
Intelligence,” and masterworks by Steve Reich
and Iannis Xenakis.
www.pas.org
www.pas.org
The festival was directed by Andrew Bliss
and staffed by faculty members Omar Carmenates (host), Mike Truesdell (Assistant
Director), and Bill Sallak (Technical Director)
as well as Christopher Adler (composer-inresidence) and Megan Arns (intern). The festival wishes to thank Black Swamp, Innovative
Percussion, Vic Firth, Zildjian, and Sabian for
their support.
T
he 2011 South Carolina Day of Percussion was hosted by Dr. Scott Herring at
the University of South Carolina campus on
April 16. This year’s event included the second
annual High School Solo Competition and All
Collegiate Percussion Ensemble. Sympatico
Percussion Group headlined the day through
their participation in directing the All Collegiate Ensemble, giving individual clinics, and
closing the day with a performance. The group’s
clinics included Kristopher Keeton’s “Beyond Boundaries,” Susan Powell and Joseph
Krygier’s “Improving Ensemble Skills,” and a
marimba clinic by Christopher Norton. The
event also included a “Rumba Anatomy” clinic
by Michael Spiro and Jesse Willis as well as
a concert presented by the Blythewood High
School Percussion Ensemble under the direction of Jonathan Burbank.
Tennessee
n Aug. 27, guest artist Julie Davila
worked hands-on with six regional marching percussion sections at the University of
Tennessee at Martin’s 7th Annual Drum Line
Tune Up Day. Davila worked on technique,
musicality, and a variety of percussive subjects
within the marching percussion genre. Julie
also gave a clinic for all participating students
and band directors using the UTM Marching
Percussion Section (Hill, Coordinator, and Nola
Jones, Director of Bands) as the demonstration
group. The event hosted over 300 high school
students and band directors. This event was
sponsored by Zildjian, Pearl/Adams, Innovative
Percussion, and Evans.
O
Texas
ighteen Texas libraries hosted percussion
programs by Mark Shelton during June
and July. The performances of Mark’s “Strike,
Scrape, & Shake Show” were part of the libraries’ summer reading series.
E
Participants of the University of Tennessee at Martin’s 7th Annual Drum Line Tune Up Day
www.pas.org
T
he University of North Texas College of
Music presented the 5th Annual UNT
Marimba Workshop with faculty members
Professor She-e Wu from Northwestern
University, Dr. Brian Zator from Texas A&M
University–Commerce, Dr. Scott Herring from
the University of South Carolina, and UNT
Percussion Coordinator and workshop host
Professor Mark Ford. Guest clinicians for the
week-long workshop were composer/percussionist Michael Colgrass and UNT Percussion
Professor Christopher Deane. Students came
from across the country to participate in master
classes, technique sessions, keyboard ensembles,
private lessons, and much more. In addition to
instruction, there were three student recitals
and a faculty recital. Sponsors for the workshop
were the UNT College of Music, Dynasty, Innovative Percussion, and Zildjian.
Vermont
he 16th Annual KoSA International
Percussion Workshop, Drum Camp and
Festival wrapped its annual week of intensive,
intimate living and learning with international
drum and percussion masters and a very special
surprise guest. Participants and faculty alike
were stunned and reacted quite emotionally
when Neil Peart of the legendary Canadian
rock group Rush took center stage at the camp’s
closing session. It was an honor for KoSA Founder Aldo
Mazza to have Neil accept an invitation to
come to KoSA and join Aldo for a publicly
candid interview on various topics. Neil also
took a few questions from KoSA participants.
For a postscript, Aldo and KoSA Artist Faculty
members Marcus Santos, Michael Wimberly,
and Memo Acevedo joined Neil on a drumkit
and djembe ensemble improvisation, with Neil
moving to djembe for the finale of a once-in-alifetime, spontaneous percussion performance.
Registered participants came from Mexico,
the U.K., and all over the U.S and Canada
to study with KoSA’s faculty, which included
Acevedo (Tito Puente), Carmine Appice
(Vanilla Fudge, Rod Stewart), Sergio Bellotti
(Spajazzy, Berklee), Jimmy Cobb (Miles Davis), Dominick Cuccia (Company of Fifers &
Drummers), Mario DeCiutiis (KAT Drums &
Mallets, Radio City), Dom Famularo (drumming’s global ambassador), Aiyun Huang
(McGill University), Aldo Mazza (Repercussion), Allan Molnar (Nelly Furtado), Jim Royle (steel drum master), Jeff Salisbury (Albert
King, James Harvey), Marcus Santos (Paquito
DíRivera), Glen Velez (Grammy-winning
frame drum master), Michael Wimberly (PFunk, African drum specialist) with dancer
Alexis Johnson, Zoro (Lenny Kravitz) and the
KoSA rhythm section: Bob Quaranta (piano)
and Francesco Beccaro (bass). KoSA Lifetime
Achievement Awards were given to Jimmy
Cobb and Neil Peart. KoSA 16 was sponsored in part by Beatnik,
Cadeson, Cooperman, Canadian Musician,
ddrum, Dream Cymbals, Evans, Factory Metal,
Hudson Music, Istanbul Mehmet, KAT Percussion, LP, Ludwig/Musser, Mapex, Mike Balter, Modern Drummer, PAS, Pro-Mark, Remo,
Sabian, Shure, Sticks ‘n Skins, Taye, Toca, Vibe
Drum, Vic Firth, Yamaha, and Zildjian. w
News items for the “People and Places,” “Industry News”
and “On the Road” sections of Percussion News must
be received at the PAS office within three months
of the date of the event.
Please send materials to PAS:
110 W. Washington Street, Suite A, Indianapolis, IN 46204
Fax: (317) 974-4499 . E-mail: [email protected]
T
www.pas.org
Jolan Kovacs Mazza, Neil Peart and Aldo Mazza with the KoSA Lifetime Achievement award, given to Neil at the
16th Annual KoSA International Percussion Workshop
Summer Camps and Festivals
The 2011 LHS Summer Marimba Seminar
By Jessie Linden
This year at the 32nd annual Leigh Howard Stevens Summer
Marimba Seminar, 25 college-aged students benefited from an immense
blend of musical and personal gain while nestled in a beautiful,
oceanside Victorian inn. The focused environment of the classroom
as well as the unique housing experience allowed the students to mix
their musical expression and social graces and develop invaluable skills.
With students coming from all over the world, participants were all
able to positively influence their fellow students from both a musical
and social standpoint. The group, spanning the United States, Canada,
South Korea, Switzerland, and Belgium, created a warm and supportive
environment in which to live, learn, and grow.
Each day, the students had several hours of class time with Leigh,
followed by practice time at the inn where one had the opportunity
to work independently or to join forces with friends in helping each
other master the challenging concepts being presented. With Leigh,
the students participated in lecture-based classes with assigned nightly
reading pertaining to the discussions of that day. Leigh presented his
technical approach to the instrument with daily demonstrations. He also
taught lessons on acoustics, practicing, phrasing, dynamics, reading, tone
production, and more. All participants had the opportunity to receive
feedback on their playing from Leigh in class, as well as from Nora
Stevens in her afternoon stroke checks.
The students were surrounded by resources they could go to for
help and expertise, whether it was in or out of class. Leigh’s Method of
Movement and his assigned readings proved to be valuable resources that
the students could use to address their daily thoughts and questions.
Living with the other participants also gave students the advantage of
using each other as sounding boards, creating an active learning process
at home, as well as in the classroom. Each morning, Leigh opened up a
discussion for any thoughts or questions pertaining to the reading and
corresponding quizzes. In this way, the students were learning both in
and out of the classroom every day.
The variety of guest artists also greatly influenced this open-minded
group. Gordon Stout and Nathaniel Bartlett both gave incredible
concerts and master classes. The students also had the privilege of
receiving a master class centered on the African gyil from Valerie Dee
Naranjo, a demonstration of Super Marimba by Payton MacDonald,
and a highly energized participation-based discussion class with Dennis
DeLucia. The variety of expertise that was presented offered the students
an opportunity to open their minds to different ways to play and think
about percussion. Additionally, the concert series featured Nora Stevens,
who played a beautiful program in the lovely Holy Spirit Church in
Asbury Park, New Jersey. Leigh Stevens returned to that same venue
and concluded the seminar with an incredible program of multiple Bach
works, two of his compositions, and a pre-premiere of his newest workin-progress.
When the students were not in class or practicing, many found time
to enjoy the marvelous beach weather just outside the inn. Some spent
time exploring Ocean Grove and its surrounding communities, and
a few even made a trip or two to New York City. By the final student
concert on the last night, a supportive group of individuals sat as a
class and shared what was to many an emotional end to a life-changing
experience they will treasure forever.
Rosauro and Moore’s Mallet and Percussion Summer Camp
The 2011 Ney Rosauro and Jeff Moore’s Mallet and Percussion Summer Camp took place at the University of Central Florida in Orlando
July 17–23. In addition to Rosauro and Moore, other faculty included
Dr. John Parks, Kirk Gay, Dr. Thad Anderson, Brian Potts, and graduate
assistants Nick Guiliano (University of South Carolina) and Luis Alberto Bittencourt (Brazil). The camp is part of the highly successful Yamaha
Sounds of Summer Program with additional sponsorship support from
Sabian and Vic Firth.
Twenty-one students from the United States plus five international
students from Hong Kong, Spain, Portugal, Holland and Equador attended the camp. This was the first time the camp was held in the new
percussion facilities at the University of Central Florida, and it exceeded
all expectations. The camp provided a well-rounded experience, with
students having the opportunity to work in all areas of percussion. Although many camps focus solely on marimba or marching percussion,
the Rosauro/Moore camp included vibraphone, marimba, snare drum,
multi-percussion, timpani, steel drums, and Latin/Brazilian percussion.
This year the students were introduced to digital notation and playback utilizing Sibelius software in the new state-of-the-art UCF Music
Computer Lab. In addition to the presentations and lessons, campers participated in percussion ensemble, culminating in a final closing
concert that featured many of Ney’s compositions including both of his
marimba concerti as well as his vibraphone concerto.
The camp had a friendly atmosphere and a perfect harmony between
students and faculty. It was a rewarding experience for all participants.
Next year’s camp is scheduled to take place at UCF from July 15–21,
2012.
Participants of the 2011 Ney Rosuaro and Jeff Moore’s Mallet and Percussiom Camp
Participants of the 2011 LHS Summer Marimba Seminar
Summer Institute for Contemporary Performance Practice
The Summer Institute for Contemporary Performance Practice
(SICPP)—affectionately known to its participants as “Sick Puppy”—was
held at New England Conservatory in Boston June 18–25. SICPP is
an eight-day immersion into new and experimental music for advanced
and professional musicians. It began in the 1990s when Artistic Director
Stephen Drury, a concert pianist who specializes in new music, decided
to create a contemporary music performance seminar for his advanced
students. In the 2000s, Drury began to add composers, percussionists,
vocalists, and instrumentalists. It has now grown to include an ensemble
program, an electronic music workshop, and the new works program,
www.pas.org
where composers can study with the Composer-in-Residence (this year,
French composer Tristan Murial).
This year, 50 fellows (including seven percussionists) were selected to
participate from around the world. The experience was eight full days
of master classes, lessons, colloquia, rehearsals, and concerts, which presented the fellows with an opportunity to experience a large selection of
new music from all over the world. Each year the Institute invites guest composers and performance
faculty that work directly with the fellows throughout the week. Fellows
rehearse and prepare works alongside faculty as well as with members of
the Calithumpian Consort, a chamber ensemble in residence at SICPP. This year’s percussion faculty was comprised of Stuart Gerber and Scott
Deal together with Consort percussionists John Andress, Jeffrey Means,
and Nick Tolle. The Calithumpian Consort is a mixed ensemble comprised of professional musicians in the Boston area, directed by Stephen
Drury. Their repertoire encompasses a large musical spectrum from
classic works of the last 50 years to works of the avant-garde, as well as
experimental jazz and rock music.
One of the highlights of the week was an afternoon recital of percussion works performed by the fellows. The program included “Ferneyhough Mix” by Mark Applebaum, performed by Christian Smith and
Ryan Packard; “Rebonds A and B” by Iannis Xenakis (“A” performed by
Cory Bracken, “B” performed by Dave Tarantino); “Omar I,” by Franco
Donatoni, performed by Ryan Packard, and “POWER I: CIN(shift)”
by Marek Poliks, performed by Christian Smith. Other percussion solos performed either in master classes or concerts included “Phénix” by
F.B. Mache, performed by Yu Hsin Chang, “Dreams,” by John Cage,
performed on marimba and vibes by Gary Donald, “Raison D’etre” by
Arthur Jarvinen, performed by Jeffrey Kolega, “Zyklus” by Karlheinz
Stockhausen, performed by faculty member Stuart Gerber, and the
marimba solo “Dark N’ Stormy” by SICPP composition fellow Masaki
Hasebe, performed by David Tarantino. Each evening contained a concert presented by the either the
Calithumpian Consort or visiting guest artists. The Consort performed
numerous works of interest to percussionists, including Giancinto Scelsi’s “Okanagon,” Tristan Murail’s “Le Lac,” and Tamar Diesendruck’s
“Still Telling,” which was commissioned for the Consort. One of the
evening concerts comprised two works for percussion, piano, and electronics that matched pianist Stephen Drury with percussionists Stuart
Gerber and Scott Deal. The first work, “Kontakte” (piano, percussion and
electronics) by Karlheinz Stockhausen, is an early and important piece
in the repertoire for piano/percussion. The performance was noteworthy
in that Gerber is regarded as a Stockhausen expert, having recorded and
presented numerous premieres of Stockhausen’s works, and served as
faculty for the Stockhausen-Courses since 2005. The second half of the
Summer Institute for Contemporary Performance Practice (L–R): John Andress,
Gary Donald, Stephen Drury, Scott Deal, Nick Tolle, Stuart Gerber, Cory Bracken,
Dave Tarantino, Jeff Kolega, Sayun Chang, Ryan Packard, Christian Smith
www.pas.org
concert featured the world premiere of “4000 Holes” by John Luther
Adams. The 33-minute work, commissioned by Stephen Drury through
Meet the Composer, is for piano, vibraphone/glockenspiel, and electronic
“aura.”
The main event for Sick Puppy occurs on the final Saturday with the
presentation of a ten-hour series of concerts known as “The Iditarod,”
named after the 1,000-mile Alaskan Sled Dog race of the same name. This year’s Iditarod consisted of eight concerts containing almost 40
pieces of chamber music, including the crowd-drawing “Music for 18
Musicians” by Steve Reich. Other works highlighting percussion included “Ryonji” by John Cage, “Trasparenze d’ Accenti” by Davide Ianni,
“Tombeau in Memoriam Gérard Grisey” by Phillipe Hurel, “Hymn I”
by Alfred Schnittke, “Trá” by Luciano Berio, “For Morty” by Christian
Wolff, “Refrain” and “Kreuspiel,” both by Karlheinz Stockhausen, “Currents” by Shawn Allison, “Paradigm: by Lukas Foss, “New England
Drift: by Lee Weisert, “Percussion Responses: Ergodos II” by James Tenney, and “Madrigals, Book III” by George Crumb. Next year’s Institute will occur in mid-June at New England Conservatory. For information visit www.sicpp.org.
First Annual World Vibes Congress
By Britton Matthews
In the 90-year history of the vibraphone, there has never been a seminar dedicated solely to the instrument. After all, it’s just like playing
marimba with a pedal, right? Leave it to Malletech, Inc. and the Leigh
Stevens Marimba Foundation to see the need and fill the void.
The World Vibes Congress, held in Ocean Grove, New Jersey, was the
very first of its kind. Participants of all ages, ability levels, and musical
backgrounds assembled from around the world for an inspiring week of
improvisation and music-making from June 24–29.
After waking up to the soothing sound of the ocean each morning,
participants gathered for sessions with Anders Åstrand and Ed Smith.
The group split into self-appointed segments for experienced improvisers
and novices to work with the appropriate level of literature and better
serve the wide ranges of skill sets. Smaller groups also allowed for greater
individual attention and numerous playing opportunities.
Åstrand led the group in free improvisation, where you could spontaneously create a musical conversation with a person you’d never met.
“A trip to the dentist,” or “riding a bicycle” inspired uninhibited performances and created an outlet for the participants to open up and express
themselves. You might not even speak the same language, but the music
easily transcended those barriers. Anders went beyond the music to
discuss physical concerns with body position, posture, and breathing, as
well.
Classes with Ed Smith focused on the more structured side of im-
First Annual World Vibes Congress clinicians (l to r:) Ed Smith, Stefon Harris,
Anders Åstrand, Joe Locke and Leigh Howard Stevens
provisation, using jazz standards to show how to play melodic lines over
changes, find rich chord voicings, and comp for soloists. Participants
studied modes, blues scales, chord extensions, and phrasing, and had the
opportunity to fill the roles of soloist, accompanist, and bass player. The
music selections were targeted to the level of each group, but everyone
had the opportunity to work with blues, rhythm changes, Latin styles,
and modal works.
The morning sessions created a relaxed, respectful, supportive environment in which participants became increasingly comfortable exploring
new techniques and musical ideas. They provided significant hands-on
time for all individuals, and encouraged peers to work together and learn
from one another.
The conference included daily master classes with one of six all-star
clinicians: Dick Sisto, Dave Samuels, Christos Rafalides, Dave Hagedorn, Joe Locke, and Stefon Harris. These sessions covered topics including listening, advanced ear training, technical independence, phrasing,
melodic expression, pedagogy, and a broad range of creative tips for developing relevant practice regimens. Each clinician had a unique sound,
style, and approach, but they each delivered one mind-blowing performance after another.
The week concluded with a final performance and all-heck-breakloose jam session. WVC participants, led by Åstrand, performed pieces
that they developed throughout the week, and Smith gave a stunning
performance of “Neptune,” written for the capabilities of Malletech’s
Love Vibe. The evening culminated with an energetic duo performance
by Locke and Harris that brought the entire audience to its feet.
While theory and technique were emphasized heavily throughout the
week, the greater purpose of the World Vibes Congress had little to do
with technique, notes, or rhythms. Rather, it was about finding the music
inside the player and learning to express that passion through the instrument and communicate with musical colleagues. The overall result was
an experience just as important for a beginner as a seasoned pro.
Zeltsman Marimba Festival 2011
By Bailey A. Stewart
The 10th anniversary of the Zeltsman Marimba Festival (ZMF) took
place June 26 to July 9 when 20 renowned artists, 38 participants, and 24
marimbas converged on the campus of Lawrence University in Appleton, Wisconsin. This year’s “Focus on Great Repertoire” unfolded over
nine faculty concerts, three participant concerts, and multiple master
classes, lectures, and private and group lessons.
The ZMF 2011 faculty included Nancy Zeltsman (artistic director),
Nanae Mimura, Fumito Nunoya, Christos Rafalides, Jack Van Geem,
and Dane Richeson (host). For the 10th anniversary, ten past “ZMFers” were featured: Brian Calhoon, Casey Cangelosi, Anne-Julie Caron,
Hiroya Honda, Setsuko Kutsuno, and Mike Truesdell as associate faculty; and Jeremy Barnett, Laurel Black, Matt Sharrock, and Xi (Rachel)
Zhang as showcase artists. Guest performers/lecturers were Fernando
Meza (organizing an international event), bassist Steve Rodby (music
technology), pianist Sergio Salvatore (improvisation), and violinist Yuka
Sato (Bach’s string music on marimba).
Multiple artists presented solo and chamber works on each concert centered on a common theme. Concert titles included “Marimba
Around the World” (showcasing music from different countries), “American Marimba Music,” “Japanese Marimba Music,” “Transcriptions,” and
“Explorations” (intriguing mixed-media pieces). This unique juxtaposition of selections enabled audience members to connect and compare
repertoire in new ways.
Mike Truesdell guided informational pre-concert talks with several
artists featured on most evenings’ concerts. Particularly moving was the
talk preceding the Japanese Marimba Music concert (a benefit for the
Japan Earthquake Relief Fund). Hiroya Honda recounted his personal
experiences with the Japanese earthquake and tsunami that struck near
his home last March; Mimura, Nunoya, and Kutsuno relayed the powerful effects felt in other parts of Japan.
www.pas.org
www.pas.org
Performers of Michael Tilson Thomas’s “Island Music” at ZMF 2011 (L–R): Dane
Richeson, Rachel Zhang, Jack Van Geem, Nancy Zeltsman, Mike Truesdell, Brian
Calhoon
Performances that received standing ovations included “An Evening
of Jazz”—showcasing the virtuosity of vibist Christos Rafalides in both
duo and quartet settings. With Michael Tilson Thomas’s “Island Music,”
the astounding musicality of Van Geem, Zeltsman, Zhang, Truesdell,
Richeson and Calhoon made the half-hour work seem only minutes
long. Also of note was Laurel Black’s stunning performance of “stars,
cars, bars” by Adam B. Silverman (for speaking marimbist; text from
Nabokov).
The examination of individual sound, personal expression, and musical
identity pervaded ZMF 2011. Each participant left with a wealth of new
information to add to his or her personal gestalt. Zeltsman placed great
emphasis on the importance of musical expression, regardless of the
method or grip used. To illustrate the point, she offered a quote: “When
we can’t measure what’s important, we make important what we can
measure” (Kenji Yoshino). Coupled with Van Geem’s discussion, “What
to Teach and Why?,” festival participants gained inspiration to delve
deeper into their own musical performing and teaching experiences.
Non-marimba events were scattered through ZMF as well. The first
day included an energetic African dancing and drumming session led by
Richeson and Truesdell, and a mallet-wrapping clinic by Honda. During the second week, participants were awestruck at the capabilities of
the MalletKAT as explained by Barnett. Van Geem led a session on orchestral excerpts, and Cangelosi gave a fantastic presentation on his own
compositional process.
Open and friendly communication between faculty and participants
and a caring, family atmosphere were matched with absolutely outstanding music making. This 10th anniversary event truly will be cherished by
all, and stood as a testament to the great quality and diversity of musicians that exist in our percussive world.
The Zeltsman Marimba Festival will be taking a one-year hiatus, to be
followed with ZMF 2013 co-sponsored by Humboldt State University
in Arcata, California. More information can be found at www.ZMF.us. w
www.pas.org
www.pas.org
PASIC Posters
By James A. Strain, PAS Historian
S
ince 1976, the Percussive Arts Society
International Convention (PASIC) has
been the premier event for percussionists from around the world. For many years,
one of the major marketing tools to promote
this event, as well as the society in general, was
via posters. At first, posters were sent to the
general membership in separate mailings to
encourage new membership, advertise events
(such as clinics and performances), and to promote subscriptions to the journals.
In 1977, a poster featured pictures of the
first PASIC in Rochester showing the main
hall of the Eastman School with exhibits as
well as other clinics. By 1979, a general poster
for PASIC was established, giving all essential
information one might need to be encouraged
to attend and register for the event, including dates, location, hotel accommodations,
and types of sessions. Posters from this time
through the late 1980s were generally a standard poster size of 17 x 22 inches, but a few
varied for artistic purposes. By the 1990s, the
posters were folded and inserted in the Percussive Notes PASIC Preview issue (October), and
reduced to a 16 x 20 inch size for this purpose.
PASIC posters often focused on the city
where the convention was held and provided
the name of the host, the daily schedule, and
major artists. In the late 1990s, pictures of the
host city were abandoned in favor of one major
artist, with detailed listings of all of the other
artists broken into broad categories, such as
marching, education, drumset, concert, health
and wellness, or keyboard. At times, the designer of a poster is named and credit to the
photographer(s) appear on a poster, but some
posters were commissioned by the local PASIC
host and no information about the designers
was available. Starting in 1998, PASIC posters
were created by PAS in-house graphic designer
Hillary Henry.
PASIC posters ceased to be printed after
2002, but many PAS members fondly remember previous conventions by the posters,
location, and integration of the artwork from
the poster with each Percussive Notes PASIC
Preview issue or the actual PASIC Program.
Those who identify with the posters often have
a favorite, such as the “Piquant Gumbo of
Events” from PASIC ’92 in New Orleans, or
the drawing of Disneyland by Ted Engelbart
for PASIC ’91 in Anaheim.
www.pas.org
Photos of posters courtesy
Lauren Vogel Weiss and
James A. Strain
www.pas.org
2011 DRUM CORPS INTERNATIONAL WORLD CHAMPIONSHIPS
Cadets capture tenth title
Cavaliers win fifth drum award
Story and photos by Lauren Vogel Weiss
T
he 2011 Drum Corps International World Championships were held
August 13 at Lucas Oil Stadium in Indianapolis, Indiana. Thanks to
the covered stadium, neither the corps nor the fans were affected by the
sudden thunderstorms that popped up around 9:00 that evening and
caused such terrible damage at the nearby Indiana State Fair, killing six
and injuring dozens.
The Cadets (Allentown, Pennsylvania) won its tenth World Championship—their first since 2005—with a score of 98.35. The corps placed
first during the preliminary, semifinal, and final competitions and also
won the Don Angelica Best Overall General Effect and Best Visual Performance awards.
“I’ve been involved with drum corps as a player or a teacher since 1988
but this is the first time my corps has won,” exclaimed Colin McNutt,
Percussion Director and Arranger for The Cadets. “It feels great! I’m so
glad we got recognition, and I’m real excited for the kids!”
The Cadets’ program, “Between Angels and Demons,” featuring music
The Cadets’ “Angel” and “Demon” drum lines battled it out as the corps won
its tenth World Championship
CORPS
1. The Cadets
2. Blue Devils
3. Cavaliers
4. Carolina Crown
5. Phantom Regiment
6. Santa Clara Vanguard
7. Bluecoats
8. Boston Crusaders
9. Blue Knights
10. Madison Scouts
11. Blue Stars
12. Spirit of Atlanta
of Frank Ticheli and Hans Zimmer, saw half the corps dressed in allcream uniforms (angels) while the other half was in all-maroon (demons).
The pit wore the traditional maroon jackets and cream pants. “One of
my favorite parts of the show,” McNutt said, “is when we had the angel
drum line on one side of the field and the demon drum line on the other
side and they played the same part, 35 [yard line] to 35. That was a lot of
fun! We did many separate rehearsals because of the staging, but then we
would put it together to work on large phrases.”
Champions for the past two years, the Blue Devils (Concord, California) received the silver medal with a Burt Bacharach-themed show, “The
Beat My Heart Skipped.” Placing second all three nights, the Blue Devils
also won the George Zingali Best Color Guard award.
The Cavaliers (Rosemont, Illinois) placed third overall to capture the
bronze medal for the program “XtraordinarY,” which included “Footprints” by Wayne Shorter and “Nature Boy” by Eden Ahbez. The Cavaliers also received the Fred Sanford Best Percussion Performance Award
for the fifth time, and first time since 2000.
“Our show allowed us to really explore the electronic palette like no
one else has done,” explained Michael McIntosh, one of two percussion
designers for the corps. “When you do a show that’s about nothing and
everything, it allows you to really take some chances. It’s all about pushing the activity in a way that hopefully will inspire other people to push
things in a way that hasn’t happened before.”
One of the audience’s favorite moments of The Cavaliers’ show was the
“upside down” tenors. “I remember how that came about,” laughed Brian
Tinkel, in his second year as the Percussion Caption Head. “The members
were messing around on a water break and the tech took a video of one
of the drummers playing some music upside down. They sent the video
to Mr. McIntosh as a joke, and he said, ‘We’re putting it in!’ That was part
of what was special about the show—that we drew on skills the members
had and were able to incorporate them into the show.”
SCOREDRUM SCORE*
(out of 100 pts.)(out of 20 pts.)
98.35
97.80
96.85
95.30
95.05
92.20
92.05
90.65
89.20
87.55
86.20
85.35
19.2 (3rd)
19.4 (2nd)
19.6 (1st)
18.6 (6th)
18.5 (7th)
19.0 (4th)
18.7 (5th)
18.4 (8th)
18.2 (9th)
16.8 (12th)
17.8 (10th)
17.0 (11th)
Drum judges: Allan Kristensen (Prelims), JJ Pipitone (Semifinals),
Jeff Prosperie (Finals)
* The drum score listed above is from Saturday night and is based on a 20
point total. That number is then divided by two and only a maximum of 10
points are added into the total possible overall score of 100 points. The “High
Drum” award is actually an average of the three nights of competition.
The Cavaliers won the Fred Sanford Best Percussion Performance Award
with “alternating keyboards” in the front and “upside-down tenors” in the
back
www.pas.org
While the tenors were playing upside down, the keyboards were “splitting” a part—one person playing the right hand and the other person
playing the left hand. “They also did a kind of ‘do-si-do’,” Tinkel said,
“inspired by Mark Ford’s ‘Stubernic.’ Overall, this was one of the most
enjoyable groups of young men I’ve ever worked with. They worked very
hard every day, with open ears and open hearts. I’m really proud of them.”
The final caption award, the Jim Ott Award for Best Brass Performance, went to Carolina Crown (Ft. Mill, South Carolina), who placed
fourth with its crowd-pleasing program “Rach Star” mixing classical pieces by Sergei Rachmaninoff with rock classics like “We Will Rock You” by
Brian May. And the Spirit of Atlanta (Atlanta, Georgia) returned to the
elite “Top 12” after a three-year absence with a tribute to film noir.
The Glassmen (Toledo, Ohio), who placed 12th last year, finished
in the “unlucky” 13th position. Rounding out the “Top 17” from Friday
night’s Semifinals were the Troopers (Casper, Wyoming) who finished
15th last year, the Academy from Tempe, Arizona (14th last year), the
Colts from Dubuque, Iowa (13th last year) and the Crossmen from San
Antonio, Texas (also 17th last year).
On August 9, 18 Open Class corps competed in their Divisional Finals. (The Prelims scheduled for Monday were cancelled due to severe
weather.) For the third year in a row, the Blue Devils B corps captured
the title, scoring a 95.00 to win the gold medal. They also won the percussion and general effect captions. For the second year in a row, the Oregon
Crusaders (Portland, Oregon) won the silver medal (and brass and visual
captions) with a score of 94.70. And 2008 Open Class Champions Santa
Clara Vanguard Cadets (Santa Clara, California) scored a 94.20 to win a
bronze medal.
This was also the first year for the Celebrate Indy Arts! Parade through
downtown Indianapolis on August 13. Twenty-nine drum corps marched
through the streets, along with floats representing 13 local Indianapolis
arts organizations, including PAS. The Grand Champion unit was the
Pacific Crest Drum & Bugle Corps (Diamond Bar, Calif.).
The Blue Devils’ Keelan
Aaron Spevak from the
Tobia was named Best Indi- Blue Devils received the
vidual Snare
Best Individual Timpani
award
Matthew Penland from the
Santa Clara Vanguard won
Best Individual Multi-Tenor
Amir Oosman, the drumset
player for the Blue Devils,
won the Best Individual
Multi-Percussion title
Vanguards’ Stephen Hall
played Sammut’s arrangement of “Indifference”
to win Best Individual
Keyboard
Individuals and Ensemble
For the second year in a row, the World Class Individuals & Ensemble
Competition was not held during finals week. (The Open Class division was held at the Indianapolis Convention Center on August 10 and
those results may be found on www.dci.org.) Members of World Class
corps competed at Sunset Station in downtown San Antonio, Texas on
July 24 (the day following the DCI Southwestern Championship at the
Alamodome). For the 21st year in a row, the I&E events were supported
by S.O.M.E. (Sponsors of Musical Enrichment), based in San Joaquin
County, Calif.
Three members of the Blue Devils’ drum line captured World Class Individual percussion awards: Keelan Tobia won the Best Individual Snare
award with a score of 97.0. He played an original solo entitled “Dangerous Games.” Keelan, a junior at Modesto Junior College, is majoring in
graphic design.
Aaron Spevak, a member of the Blue Devils’ front ensemble, was
named Best Individual Timpani. He scored a 98.5 (the highest percussion
score of the day) for his original timpani solo “Six,” which he dedicated to
his parents for their support during his six years in drum corps.
Amir Oosman, the drumset player in the Blue Devils’ front ensemble,
won the the title of Best Individual Multi-Percussion. He played an
original drumset solo called “All of these Sawces,” which scored a 97.5.
The other two solo categories were won by members of the Santa Clara
Vanguard drum line. Best Individual Multi-Tenor went to 21-year-old
Matthew Penland, a senior music major in percussion performance at the
University of North Texas in Denton. He played an original composition
“Deviation,” and scored a 95.0 to win. This was Matt’s sixth year marching with a DCI corps.
Stephen Hall, a member of the Vanguard’s front ensemble and a
four-year veteran of drum corps, won Best Individual Keyboard. He is
a 20-year-old junior at Northwestern University in Evanston, Illinois
where he is a percussion performance major. He scored a 95.5 for his
www.pas.org
performance of “Indifference” by Joseph Colombo, arranged by Eric
Sammut.
The Blue Devils also won the Best Percussion Ensemble award with a
duet: Matt Keown played snare and Nick Arce, who won Best Individual Tenor in 2009, played tenors. Their original piece “Rebellion Against
Closed Gates” scored a 93.0.
Best Bass Drum Ensemble went to the Colts bass line: Nick Brakeman, Wade Gibson, Nik Kennett, Derek Reid, and Russell Wood. All
The duet of Matt Keown (snare) and Nick Arce (tenor) from the Blue Devils
was named the Best Percussion Ensemble
Members of the Colts Bass Drum Ensemble were (L–R) Nick Brakeman,
Wade Gibson, Nik Kennett, Derek Reid, and Russell Wood
The Santa Clara Vanguard cymbal section (L–R) Jeff Ramos, Dan Russie,
Armeen Ghafourpour, and Drew Kleinbach -- won Best Cymbal Ensemble
were rookies except Wade, who was marching his second year in drum
corps. They scored a 95.5 for their original composition “Alpha 5.”
For the fourth time in six years, the Best Cymbal Ensemble went to
the Santa Clara Vanguard. (They also won in 2006, 2007, and 2008.)
Armeen Ghafourpour (18 years old), Drew Kleinbach (20), Jeff Ramos
(21), and Dan Russie (21) performed “Third Time’s the Charm,” an
original work that received a score of 95.5.
The 2012 World Championships (August 9–11, 2012) will return to
Lucas Oil Stadium in Indianapolis. For more information on joining or
viewing drum and bugle corps, please contact DCI at www.dci.org. w
www.pas.org
In Memoriam
Marty Hurley
June 6, 1946 – September 12, 2011
By Lauren Vogel Weiss
R
udimental percussionist Martin E.
(Marty) Hurley died on Sept. 12, 2011
at his home in New Orleans, Louisiana. He
had suffered a stroke on Aug. 14 and spent
several weeks at Tulane Medical Center.
Born on June 6, 1946 in Neptune, New
Jersey, Marty Hurley followed in the footsteps of his father, an Army drummer
during World War II. At the age of seven,
Hurley joined the O’Brien Major Police
Cadets. Other corps he was involved with
were the Neptune Shoreliners, Asbury Park
Hurricanes, St. Joseph Modernaires, Jersey
Cyclones, the Blessed Sacrament Golden
Knights (he aged out in 1967) and Hawthorne Caballeros (1968).
After graduating from Neptune High
School, he attended Wilkes College (now
Wilkes University) in Wilkes-Barre, Pennsylvania, earning a music education degree.
He also played in community orchestras in
Wilkes-Barre and nearby Scranton. Following graduation, he joined the Air Force Band
and was stationed in Biloxi, Mississippi for
four years.
Hurley began his teaching career in
1971 when he assisted Dick Filkens with
the Stardusters Drum Corps from Arabi,
Louisiana. In 1972, many of the members
of the Stardusters joined the new Metairie,
Louisiana-based Bleu Raeders drum corps,
where Hurley served as the drum instructor
for two years. In 1973, he joined the staff of
the Black Knights from Belleville, Illinois,
while continuing to teach the Bleu Raeders.
He remained with the Black Knights until
1975.
In 1976, Hurley joined the staff of the
Phantom Regiment Drum and Bugle Corps
from Rockford, Illinois. Some of his classic
solos for the Regiment include “Flight of
the Bumblebee” and Grieg’s “March of the
Dwarfs.”
During his affiliation with the corps, the
Phantom Regiment placed second in 1977,
1978, and 1979. He was also an integral part
of the creative staff for the first two productions of the Khachaturian ballet “Spartacus”
in 1981 and 1982. Hurley continued teaching the Regiment until 1983 before taking a
few years off. He returned to the Rockfordbased corps in 1987 and remained on their
staff until 1992. In 2004, Hurley was inducted into the World Drum Corps Hall of
Fame.
www.pas.org
Hurley was also involved in the design of
Ludwig’s High Volume (HV) snare drum,
which the Regiment drum line used beginning
in 1981. Similar to a regular marching snare
drum, it had two inches cut from the middle
of the shell, leaving the top half and bottom
half joined by the tension casings. “The HV
drum came from trying to get a drum that
would have a little more projection power—a
little more clarity for a snare drum,” he said in
a Modern Percussionist interview.
In 1974, Hurley took a job that he would
have for the rest of his life: band director at
Brother Martin High School in New Orleans.
He started as the assistant to longtime director Arthur Hardy, working with the marching
band, stage band, and second concert band,
before he took over as head director in 1989.
During his time at Brother Martin, Hurley’s
ensembles consistently received superior ratings at local and regional contests and festivals.
His bands performed for the Pope, two U.S.
Presidents, two Louisiana governors, countless
Mardi Gras parades and even the first-ever
playoff game for his beloved New Orleans
Saints football team.
Hurley was inducted into the Louisiana
Music Educators Association (LMEA) Hall
of Fame in 2010. During his time at Brother
Martin High School, he had about 80 percussion students earn spots in one of the Louisiana All State ensembles.
Hurley also served as the percussion
instructor at Nicholls State University in
Thibodaux, Louisiana for several years in the
1980s. He judged the finals of the Marching
Bands of America National Championship
twice and also adjudicated the PAS Marching
Forum (now the Marching Percussion Festival) four times, in 1982, 1988, 1994, and 1996.
As a percussion clinician, Hurley gave
seminars at regional and national meetings
of the Music Educators National Conference
(MENC), the National Catholic Band Association (NCBA) Conference, the LMEA
Conference, the Texas Music Educators Association (TMEA) Convention, and PASIC.
Hurley gave two clinics at PASIC with
the Phantom Regiment drum line, in 1981
(Indianapolis) and in 1988 (San Antonio). At
PASIC ’92 in New Orleans, he served as Coordinator for the Marching Forum. At PASIC
2001 in Nashville, he taught a marching master class with John Pratt and Mitch Markovich. And at the Drummer’s Heritage Concert
Marty Hurley playing at the Drummer’s Heritage
Concert at PASIC 2002. Photo by Bryan Stone.
held at PASIC 2002 in Columbus, Hurley
was one of the featured snare drum soloists.
In addition to the drum corps and marching band music that he wrote, Hurley composed numerous snare drum solos and drum
cadences that were originally published by
Rudimental Percussion Publications—the
company he founded with John Wooton—
and currently by Row-Loff Productions. He
also taught marching percussion camps all
across the country, including one sponsored
by the Phantom Regiment in Rockford and
one at the University of Southern Mississippi in Hattiesburg.
Dozens of Hurley’s former students, from
both Brother Martin High School and the
Phantom Regiment, as well as the other
corps he taught over the years, have gone on
to pursue careers in music. These men and
women serve as college percussion instructors, high school and middle school band
directors, private lesson teachers, and drum
corps instructors.
Arthur Hardy contributed to this tribute. A
longer version of this article is posted on the PAS
website at http://www.pas.org/news/InMemoriam.aspx
industry news
HaMaR
Revised website
With over 150 compositions to choose from and an enlarged group
of complimentary tutorial samples, the new HaMaR website has something for players and teachers. The site has nearly 200 items to view,
including HaMaR Music Direct. View, play, purchase, and print on
demand many of the digital compositions. The catalog has music for
all levels of proficiency and includes a snare drum series, method series,
and music for percussion ensemble, bass drum, timpani, mallets, wind
ensemble, and orchestra. Visit the site at www.hamarpercussion.com.
KICKPORT
New distributors in Europe and Central and South America
To support the growing popularity of the KickPort and CajonPort
with drummers and percussionists around the world, KickPort International, LLC has announced the expansion of its distribution in the
European music market. Joining KickPort’s international distribution
network are Box Of Trix (Germany, Austria); PB Music (Belgium,
Netherlands, Luxemburg); Soitin Laine (Finland); Tonastodin (Iceland); Bode S.r.l. (Italy); GE Musikk (Norway); Music Distribucion
(Spain, Portugal); Korg UK, Ltd. (UK); and Music World, Ltd.
(Ukraine).
KickPort International, LLC has also announced the expansion of its
distribution in the Central and South American music markets. Joining
KickPort’s international distribution network are Distribudora Gohner
(Mexico); Prado Unique Repercusions (Honduras); Dream Argentia
(Argentina); Sonotec Electronica LTDA (Brazil); Cobalto (Chile); and
Music City (Venezuela).
For updates and contact information visit kickport.com/contact.
LATIN PERCUSSION
LP donates Egg Shakers to Kenyan orphanage
Latin Percussion recently donated over 100 of its popular Egg
Shakers to the St. Theresa House of Hope Children’s Home in Lake
Elemintita, Kenya. The donation was made to support the charitable effort spearheaded by Sunniva Sorby with assistance from her sister Bettina Breckenfeld through the American Foundation for Children with
AIDS.
American Foundation for Children with AIDS Representative Sunniva Sorby
with child from House of Hope.
www.pas.org
www.pas.org
The St. Theresa House of Hope Children’s Home was opened in
2007 to care for children orphaned by HIV/AIDS. It is estimated that
Kenya is home to 2.4 million orphans, 60% of whom have been orphaned by the disease. The orphanage is part of a nationwide effort to
combine the resources of government, international agencies, charitable
organizations, and community groups to help care for these children.
On their most recent trip to Kenya, Sunniva and Bettina handed out
the LP Egg Shakers to all the children in the orphanage. “The young
ladies…were renewed with hope when we paid them a visit and shared
the Egg Shakers that LP graciously donated,” said Bettina. “The place
erupted into song and movement when we distributed these shakers.
We made a lot of kids very happy!”
If you would like to make a 100% tax-deductible donation to the
American Foundation for Children with AIDS, you can do so online at
http://bit.ly/kidswithaids.
While attending the festival, students have the opportunity to perform
in the AFA Summer Concert Series, which presents many free concerts
throughout Houston.
Sponsorship of the AFA Summer Music Conservatory is part of
Pearl’s continuing efforts to improve the quality and accessibility of music education to students of all ages and backgrounds. For more information on Pearl’s education and artist programs, visit www.pearldrum.
com.
MARIMBA ONE
New customer-friendly website
Marimba One, maker of concert marimbas, has launched a brandnew customer-friendly website. The new site is designed to give users
an easy-to-navigate environment in which to explore marimbas, mallets,
and accessories.
The website is the direct result of research conducted over the last
year into what customers want. “We’ve conducted several researches
both informally and in connection with California State University
(Humboldt) School of Business Marketing Dept., and have integrated
the results into the way our new site works for customers,” says Ron
Samuels, founder of Marimba One. “Our website visitors want to
understand about sound. They want to know: How does one level of
keyboard differ from another on a marimba? What is the difference
between resonators? What do existing customers say about these various
combinations?”
The website rebuild was done by Accelerant Design of Arcata, California.
PERCUSSION MARKETING COUNCIL
Jespersen and Jewell named new executive officers
The Percussion Marketing Council (PMC) has announced the appointment of Bob Jespersen and David Jewell as Executive Officers.
PMC officers serve as equal Co-Executive Directors, each responsible
for specific areas of guidance, direction, and benefit to all PMC Members and the percussion industry.
Jespersen is the National Call Center Director/Regional Sales Manager for KMC Music, Inc., headquartered in Bloomfield, Conn. Bob’s
30-year career with KMC Music includes diverse sales and customer
service management positions throughout the U.S.
Jewell is the Marketing Manager of Yamaha Drums, headquartered
in Buena Park, Calif. Dave brings years of percussion industry experience as a full-time player, over 14 years with Milano Music in Arizona,
and the past 13 years with Yamaha. He will assume direction over the
PMC’s marketing strategies.
The PMC Board consists of the following individuals volunteering
and serving the PMC—Executive Officers: Brad Smith (Industry Relations), David Jewell (Marketing-Promotions), Bob Jespersen (Retailer
Program Application & Development), and Karl Dustman (Headquarter Operations/ Financial-Legal-Membership). Advisory Board: Billy
Cuthrell (Event Marketing, Website, Promotions), Phil Hood (New
Membership Development), Dr. Craig Woodson (Roots of Rhythm,
Program Director), and Brian LaRue (New Membership Development).
PEARL
Art department expands
Pearl Corporation has hired two new Art Department employees,
Garrett DeLozier and Bill Tyler. DeLozier, a native of Sevierville,
Tenn., is a recent graduate of the Art Institute of Tennessee – Nashville, receiving his BFA in Digital Filmmaking and Video Production.
DeLozier comes from a background of freelance editing of short narratives, commercials, documentaries, and animated shorts. Originally from
Mississippi, Tyler has over 20 years of professional graphic arts experience, specifically in art direction and graphic design for over 200 album
covers. A graduate of Millsaps College, with two years of architecture
training, Tyler has worked with MCA Records, Billboard magazine, and
numerous independent labels and publishers.
NAMM Foundation Grant
The Percussion Marketing Council (PMC) recently announced
that the organization was one of 35 recipients nationwide to receive a
NAMM Foundation 2011–2012 program grant. The PMC’s “PERCUSSION! The Rhythm of Life Through Making Music” funding will
help the further development and growth of the organization’s Percussion in the Schools and Roots of Rhythm Programs. Percussion in the
Schools is an educational in-school performance program targeted
to introduce and provide professional percussion playing experiences
to elementary through high school levels. Roots of Rhythm produces
multiple teacher/trainer workshops throughout the U.S. while working
with a variety of educational venues including MENC, House of Blues
Foundation, and others.
AFA Summer Music Conservatory support
This summer, Pearl/Adams supported the American Festival for the
Arts as part of an ongoing effort to advance the quality of percussion
performance by supporting music education programs and artists that
inspire and inform students. The American Festival for the Arts presented the AFA Summer Music Conservatory for its 16th year, held
at Houston ISD’s Pershing High School, June 20–July 22. Founded in
1993 by Houston composer and arts advocate J. Todd Frazier, American
Festival for the Arts (AFA) provides high quality, community-based
music education programs and performance opportunities designed
primarily for youth and, through its concert series and outreach, seeks to
broaden the audience for both American works and the classical music
repertory. This year’s summer curriculum featured programs in orchestra,
chamber music, choir, vocal studies, jazz, piano and composition. Student musicians, ranging from 4th to 12th grade, came from throughout
Southeast Texas to audition and enroll in the summer conservatory.
Percussion in the Schools dealer promotion with Keith Carlock
The Percussion Marketing Council (PMC), in conjunction with
internationally recognized drummer Keith Carlock, announced its Percussion in the Schools (PITS) dealer program for 2011.
Building on the success of the 2010 “Win Chad Smith” campaign,
PMC followed up this year by inviting NAMM retail music dealers to
nominate a school district for hosting a Keith Carlock all-school percussion concert assembly. The all-school general assembly concert program is targeted to junior high and high school audiences in the dealer’s
local market and will be held at the school in October.
Through a generous grant from the NAMM Foundation, the PMC
has been able to grow this program consistently since its launch in 2007.
The PMC’s utilization of Chad Smith, a multi-Grammy Award-winning artist and drumming industry ambassador, brought international
attention to this PMC educational program in 2010. The organization’s
mission of connecting music retailers, schools, and students in an educa-
www.pas.org
www.pas.org
tional first-time drumming experience benefits every student in attendance, the entire school’s music department, and the local retail music
dealer. This market development initiative will bring national awareness
to all percussion-product categories and the entire music products industry.
Carlock is an internationally acclaimed drummer who has recorded
and/or toured with a variety of musical luminaries, such as Sting, Steely
Dan, James Taylor, Diana Ross, Faith Hill, and many more. In Modern
Drummer’s 2009 Readers Poll, Carlock was voted number one in three
categories: pop drummer, fusion drummer, and all-around drummer. In
addition to studio work and live performance, he has also released an
instructional DVD, The Big Picture.
The Percussion Marketing Council (PMC) is the percussion industry’s official trade association comprised of members representing the
manufacturing, distribution, and publishing facets of the percussion
world. Founded in 1995, the non-profit all volunteer organization is
dedicated to increasing public awareness of drums and drumming
while creating educational and market development programs and
campaigns that reach all audiences and benefit music retail merchants
in all regions. For further information about the Percussion Marketing
Council and programs visit www.playdrums.com and www.rootsofrhythm.net.
RHYTHM BAND INSTRUMENTS
New management appointments
Rhythm Band Instruments LLC has announced three new management staffing appointments, Alicia Ballew has been named Inside
Sales and Support Manager. She holds a Master of Music degree from
the University of North Texas and a Bachelor of Music Education degree from Southeast Missouri State. As a General Elementary Music
Teacher for 2nd–5th grade students and a Middle and High School
Music Teacher for grades 6–12, she has developed curriculum and
implemented cross-disciplinary music programs and lesson plans for
school band, choir, and general music theory.
Stirling Hewitt has been named Web Design and Brand Support
Specialist. Hewitt joins Rhythm Band as primary design and brand
support manager to oversee the long-term growth and development
of the company’s multi-faceted web-based marketing initiative. An
accomplished drummer and specialty percussionist, Hewitt will also
be developing and coordinating new video training and educational
content for our employees, dealers, international distributors and their
affiliates.
Chris Pittman has been named Inside Sales and Support Manager.
A highly successful music retail sales manager, merchandiser, trainer,
and buyer with extensive purchasing experience in large chain-store
environments, Pittman brings depth and insight from his roots in the
early ’90s with South Texas Music Center in Houston, New Store
Coordinator and Sales Manager with Mars Music, a buyer with Brook
Mays Music Group and Music and Arts Centers, and a multi-unit
store manager with Mr. E’s Music, a full-line chain of stores in the Fort
Worth area.
VATER
Kim Thompson visit
Vater artist Kim Thompson (Mike Stern/Beyonce) recently visited
Vater’s Factory in Massachusetts for the first time. Kim got to see every
step of Vater’s production process first hand, including seeing the Vater
7A Wood (her stick of choice) being turned on a lathe.
During her stay in Boston, Kim also appeared for a clinic with DiCenso’s Drum Shop, in Weymouth, Mass. Kim opened the clinic sharing details about her musical journey from the time she was a kid up
until present projects. The clinic was then directed towards the spiritual
and emotional side of performing music and drumming.
ZILDJIAN
2011 Kerope Zildjian Scholarship Winner
Zildjian has announced that Chad Crummel is the winner of the
2011 Kerope Zildjian Scholarship. A senior at the University of TexasAustin, Crummel is a student of Tom Burritt and Tony Edwards.
The first round of the competition was judged by Neil Grover and
Richard Flanagan of the Boston Symphony and Pops. Three finalists were chosen and their unmarked CDs were sent to Cynthia Yeh,
Principal Percussionist of the Chicago Symphony Orchestra. Yeh chose
Crummel as the 2011 Kerope Scholarship recipient. The finalists were
Tristan Boyd from the University of Texas-Austin, also a student of
Tom Burritt and Tony Edwards, and Tyler Tolles from the University
of North Texas, a student of Mark Ford.
Established to pay tribute to Kerope Zildjian, who presided over one
of the most storied periods in Zildjian history (1895–1909), the scholarship is intended to encourage and reward percussionists in their pursuit of performing excellence. As the 2011 Kerope Zildjian Scholarship
winner, Crummel receives a $5,000 scholarship, a selection of cymbals
of his choice, and an all-expenses-paid trip to the Zildjian Factory,
where he will meet the Zildjian family, tour the factory, and personally
choose his cymbals.
For more information on the Kerope Zildjian Scholarship, visit
Zildjian.com.
Grand opening of new Zildjian West Coast office
The Avedis Zildjian Company held an open house on June 21 to celebrate the grand opening of its new West Coast artist relations office in
the CenterStaging complex in Burbank, Calif. Zildjian first opened a
West Coast artist relations office in 1982 in West Hollywood. In 1989,
the office relocated to Studio City.
More than 200 Zildjian artists and industry friends stopped by to
check out the new West Coast artist relations office, as well as Zildjian’s new Gen16 office. The event featured a selection of Sound Lab
prototypes for artists to play and provide feedback. Artists included
Vinnie Colaiuta, Gary Novak, Sheila E, Airto Moreira, Russ Miller,
Gil Sharone, Marvin “Smitty” Smith, Teddy Campbell, Aaron Spears,
Nisan Stewart, Gorden Campbell, Kenny Aronoff, Luis Conte, Ronald
Bruner Jr., Danny Seraphine, Mike Malinin, Michael White, Vince
Wilburn and others.
The event was hosted by John DeChristopher, Vice President, Artist Relations & Event Marketing Worldwide; Kirsten Matt, Artist
Relations Manager–West Coast & Latin America (who manages the
West Coast office); and Sarah Malaney, Artist Relations Manager–East
Coast. Other Zildjian personnel in attendance included Debbie Zildjian, Vice President of Human Resources; Paul Francis, Director of Research & Design; Matt Read, R&D/Quality Engineer; Steve Tirpak,
Regional Sales Manager; Mike Brucher, Zildjian Sales Rep for Southern California; and Derek Zimmerman, Gen16 Business Manager.
According to DeChristopher, “Having a presence in Los Angeles
is important to Zildjian for a variety of reasons, not the least of which
is being accessible to our artists. Zildjian has enjoyed a long relationship with CenterStaging, so it was only natural for us to be here. We’re
excited about our new home and its location, which is arguably at the
center of the L.A. music scene.” w
www.pas.org
www.pas.org
www.pas.org
classifieds
MEDiA
HaMaR percussion publications
Visit us at:
www.hamarpercussion.com
Editor–Harry Marvin, Jr.
[1/5-6]
2011 Percussion News
Classified Advertising
Standard Classified Ads
$2 per word (excluding 1- and 2-letter words)
$10 minimum.
Boxed Classified Ads
Start at $25 (includes up to 10 words)
additional words are $2 each.
Payment is required in advance
(check, money order or credit card).
Contact
E-mail: [email protected]
32 E. Washington St., Suite 1400
Indianapolis, IN 46204-3516
Sustaining Members helping PAS
to publish October Percussion News
Avedis Zildjian Company
DePaul University School of Music
Encore Mallets, Inc. . Grover Pro Percussion
Innovative Percussion, Inc.
Kyle Dunleavy Steel Drums . Marimba Productions
Mason Gross School of the Arts
Matt Nolan Custom . Meinl . Meredith Music
Mike Balter Mallets . Percussion Marketing Council
Protune Corporation . Sabian, Ltd.
Salazar Fine Tuning . Tapspace Publications
Theodore Presser Company
University of Maryland School of Music
USC Thornton School of Music
Vic Firth Company . Wenger Corporation
Yamaha Corporation of America
Thank you for your continued support
www.pas.org
www.pas.org

October 2011 Percussion News

Transcription

Similar documents

TradBeats Borders Book festival

a PDF of Terminals COMPLETE

Drumline Clinic w. Jeff Queen 2016

Teaching a Percussion Course as a Non

Campus News - Kutztown University Foundation and Alumni Relations

Writing and Arranging for Marching Percussion in the