Bcrkl¢c - Berklee College of Music

Fa111994
Bcrkl¢c
to
y
A Forumfor Contemporary
Musicand Musicians
MikeStern"75: Blistering the Frets With
Miles, StepsAlhead,and His OwnTrio
17
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FALL,1994
VOLUME ¯
NUMBER
VI
¯
2
Contents
LEADSHEET
by Trustee Roderick Nordell .
BERKLEEBEAT
Honorary degrees for Amar Bose and Oleta Adams, Berklee’s new buildings,
new MP&E
chair, faculty notes, visiting artists, and more .
REPLAYINGHISTORY
Berklee’s Recording Studio ManagerJoe Hostetter dusts off a few treasures
from the vaults for broadcast over radio
ONTHECOVER:
Electrifying
guitarist
Mike Stern ’75
speaks about the wisdom
of Miles and more. Story
begins on page 12. Cover
photo by Gene Martin.
BERKLEE
CITY MUSICMAKES
A DIFFERENCE
by Allen Bush ’89
A Berkiee scholarship program offers Boston’s inner city high schoolers
a chance to reach for their dreams .
10
TAKINGTHELEADby Mark L. Small ’73
After years of burning behind Miles, the Breckers, Jaco, and others,
Mike Stern ’75 has stepped into the spotlight himself ....
12
ROADS
LESSTRAVELED
by Peter Spellman and Mark L. Small
Whether you prefer surfing the information superhighway or taking
the backroads, options for record distribution are multiplying
17
THREE’SCOMPANY
by Jon Damian ’73
Recapturing the excitement of youthful musical discovery .
2O
ALUM NOTES
News,
quotes,
and
recordings
of
note
CODA:NOBODY
WALKS
IN L.A. by Michael Bell ’92
Going west in search
of the ultimate
............
gig
...........
22
32
LEAD SHEET
Bcrklcc t o d
APublication
of theOffice
ofInstitutional
Advancement
Editor
Mark
L. Small
’73
Grace Notes
Copy
Editor
Stephen
Melisi
Editorial
Board
Trustee
Roderick
Nordell
Rob
Hayes
Director
ofPublic
Information
~
veryone whoreads this page must have a variation
to play on this story. I didn’t grow up in Botswana
or
Sweden
or Japan. But half a century ago, our small
Lawrence
McClellan
Jr.
town in Minnesota seemed almost as remote from BosChair,
Professional
Educauon
Division
ton as any spot that Berklee students come from today.
Larry
Monroe
"70
WhenI was excused from high school early at Christmas
Chair,
Professional
Performance
Division
to pack my mongrel drum set on the kerosene-heated,
Donald
Puluse
North Dakota-bound sleeper bus of the Carl Colby OrChair.
Music
Technology
Division
chestra--"Colby Swing Is the Natural Thing"--I could
Joseph
Smith
’75
never dreamI’d wind up at the peak of jazz education, a
Chair.
Professional
Writing
Division
trustee of Berk]iee for half of its 50 years.
Whoknew there was such a thing as jazz education?
Office
ofInstitutional
Advancement
But just as Berklee pioneered teaching jazz, soon it was
out front teaching everything from film scoring to music
John
Collins
management, not to mention rock and soul. While keepDean
ofInstitutional
Advancemem
ing myday job:. I tried to go beyondKrupa’s "Sing, Sing,
Chika
Okamoto
’87
Sing" and learE~ the Stubblefield drum thing from James
Assistant
totheDean
ofInstitutional
Advancement
Brown’s "Funky Drummer." I really did.
forDonor
Relauons
We’ll be hearing plenty about the big events to celePeter
Gordon
"78
brate the 50th. But everyone in Berklee’s extended famiDirector
oftheBerklee
Center
inLos
Angeles
ly has grace notes to add. A few of mine: A NewEngland
Sarah
Bodge
guitarist stayed with us while going to a summersession
Assistant
Director
ofDeveloement
forAlumn
Relations
and raved about the chance to learn Latin rhythms from
Cecilia
Navratil
a Brazilian fellow student. A Chinese student’s family
Assistant
Director
ofDevelo~mem
invited us to tlheir homein Shanghai when other local
people
still prudently suggested meeting us foreigners at
Beverly
Tryon
’82
the hotel. Just the other day one of our ownsons recalled
Director
ofCoreora~e
Relanons
that wheneverihe practices his trumpet, he thinks of how
RayKotwica taught him to shape a note 20 years ago.
As the alumni-oriented music magazineof Berklee
As for me, "when Berklee was just an intro on Larry
Collegeof Music,Berkleetodayis dedicatedto informing,
Berk’s
keyboard, I was being imprinted by the first faenriching, and serving the extendedBerklee commumty.
mous
band
I heard in person, WoodyHerman’s "Band
Bysharing informanonof benefit to alumniabout college
That
Plays
the Blues." Andthere was Woody,gallant in
matters, musicindustry events, alumniactivities and achis
wheelchair
after an accident, getting an honorary
complishments,and musical topics of interest, Berklee
degree from ":my" college. Here was Ellington (whom
today serves as both a valuable forumfor our family
our band followed--at some distance--into Fargo’s Crysthroughout the world and an important source of commentary m contemporarymusic.
tal Ballroom), receiving his degree and sitting downlike
an ordinary mortal to play a little piano. Andthere was
Oscar Peterson receiving his honorary degree, a virtuoso
Berkleetoday(ISSN1052-3839~
is publishedthree timesa year
bythe BerkleeCollege
of MusicOfficeof InstitutionalAdvance- encouraging the wonderfully varied new graduates on
the brink of new challenges: Rememberthat each of you
ment.All contents©1994byBerkleeCollegeof Music.Sendall
addresschanges,
pressreleases,lettersto theeditor,andadvertishas something to give that no one else has. I knowthe
inginquiriesto Berkleetoday,Box333,Berklee
College
of Music, way Berklee teachers seek out and nourish every stu1140BoylstonStreet. Boston.MA
02215-3693,
~617]266-1400.
dent’s talent, every student’s skill, every student’s unique
extension
325.Alumni
areinvitedto mailin detailsof activities
"somethingto give." It’s one more reason for celebration
suitablefor featurecoverage.Unsolicited
submissions
accepted.
echoing far beyond our 50th anniversary.
Judith
Lucas
Director
ofPublications
2
Berklee today
Fall 1994
Berklee b e a t
student developing psy- sons and daughters fightDEGREES
FOR
choacoustics measurement ing the Gulf War.Although
BOSE AND ADAMS techniques. His investiga- she mayappear a newcomtion of the relationshipbe- er, her successwasno overtween reproducedsound as night occurrence, but the
perceived by the human result of her years of dediear, and soundas measured cation and hard work.
electronically, enabledhim
Adams’s momentous
Newds of Hot8
to create accurate speakers 1991 debut album, Circle
for homesystems.
of One, sold more than a
In 1964, Bose founded million copies, and two
his own companyto man- Grammynominations folufacture new products
lowed. Evolution, her folbasedon the string of pat- lowupalbum, features six
ents he had developed.
of her ownsongs, as well
Bose’s many breakas stylized coversof Billy
through products include Joel and JamesTaylor clasthe revolutionary Bose901 sics. Evolutiondisclosesthe
Direct/Reflecting(g) loud- depth of her R&B,gospel,
speaker, which radiates
andjazz roots.
most of its soundfromthe
The daughter of a Bapback, aviation headsets tist minister, Oleta Adams
whichutilize noise-cancel- was born in Seattle, and
ing technologyto protect grewup with gospel music
pilots from hearing loss, resoundingin her ears. She
and automotivemusic sys- wasfive years old whenshe
temswhichare acoustical- started singing, and began
ly customdesignedfor spe- piano lessons at nine. By
cific car makesand models. the time she turned11, OleA faculty member at ta wasdirecting and accomM.I.T. for 28 years, Bose panying four choirs. Alencouragedthe Berklee au- though she at one time
dience with his remaJ:ks, consideredpursuingthe life
saying, "There resides in of an operasinger, she ultiyou orders of magnitude mately found a vast audiabove what you have al- ence for her style of popuready reached. Love what lar music.
you do, whatever task
In an uplifting address
you’re given, do it better to the entering class, Oleta
than it’s ever beendone,." Adams admonished them
The second honoree was to, "Seethis as a journeyof
Oleta Adams.She is best self-discovery so that you
knownfor her first hit can makethe best contrisong, "Get Here," which bution to music. Help us
dominated the airwaves to makethe music that is
From
theleft, Amar
Bose,
President
LeeEliotBerk,andOleta and soothedthe mindsof a mostavailable, the best that
Adams
at Berklee’sSeptember
1994Convocation.
nation anxious about its it canbe."
from about
town and
around the
world
Fall1994
The September9, 1994,
Entering Student Convocation wasa chancefor the
newfreshmento receive a
welcomefrom administration, faculty, and student
speakers, and honorarydegree recipients Dr. Amar
Bose and Oleta Adams.
In his introductory remarks for Dr. AmarBose,
founder and chair of the
Bose Corporation, President Lee Eliot Berkchronicled the numerouscareer
achievements
of the distinguishedelectronics innovator and educator.
Amar Bose, who receivedhis bachelor’s, master’s, and doctoral degrees
in electrical engineering
fromthe MassachusettsInstitute of Technology,
spent years as a graduate
Berklee today
3
cFOR JAZZ GUIT~ RIST.
BERKLEE
PURCHASES
NEWBUR¥
COLLEGE
BUIILDINGS
In a move to provide more space
for students, faculty and staff, Berklee purchased buildings at 921 and
925 Boylston Street (opposite the
Hynes Convention Center) from
Newbury College on June 30. The
purchase of the two contiguous, interconnected properties will increase
Berklee’s total space by 40,000 square
feet, and cost $3.2 million.
The six-story brick and glass Cornmercial building at 921 Boylston
Street comprises 31,200 square feet.
Since it was originally designed as an
auto sales and garage facility, the
building has no interior bearing walls,
whichwill afford Berklee great flexibility in its redesign.
The five-story brick townhouseat
925 Boylston totals 7,500 square feet
and retains significant architectural
detail, including sevenfireplaces.
Both buildings have been in continuous educational use--first by
Bentley College, then by Newbury-for many years: 921 Boylston since
1922; 925 Boylston since 1953.
"Anexplosion in course offerings,
reflecting the growth of the music
industry worldwide, and our new,
cooperative graduate programs with
Boston Conservatory and with Suffolk University, are exceedingthe capacity of our existing facilities," stated President Lee Eliot Berk. "With
increasing use of music technology
in our curriculum, we are devoting
more and more space to computerbased laboratories, which diminishes
available space for traditional classrooms. This acquisition will enable
us to expand classroom space."
Developmentof the facility should
be well underwayby late 1995.
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Ona recent trip to Japan, Berk- one hour away from Tokyo. The
lee’s Dean of Curriculum Gary faculty will be madeup of someof
Burton finalized plans for a Sen- the most prominent jazz musicians
zoku Gakuen Junior College arid
and teachers in Japan. Notably, all
Berklee College of Music cooper- of these faculty membersare Berkative bachelor of music degree pro- lee graduates.
The program was officially angram in jazz performance.This
agreementoffers students the ol?- nounced this July in Tokyo, and
portunity to finish the first two enrollment will begin in 1996. The
years of their degree preparation first students from the program
at Senzoku Gakuen Junior Col- will arrive at Berklee in 1998.
Berklee extends a welcome to
lege and then complete the second
future
students from the Senzoku
two years of their studies at BerkGakuen program, and looks forlee’s Boston campus(hence the l:iwardto a fruitful educational parttle two plus two).
nership between Senzoku Gakuen
The new program will be tlhe
first jazz program offered by an Junior College and Berklee.
accredited college in Japan,
and will offer an important
opportunity to young Japanese students seeking a music degreein the field of jazz.
Senzoku Gakuen Junior
College was founded 70
years ago and has an enrollment of over 5,000 students,
most of whommajor in either English or music. The
jazz program will be housed
in Senzoku Gakuen’s new Toshikazu Maeda,president of Sezoku
Yokohamacampus, about GakenJunior College and Gary Burton.
Fall 1994
ALMA
BERKRETIRESAFTER35 YEARS
This September, Mrs.
AlmaBerk, wife of Berklee’s founder and chancellor, Lawrence Berk, and
mother of President Lee
Eliot Berk, retired as the
college’schiefpublicaffairs
officer after 35 yearsof distinguishedservice.
Alma Berk began the
Public Information Departmentafter joining the
college staff in September
of 1959. Oneof her first
undertakingswasto inform
reviewers at Boston’s ma-
dents, andan office administrator to help write and
mail the thousandsof press
releases produced by her
office annually. Theseendeavorswerea factor in the
Admissions Department’s
success in attracting increasing numbersof musicians to Berklee, andaided
the efforts of alumni
launchingcareers to get the
press they deserved.
AlmaBerk’s last media
efforts included hosting a
film crew from the "Good
FACULTY
NOTES
Associate Dean of Faculty RonBentleywas
namedPresident-Elect of the Association of AcademicAffairs Administrators.
MelBayPublications has published ManceLipsomb:Texas Blues .Guitar Solos featuring 12 tunes
transcribed by Guitar Instructor DanBowden.
CommercialArrangingInstructor and guitarist
DavidHeward
composedand performedfor the Joe
Parillo Ensemble’sCDAlmost Carefree. Also featured is flutist andBerkleealumnaI/Vendy
Klein"8:/.
The U.S. University PerformingArtists Series
hosted vibraphonist and Assistant Professor Victor
Mend0za,
and Assistant Professors Jim0dgren(saxophonist) and JohnPierce (trombonist) for two
weeksof concerts and masterclasses in Costa Rica.
Pianist and AssociateProfessor of GeneralEducation MaketoTakenakahas released a recording
titled Miofrom BostonLongingfor Japan.
AssociateProfessorof Guitar SteveCarter’spoem
"Affairs Remembered"
appearedin Pacific Review.
Five-weekinstructor IBainSmithreleased Jazz
Originals: Biff Smith Quartet. The recording includes 11 of Smith’scoml?ositions.
Bass DepartmentChair 8ich applemanand Associate Professor of Guitar CharlesChapman
performed at an October benefit concert at Great
WoodsPerformingArts Center for the United Way.
Music Business/ManagementDepartment Chair
DonGorderpublishedan article about the legal obAlma
Berk,center,helped
focus
media
attention
onBerklee’s stacles hindering DAT
technology’spenetration of
expanding
facilitiesandtopstudents,
alumni,
andfaculty.
the consumermarket in the Musicand EntertainmentIndustry Educator’s Associationnewsletter.
jor metropolitan newspa- Morning, America" show,
Associate Professor of Percussion EdUribehas
pers of the vibrant musical and providingassistance to
publishedThe Essenceof Brazilian Percussionand
climate at the then-fledg- journalists
from Down
DrumSet. The book comeswith a CD.
ling musicschool.
Beat and The InstrumenAssociate Professor of Percussion Joe Hunthas
AlmaBerk’s larger mis- talist magazines
writingarwritten 52nd Street Beat, a book of profiles of
sion wasto persuademusic ticles on LawrenceBerk.
modernjazz drummersfrom 1945-1965.
critics as a wholethat jazz Herfinal undertakingat the
Professor HalCrookhas recently released Only
deserved the same degree college wasto oversee the
Humanwith help from bassist JohnLockwood
’77
of respectability they re- workof her staff in reviewand drummer
BobGullotti "72.
served for Europeanclas- ing and cataloging thouFredMiller (assistant dean of administration)
sical music,andthat Berk- sandsof newsclips andhisplayed keyboardson Gary Shaneand the Free Radlee was on a par with the torical photosshe collected
icals’ CDLoveis the Liquorof Life.
classical conservatories.She over the years for inclusion
Associate Professor of Ear Training DavidVose
gainedallies by payingnu- in publicationschronicling
authored the instructional book The Reading
merouspersonal visits to Berklee’s50-yearhistory.
Drummer,and endorses Silver Fox drumsticks.
andcultivating friendships
Mrs. Berk’s work at
Director of Faculty and Instructional Developwith key figures from the Berkleefor a third of a cenmentEric Kristensen’sessay titled "Challengesfor
print and broadcast media, tury greatly contributedto
Faculty Developers and DepartmentChairs: When
and inviting themto spe- elevatingthe profile of the
Faculty ArrivefromProfessional Settings" appeared
cial events and concerts college, andburnishingits
in an edition of To Improvethe Academy.
presentedby the college.
reputation throughthe meProfessor Phil Wiils0n’sWizardof Oz Suite airs
Mrs. Berk’s staff even- dia recognition she obon UnitedAirlines international flights. Phil played
tually grewto includethree tainedfor its students,facin the CarnegieHall Jazz Orchestra’sbattle of the
full-time publicity writers, ulty, staff, and alumni
bands with the Lincoln Center Jazz Orchestra.
a team of work-studystu- around the world.
Fall1994
Berkleetoday
5
IN 1996 NEWMP&ECHAIR
MUSICTHERAPY
TO BEOFFERED
In 1996,Berkleewill begin offering a newmajorin
Music Therapy.
After researching the
basic elementsof a college
music therapy program,
Dr. Lawrence McClellan,
chair of Berklee’s Professional EducationDivision,
presenteda report prepared
for the college by music
therapy expert Dr. Cheryl
Maranto of Temple University, to the Professional
Education Division Committee, President’sCabinet,
and the Boardof Trustee’s
Education Sub-Committee. All voted to approve
the newmajor.
The next step in establishing a Music Therapy
Departmentinvolves a national search for an expert
to chair the programand
take the leadingrole in developing its courses. With
a departmentchair in place
by the summer
of 1995,student enrollment can begin
in September1996.
Dean of Curriculum
GaryBurtonstates, "Berklee’s MusicTherapymajor
has the potential to make
unique and meaningful
contributionsto the field.
Our experience with both
contemporary music and
music technology offers
unchartedareas for developmentin music therapy.
Weexpect that this major
will becomea key element
in Berklee’s educational
mission."
Applicationsand inquiries for the MusicTherapy
Departmentchair position
should be sent to: Dr.
Lawrence McClellan, Music Therapy Chair Search
Committee, 1140 Boylston
Street, Boston, MA02215.
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6
Berkleetoday
worked with include Bon
Jovi, MickJagger, Ted Nugent, NRBQ,Diana Ross,
Bruce Springsteen, and
Luther Vandross. He has
also produced and engineered albumsfor international artists fromFrance,
England,Japan, Australia,
and Canada.His work also
includes arrangingand producing the theme for the
"GeorgeCarlin Show."
Bill Scheniman
has been
namedthe nex~r chair of
the Music Production and
Engineering Department.
Schenimanhad served as a
full-time, associateprofessor in MP&E
since 1990.
Scheniman came to
Berklee in the midst of a
distinguished career as a
producer and engineer. As
a staff engineer
and producer at
the world renowned Power
Station studio in
New York,
worked on hundreds of albums
during the ye~Lrs
1978-84. Helater
workedas an independent producer/engineer
from 1984-90.
Someof the artists
ChairBill Scheniman
Scheniman has NewMP&E
PARTNERSHIPS
WHICHBENEFITALL
This fall, Berkleebeganthe third year of its pianoloan
program in partnership with YamahaCorporation of
America and t~;oston Organ & Piano. The two firms
supply Yamaha
upright, grand, and Clavinovapianos to
help the college to maintain high-quality teaching and
performance
facilities. Throughout
the year, these pianos
are replaced with newones and the old ones sold at
generousdiscounts at BostonPiano & Organ’s104 Boylston Street location.
A similiar loan programis underwaythis fall with
drumsets cour~esy of YamahaCorporation of America
and several local percussionretailers. Last year, Fender
MusicalInstrumentsdonatedan array of guitar and bass
amplifiers. Alongwith this generousgift, FenderMusical
Instruments, in conjunction with E. U. Wurlitzer Music
& Sound,instituted an amplifier loan program.This fall
those ampswerereplacedand the used onesare for sate at
Wurlitzer’s 922 Commonwealth
Avenue,Boston store.
For the second year, YoungChangAmericahas supplied Berklee with Kurzweil K2000samplers for the
MusicSynthesis, Film Scoringand MP&E
facilities. Similarly, Roland Corporation has supplied a numberof
JDS00synthesizers. The Roland and Kurzweil equipmentplays an importantrole in Berklee’shigh-tech labs
from both performance and teaching standpoints. Arrangementsfor these loans were madethrough Berklee’s
partnership with E.U. Wurlitzer Music& Sound.
Fall1994
VISITINGARTISTS
ATBERKLEE
THISSUIVIMER
Bassist T.M.Stevens
per- the active Nashvillescene.
formedat the BPCwith his
Gil P0rtn0yPh.D., spoke
owngroup, and later gave to the General Education
a clinic for bassists. Stevens Departmentabout effective
appearsonBilly Joel’s .Riv- strategies for teachingvioer of Dreamsalbum, and lence-prone adolescents,
tours with SteveVai"79.
andcaring for the disabled.
DrummerMarcusWillLatin-jazz drummer
iamsdiscusseda variety of Horacio
"El Negro"
Hernbntopics, including rhythm dez presented a workshop
section workand soloing.
on Latin-jazz drumstyles.
KimSledge
Allen(of SisDavidCholemson,
vice
president of Ted Kurland ter Sledge and ChosenInAssociates, discussed his struments) discussed ideas
experiences in managing about stage presence, bookSingerRichieHavens
performed
hisvintagefolk classics the Pat MethenyGroup,as ings, andrecording.
withstudent
bassist
DanielDayat a BPC
concert
in August.well as artist/
managementissues concerning
This summer,a wide va- perience with such artists
booking touring
riety of top professionals as Gil Evans, SamRivers, groups and hanspent time at the collegeto Jaco Pastorius, Dr. John, dling their music
impart words of wisdom and others.
publishing
and experience, and give
Shawn
Murphy,
an audio rights.
closeup demonstrations of mixerspecializing in film,
SingerAngelitheir uniqueartistry to stu- TV,andvideo, gavea clinic que Kidjo and
dent and faculty. As al- on orchestral engineering membersof the
ways, the series provided for film. Murphy has bands Kassav
valuable insights in this worked with John Will- and Ziskakanof
rare, informalsetting.
iams, Elmer Bernstein,
the Africa F~te
Theseries kicked off in Danny Elfman, and many festival of music,
June with a visit from other preeminent film and dance, and art,
drummer, composer and TV composers.
discussed their
arranger RickySebastian. Los Angeles guitarist
North American
His clinic included drum Dave
Urichpresenteda clin- tour, world mukit demonstrationsand an- ic on rock improvisation. sic, andthe traecdotes from his work ex- Urich is on the faculty at ditions their acts
GillianWelchandDavidRawlings
G.I.T., and has opened represent.
showsfor Kiss, JoeWalsh,
Bluesguitarist
and Dweezil Zappa.
RonnieEarl played and
Boston-based pop band
A series of workshops shared his encyclopedic Lettersto Cleo,playedsetitled "Musicfrom Spain," knowledgeof blues guitar lections from their Aurora
featureda variety of clinics styles with audiencesat the Goryalicealbumin a clinwith Spanishmusicians,in- Guitar Department’s Sum- ic/demonstration in the
cluding flamencoguitarist merGuitar Sessions.
PerformanceCenter.
ManuelGranados,woodJoyceLinehan,whoopBrazilian-born pianist/
windplayersPedro
Iturral- erates the east coast office arranger/composer Cesar
de, andRicardRoda,and of Sub-PopRecords, dis- Camargo
Mariano,whohas
jazz pianistsFrancesc
Bur- cussed the realities of workedwith Milton Nascirull andManel
Camp.
launching a record by an mento,Ivan Lins, and GilBerklee alumni Gillian alternative rock band, and berto Gil, presenteda clinWelch’92 andDavidRawl- touring options for :new ic/demonstration for the
ings’88, whowererecently bands.
Piano Department.
signedas staff writers for
PeteFisher,director’for
Jazz drummer Lewis
Famed
producer/engineerAlmo Irving Music in creative services for Warn- Nash, formerly with BranEddieKramer
shared
hisex- Nashville, presented their erSongs,detailed the rela- ford Marsalis, SonnyRollpertisebehind
theboard
in insights on the craft and tionship betweenthe song- ins, and Clark Terry, preBerklee’s
Studio
A.
business of songwriting.
writer and the publisherin sented a drumclinic.
Fall1994
Berklee today
7
CELEBRATING
50 YEARS
COLLEGEOF Music
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REPLAYINGHISTORY
Manypeople have figured prominently in the developmentof Berklee’s MusicProductionand Engineering facilities, but the incipiencyof
the programcan be traced back to
1967 whenJoe Hostetter unpacked
his recordinggear in the basementof
the BoylstonStreet building. Since
joining the faculty in 1966,Hostetter
has served as an audio recording instructor, soundmixerfor BerkleePerformanceCenter shows, chair of the
Audio Recording Department, and
currently as Berklee’srecordingstudio manager.
Hostetter becameinterested in recording during high school in Manhattan, Kansasin the late ’50s, and
borrowed tape machines to record
bands he was playing trumpet with.
Helater boughta then state-of-theart Ampex2-track recorder and a
couple of NeumannU-47 microphones and openedhis ownlocation
recording business in 1960.
In 1966 with a diploma from the
NavySchool of Music and a degree
in musiceducationfrom KansasState
University in hand, Hostetter came
to Bostonto take arranging and composition coursesat Berklee.Hestudied tuition-free in exchange
for teaching part time and servingas dormitory
proctor. Duringhis secondyear, the
college paid to have his recording
equipmentshipped from Kansas, and
Hostetter began location recording
of Berklee concerts at the NewEngland Life and John Hancockhalls.
"In 1968, the college decided to
build a 2-track recording studio in
roomJ of the BoylstonStreet building," remembersHostetter. "They
knockeddownthe wall of two adjacent practice rooms, installed some
glass, mike connectors, myCrown
2-track recorder, a metalplate fever-
berationunit I built, anda stereomixer in the control room.Later, wegot
another Crown2-track recorder, enabling us to do overdubbing."
After receiving encouragement
from Arif Mardin’58 to further develop Berklee’s recording capabilities, the collegebuilt an 8-trackstudio in the Massachusetts Avenue
building in 1974.Today,the recording facilities include three 24-track
studios and three 8-track teaching
control rooms in the MP&E
area; a
newanalog 24-track teaching studio,
a 24-track production room with
hard disk andan~ilogrecordingequipment,and an 8-track mixdownfacility in the MusicSynthesisarea.
A recent project that has brought
Hostetter back to his roots involved
the transferal of the original master
tapes fromBerklee’s 16-volumeJazz
in the Classroomalbumsto DATfor
broadcast by Voice of America
(VOA)and National Public Radio
(NPR)during Berklee’s 50th anniversary year. Eachof the recordings
(released annuallyfrom1957-78)features manynow-famousplayers.
Liner notes on the 1958disc list
amongthe "student personnel" saxophonist Nick Brignola, pianist Bob
James, composer/arranger Toshiko
Akiyoshi, guitarist Gabor Szabo,
composer/arrangerArif Mardin, and
pianist Joe Zawinul. Others showcase the youthful workof guitarists
JohnScofield, JamieGlaser, and Mick
Goodrick; saxophonists Eric Marienthal, Sadao Watanabe,and Ernie
Watts; bassists Harvey Swartz and
AbeLaboriel; and keyboardists Alan
Broadbent and Rob Mounsey.
This project provides closure to
someunfinished business in Hostteter’s work at Berklee. He engineeredthe last twoJazz in the Classroom albums, volumes XVand XVI,
but volumeXVIwas never released.
"The large ensemble jazz style
heard on these records is a sound
that drewmanymusiciansto Berklee
backthen," states Hostetter. "Today,
there is moreemphasison pop styles
and MIDIinstrumentation. I’m an
active trumpet player in local big
bands, I love that idiomso I’m glad
JoeHostetter:BerkleeMP&E
pioneer this musicwill be heard again." ~1
Fall1994
Bill Dobbins
A CREATIVE
APPROACH
TO
JAZZPIANOHARMONY
(140pagebook)25.00
...offers anapproach
to unlocking
the limitless
harmonic
possibilities whichare unique
to the
piano.Thisapproach
canbedeveloped
in a
personal
manner
withouteverexhausting
the
creative
possibilities.Ofcourse,
it is also
applicableto jazz composing
andarranging.
Includeshundreds
of musicalexamples
andfive
compositions
byBill Dobbins.
Chick Corea
NOWHESINGS,NOW
HESOBS
transcribed
byBill Dobbins
$14.95
Transcriptions
fromthe ~classic~
trio recording.
Publishedby ADVANCE
MUSIC
Askyourfavoritemusicsupplieror call:
JAMEYAEBERSOLD
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Be rkl
ee
Cz
G Muszc"
Makes a Difference
Allen
Bush "89
~
entry into Berklee. Joining the incoming class of 1998
this fall is just where he wants to be, but it will be
impossible without a scholarship.
Searcy, like a lot of disadvantaged urban youth, needs
a break. He is a lifelong resident of the tough Mattapan
section of Boston, but he has not succumbedto the lure
of the streets. ]instead, he has workedat developing his
musical skills, hoping to find his way out of the social
and economic hardships of his surroundings. This past
summerwas Searcy’s second in Berklee’s popular Five-week Summer
Performance Program. Through the
Berklee City Music (BCM)community outreach program, Searcy received a SummerYouth Scholarship
for Talent and Excellence in Music
or SYSTEM
5 scholarship, and attended the programtuition-free.
Noting that Berklee accepts two
out of three applicants from around
the world while only one out of five
applicants from Boston high schools
can qualify for entry, the college instituted the BCMprogram to level
the playing field for Boston’s talented, yet often undertrained youth.
(Less than a third of the 15 Boston
high schools offer music programs.)
BCM
gives these inner city high
Distinguished
Chair of the BrassDepartment
member
RayKotwica(right), has
school
students the opportunity to
servedas a mentorto l~-year-old trumpeterMarkGoncalvez
for two years.
enhance
their skills in the college’s
"Exposing
thesekidsto the fundamentals
of the instrument
anddifferentmusical
five-week
program. At the end of
styles helpsthemto decidewhether
they wantto play jazz, symphonic
mu.,dc,
the
five
weeks,
full-tuition, four-year
rock,"statesKotwica."Theydiscover
what’srequiredto be a professional."
t 18, Jamyle Searcy has quite a r4sum&A member
of an a cappella group the Family, with whomhe
performed throughout Massachusetts and England, Searcy
is also the drummerfor his church’s gospel ensemble. At
his high school, he produced a gospel showcase that
included groups from as far away as Ireland. And, together with his R&Bgroup Trez, he sang backup on a cut
for Marky Mark’s You Gotta Believe album. His ambition, talent, and experience more than qualify him for
10
Berklee today
Fall 1994
Berklee scholarships are awardedto
selected, qualified students.
Thesummer
scholarships are available to high school juniors and seniors andto youngmusiciansin their
early twenties. Toqualify, applicants
mustpass the program’sstandard admissions requirements and audition
for BCMadministrators.
Over the course of its four year
history, BCMhas evolved from offeting a handful of youngmusicians
the chance to study in the summer
program,to a year-roundproject involving more than 60 Boston high
schoolstudents.
Another BCMinitiative is for
those whoare too youngfor the summer program, or whodon’t qualify
due to a low level of musicalcompetency. The after-school mentoring
program, taught by Berklee faculty
and student volunteers, is for budding musiciansas youngas 13. They
attend two classes a week,a private
lesson, anda musictheoryclass. They
are often on campus much more
though, because they have the same
access to the library, practice rooms,
and learning assistance labs that an
undergraduatestudent has. Later, a
student can apply for a SYSTEM
5
scholarship, and, uponacceptance,
moveone step closer to the full-time
pursuit of a Berkleedegree.
Thecourses in the mentoringprogramstart with the basics. Whenthey
enter the program,moststudents have
limited experience, manycan’t read
musicandhavelimited notationskills.
Oneof those responsible for the
success of the BCM
program is Assistant to the President for Education and Community
Partnerships J.
Curtis WarnerJr.--a 1976 Berklee
graduate. Warnercameto his position with the right credentialson both
sides of the desk: he wasa busydrummet with his own production company, and assistant headmaster at
Dorchester High School.
Warner’s tenure in the Boston
school systemenabled him to develop the ability to communicatewith
youngpeople--askill that is particularly usefulin his recruitmentefforts.
"A problem that we had with the
programin the past was exposure,"
says Warner. "There were articles
written about it and features proFall1994
From
theleft, SYSTEM
5 vocalists
Arcangel
Perez,Sophia
Haynes,
Jamyle
Searcy,
andNeraiza
Gonzalez
perform
at the program’s
tfinal concert.Theiraudience
included
Dr. LoisHarrison
Jones,
superintendent
for Boston
publicschools,
and
AlbertHolland,
Boston’s
deputy
superintendlent
foehighschools.
ducedfor TV, but none of these had
direct impacton the kids."
A solution Warnerdeveloped was
to bring a little bit of Berkleeto the
Bostonschools. Included in his recruitment show are BCMstudent
performers, a video presentation he
producedto explain the program,and
a question-and-answerperiod. Last
year, Warner and company only
madeit to two high schools, but beginning this October, the tour will
kick-off at Roxbury’sMadisonPark
High School and stop at all 15 of
Boston’shigh schools.
At mostof the schools on the recruitmenttour, Berkleeis a familiar
presenceamongthe students. That is
because one BCM’soff-campus initiatives includes musicalinstrument
and equipment donations. At a recent music lab dedication ceremony
at the Wheatley Middle School in
Roxbury, students performed on
Technics keyboards donated through
the joint efforts of Berkleeand the
Matsushita ConsumerElectronics
Corporation. Such partnerships between Berklee and equipment manufacurers advancea mutualgoal--supporting musiceducationat the public
schoollevel wherefunds are limited.
In a similar effort in Dorchester,
an 8-track recording studio was installed at the GangPeace headquarters with donatedequipmentformerly in use at the college. GangPeace,a
privately run outreach program,was
created to give young people productive alternatives to hanging
around on the streets. TwoBerklee
student volunteers, Chad and Chay
Wright, twin brothers from Atlanta,
have taught recording engineering
there for over a year, andwererecognized for their efforts by Boston’s
mayor at an awards ceremony.
Responseto the Berklee City Music programby public school students has been strong. This year, 55
students auditioned for 25 scholarships. Educators from the Boston
public schools have also responded
positively. One Boston high school
principal promisedthat he wouldpersonally connect all those interested
in a SYSTEM
5 scholarship with
Berklee’s Curtis Warner. Another
rented a van and brought16 students
to Berkleefor an informationsession
about the program.
"It’s morethe ambition than the
skill that’s neededfor our program,"
says Warner."The students whoare
part of the BCM
programaren’t ever
going to be on the streets because
they are motivated.If they don’t get
into Berkleefull time, they are going
to find somethingelse to do."
The programhas surpassed expec~
rations. At the end of summer,Berklee awardedfour full-time scholarships to outstanding SYSTEM
5
graduates--including JamyleSearcy.
The BCMprogram is funded in
part with support fromthe Polaroid,
BMI, A.C. Ratshensky, Ann& Gordon Getty, Christos & Eva Pappas,
State Street, ThomasAnthonyPappa.~, and William& Bertha Schrafft
foundations, and the Bostonand New
BalanceAthletic shoe companies.;3
Berklee today 11
Takir~g the Lt~ad
After backingMiles, Jaco, Brecker,andmore,Tele
master Mike Stern 75 now commandscenter stage
A strong buzz amongrespected players pot is quite apparentin watchingMikeStern
perform, that he was born to play the sitioned Stern as a sought-after sideman. His
guitar. Innate coordinationbetweenhis tenure with Blood Sweat and Tears around
hands gives hima technical command
over the 1975 placed him in a lineup which included
instrumentthat places himin a leaguewith few Jaco Pastorius. A subsequentrecording session
peers, though there be manycomers. Jazz is with BS&Tsinger David Clayton ThomasinStern’s native tongue,yet his musicalspeechis troducedStern’s fretworkto the Breckerbrothheavily inflected with gritty artifacts fromthe ers and DavidSanborn.It cameas little surrock and blues dialects he absorbedin his for- prise whenwordspread that he had left town
with former MahavishnuOrchestra drummer
mativeyears.
touring band, only to be hired
Stem’s uniquely aggressive "bop and roll" Billy Cobham’s
linearity initially sent shockwavesthroughthe awayby MilesDavisfor his historic 1981comeinternational jazz community
in the early ’80s. back recordings and tours. In his post-Miles
His fresh style offered tutelage for both jazz days, Stern wouldwork extensively with the
androckguitarists. For jazzers: it is possibleto BreckerBrothers Band,Steps Ahead,Jaco, and
swinghard on a Tele or a Strat. Rockers:pos- David Sanborn.
Oneof the manythings Mike learned from
sessing a deeper knowledgeof theory and other musicaltraditions is not deleteriousto one’s the 1981Miles comebacktour was the truism
that evenbad press is goodpress. Musiccritics
rockandroll sensibilities.
Boston’s jazz insiders used to crowd the turned out in droves with the false hope that
small, smokyclubs lying within Berklee’s pen- the manwith the horn would uncork some of
umbrain the late ’70s wheneverMikeshared his vintage jazz. Somereviewers complained
the bandstandwith local headliners (saxophon- bitterly that Mileshad hired a brash rock guiist) Jerry Bergonzi’68, (trumpeters)TigerOko- tarist. Stern’s namewas trumpeted abroad-shi ’75 and MikeMetheny,or fellow guitarists for better or worse--in every review. EventuMickGoodrick’69, Bill Frisell ’77, and Randy ally t[heir acrimonyturned to approbationas
Roos’78. Stern was bubbling under then; you Stem’smusical depth cameclearly into focus,
couldfeel it at thosegigs.
earning hima loyal following. Hewasrecently
I
by
Mark L.
Small "73
12
Berklee today
PHOTO
8Y GENE
MARTIN
Fall1994
Heliked it, andI got the call for the
namedan "Artist Deserving Wider Recogni- Cobham.
tion" by DownBeat. He also took "Best Jazz gig. I amthrilled that I got a chanceto record
Guitarist" honors and his Standardsalbumwas and play with Miles Davis.
named"Best Jazz Album"in the 1993 Guitar
Whatdo you think he heard in your playing
Playerreaderspoll.
that
rnadehim hire you full-time?
As a sideman, Stem’s incendiary soloing
He
told mehe liked mytime feel. Heliked
heated up dozens of albumsand concert halls
the
fact
that I played beboplines and that I
worldwidewith a variety of major jazz acts.
could
rock.
VictorBailey[’79] (bassist) used
Now,his ownmusic is the focus. Hehas made
describe
what
I do as bop and roll. I grewup
sevenrecordsas leader, all but the first for the
listening
to
Hendrix,
Beck, Clapton, and the
Atlantic Jazz label. A seasonedveteran with
blues.
I
fell
in
love
with
jazz a fewyears later
career in full swing,Stern lives in Manhattan
listening
to
Jim
Hall
and
WesMontgomery.
with his wife Leni (MagdalenaThora) Stern
’80, whois a respectedguitarist and recording
Yo~,,~r workwith Miles--the sound of your
artist in her ownright. I caught up with Mike
guitar
and the intensity-- seemedto set a new
at his East Side apartmentshortly after his
standard
amongthe "fusion" guitarists of the
return from a summertour of Europewith his
’80s.
You
had more raw, rock and roll energy
trio, andjust before he left again for concert
while mosteveryoneelse wasplayingjazzy lines
appearanceson two other continents.
with smoothdistortion and not muchedge.
That maybe so, but for me, it was just a
natural combinationof myinfluences. I like
the sense of fun in rock and the energy. In
general, I listen for the energyand soul in music. A sense of fun is very important too. I
prefer a grittier approachlike youhear in rock
and blues, whereyou can hear the pick on the
string whena player is diggingin.
Wasyour solo on "Fat Time"fromThe Man
With the Horn live or an overdub?
It wasall live. Thebandplayeda coupleof
takes and I wantedto redo mysolo. But Miles
told mein that raspy voice, "that’s it... when
you’re at a party, you gotta knowwhento
leave’,!" Hecalled the tune "Fat Time"because
he liked mytime feel and I wasa little overweight back then.
That wasa very influential guitar solo. Did
It seems word-of-mouthwas a major factor
you
feel it wasa great take in hearingit back?
in the initial launchof yourcareer.
][
never feel that way.I alwaysfeel like I
That is kind of what happened--I lucked
could
improveon a take. I’mgenerally too selfinto somegigs. I really consider myselfvery
it
fortunate to have gotten to play with these critical. Someof that is good,but sometimes
people. It started with BloodSweatand Tears. is excessive.It is hardfor meto listen backuntil
At Berklee, I studied guitar with Pat Metheny. later. I can sometimes hear myownplaying
Hewastelling methat I shouldbe playing out fromoutside of myself,but it is hard for meto
more. Hehad heard that BloodSweatand Tears get perspective.
waslooking for a guitar player and told meto
T,6e critics wereroughon you duringMiles’
go for it. I auditioned and got the gig. Next
camethe gig with Billy Cobham
and then Miles. comeback,saying you were just an unsophisticatedrock and roller.
Oneled to the next.
Thatwasthe least of it! Milesjust said, "Who
cares,
don’t listen to the critics, the only critic
Wheredid Miles hear you?
you
need
to listen to is me--you’re playing
I had played with Bill Evans(the saxophonyour
a-off!"
It wasn’teasy beingthrust into a
ist) at Michael’sPubin Boston,andhe told me
situation
where
there was more press about
he had been recording with Miles. Whenthe
Miles
coming
back
than there wasfor any other
guitarist Mileshadbeenusing didn’t workout,
musical
act--in
jazz
or otherwise. Whathe
Bill recommended
me. Miles camedownto the
BottomLine where I was playing with Billy wantedfor his music is what ~ had to do. He
14
Berklee today
Fall1994
told meto turn it up or turn it off. He wanted
me to play like Hendrix.
It was hard for me to read the reviews, but
some of those critics started turning around
and finding more there than they first thought.
They all wanted Miles to play straight-ahead
music, which he did not want to do at that
time. NowI think that the critics are a necessary part of the process. Youjust do the best
you can and they can say what they want. I am
getting muchmore positive press these days,
and I appreciate that. The bottom line is, you
have to be true to yourself as muchas possible-that’s not an easy thing to do. Youhave
to do what you do and knowthat it is honest.
Somewill dig it, somewon’t.
of that with my own group though. Not too
long ago I toured with the Brecker Brothers,
In the extreme, a musician focused only on and I co-led a band with Bob Berg. I’ve been
what he or she does can appear aloof from the going out with my own band now for a few
audience.
years, and lately I’ve been giwing that more
You know Miles was always very aware of priority. After playing with Miles, Jaco Pastothe audience. He would turn his back to them, flus, the Brecker Brothers, and others, the next
but do not be fooled, he was always looking challenge was to go out on myown, but I still
around. That cat knewexactly who was sitting
like to work with others. I did somegigs with
out there.
Joe Hendersonlast year and it was great. But it
He learned to include people in his music. is a natural progression for me to be doing my
He found that balance in doing what he want- own group.
ed, even if he turned some people off temporarily. They wanted him to play Kind of Blue,
You must be very comfortab~’e with life on
and he’d be going left. But he would end up the road by now.
including them in his music. As corny as it
Sometimesit drives me crazy if it is too
sounds, music is a language and it is for com- much. This summer we came back to the U.S.
municating with people.
from Japan, spent about six hours in the airport, and then went right to Brazil. Bu.t this is
What do you think audiences in Europe and what I do. If you want to go out and play in
Japan are hearing in the music of artists like
front of people--which I love--touring is the
yourself and others that makesthose areas more nameof the game. I am trying to balance it so
fertile territory for Americanjazz musicians? that I’m here a little bit more. Mywife, Leni,
I think there is the sameinterest here, but I goes on the road for her own gigs, so we will
don’t think there is enough support because try to go out at the same time, and other times
things aren’t set up the samewayhere. A lot of she will come along with me.
it is the funding. In Europe, there is more emphasis on the arts and supporting them. Over
Musicis a driving force in both of your lives.
there, you find city councils which actually
It is really inspiring for me to see Leni’s
help the jazz clubs. They subsidize these jazz energy for music and how she tries different
festivals so that they can bring musiciansover. things. She has some great recordings out on
The people hear the music in the surroundings Lipstick Records. I recorded her’ tune "Sandof the festival, and they get into it. Then they box" on my Odds or Evens album. Except for
buy the records and the audience grows.
standards, I rarely play other people’s tunes.
I did gigs in different formats in Europethis
summer. I went over there with Jeff Andrews
Did you two meet at Berklee?
[’74] (bass) and DaveWeckl(drums). Weplayed
No, but we met in Boston. She was friends
at big places with lots of people. I am used to with Bill Frisell and he introduced us. I had
playing smaller venues like clubs. Someof these just come back from playing with Blood Sweat
halls seated 8,000 people.
and Tears and was playing with Jerry Bergonzi
and Tiger Okoshi when I met her’.
Howmuch time do you spend abroad in a
given year?
Whatare your recollections of your years at
I spend about four months each year play- Berklee ?
ing out of the country. I haven’t been doing all
For me, the situation at Berklee was terrifFall 1994
Berklee
iles wouldturn his back
to the audience, but do not be
fooled--that ,:at knewexactly
whowas sitting out there.
today 15
ic--it wasjust whatI needed. It is what you
makeof it. Somepeople say you sound too
muchlike everybodyelse if you go to a music
school.ButI neverfelt that. Thereis this atmospherethere whereeveryoneis trying to develop their musicalpotential. For meit wasa way
to enhance myvocabulary and give me more
musicaloptions.
GaryBurtonwas a great teacher. I had him
for some ensembles and classes and he was
alwaysso clear andreally to the point. I like
wherehe is comingfrom musically; he seems
very openminded.In guitar, I learned a lot
studying with Larry Sennibaldi. Wecovered
Bill Leavitt’s books, whichare very clear on
the fundamentals.I cameto Berklee mainly as
a rock player; I neededto learn the neckof the
guitar and becomea better reader. JohnLaporta was also a phenomenalteacher. He had so
muchenergy for music. Another guy was Mick
Goodrick--heis a great teacher and player.
After Berklee, I studied with Charlie Banacos whohas beenvery influential. I still do
correspondencelessons with him.
cameout. Maybe
it’s becausethe last oneis the
one I feel closest to, it is very hard for meto
judgemyownwork.I put a lot of effort into all
the rec, ords--writing,getting goodplayers, and
then playing. I have been lucky to get such
great people to help mewith myrecords.
The. material you play with your trio includes tunes from your recordings,but the format is moreopen.
Yeah,it’s wide open. I include somestandards, whichI alwayslike to do in a trio setting. Thechallengeof playingin a trio is great.
I have:to reachfor a lot of stuff, it is not like
having a lot of arranged material whereyou
take a solo or twoeachnight. It is really lean,
there is not a lot to fall backon.
Doesthat burningdesire that propels young
musiciansto face the long oddsneededto succeedstill burnas brightly in youas it did when
you were playing for $15 a night at Michael’s
Pub on GainsboroughStreet?
Evenmore. I’ve exceededmyexpectations.
I would have been happy just teaching and
Doyou often play with musiciansyou’ve met playingat small places--I still do both by the
way. I washopeful that I mightmakea record
from Berklee?
Sure, I play with [saxophonist]Steve Slagel or two, but I didn’t think I’d workwith Miles
[’74], and guitarists WayneKrantz [’76] and or someof the other great musicians.
Muchto myownamazement,I still really
Jay Azzolina[’76]. Jay is a great player, he and
just
love to play. It doesn’ttake much,I really
I comefrom similar backgroundsin a lot of
enjoy
just sitting in a roomwith myguitar and
ways.I think he is really exceptional,andpeolistening
to or reading musicI can learn from.
ple really don’t knowmuchabout him. Jeff
It’s
very
natural for meto put a lot of effort
Andrewsplays bass with mein mytrio.
I also just played on four cuts with Tiger into that.
Evenif they are not into a particular kind of
Okoshion his newrecord TwoSides to Every
music,
people respect the effort and the heart
Story, with Jack DeJohnette, DaveHolland,
that
a
serious musicianhas invested. It is imand Gil Goldstein. Not long ago I sat in with
portant
to workhard, you will have morefun
Branford Marsalis [’79] and Kevin Eubanks
with
music,
and you really develop your pas[’79] on the "Tonight Show."
sion from putting more into it. Youbecome
Doyou think finding your voice is a key to disciplined and practice everyday,eventhough
there is nobodysaying youhaveto do it. There
longevity as a jazz musician?
I think it is a very importantpart--for any is no guaranteethat you will get to play with
kind of musician.It is also the kind of thing the Rolling Stones or SonnyRollins, muchof
you can’t force. Youshould find your own that is up to chance.Youcan guaranteethat by
voice, evenif it is a combinationof different workinghard, you will enjoy music more.
things you have heard other players do. ComWouldyou ever entertain thoughts of playbining is one wayto discover it. Youwouldn’t
ing
with a rock group again?
transcribe and learn only WesMontgomery
In a wayI think it wouldbe a lot of fun, but
solos because you wouldsound like him, and
he already did that pretty well himself. But, it mightbe a tough adjustment,I’m so used to
you might want to learn somethings by Wes the jazz formatwith lots of roomto solo.
I spoketo MikeBrecker,he just did the Paul
or Jimi Hen&ixbecause what they did has
Simon
tour. Mikehad it written into his conbecomepart of the tradition and part of the
trac~
that he got to play one of his owntunes
vocabularyof music.
each night and really stretch out. That’s great,
If youwereto chooseonealbumas yourbest, but it’s not the kind of freedomyou haveon a
jazz gig. I mightfind it restrictive. [After a
which wouldit be?
~l
I like the waythis last one, Is WhatIt Is, pause] But nowif Sting wasto call...
16
Berkleetoday
Fall1994
Roads Less Tr’a~veled
Today, there are moreavenuesthan ever before leading to the promisedland of increased record sales
T
by Peter
Spellman
and
Mark
Small
Fall 1994
"73
he headline for the cover story of the whenselling records revolved primarily around
December 1993 Musician magazine
record stores and record clubs operated by the
read: "The End of the Music Business major record labels. Today, alternative distrias WeKnowIt." In the article, Fred Goodman bution strategies ~:o bring a wide variety of
suggests that the big record stores whichflour- music to buyers are being adopted by the maished in the ’60s may give way in the near jor labels and the growing numberof indepenfuture to home shopping for, and electronic
dent labels alike.
delivery of digital recordings via fiber optic
phonelines, satellite transmission, or cable, to The High Road
a TV computer modemwhich will download
Berklee trustee F’aul Wennik,regional branch
them onto blank CDs. The buyer’s own laser
manager for PolyGram Group Distribution in
printer will print out a sleeve and liner notes, Woburn,Massachusetts, entered the record inand the cost will be automatically be charged dustry in 1969 and has observed much evoluto his or her credit card.
tion in record distribution and marketing over
Nina Monk, writing for Forbes magazine the years.
(March14, 1994, page 94) stated: "Fat and hap"In the ’60s, the rack jobbers whoput records
py, the established record stores failed to no- in KMart, Bradlees, Zayre, and other stores
tice when their customers grew up. Their days represented about 70 percent of the business,"
may be numbered." Monk calls most large
states Wennik, "today they represent about 30
record stores "places only a modernadolescent percent. Whathas created the shift is the emercould love," and cites figures showingthat in gence of musicretail chains like Musiclandwith
1988, those 24 years old and under bought 53 1,200 stores, Transworld with 700, and the
percent of all prerecorded music sold, while in Sound Warehouseand Target chains. These are
1992 that number dropped to 41 percent. Al- 100 percent music entities with a commitment
ternative outlets are successfully luring in af- to an ambiance and image supported by adverfluent buyers over 25 who feel alienated in tising, located in high traffic malls. Today,there
stores targeting Generation X customers.
are so many:more places to put our products.
It is clear that the sun has set on the days Consumerseasily find cutting-edge music everywhere within the range of a radio station
Peter Spellman is career development coordi- broadcasting newartists."
nator at Berklee and a memberof the multimeFor the major labels, the large music chains
dia group Friendly Planet. Guitarist MarkSmall represent about 90 percent of their business,
’73 has released two albums on independent but they are also mindful of the importance of
labels and is editor of Berklee today.
smaller, "mornand pop" record stores specialBerklee
today 17
izing in Black, Latin, alternative, jazz, or classical
records for their acts whosestyle of music falls outside
the mainstream.
"We have staff members
specifically handlingalternative and Black music," says
Wennik, "and will soon have
one to develop the new ’Triple A’ (album, adult, alternative) format." MyBlack
product development rep
gets to know the Black independent music store owners and
introduces them to new records-even if they buy from a one stop
because they are too small to buy
from us. WhenPolyGram’s Black artists cometo town, he gets the owners
out to the show and backstage to
meet the artists."
up by a major distributor.
TheCorporateLadder
A prime exampleis guitarist Stevan Pasero, who
started his own record
company, Sugo Music, in
1985 for his ownalbums.
Pasero and Sugo, through
a special-product distribution plan, developed an
"executive gift program,"
which enabled them to
movea high volumeof recordings
in
a short period of time.
Webelieve that music is an emotionCorporate
executives were invital product--perhaps comparable to a
perfume--it’s something that has a ed to purchase discounted CDsand
deep effect on your senses, on your tapes to give as gifts and incentives to
employees and customers. One of Pawhole body."
Responding to the Forbes maga- sero’s first clients was Apple Comzine characterization of large record puter, which was seeking a special
stores, Wennikreplies: "Stores can’t musical gift for their executives and
be everything to everyone. Somehave partners. In a single order, they
bought 9,000 copies of Pasero’s Wina great jazz and classical selection,
TheEmotionalConnection
ter Heartsongs album. Since inking
others
have
another
specialty.
BosIn order to connect the right buysimilar deals with other companies,
ton’s
Newbury
Comics
has
a
reputaers with new artists, Wennik’sstaff
Sugo has been picked up by Allegro
tion
for
having
a
great
alternative
mix.
maycultivate relationships with varDistribution, and Pasero’s music is
Some
stores
are
sale
pricers,
others
ious retailers whodon’t even sell recordings but are located near a large charge a little more and rely on foot in most major record retail outlets.
traffic and conveniencefactors. Peorecord store.
MakingIt Through
the Mail
"It is not unusual," says Wennik, ple buy records at a particular store
The
most
widespread
alternative
"for us to take a record by a new because of convenience, the mix they
distribution
method
is
direct
mail via
carry,
and
the
feel
of
the
store."
alternative artist whois not gettingcatalogs. Indies have long knownthat
According
to
the
Recording
Inmuch airplay, and do promotions at
the best wayto reach their niche auclothing stores like Boston’s Allston dustry Association of America’s
diences is through the mail with a
(RIAA)
1993
annual
report,
record
Beat or Urban Outfitters.
Weprovide a CDfor in-~tore-play, or a free store purchases have declined over unique, well-designed catalog. Direct
cassette sampler for their customers. the past five years from 71.7 percent mail already accounts for up to 11
"Our Black music rep sets up in- in 1989 to 59.1 percent in 1993. This percent of majorlabel sales and up to
store-play and contests for our gos- doesn’t meanless musicis being sold, 50 percent of indie sales. Whenhanpel artists at African Americangour- but that more music is being sold dled correctly, direct mail is one of
met and soul food restaurants. The through nontraditional outlets car- the most lucrative tools available to
rying morereleases by artists on in- the small independent record comrep will do the same at hair salons.
pany.
dependent labels.
Hear Music, a mail-order operaSince many indepention
that sends catalogs to 400,000
dent labels don’t have
music
buyers, specializes in such
large rosters of artists
genres
as
folk, blues, gospel, and jazz,
guaranteeing the consistent sales and steady flow which are pushed aside by many
record stores. Bose Express Music,
of product the major distributors require, they of- based in Framingham,Massachusetts,
ten seek alternatives to is another. They offer almost every
musictitle in print through their githe record chain store.
Manysmaller labels nur- ant catalog. Since its launch five years
ture a niche-buying au- ago, sales have grown by 20 to 30
~ dience, or working other percent a year.
A similar direct-mail approach-approaches, demonstrate
co-op
distribution--involves
small
PaulWennik,
regionalbranchmanager
for PolyGramtheir sales potential and
labels
teaming
up,
pooling
resources,
long-term
credibility,
beGroup
Distribution,
statesthattherole of thebranch
fore they can get picked and developing a single, impressive
office is to implement
thelabel’s marketing
plan.
Fall 1994
E~erklee
t o da y
18
to Internet can tap znto a
potential worldwidelistenership of 25 million.
THEMECHANICS
OF MAJOR
LABELDISTFIIBUTION
Historically, the majorlabels (whichcurrently in- labels they carry.
clude MCA,Sony, B~G, Polygram, Capitol/EMINext are vai’ious subdistributors
,
including,, oneAmerica, and the only Americar~-ow,ned companyof stop" stores. Theseintermediaryoutlets, foundin most
the lot, WEA)
haveh~ndledthe lion s share of re~ord metropolitan
areas,
~p~rangupin the ’40sto supply
distribution. Fromtheir branch offices, the majors recordings from all labels to jukeboxoperators- at
send sales personnelto showcatalogs, create interest prices slightly higher ~hanwholesale.Toda~one-stops
in newreleases, offer purchaseincentives, and take also supl~ly"roomand pop~’ record stores and a range
orders from retailers. Thelabel’s pressing plant or of smail, n0nmusic
retail (~utlets whichcarry a limited
regional warehouseships the goodsto the retailer.
selection of recordings.
Field merchandisers
cal~ on de~lers to set up in-store
Next are
displays and provide point-of-purchasematerials (in- distributor
cludingposters, mobiles, and l~romotionalparapl~er- sell
nalia). Inventoryspecialists visit eachstore to see how supermarkets,
the productsare movingand give advice on reorders.
In addition to distributing records by the major’s
ownartists, they havedistribution arrangementsWith
someindependent companiesand provide the above
servicesfol~ their productstOO.
have SOl]l;
In the secondstrata are the independentdistribu- q
tors. Theseregional operations mayhandle the prod- which maintain
ucts of hundreds of independent labels as well as elimin:t
providecovera~e~for the n~a’or3labels in areas where
Ma
3’~
they haveno branchoffices. Independentdistributors prices
~
ma~formpart of a national d~st~ibutionchain which later at
ensures a nationwide network of coverage for the
catalog. This often results in more
industry attention becauseit offers
moreproduct, a diversity of offerings, and leaves moneyin the budget
for promotion and marketing. The
Independent Music Association
[phone: (201) 831-1317]encourages
and facilitates such co-ops by posting notices frominquiring labels in
its publication, Soundtrack.DonKulak, Soundtrack’seditor, calls these
ventures "mini-mergerswhereeverybody wins."
Celtic, and children’s music.
The Borders bookstore chain exemplifies the smooth marriage of
music and books. Their first store
openedin Dallas in 1992with 60,000
musictitles, 110,000booktitles, and
an espresso bar. This year the company plans to build 25 newbookand
music superstores and convert five
books-onlystores.
TheDigital Highway
Digital technologyis also fueling
do-it-yourself alternative distribuTheBackRoads
tion. Musicianswith access to InterBookstores,gift shops, boutiques, net can tap into a potential worldandother specialty shopsare also pro- wide listenership of 25 million (the
viding distribution for recordingson numberof Internet users doubles anan increasingly larger scale. Though nually). The Internet Underground
accurate dollar figures are unavail- Music Archive (IUMA),established
able for this marketsegment(track- by a pair of computerscience majors
ing has only recently begun), indus- at University of California at Santa
try expertsestimate that these stores Cruz, welcomesdigitized audio (up
accountfor 24.2 percentof total sales to five minutes), graphics, and text
of recorded music.
from unsigned and indie-label artSilo Inc., of Vermont,a majordis- ists. Browsing
the service is free, but
tributor to these stores, started pri- artists mustpaya fee to place a song
marilyas a folk musicdistributor in in the archive. Its founders believe
1977. Silo serves the niche markets that IUMA
mayeventually becomea
whichare seekingbluegrass, newage, full-fledged alternative distribution
Fall1994
system,offering entire albumsat minimal cost to users. But, as with so
muchelse on the digital highway,legal. details of copyrightsand licensing fees muststill be workedout.
A Blockbuster-IBMjoint venture
has developedthe meansof creating
CDsin recordstores by digital transmission over telephone lines, and
hopesto roll out this technologyto
BlockbusterMusicStores this year.
The dew31opment
of the infrastructure for widespreadhomeuse of this
technology
is still off in the future.
Alternative distribution options
are increasing daily, thanks to the
omnipresenceof recorded music, the
ingenuity of marketing people, and
technology. All are helping to exposethe public to morediverse kinds
of music.Yet, large recordstores cartying major label product still accountfor mostof the industry’ssales.
Regardingthe predicted demise
of chain stores, PolyGram’sPaul
Wennikobserves, "There are many
peoplewholike the ambianceof those
stores, whowant to be there to see
the selection.., shoppingis one of
the great Americanpastimes."
~
Berklee today 19
Three’s
Corn~pany
A minirnalist approachwith three-note rndodic and
chordal structures can yield a maximum
of ideas
T
by Jon
Damian
"73
I had manygreat musicians as teachers and
here it was, my first guitar, bought
one
commontheme echoes from their teachmorethan 30 years ago, staring at me. I
passed it on to mynephew Dougabout ings--simplicity, less is more. I began to focus
on three-note melodic and harmonic structures
25 years ago and while visiting his Londonflat
which are small enoughto give the player flexrecently, I becamereacquainted with myfirst
axe. It is a sunburst, acoustic, F-hole, Harmo- ibility, yet large enoughto have a distinctive
ny arch top--a $25 chunk of
beauty! Playing it again
brought back memories of the
fun I had making new musical
The Darnian Palette Chart
discoveries daily.
Over the years I learned
lots of formsand scales, and
began soloing with licks
gleaned from listening and
transcriptions. I started to
feel "in control." Then I
noticed that the fun of discovery and surprise I felt
with my first guitar was
gone! I had lots of cool
voicings and four- and
eight-bar licks but something was missing. I was so
much "in control" that I
was responding to chord
symbols like one of Pavlov’s salivating dogs. I
needed to stir my musical
barrel of ideas.
Jon Damianis a professor in
the Guitar Department and an
active performer, tie recently
recorded with Nancy Wilson
and the Boston Pops Orchestra
under John Williams.
2O
Berklee today
Quartalopen
Clustersclose
Traditionalclose triads Clustersopen
~ = 7th chord, no 3rd
~, ~ria~.~s
= Octavein outervoices Quartalclose
~;’~’aditio~,J
ot~
[] = 7th chord,no 5th
~
Fall 1994
character. Overwhelmed
with possi- Thosein the diagonal group across
bilities, I developedwhatI call the the middleof the palette havean ocpalette chart to act as a table of con- tave in the outsidevoices.
tents for myideas (see oppositepage).
Explore the palette as shownin
Each two-digit group represents examples1 and 2 by choosinga seed
the intervals of a three-notestructure and movingit melodically and haror seed. In example1, the 42 seed is monicallythrough a scale type (maillustrated both melodicallyand har- jor, melodicminor,etc.). Working
it
.monicallyin close position ascend- through a scale develops both inmgon a C Majorscale. The 4 indi- creased awarenessof the instrument
cates that there is an interval of a andthe ability to conceiveof ideas in
fourth betweenthe bottomvoice and a morehorizontal or linear fashion.
the middlevoice, the 2 indicates an
Experiment with dynamics,
interval of a secondbetweenthe mid- rhythm, and articulation with these
dle and top voices. (Theseformations seedsto breathelife into the concept.
mayalso be seen as quartal strucOnceyou are comfortable with a
tures in first inversion.) In example seed ascending and descending in a
2, the 26 seedis a close positiontriad rhythmically repetitive manner,use
fromthe cluster family (this can be it over an extended modalprogresseen as an inverted secundalchord). sion addingrhythmicvariety, change
Onthe palette, the families, or in- of direction, inversions, chromatic
versions, are connectedby brackets approaches, counterpoint. Integrate
or ovals andlabeledclose position or both harmonicand melodicseeds.
open position. Squaresindicate 7th
For clarity of illustration, examchords with no 5th and diamonds ples 3 and4 eachuse seeds fromjust
represent 7th chords with no 3rd. onefamily. Eventually,interplay be-
tween families, independent voice
motion, and manyother possibilities
will becomepart of your creative
musical vocabulary. In addition to
the harmonicprogression, the seeds
from the melodicmaterial of a composition or head can becomepoints
of inspiration for your improvisational ideas.
Example3 is an A dorian modal
study with seeds from the quartal
family, (44 and42).
Example4 shows compingpossibilities over a moreactive progression with harmonic seeds from the
cluster family(26 and 62) connecting
with morestandard chordstructures.
Thesevoicingsare used to clarify the
changeof tonal centers.
Thechart has no idiomatic preferences;playersof all levels andstyles
havefoundnewpossibilities with it.
For me, workingwith the palette has
helpedbring backthe feeling of discoveryI hadwith that acoustic, arch
top, $25 chunkof beauty!
~i
THEPALE’H’E’S
TRUECOLORS
Example1 42 Structures (inverted quartal)
Example 2
26 Structures (inverted secundal)
il
Melodic
Example 3
Harmonic
Melodic
A Dorian ModalStudy
Funky
~ ~ ~,~ "~ ~
[ 42 ] [ ~ ]
Example 4
[44,J
~[4~
[44]
[44]
2.=60
~
Fall1994
[44],
[44~44]
Liten Vals
Jazz Waltz
by Jon Damian© 1994
by J~n Damian ~ 1994
A-Z
. G Ma7~11
~ Repeat
~
and fade
~
Berklee today 21
Alum n o t e s
C. PaulLoungo
’50 recently served as chair for the
Clayton
Doty "95
Belcourt Castle Centennial Ball in Newport, RI.
RogerBaker’69 closed
Baker St. Studios in Watertown, MA, and opened
Winfield Sound Studios in
Albuquerque, NM.For his
work on the new CD Here
WeGo by Sally Cavell, he
wonthree awardsin a statewide music competition.
JohnDoane
"69 resides in
Murfreesboro, TN, and is
enrolled in a music degree
PaulaCole"90 releasedher program at Middle Tennesdebutalbum
Harbingeron
the see State University.
BrianConnie’71 is curImagolabel to rave reviews
rently
producing an album
fromjournalistsat Billboard
in
Los
Angeles
for his band
andotherpublications.
Compiled
22
by
Berklee today
Fretworks. He can be seen
as host of a cable TVmusic
interview
show called
"Hurry Up and Wait."
Guitarist/composer/arranger JohnCarlini ’73 orchestrated the award winning off-Broadway musical
Song of Singapore, and was
nominated for a 1992 Drama Desk Award. John was
associate producer and
conducted the cast recording, on DRGRecords. John
composed and orchestrated the score for the DeLaurentis film King of the
Gypsies.
BrianGroder
’73 released
his first CDentitled Ancestral Tongues, on Latham
Records.
AlanItussell Cohen
"74
lives in Nashua, NH, and
owns a theater production
company specializing
in
hard disk recording/editing. He also writes and performs religious services.
GaryShaneLovenson
’74
and his band Gary Shane
and the Free Radicals, have
released their latest album
entitled Love Is the Liquor
of Life on Leveler Records.
Hal Gold"75 tours with
Tommy James playing
keyboards and singing
backup. He will soon be
releasing a self-titled CD.
His music has been used
on the "Maury Povich
Show," "Ru~ Away with
the Rich and Famous,"
"The Tonight Show," and
promosfor "Seinfield."
Bill Gordon
’75
Composer/pianist/
teacher Bill Gordon
’75 now
lives in Raleigh, NC. Bill
has recovered from focal
dystonia, a neurological coordination disorder, and released a collection of jazzy,
impressionistic, original
solo piano pieces entitled
A Little
Romance on
Weems Music.
DrummerRick Puin ’75
of Mayfield, OH, is band
director for the Mayfield
elementary, middle, and
high schools. Nick is completing a master’s degree in
composition at Cleveland
State University.
Trumpeter Tiger Okoshi
"75 has released T~o Sides
to Every Story on the JVC
label. Featured on the disc
are MikeStern ’75, Jack DeJohnette, Gil Goldstein,
and Dave Holland.
FrankWagner
’75 is living in NYCand played
bass with Sandy klein ’71
on the Jazzheadsself-titled
debut album.
Fall 1994
ScottPare"78is living in
Paxton, MAand is program
director for WTAG,
a Boston-area radio station.
GregDegler "79 of Los
Angeles, recently wona Sierra Club photo contest.
He owns Greg Degler Music/Photo.
Saxophonist Dale Houck
’79 lives in Luzerne, PA,
and is a music teacher and
band director for the Riverside School District. He
also played recently with
DavidDachinger
"78
the Four Tops.
Jonathan
Lax’79 is assisGuitarist ChuckLoeb’76 tant band director at Bayreleased Simple Things for onne High School in Sumthe DMPlabel. Chuck en- mit, NJ, and recently
listed bassist Will Lee, key- performed herald trumpet
boardist Russell Ferrante,
at the Pocono Renaissance
drummer Peter Erskine,
Faire in Bushkill, PA.
percussionist
David
Lennie
Peterson
’79 is livCharles, and vocalist Car- ing in the NewYork area
men Cuesta.
and has been pursuing a caMovie music composed reer in art. Recently, his
by Hummie
Mann’76 will
work was selected for exair on Showtime through hibition at the Salmugundi
Decemberin a series entiArt Gallery in NewYork
tled The Rebel Highway City, and at galleries in
Series (original scores by Boston and Akron.
Hummie Mann).
RobertWilson’79, who
Drummer Charles Dra- has worked with such artcopoulos
’77 (a.k.a. Chuck ists as Loverboy, Bob SegDrake) has been living in er and the Silver Bullet
the Tampa, FL area since
Band, is marketing an au1982. He plays with the
dio system he designed.
Midnite Brass and in a duo
PaulGabriel’80 released
with Stephanie Fisher.
a contemporary blues and
David Dachinger ’78 acoustic pop albumentitled
wrote an orchestral com- Guilty As Charged. The
position for the Shoah con- disc was recorded at Triad
certs commemorating the Studios in Warwick, RI.
Holocaust. It premiered in
Berlin and was performed
throughout Europe. The
concerts were conducted
by Shimon
Knoll"76.
Drummer/composer
Chris Massey
’78 recently
released his latest CDentitled The Vision World: Images to Poems by Robert
Creeley. Chris has played
with artists such as Sun Ra
and fellow alumni Bill
Frisell ’78, MichaelGibbs
’63, KevinEubanks
"76, and
DavidGrissom
’77.
TigerOkoshi
’75
Fall 1994
CLASSCONNECTIONS
AlumniChapter
Presidents
NewYork
SteveWard’87
MuMusicIrlt’l.
(212)929-116i
Orlando
StanKubit’71
OrlandoMusic
Teachers
Inc.
(407)352-9702
Chicago
Damon
Booth’91
ASCAP
(312) 481-1194
Nashville
RichAdams
’82
(615)297-8967
Boston
JeannieDeva’75
TheVoiceStudio
(617)536-4553
SanFrancisco
GaryBoggs’82
GuitarStudio
(415)731-6455
LosAngeles
Leanne
Summers
’88
VocalStudio
(818)769-7260
Tokyo
Alumni
Coordinator
MichikoYoshino
042-241-4347
This summerhas seen a flurry
of activity. In July, the Commission on AlumniRelations selected
Berklee’s AlumniAssociation (out
of 4,500 individual entries from
804 institutions) for their gold
medal for the "Berklee Salutes
Nashville" event. To all involved
in the Nashville showcase, thanks
for makingthis award possible.
On July 31, Orlando Chapter
President StanKubit’71and his wife
Anita hosted a successful barbecue at the Heritage Hotel for alumni and guests. Stay posted for news
of an Orlando alumni showcase.
On August 20, Chicago Chapter President Damon
Booth’91 hosted a networking/schmooze for 20
alumni at the Beat Kitchen.
Dean Medeiros"89 hosted an
Oc, tober 14, reception at the University Club of Jacksonville, FL.
Welcome aboard to Michiko
Sawanobori
goshino’90, the new
alumni coordinator for Japan. She
will assist ChikaOkamoto
"87 in
planning Japanese alumni events.
October 23, San Francisco
Chapter President GaryB0ggs ’82
will host a lunch/award ceremony
honoring Windham Hill recording artist and bassist MichaelManring ’79. On November6, Boston
Chapter President deannie Deva"75
will host a similar event honoring
poll-winning keyboardist David
R0senthal "80, sideman for Billy
Joel, Cyn.di Lauper, Robert Palmer, and others. Music and media
consultant KevinMcClusky
’81 will
be :featured as guest speaker.
November 14, New York
Chapter iPresident Steve Ward’67
will host an event honoring famed
bassist HarvieSwartz"70 and noted
drummer Tommy
Campbell’79.
For Berklee’s 50th anniversary
activities in 1995, we are calling
for volunteers from each alumni
chapter to submit video tapes of
an alumni showcase to be edited
together and shownat the college.
Sarah Bodge
Assistant Director of Development
for AlumniRelations
Berklee
today 23
Bill Spoke
’80
LarryHoliday
’80 is residing in Covington, KY, and
performed with his jazz
quartet at the Covington
MainStrasse Festival.
JohnSchumacher’80
and
his Centastage company
are presenting theater productions at the Boston
Center for the Arts this
November for the fourth
season. The performances
will include One Is, the
Other Isn’t, created by
Schumacher, Jon Antoun,
and photographer
Bob
Kramer.
Bill Spoke"80of Hollywoodjust signed with Blue
Song Records. In addition,
he is playing drumsfor the
Red Hot Blues.
Trombonist/composer/
percussionist EricTolson
’80
is currently living in New
Orleans and has released a
CDwith his band Nes’lort
entitled Mother’s Call...
The band includes fellow
alumni Phil Parnell ’78 on
keyboards and guitarist
BrianSeeger
’89.
Saxophonist Randall
Willis ’80 and the B Sharp
Jazz Quartet have been gigging the LAclub scene for
four years. Their self-titled
debut CDwas released by
the MAMA
Foundation.
Thomas
Brigandi ’81 is
living in NewYork, and is
currently playing bass for
Chuck Mangione on his
24
Berklee today
national tour.
Aubrey
Cheung
’81 is living in Claremont, CA,
where he is a music educator for the Virgil Middle
School.
Jan Stevens’81 composer/multi-instrumentalist,
has released his debut albumentitled EmeraldBlue.
A collection of 10 original
pieces, the album features
Paul Horn on flute, David
Grisman on mandolin, and
Gerald Albright on saxophone. Jan’s recent scoring
credits include an internationally syndicated wildlife
series,
Emmy and ACE
award-winning documentaries, and children’s programs.
Guitarist kaurenPassarelli ’82 and her band
TwoTru are in the studio
recording their next CD,
Film at Eleven. Lauren is
also working on a solo recording of original guitar
instrumentals entitled Piece
of Sky. Both albums are on
the nationally distributed
Feather Recordslabel.
Paul Stowell "82 of
Manchester, NH, and his
band the Blue Hill Kickers, won awards from the
New Hampshire Country
Music Association in such
categories as band of the
year, male vocals, female
vocals, and vocal band of
the year. In addition, the
band also won the North
East Invitational
Showdownthis year.
Bassist/composer Mike
Woods
’82 lives: and performs in Bloomington, IN,
and is completing a composition entitled "Ghetto
Savant."
Navy Petty Officer 2nd
Class JohnG. Andrews,
III
’83 recently returned from
a six-month Mediterranean
and Adriatic Sea deployment aboard the U.S.S.
Vicksburg during which he
earned the Navy’s Battle
Efficiency Award and the
Chief of Naval ,Operations
Surface Ship Safety Award.
JeffreyBrickle’83 graduated with honors from
Harvard University with a
bachelor’s degree in liberal
arts. Jeffrey is cnrrently assistant Pastor a~: the North
Shore United Pentecostal
Church in Lynn, MA.
Bass guitarist MattGarrison ’83 recently completed tours of Japan and Europe with Tiger 0koshi ’75,
Bela Fleck, and the Gary
Burton Quarte.t. In addition, Matt has recently
played and recorded with
Steve Coleman, Bob Moses
and Nando
Lauria’87.
JohnJohnson
’83 recently wrote, produced, and
played on the New Kids
on the Block album, Face
the Music, on Columbia
Records and also worked
on the New Line Cinema
soundtrack for the movie
Surf Ninjas.
DavidAlanBunn’84 lives
in Baltimore and works in
New York, and recently
recorded on Gabrielle
Goodman’s album Travelin’ Light on Verve/Polydot Records. Also playing
on the album were guitarists KevinEubanks
"79 and
Wolfgang
Muthspiel’90.
Vocalist/producer/classical guitarist MarciaGuntzel ’84 of Boston, released a
debut recording in 1991 titled Stand Up and is a
freelance record producer
andadministrative assistant
at Blue Hill Recordings.
Marcia founded the Women Musicians Coalition
which hosted a panel discussion at the January IAJE
convention in Boston.
JayPaulLawrence
’84 is
a production assistant for
Tennessee Stage & Studio
Supply in Nashville.
MarciaGuntzel"84
Fall 1994
WilliamO’Neal"84 is an
entertainment lawyer in
Mesa, AZ. He was recently
named to the board of directors of the Arizona Production Association.
Donald Quan’84 composed and produced the
score to the theatrical feature film Replikator. He
served as programmer for
the Smithsonian film Destiny in Spaceand last year’s
film Blue Planet. Quanwas
programmer
and keyboardist on several movies
of the week, including
Against Her Will, To Save
The Children,
and The
Shari Karney Story. He recently performed with the
Canadian group Lighthouse and the Edmonton
Symphony Orchestra.
BetsyJacksonSheridan
"84 of Nashville, appeared
on TNN’s "Country
America" in May.
Thomas
Schewzger’85
of
Boston is director of audio
at New England Conservatory. He recently produced and directed the Cable Ace Award winning
film Stars from the Source
with Joel Grey.
Composer/performer
Susan
Botti ’86 received her
second grant from the
NEAfor her chamber opera Wonderglass.It will be
presented December 15-16
at Saint Clement’s Church
in NYC.
James
Durkin’86 is living in Hollywood,and is a
composer agent representing Alex Shapiro and Marc
Parmet as film and television composers. Other clients include David Pack
and Marry Panzer.
Patrick Durkin ’86 and
BobKirby"87 are living in
Brookline, MA, and have
just released the CDentitled Leaving This World
Behind with their band
Evening in Byzantium.
JulieGibbons
"87lives in
Fall 1994
Somerville, MA, and is a memberPeter Vantine.
writer for New England
Tenor sax player D~nnis
Performer magazine. Julie
Mitcheltree ’87 leads his
also performs in a duo, the ownquartet at gigs in the
Persuasions, with fellow NewYork area.
alumusRalphKinscheck
"86.
DavidRadin’87 works at
GeorgeGousis’87 is an Precision Mastering in Los
independent songwriter/
Angeles. The roster of artproducer/sound engineer
ists he has workedwith inliving in San Francisco.
cludes Henry Mancini and
Guitarist Craig Graham the Rolling Stones.
"87, lives in Pahoa, Hawaii
BobbyBorg ’88 is now
and plays with the Craig living
in Altamonte
Graham Band. They have Springs, FL, and perform- James
Durkin ’86
toured extensively and re- ing with his band Left for
leased a CD. The band inDead. They have toured
cludes SteveUrick"88, Kyle with Tesla, Don Dokken,
ScottyBrubacker
’89, of
Esposito
’89, andScottGoul- and Warrant since 1991.
Sioux City, IA, has started
ding’93.
MichaelCastellana"88, Scotty Bee Productions. He
JavonJackson"87 has of Williamsville,
NY, was a featured soloist with
just released his debut re- played electric guitar and the University of South
cording as a leader for Blue ukulele on the Judas & Na- Dakota Statewide Tour of
Note, entitled When the
tasha CD(Not Everyone’s) 1992.
Time Is Right.
Cup of Tea. He is on tour
Pianist/flutist/composer
Drummer Kenny Lewis with blues guitarist/singer
ChristianLe Delezir’89 re"8?, of Middleton, MA, Eddie Kirkland.
cently released a double
played on the soundtrack
Christopher
Brown
"89, of CDentitled 23 Improvisato Pentathlon which was San Francisco, cofourtded tions for Solo Piano, on his
scored by Berklee Film the multimedia company own Exaton Records. He
Scoring faculty member Interobang.
Chris also
also gave a solo perforDavid Spear. He is also on wrote the user manuals; for manceon alto flute at Muthe scores to Adrian’s Fu- Opcode Vision 2.0 and sicora ’94 in Paris.
ture, Stanley and Norman, Musicshop 1.0. He is curPaulHuesman
"89resides
and The Salem Wax Muse- rently creating multimedia in Baltimore and is on tour
urn--all
of which were authoring tools for the playing keyboards and doscored by Berklee staff
Midisoft company.
ing background vocals for
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<~EXT TO SVMPHO~V aALL~ 617-266-4727
Berklee
today 25
L.A. NEWSBRIEFS
The Berklee Center in L.A. has now
been open for six
months and momentum is building. I want
to thank all of you
who have sent your
well wishes to me at
the onset of this new
endeavor for the college. Someof the most
~ immediate results
~ from the center have
come in the area of
Peter Gordon’78
alumni relations. Not
only have I received
calls from alumni inquiring about other alumni,
activities, and general networking, but recently a
new trend has begun: alumni have begun calling to
notify the center of job openings at their places of
employment in the hope that Berklee graduates
will be referred for interviews. In one case, a successful TVand film composeroffered the opportunity for aspiring composersto join him at recording and mixing sessions. The idea of alumni helping
each other in the workplaceis an exciting prospect.
Now,for some specific alumni news. From the
studios . . . Eric Marienthal
’79 is set to release his
sixth album for GRPrecords. This disc was produced by Jeff Lorber "71 and features drummerJ.R.
Robinson
’75, and AlecMilstein ’84 on bass and vocals. (Alec is currently touring with Diana Ross.)
DavidGoldblatt’?8 is busy in the studios. His keyboard work can be heard on Mark Isham’s scores
for The Getaway, Little Man Tare, and RomeoIs
Bleeding. Abe Laboriel "72 is working on a new
albumthat will feature his son AbeLab0riel Jr. ’92
on drums and 3nsto Ahnario’71 on woodwinds. Rob
daczko"Ra engineered the new Jennifer Rush album
with Abe on bass and Vince Celaiota "75 on drums.
Berklee is also well represented in the world of
film and TVmusic... Is there anyone hotter right
now than Forrest Gumpcomposer Ala, Silvestri
"707 All Clausen’811 beganhis fifth season composing for "The Simpsons." LawrenceSbragge’71 wrote
the score for Johnny’s Girl, a Hallmark TVmovie
starring Treat Williams, and yours truly served as
orchestrator. Curt S0bel ’78 scored an episode of
"Young Indiana Jones" and two recent movies-ofthe-week. He was also music score consultant for
the hit movie Speed. Chris Brooks’811 edited the
music for Maverick and Pontiac Moon, and Curtis
Relish’811 edited the score to Lassie.
That’s it for now.Until next time--stay in touch.
Peter Gordon ’78
Director of the Berklee Center in Los Angeles
26 Berklee
today
Michael Sweet (formerly of
Stryper).
ComposerMiisa K. Kobayashi"89 was recently married and is now Misa K.
Stuart. She now lives in
Rockbridge Baths, VA.
DimitriMatheny
"89 is director of development for
the annual San Francisco
Jazz Festival.
Christopher
Michaels’89
lives in Buffalo, and is the
registrar
at Community Juan"Polio"Ruffo’89
Music School. He is also
involved in performing and
recording with several jazz DanRieser’90, saxophonist
Chris Cheek"91, and keyand rock groups.
Juan"Polio"Raffo"89 is boardist donDryden’91 have
living in BuenosAires com- formed West By Midwest.
posing and playing key- Based in NYC,the quartet
plays original jazz compoboards with his group
sitions and standards.
Monos con Navajas.
Bass player Chris MaDrummerFernandoMartintheos
’90 is currently based
ez ’92 is also in the band.
out of Penfield, NY.He has
Their second release,
toured with numerous
Monos con Navajas II, is
bands and backed Clarence
on Taxi Records, and features fusion guitarist Scott Clemons. Chris wrote a
bass instruction bookcalled
Henderson.
Bassist/pianist RenReid Tapologyand is a writing a
’89 was music director of second book.
Max Ridgeway’90 reThe Joker of Seville with
cently
released his first free
the Trinidad theater workimprovisational
CD for
shop at the Huntington
Theater in Bose:on. He will guitar, synthesizer and
drums entitled Shattered
be musical director for
Dream on Monkey Moun- Landscape, distributed by
tain also. Performing mu- North Country.
Bass player NeeSackey
sicians included I~0r Atalita
"90
has just released his CD
’93, Pernell Saturnino
’93,
entitled
My Father’s Son,
JamieFatas ’93, andClauMy Brother’s Brother. On
dioRagazzi
’84.
ChristopherDell "90 of drumsis RussGold’84.
Drummer Horst J.
Muhltal, Germany, released his debut album on Schippers’90 recorded with
Polish keyboardist Jozef
Bellaphon Records entitled
Where We Belong. The disc Skrzek, and performed
includes Gary Burton as a with Robert Schroder of
guest performer,
and Double Fantasy.
StevenSchwartz’90 is
earned the 1993 Frankfurt
living in Mill Valley, CA,
Jazz Prize of tlhe City.
Pianist PaullineGrant’90 and performs as Stevie
Blacke. He played mandois nowliving in London.
dulie Greaux’90 played lin and violin on a live recording on his Private Mukeyboards for Billy Idol,
sic Label with Dan Hicks
and for Saigon Kick’s latand the Acoustic Warriors.
est tour of the Far East.
Vocalist/guitarist MatBass player DylanKeefe
thew
Stone’90 and his band
"90 together with drummer
Fall 1994
CALLING
ALLALUMNI...
Have you been trying to get in
touch with an old classmate, only
to find that the number in your
address book is eight years old?
Well, your troubles will soon be
over. An impressive directory of
our alumniwill be available to help
you locate all of your old friends.
The new Berklee College of
Music Alumni Directory, scheduled for release in September of
Random House of Soul, featuring
AndrewFrawley ’93, drums, Damir
Prcic "93, keyboards,and "WhyNot"
Jansveld
"93 on bass, released a selftitled CD.
JohnCharlesTaylor ’90 of Grand
Forks, ND, is taking a hiatus from
music to construct furniture and tie
flies for trout fishing.
Bobby
Tines"90 has been performing in clubs in Boca Raton, West
Palm, and Palm Beach FL. Bobby
and his group the Heavies, released a
tape entitled The Journey.
1995, will be the most up-to-date
and complete reference of over
18,000 Berklee alumni ever compiled. This comprehensive volume
will include current name,address,
phone number, academic data, plus
professional information, bound
into a library-quality edition.
The Bernard C. Harris Publishing Companyhas been contracted
to produce our directory. Harris
will soon begin researching and
compiling information by mailing
a questionnaire to each alumnus.
(If you prefer not to be listed in
the directory, please contact Sarah
Bodgeat (617) 266-1400 extension
479 as soon as possible.)
The new Berklee College of
Music Alumni Directory will soon
make finding your friends as easy
as opening a book.
Guitarist Adonis
Aletras"91has
formed the fusion band NewDimensions in Cyprus with bass
player EvelthonMichaehdes
"91,
keyboardist and Berklee student
Trinaeos Loncaides, and drummer
DorosNeocleous
’86. The band has
made numerous TV and night club
appearances.
GustavoGregorio’91 bassist/
composer/arranger
is working
with Gregorio’s Movie, an Argentine folk/fusion band, in Japan.
Gustavo also plays in a jazz duo
with his wife Yumiko
Murakami
’91.
MarkJohnKodenski
"91 is living
in Visalia, CA,and is a directories
researcher for Pollstar magazine.
GeorgeWilliam FrederickParkinson
"91 is currently traveling the
world studying native music and
making a documentary film.
Geila Zilkha"91, a singer/TVentertainer/DJ, is living in Kobe,Japan, and is hosting a TV music
program "Yume-No-RannyuSha" with Kazumi Watanabe on
TV Kansai-KTV Network. Geila
is forming a group with alumni
ShuMatsuyama
’89, Shigeyoshi
Fromthe left, Bill Lefler "93, John Kawagoe
’88, andShuseiMural"92.
Bookout’92,
andSteveMcAIlister’93of
Guitarist/vocalist JonBookout
Plum,signedwith CarpeDiemrecords. ’92, drummerBill Lefler "93, and
Fall 1994
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use with automation, and it has a really good layout of the front
Composing
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Christopher
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Personally, I believe the Fostex RD-8is intelligently
panel controls.
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The RD-8 Digital
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Whether you’re working on the next hit movie soundtrack or the next hit, the RD-8is right at home. Save key settings and locate points in
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ON-THE-JOB
TRAINING
David
Horn
"77saysit is a fluke groundin opera, but I knewthe
that he endedup in television, but difference betweengood and
judgingby his track record, TVis singing. It wason-the-job trainwhere he was meantto be. Horn, i.ng withthe greatestsingersof our
currently director of musicpro- time." After the success of that
grammingfor NewYork’s public gala, Horncontinuedto produce
television station WNET,
is re- similar fundraisingevents.
sponsible for the development,
Working
at locations across the
production and programmingof globe with the top performers
all musicfor "Great Performanc- froma numerof styles and genres,
es," and is executiveproducerof Hornbrings his musicalroots and
the "In the Spotlight"series of PBS preferences into the discussions
primetime
pop musicspecials with aboutprospective programs. Fusuch superstars Sting, Billy Joel, ture productionsinclude a show
Sade, Elton John, and BobDylan. with Luther Vandross, a Natalie
Horn’s production work has Cole Christmas program, and
netted seven EmmyAwards, and openingnight at Carnegie Hall.
covered an astonishingamountof Healso hopes to do a showabout
musicalterritory. His production the blues with Eric Clapton.
credits includethe recent "Carnegie Hall Salutes the Jazz Masters," the July "Three Tenorsin
Concert1994," a documentary
on
the Who,and numerous orchestral, musical theater, and opera
productions.
Horn,a saxophonist and composition major, headed for New
Yorkafter graduation, hoping to
breakinto the jingle business.
"I wasthe classic starving musician playingweddingsandnightclubs," recalls Horn."SinceI was
a goodtypist, I startedworking
as
a tempand got placed at the pubDavid
Horn
"77
lic televisionstation."
Impressedwith his abilities,
WNET
administrators offered
Horn’s advice to youngaspirHorna job working
on a local arts ants is: "Takeany kind of gig or
magazinebroadcast called "Sky- internship you can get whichgives
line." After abouta year, "Sky- a wayin to the business. Alot of
line" was discontinuedbut Horn college kids whointerview with
cameon board for "Great Perfor- medon’t wantto start at the botmances"and other productions.
tom, but youmayhave to do grunt
"Public TVwas then starting work. Peoplesee you and get comto experiment with fundraisers, fortable with you, and that’s how
taking a cue from opera compa- youget hired."
nies whoraise moneywith a gala,"
While Horn’s TVcareer constates Horn. "I was hired as an tinues to blossom, his saxophone
assistant producerfor the first recedesfurtherintohis closet. "It’s
’Galaof Stars,’ a fundraiser host- funny," he says, "I always felt
ed at the Metropolitan Operaby music was myprimary career. I
BeverlySills with JamesLevineas wouldbe nervous performing, but
musicdirector. Wehad Pavarotti, I never felt I wason the spot for
Placido Domingo, and Leontyne TV.In mycareer, it has all been
Price. I didn’t have muchback- on-the-job-training."
Fall1994
TheWa~er
Is Wide,releasedby the
Mark
Small
(’73) andRobert
Torres
guitar duoo~Channel
Productions
of Twin
Falls,ID, features
music
byBach,
Grieg,
Ravel,Small,Metheny,
andothers.
bassist/w3calistSteveMcAIlister
’93,
and their band Plum signed with
Carpe DiemRecordsin Dallas. Their
first releaseis set forlaterthis year.
Steph
Chinn
"92 is currently living
in Mamaroneck,NY, and is choral
director at Mamaroneck Avenue
School.Sihe is also leading her Latin
jazz group, the Steph Chinn Quartet, currently playing the NYC
area.
ArrangerJoseBarrosDaRocha
"92
wroteorchestrationsfor a July concert in.NewYorkfeaturing Brazilian
jazz stager Leny Andrade and the
Brooklyn Philharmonic Orchestra.
Jose is also writingorchestrations
for
"Orquestra de Musica Popular do
Conservatorio de Curitiba Brazil;"
directed by Roberto Gnatalli. Jose
and his 15-piece band, ConexaoBrasil, will release their debutCDlater
this year.
Pianist/arranger/composer
Harry
Fix ’92 is living in Somerville, MA,
and is composingfor a promotional
video and for a dramatic feature
length film entitled Life’s TooGood.
RobHall’92 currentlyleads the Rob
Hall International Acoustic Band,
whichincludes Berkleestudent Steve
Hamilton on keyboards and Joachim
Leyh’94 on drums.Theyhave played
in Germany,England, and the Boston area.
AllanPahanish
Jr. ’92 drummer/
composer and his band Powerman
5000havebeen nominatedthree times
in Boston’s WFNX
reader’s poll and
werenominated
for (cont’d. page3i)
Be&lee today 29
QUIETONTHESET...
On August 1, ASCAP
joined forces with Berklee at the prestigious Largo Pub in Los Angeles for a special
edition of ASCAP’s nationallyknown,Quiet on the Set singer/songwriter showcase. Atlantic recording
artist Melissa
Ferrick’90was the headliner, and four other alumni, BenBacon’86, JonErnst"87,Corey
Sipper
’91,
and PeterGrant’89, each played a 20minuteset of their original songs to a
packed house.
ASCAPfrequently presents Quiet on the Set showcases to promote
its songwriter membersto the music
industry. For this one, a tape review
committee selected 12 semifinalists
out of 25 tapes submitted by Berklee
alumni, and ASCAP
selected the final four performers.
Peter Gordon, director of the
Berklee Center in Los Angeles, Sarah Bodge, assistant director of development for alumni relations, and
LeanneSummers
’88 (L.A. Alumni
Chapter president) cohosted the
event with Brendan Okrent, AS-CAP’sdirector of repertory.
"This was a great evening," stated
Peter Gordon. "I was impressed with
the talent and the turnout, as were
the ASCAP
representatives. Wehave
already begun discussions for another showcasein the near future."
Fromthe left, SarahBodge,
PeterGordon,
Melissa
Ferrick,PeterGrant,Leanne
Summers,
JonErnst, CoreySipper,andBenBacon
at the LargoPubin L.A.
ALUMNOTESINFORMATION
FORM
Full Name_
Address
State ........
City
ZIP
Home Phone #
~1 This is a new address.
Your Internet address:
Last year you attended Berklee
Did you receive a
CI Degree
Diploma?
Professional Identity_
Professional Address
City_
State
ZIP_
Work Phone #
Your title/role_
Please give details of newsworthyperformances, recordings, music projects, awards, recognitions, or other
events you wouldlike us to knowabout (please print or type, use a separate sheet if necessary):
~1 Send me more information on the Berklee Alumni Representative program.
~1 Send me more information on becoming a Berklee Career Network advisor.
Pleasesendthis form,alongwithanypublicity,clippings,photos,CDs,or itemsof interest to:
Berkleetoday,BerkleeCollegeof Music,3.140BoylstonStreet, Boston,MA
02215-3693.
Internet address:[email protected]
30
Berkleet o d a y
Fall 1994
THINK ABOUTTHE BARPROGRAM
Berklee AlumniRepresentatives (BAR)visit dozens of high schools, conferences, and college fairs
each year, talking about their Berklee experiences
and answering questions about the college from
talented young musicians.
If you are interested in sharing your time and
talent to help us reach the next generation of music
industry leaders, call us at (800) 421-0084,or mark
the BARinfo box in the alum notes form on page
30. We will send you more information on the
BARprogram along with an application. Join us.
a ’94 Boston Music Award which explores the voices
and experiences of immiin the of Rap/Hip-Hopcategory. Powerman5000 regrant womenin America.
Guitarist UrosRakovec
leased a CDentitled A Pri"92 and his brother, synthevate Little War.
ValentinaPaez-Troconis sist DomenRakovec, are
BassistSalvatore
Gnolfo’93 is featuredonthe CDRockltUp
’92 a composer/pianist, re- living in Slovenia and re- Pancakes
with JoeyFulcoandthe Subway
Gunmen.
cently completed work on leased their instrumental
the AIDS prevention viddebut CD, Labirint,
on
eo Breakingthe Silence, and Gallus Records.
includes alumni Bobby
EnriqueHaneine"93 of
is composer for the Back
Vocalist Fuat Abdullah Rodgers"94 on guitar and Mexico City was musical
"93 released the CDCycle pianist Carl Wallace
Porch Dance Company.
’94.
director for the 1994 Vina
She is also scoring Other of a Revolution with his
Drummer
DonCorreu’93 Del Mar Festival in Chile.
Colors Radio Project,
band Eros Eros. The group is living in Hollister, MO, Enrique also composed,arand is the house drummer ranged, and coproduced the
for Tom& Jaynee’s Vaude- festival’s theme.
ville Show & Dixieland
JustinPetty ’93 of WinBand. Don also plays for chester, MA,has been apBoss Tweed.
pointed technical director
Bassist SalvatoreGnolfo of the Media Arts Facility
’93 is currently playing for at Roxbury Community
Alumni Student Referral
Joey Fulco and the Subway College. He will also deHelp give an interestedl deserving young musician
Gunmen. The group com- sign and teach audio video
more information on Berklee by filling out this form
pleted an extensive tour of production.
and sending it to the address below.
Switzerland and the MediErrolRackipov
’94 is curterranean. They released
rently enrolled in the masRock It Up Pancakes! for ter of music programat the
Name
J.D.F. Productions.
University of Miami.
Address
Berklee
City
State
ZIP
Instrument
Your Name
Send the completed form to:
Berklee College of Music
Office of Admissions
1140 Boylston Street
Boston, MA02215-3693
Fall 1994
ETOD0994
Fromtheleft, DaveKostiner,ChrisHammond
’93, Zuc"93, and
JasonLazo’93, of TPS,are touringandrecording
in Canada.
Berklee
today 31
CODA
Nobody Walks in L.A.
Michael
Bell
"92
August of 1992, a group of myfriends decided to
~’~n move
from Boston to Los Angeles and asked me to
Van Halen and Guns ’n’ Roses--was fronted by a singer/
songwriter who had an attorney, a producer, and was in
join them. I decided I’d go, and two weeks later I was the midst of negotiating a six-figure development deal
traveling across America in an oversized U-Haul van. with a marketing firm. However, it was quite obvious
On the last day of the trip, I steered through the San she was not a musician. Whenevershe stepped up to the
Bernardino Mountains and down into Los Angeles. The microphone, slhe mumbled. The louder the P.A., the
sun disappeared behind the smog and my eyes began to quieter she sang. I began to doubt that she had written
water as the van inched along Santa Monica Boulevard the songs we were learning--most were in the wrong key
for her voice, and she didn’t knowthe chord changes.
past locals selling oranges on the street corners.
On the stre.ngth of her business dealings, she had
En route I had dismissed any apprehensions I had
about this move by focusing on my Bohemian rock and assembled a great band, but the players were miserable
roll fantasies which could come ~o pass in L.A. Howev- over the quality of the music. Ironically, no one wanted
er, pulling into town, the reality of my situation was to quit because a deal seemed imminent. Whenthe marpretty hard to ignore. I had too little moneyin the bank, keting firm suggested moving the band to Nashville to
"countrify" the image, I knew this project was about
no job prospects, no apartment, and worst of all, no car.
The early days were the hardest. I hadn’t considered commerce,not music. I can take commerceif there is a
the importance of owninga vehicle in Los Angeles. What modicumof inspiration, but this project had none.
Gradually, I returned to my original vision. I had
would have been a quick subwaytrip in Boston, required
started
playing guitar years ago because I wantedto be in
advanced planning and two hours in transit here. After
taking care of the essentials one at a time, I beganto focus a band. There is no universal "right" path to success, but
on music, and felt a surge of excitement. Finally, I was in I reaffirmed that being in a band was the path for me.
Oneby one:, I eliminated all commitmentsexcept for a
the game! Everything prior had just been preparation-gigs in Boston offered little chance of getting discov- hardworking alternative rock band. I’ve becomean integral memberof the group--lead guitarist, songwriter,
ered-here, it was at least possible.
Early on, I perceived that most talented musicians in and an active business participant. All the membersare
committedto the band’s success.
Los Angeles join as many "projects" ....
There are manydifferent concepas possible, theorizing that one of the
tions
of "making it" in the music
groupswill eventually get a deal. Their
business. I yearn for the day whenI
attitude is--" maythe best band win!"
can support myself solely through
I thought this was surely the way
music. Beyondthat, I guess I could
to make it, and did the same. With
live with a string of hit albums,world
pride I told myfriends back East,
tours, sessions with the greats, and
"I’m in six bands right now!" I figthen settling
down as the most
ured the number of projects was insought-after
producer
in the biz.
dicative of howhard I was working. I
If
someone
offered
to
fast-forward
overlookedthe fact that I was in most
my
life
to
where
my
goals
had been
of the groups only because they had
reached, I wouldn’t accept. I ammost
"industry contacts." I was in bands
excited about the process and all the
where all the players were excellent,
experiences along the way. This busiyet the music was lifeless. Oneband I
negs offers no guarantees. The gratijoined--purportedly a cross between
fication found in creating and striving for the bigger prize should be
Michael
Bel~
"92:
"If
someone
offered
to
Guitarist MichaelBell ’92 and his band
savored. For many musicians, this
fast-forward
ray
life
to
where
my
geals
Suburban Tea Room are pursuing a
will be their ultimate reward.
~
had
been
reached,
I
wouldn’t
accept."
record deal in Southern California.
32 Berklee
today
Fall 1994
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