Bcrklce - Berklee College of Music

Summer
1-¢I~95
Bcrklce
t
o
y
A Forumfor Contemporary
Musicand Musicians
12
HerbPomero!l
"52: I~leflectionson his
Four Decadesat Berklee
17
L.A.’s Post-productionMusicScene
variety
to
stri;~
SUMMER. 1995
VOLUME ¯
NUMBER
VII
¯
1
Contents
LEADSHEETby Larry Monroe ’70
BERKLEEBEAT
Honorary degrees for James Taylor, Natalie Cole, and Herb Pomeroy,
newtrustees, faculty notes, visiting artists, and ~:nore
THEORIGINALDEANby Charles Chapman ’72
A profile of 34-year veteran faculty memberDean Earl
ON THE CDI/ER: Revered
educator and jazz artist
Herb Pomeroy ’52 reflects
on his 40-year career at
Berklee and elsewhere.
Story on page 14. Cover
photo by Bob Kramer.
FIFTY ALUMNIOF NOTE
A photo spread of 50 distinguished alumni .
12
HERBPOMEROY
LOOKSBACKby Mark L. Small ’73
Herb Pomeroy’52: After 40 years as an educator, composer, and
bandleader, Herb has a different perspective on music and people
14
POST-PRODUCTiON
ROUND
TABLEby Mark .L. Small ’73
Views from composers, music supervisors, and music editors about
their roles in the industry and howthey got there
19
PRODUCING
SCREEN
MUSICby Stephen Webber
A primer on the process of connecting film and music
22
ALUM NOTES
News,
quotes,
and
CODA:by Karl Bruhn
The Value of Music Therapy
recordings
of
note
............
24
LEAD SHEET
Good Foreign
Policy
Chair,
Larry Monroe
Performance
"70
Division
~
Officeof InstitutionalAdvancement
MarjorieO’Malley
Directorof Develooment
Beverly
Tryon
"82
Directo~
of Corporate
Relatioas
PeterGordon
’78
3irector
of theBerklee
Center
in Los
Angeles
SarahBadge
AsSistant
Director
of Development
for Alumni
Relations
LauraLynn
Kulba
Assistant
Director
of the50thAnniversar,,
Executive
Leadershie
Committee
AS the alumni-o~iented music magazine of Berklee
College of Music,Be~klee today is dedicated to in£0rming,
enriching, a~8 serving the extended Be~kiee commun.ity.
complishments,
andmusicaltopics of interest, Ber~lee
year
all
Ietters to the editor, andadvertis, Berkteetoda%Box333,BerkleeCollegeOf Muslc,
MA02215-3693.(617) 266-1400,
n details of ~ctivities
sultable for feature coverage.Unsoliciteds~bmissionsaccepted.
2
Berklee today
few weeksago, while I wastraveling with a faculty
groupin Finland, a Helsinki taxi driver noted the
Berklee stickers on our luggage and exclaimed, "Ah,
Berklee!Great musicschool!"Afew days later, in northern Germany,I was discussing fund raising problems
with the director of Landesmusikakademie,
the site of a
recent "Berklee in Germany"seminar. WhenI asked if
using the nameBerklee was helpful in those government
offices, the sourceof cultural funds in Germany,
myhost
smiled and simplysaid, "Magic."Overthe last decadeof
international travel for Berklee,this type of incident has
becomecommonplace.I’m continually surprised anddelighted to find howwidelyrecognizedthe college is.
Berklee’s international commitment
to music education wasestablishedin the very earliest days of the college’s existence. International recruitmentwasalwaysa
priority for the college. Fromthose early years emerged
alumni like Gabor Szabo, Joe Zawinul, and Toshiko
Akiyoshi.Theycreated a tradition of musicalexcellence
which has been maintained in recent years by Jacky
Terrasson, WolfgangMuthspiel and MakotoOzone.
Therecent development
of a numberof initiatives has
reinforced Berklee’s commitment
to the musical needs of
students fromall parts of the globe. TheBerklee"Onthe
Road"seminars, begunin Japan in 1985, have been presented over 20 times in Europeand Asia with nearly 120
faculty and staff participating. International scholarship
tours with auditions conducted in a dozen countries,
havebecomea fixture in our admissionsstrategy. Three
years ago, wecreated the Berklee International Network
for ContemporaryMusic Education, a partnership of
international schools of contemporarymusic. The networkprovides an opportunity for shared ideas in music
andmusic education. Our participation in this dynamic
group helps ensure that Berklee’s knowledgeof the many
cultures embodiedin the world music communityremains current and complete. Clearly, that knowledge,
along with our continuing commitment
to the needs and
talents of international students, is reflected in the consistent growthof our international enrollment, which
nowrepresents 37 percent of our student body.
Aswecelebrate our 50th anniversary, weshouldall be
very proud that Berklee is respected and admired in
every corner of the world, and that young musicians
everywherecontinue to look to us for musical inspiration and guidance.
Summer
1995
Berklee b e a t
NATALIE,
J.T., AND
HERBHONORED
Ne’Tdds of not8
from about
town and
around the
world
The 1995 Commencement was a most special
one. Natalie Cole, James
Taylor, and Berklee’s own
Herb Pomeroy were honored before the largest
graduating class in recent
years. (The programlisted
591 names.) In celebration
of Berklee’s 50th anniversary, past honorary degree
recipients
Roy Haynes,
Phil Ramone, Karl Bruhn,
Percy Heath, Ikutaro
Kakehashi, and Armand
Zildjian returned for the
event. Also present were
members of the Class of
’66, the first class to receive
degrees from Berklee.
The previous night, the
Berklee Jazz/Rock Ensemble (featuring nine graduating vocalists and a string
quartet) and the Berklee
Concert Jazz Orchestra
presented a tribute of 20
selections culled from the
repertoires of each of the
three honorees. A high
point of the evening came
1995Commencement
Honorees
Natalie Cole, James
Taylor,
andHerbPomeroy
withPresidentLeeEliot Berk.
Summer
1995
when Natalie
Cole joined
the students
onstage to sing
her hit "Inseparable" in an
impromptu
vocal duet
with senior
Stefanie Kelly.
After the NataliieColeandStefanieKelly"95
concert Cole
remarked,"It is nice to get ident Berk spoke of her 15
this kind of tribute while albums with aggregate sales
you are still alive--it’s
of 26 million, and listed
humbling too." An enthuawards she has earned such
siastic JamesTaylor stated,
as platinum and gold al"My songs are not widely bums, 11 Grammies, and a
covered, so it was a plea- star on the Hollywood
sure to hear these marvel- Walk of Fame.
ous arrangements--they
A teary-eyed Cole told
were so full."
the grads that she was very
During the Sunday
movedby the Berklee honmorning Commencement or and reflected, "I never
exercises at the Hynes could have knownthe gift
Convention Center, James I was born with would
Taylor delivered an address mean so much to so many
to the graduates describing people. Don’t ever lose
music as "spiritual food."
your feeling for music."
"One point that was
Before presenting Tayclear to me when I started
lor his degree, President
out," stated Taylor, "has Berk spoke of Taylor’s
become more obscure as I spectacular career spanning
have repeatedly taken my- nearly three decades, bringself to market. Music is a ing him platinum and gold
gift, a blessing--we are the albums and singles, and
lucky ones to have it in our three Grammies. "Through
lives. Musicis the true soul his songs," Berk said,
food. Play everyday and "James has been a spokestake it in front of the peo- manfor his generation."
ple, they needto hear it and
In presenting Pomeroy
you need them to hear it.
his degree, Berk cited
Persevere. The Japanese
Herb’s four decades of desay, ’fall downseven times, fining educational contristand up eight times.’"
butions to the college, and
In presenting the hon- noted that "it is a special
orary doctor of music de- moment when one of our
gree to Natalie Cole, Pres- ownreceives this honor."
Berklee today
3
STARSTURNOUTFORHER8POMEROY
TRIBUTECONCERT
chestra, a 19- sitive quartet renderings of "Isfahan" and "Do Nothin’ ’til You Hear
piece student
from Me." Arif Mardin’s harmoniensemble
comprising
cally dense "Tone Poemfor Herbie,"
proved an excellent foil for solos by
members
drawn from
Burton and Pomeroy. Joe Zawinul
seven counand the student band performed his
tries and sev- romantic "Rue Paula Freitas."
en
states,
Zawinul played the melody and solo
on "Pepe," his trademark wind-drivthrough the
musically ad- en synthesizer controller. Greg Hopkins’ intricate and intense "Inner
venturous
=~ program.
Voyage" closed the show with electrifying solos from bassist Laboriel
The concert opened
and guitarist Abercrombie.
Interspersed between tunes were
with
AkiySaxophonists
Tommy
Smith"86 (leR) andSadaoWatanabe
"65
oshi’s tourHerb’s humorous autobiographical
werefeaturedwith the bandon Benny
Golson’s
"Stablemates."
reminiscences and warmtestimonide-force
"Harlequin
als from President Lee Eliot Berk,
Larry Monroe, Arif Mardin, and
Tears,"
featuring
her
own
quicksilThe night of April 29 was a historic one in the life of the college and ver piano lines and student saxophon- Gary Burton.
An alumni reunion dinner at the
in the life of Herb Pomeroy. The ist Bill Vint’s sure-footed tenor lines.
Back
Bay Hilton the previous night
Gibbs’ ostinato-powered "The Time
Herb Pomeroy Tribute Concert at
launched
the weekend. The Hilton
t-Ias Come, The Walrus Said," folthe Berklee Performance Center
graciously
provided the dinner as
lowed
with
shimmering
solo
work
served as an unforgettable kickoff for
their
contribution
to the Pomeroy
from
Abercrombie
and
Burton.
KaBerklee’s 50th anniversary events.
Scholarship
fund.
At
the crowdedrerep’s
rollicking
arrangement
of
the
The gala concert was produced by
ception were alumni from across the
Gary Burton to commemorate Herb Benny Golson chestnut "StablemPomeroy’sretirement after a 40-year ates," paired renownedsaxophonists country and from as far away as Jateaching career at Berklee. It drew TommySmith and Sadao Watanabe pan and the Czech Republic. The
on tenor and alto respectively. The concert’s musical stars, Berklee
some of Herb’s most distinguished
"I RememberAmne- founder Lawrence Berk, his wife
students from around the world to introspective
Alma, Lee Berk and his wife Susan,
sia"
by
Rob
Mounsey
changed the
present compositions and perform
DorothyShare, wife of the late Berkpace
and
showcased
some
concise
with Pomeroy before a packed Berklee provost Bob Share, were among
trumpet
soloing
by
Tiger
Okoshi.
lee Performance Center audience.
Pomeroy turned over the baton to the guests at the reunion.
The event was made possible
Trying to sum up the tribute
through the lead sponsorship of Bank Magali Souriau for her piece "A Day
events, Pomeroyreflected, "I’m sure
on the Earth." She conducted the
of Boston, and additional support
from the Yamaha Corporation of band through the evocative chart in it is going to take me a while to asAmerica. Funds raised at the concert an animated, dance-like fashion, en- similate and comprehend the magnitude of this weekend and what has
will establish a Berklee scholarship couraging great solos from students
just happened here."
!Pete
Rende
(piano)
and
Bill
Vint
(soin Pomeroy’s name.
prano
sax).
The
Amongthe concert’s guest artists
were Joe Zawinul ’59, Toshiko Ak- first half closed
iyoshi ’59, Rob Mounsey’75, Sadao "with Pomeroy’s
own barn burner
Watanabe’65, John Abercrombie’67,
Michael Gibbs ’63, Abraham Labo- "No One Will
rid Sr. ’72, Tiger Okoshi ’75, Arif Room With Me,"
Mardin ’61, TommySmith ’86, and with incendiary soMagali Souriau ’94. Faculty members loing by students
Christopher HolTommy Kamp ’92, Greg Hopkins,
lyday (alto sax) and
and Herb Pomeroy also contributed
Elliot
Mason
charts, and Gary Burton ’62 (vibes),
(trombone).
Joe Hunt (drums), John Repucci
Pomeroy, Hunt,
(bass), and Ray Santisi ’54 (piano),
Santisi, and Repucand Pomeroy (trumpet and fl~gelhorn) performed. Herb directed his ci opened the sec- WeatherReportfounderJoe Zawinul’59 played "Rue
andthe studentorchestra.
premier Berklee Concert Jazz Or- ond half with sen- PaulaFreitas"with Pomeroy
4
Berklee today
Summer
1995
TWOELECTED
TO BOARD
OFTRUSTEI-’S
The Berklee Board of
Trustees elected two new
membersat its meeting of
February 7, 1995. Mike
Dreese and Neal Curtin
were proposed by the
Trustees
Membership
Committee chaired
by
trustee Richard Wilton.
Mike Dreese has enjoyed a successful career in
music marketing for nearly two decades. He is
founder and CEO of the
11-store Newbury Comics
music retail chain. He also
cofounded Boston Rock
magazine, a monthly tabloid covering Boston’s underground music scene, and
oversaw publication of the
magazine’sfirst 80 issues.
In 1980, Dreese cofounded Modern Method
Records, and released 26 titles with the company.
Dreese’s new folk label,
Black Wolf Records, has
released two discs since its
startup in 1993.
Dreese is also on the
boards of the Harvard
Square Business Association and the Boston Institute for Arts Therapy. He
lives in Sudbury with his
wife Laura.
Neal Curtin is a partner
at the downtownlaw firm
Bingham, Dana & Gould,
which specializes in corporate law. Curtin is actively
involved with the DanaFarber Cancer Institute as
a trustee
and serves
~
as secre
tary of the
board. He
chairs
Dana Farb e r’ s
Nominating and
Governance and
Oversight
PresidentLeeEliot Berk(center) with new
CommittrusteesNealJ. Curtin(left) andMikeDreese.
tees and
cochairs
the Events Committee. A memberof the Boston FiHarvard graduate, Curtin nance Commission. Neal,
currently serves as a direc- wife Gall and son "N.J."
tor of the Harvard Alumni live on BeaconHill.
Association. For several
Curtin and Dreese bring
years, Curtin served as a trustee membershipto 18.
BIN ADDSNEWSCHOOLS
Berklee’s global reach extended recently when two European music
schools, the Pop/Jazz Conservatory
in Helsinki, Finland, and American
School of Modern Music in Paris,
joined the Berklee International Network of Contemporary Music Education (BIN).
These schools are the fourth and
fifth institutions to join BIN since
Berklee established it in 1993to support and improve contemporary music education around the world.
The Pop/Jazz Conservatory,
founded in 1972, is Finland’s largest
conservatory. Their staff of 87 fulland part-time teachers works with
about 750 students, 200 of whomare
students in the college-level conservatory program. The other students,
someas youngas three years old, are
enrolled in various non-conservatory music education programs. Several faculty membersare Berklee alumni, including Keijo Pennanen ’86,
Klaus Suonsaari ’84, Frank Carlberg
’90, and Eero Koivistionen ’89.
The curriculum of the Pop/Jazz
Conservatory follows three tracks;
one for performers, another for music educators, composers,and arrangers, and a third for dance majors.
Berklee alumnus Stephen CarbonSurnmer
1995
ara ’76 founded the American School
of Modern Music in Paris in 1982.
The school offers a rigorous and diverse education in contemporary music, which strives to avoid the exclusivity of a traditional
European
conservatory education.
The American School’s 150 students are enrolled in a four-year di-.
ploma program providing a solid
foundation in harmony,ear training,
arranging, and instrumental skills.
Like Berklee, it gives students performanceopportunities in jazz, funk,
rock, Latin jazz, and reggae styles.
The school’s eight-member faculty
includes Carbonara’s fellow Berklee
alumnus, Shannon Murray ’84.
Cooperative efforts between Berklee and the new network schools will
initially involve clinics, workshops,
discussions of curriculum and technology in music education, and student exchange programs.
Other BIN members are La Fundaci6n Aula de Musica in Barcelona;
Rimon School of Jazz and Contemporary Music in Tel Aviv; and Centre of Music Studies Philippos Nakas, in Athens.
Berklee plans to expand BIN to
include schools in South America,
Asia, and in other parts of Europe.
,JAZZ50th SALUTE
The Boston Globe Jazz Festival, in association with Columbia Records, will present a
special concert in honor of
Berklee’s 50th anniversary.
The Toshiko Akiyoshi Jazz
Orchestra
featuring
Lew
Tabackin, the Leroy Jones
Quintet, and the Berklee Student Jazz Band featuring Adrian Ross, are on the bill for this
special salute at 8:00 p.m. on
Saturday, June 24, at the Berklee Performance Center. Proceeds will go to the BerkleeCity
Music Scholarship Fund.
Tickets for this benefit concert are $25 and $15, and are
available at the Performance
(;enter box office and all Ticketmaster locations. Tickets may
be obtained by calling (617)
931-2000, or by sending a selfaddressed, stamped envelope
with a check or moneyorder to
the Berklee Performance Center, 136 Massachusetts Avenue,
Boston, MA02215.
For complete information,
call the Boston Globe Jazz Festival Hotline at (617) 523-4047.
Berklee today
5
NEWSCHOLARSHIPS
Ai~NOUNCED
FACULTY
NOTES
Billboard magazine’s concert sponsored by the
The reEditor-in-Chief Timothy Gillette Company.
ceipts
from
the
sold-out
Whitewasin attendance at
the May5 Commencement Berklee PerformanceCenConcertto present a check ter concertwill establish a
for $100,000to President permanent endowedscholLeeEliot Berkestablishing arship called the Boys
a Billboard Scholarshipat Choir of Harlem Endowed
Berklee.Thefundswill cre- Scholarship Fund. The
ate a permanentlyendowed moneywill benefit deservtrust from whicha schol- ing students from the Boys
arship will be awardedan- Choir of Harlem who are
nually to students in Berk- seekingto enter or continlee’s Performance
Division. ue at Berklee.
In supporting the ProThe awardwill be madeat
a spring Singers Showcase fessional Music majors,
concert or anothersuitable Fred Schmidt,chair of the
occasion, and representa- Professional MusicDeparttives fromBillboardwill be ment,arrangedto establish
invited to present the a scholarship fund with
MBNAAmerica Bank,
award.
Fundstotaling $10,000 whichis Berklee’sofficial
were raised froma perfor- credit card company.The
mance of the renowned awardwili be madeto one
Boys Choir of Harlemat a or twotalented ProfessionFebruary 25 fund raising al Musicmajorsannually.
Songwriting DepartmentChair Jack Perricone
arranged, produced, and composedselected tracks
for the Gall Winter CDBoogie to Heaven. Featured faculty membersinclude WayueNausand
GregHopkins
(trumpets), TonyLada(trombone),
BruceNifong(alto sax), and GregBadolato
(saxophones), and was engineeredbyRobinCoxe-¥eldham.
Instructor of Guitar Joe Stump
has released Night
of the Living Shred, for the Leviathanlabel.
CompositionProfessor John Bavicchi traveled
to Klaipeda, Lithuania, for a June concert devoted
exclusively to his chamberworks.
BruceSaunders,assistant professor of guitar,
played on the CD,Strange Pursuit by the Zone.
AssociateProfessor of Guitar MikeIhfle scored
the PBSdocumentaryThe Sun Dagger.
Associate Professor of Percussion JohnRamsay
wrote Art Blakey’sJazzMessages.Thetext includes
interviews, transcriptions, and recordedexamples.
Associate Professor of Guitar 6arrisen Fewell
released a second CD,AreYou Afraid of the Dark?
Associate Professor of Piano JeanneBrackeen
released a new CDof Brazilian music which is
titled Takea Chance.
MP&E
Instructor doao Carlos Fr~ase produced
the HermanesAbreu Group’s CDCria Mineira.
AssociateProfessor of VoiceNag~i$eott, Assistant Professor of Bass DaveClark, duhnRamsay,and
Assistant Chair of Guitar Sick Peckhamreceived
OutstandingContribution to Jazz Educationawards
at the January IAJEconference in Anaheim,CA.
Instructor of Guitar BanBordenauthored Wes
Montgomery--TheEarly Years a folio of Montomerysolo transcriptions published by MelBay.
Instructor of Guitar Dauid Newsamcowrote
MakingMoneyTeaching Musi~ a career guide for
music educators.
Brass Chair TomPIsek plays trombone on the
CD Jump or Die, which features the music of
Anthony Braxton.
Professors JouDamian
(guitar) and BobWinter
(piano) perform with John Williams, NancyWilson, and the Boston Pops Orchestra on a SonyCD,
It Don’t Meana ThingIf It Ain’t Got That Swing.
Associate Professor of Woodwinds
Peter Cokkinias plays tenor on a CDby the Boston Saxophone Quartet. Featured composersinclude ThemasMc(iah and Paul Wagner.Joe Hostetter
engineeredthe disc.
Assistant Professor of HarmonySteve
8ochiuski
plays guitar on Until Further Notice. Faculty members Ionic Germain
(piano), BarrySmith(bass), and
JohnRamsay
(drums)are featured.
Associate Professor of Film Scoring BavidSpear
scored the EmmyAward-winning National Geographic documentarySurviving Everest.
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6
Berkleetoday
Summer
1995
THEORIGINAL
DEAN
It was through a Berklee correspondence course in jazz theory that
I first encounteredDeanEarl in 1966.
That experience led to mycoming to
Berklee. As one of myfirst ensemble
instructors, Deanhad a profound influence on me. A hallmark of his
teaching style is his unique ability to
pinpoint your musical inadequacies
while making you feel good about
yourself at the sametime.
Dean’s gregarious personality and
ready smile have endeared him to
manyat Berklee over the 34 years he
has served on the faculty. He is easy
to spot--everpresent coffee cup in
hand, cracking a joke on the elevator
in the 1140 Boylston Street building
as it chugsto the fourth floor. He has
taught a number of successful musicians during his Berklee tenure. In
his office there’s a dog-eared copy of
a 1993 Keyboard magazine interview
in which Bruce Hornsby cites Dean
as an influential teacher.
Born Everett Earl, it wasn’t until
he came to Boston that he got the
more familiar moniker.
"Eddie LeVine, who owned a club
called Eddie’s [later knownas Wally’s] on Massachusetts Avenuegave
me the name Dean," says Earl. "He
told me, ’We have Duke Oliver and
King Cole--you need a new name.’
He started calling me Dean and it
stuck." His Berklee colleagues
dubbed him "The Original Dean."
Dean states: "I can’t remembera
time when I didn’t play piano. We
had rent parties and house parties
with everybody gathered around the
piano taking turns playing. I first
played by ear. I did everything in the
key of C-sharp. The black keys fit
the contour of myhand and felt comfortable. It wasn’t until I learned to
DeanEarl: Vaudeville,Bird, Berklee
Summer
1995
read that I played in other keys."
Dean learned to read music from
the older boys in his Brooklynneighborhood, and began learning popular tunes from sheet music that came
out weekly in those days. One of his
school teachers heard him play and
convincedhis father to provide little
Deanformal instruction.
By the late ’30% he was working
with a traveling troupe of vaudeville
singers and dancers. In 1942 he enlisted in the Army Air Corps and
was stationed at Chanute Field, out:side of Chicago. Dean was assigned
to the Special Services Department,
and performed for bond shows, soldier shows, and hospital tours, and
played with the 505th Army Air
Force Band. He received a commendation from the post commander
when he was discharged and was
elected to the Board of Governorsat
Chanute Field.
After the war, he madehis way to
Boston and began working as a pianist. In 1953he took advantageof his
GI bill benefits and entered Berklee,.
He went year round, graduating in
1956. One of Boston’s top professionals, he shared the bandstand with
the best local and touring musicians.
He was house pianist at the Hi-Hat
club, and played the Savoy and the
Southland where he befriended
Count Basle and sometimes subbed
for the Count in the Basle Band. Jazz
luminaries Dean has workedwith include Charlie Parker, Billie Holiday,
Sonny Stitt, Ben Webster, Charlie
Barnet, and countless others.
Since he joined the faculty in 1961,
he has been one of the college’s most
beloved instructors. Deanstill commutes 60 miles each way from his
home on Cape Cod twice a week to
teach, and still plays two to four
nights in Boston and on the Cape.
In looking back, Dean states, "I
guess I’ve been lucky, music is the
only thing I have ever done. I never
really knew tough times because
was never out of work." And with a
twinkle in his eye: "People seem to
like me--it must be because I’m a
little guy."
--Charles Chapman’7;!
associate professor, guitar
- ¯
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CONTEMPORARY
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ROMANTICISM
THROUGH
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CEO of Midnight Music,
and Vivian
Scott, president of Black
musicfor
Epic/Sony
Music EnterRecordproducerPhil Ramone
tainment, sat
on an music
This spring’s roster of industry discussion panel
visiting artists included moderated by faculty
greats from a wide range of memberCarl Beatty, covmusic industry professions. ering various aspects of
music publishing.
On campus were songwritVocalist and Berklee
ers, publishers, record company owners, medical pro- alumnus Wil~ Downing,and
fessionals, and an array of Novus RCAtrumpeter and
recording artist Roy HaP
virtuosic performers.
Jazz pianist and com- grove were amongthe feaposer HoraceSilver shared tured artists at the FebruBlack
Music
insights about his 30-year ary
Celebration.
relationship
with Blue
Lyricist: and founding
Note Records, and other
career highlights. He also memberof the Carpenters
attended the Singers Show- John Bettis, whose songs
case concert where student have been recorded by
vocalists performed sever- Whitney Houston, Dianna
Ross, Madonna, and othal of his songs.
Bluegrass fiddIer ex- ers, gave three seminars for
traordinaire Vassar Clem- Berklee’s songwriters.
Verve Records bassist
ents discussed with students his career and the Christian McBridegave a
evolution of his influential clinic demonstration about
acoustic bass techniques.
fiddle style.
Gregg
IVliller, director of
Top Mexican songwriter Armando Manzanero regional sales for Broadcast
shared insights about his 50 Data Systems, gave insights
international hit songs.
into the latest methodsfor
gathering and analysis of
radio airplay data.
Percussion Week ’95
brought such top players
as Marvin"Smitty" Smith,
JohnRobinson,
AlexAcufia,
Adam Nnssbaum, Glen
Velez, MarcQuinones,and
Steve Houghton
for a number of drum clinics and
demonstrations.
Dr. Suzanne Hanser,
former president of the National Association for Music Therapy, spoke in deArmandoManzanero
tail about stress reduction
8
Berklee today
through music therapy.
PaulSloman,
director of
operations for Sony Music
Studios in NewYork, and
DavidHewilt, president and
chief engineer for Remote
Recording Services of New
York, spoke about careers
in live concert recording,
and studio engineering.
Keyboardist, songwriter, and producer AI K00per
was a guest during the
March Piano Week. KoopPianistHorace
Silver
er spoke of his early experiences in the music busicontracts which are fair to
ness, and his recording
sessions with Bob Dylan the artist, running a label,
and finding a niche in the
and Mike Bloomfield.
recording market.
Composer and pianist DoClassical flutist and stumenicCicchetti also gave a
dio
musician Keith UnderPiano Weekseminar.
wood
presented a master
MarkI{alloran, of the
class
and a duo recital with
Alexander, Halloran, Nau
pianist
BarbaraLee.
& Rose law firm, gave a
Contemporary
jazz guiseminar on the roles of pertarist
and
Berklee
alumnus
sonal and business managKurt R0senwinkeland stuers, and one on film and
dio veteran Carl Verheyen
TV music agreements.
Pianist, arranger and were featured performers at
composerAndyJaffe, a fac- Guitar Weekin April.
Grammy-winning proulty member at Amherst
ducer
Phil Ram0neshared
and Williams colleges, and
his
studio
techniques and
the University of Massaexperiences
working on alchusetts, presented a surbums
with
Billy
Joel, Frank
vey of the compositional
Sinatra,
Barbra
Streisand,
style of DukeEllington.
Paul
Simon,
and
others.
Trumpeter Clark Terry
Daniel
Orlansky
gave a
presented an open recorddemonstration
of
the
wind
ing session at the Berklee
instrument,
the
digeridoo.
Performance Center as he,
MaxMathews,the "fapianist TommyFlanagan,
ther
of computer music,"
bassist John Lockwood,
gave a seminar detailing the
faculty saxophonist Andy
future directions in comMcGhee, and drummer
puter music.
Terri Lyne Carrington recorded tracks
for Terry’s
upcoming
Qwest album.
Justice
Records
founder and
president
Randall Jamail presented lectures on
recording
AcousticbassistChristianMcBride
Summer
1995
PLANSFORNEW
FACILITY
UNVEILED
buildings--heavy concrete construcPlans have been completed for
Berklee’s new educational facility at tion, ample floor-to-floor heights,
921-925 Boylston Street. The prop- and open, wide-span spaces. Co~erty, formerly owned by Newbury struction plans include the building
College, was purchased by Berklee of two more floors atop 921 Boylston
last summer.
for increased space, addition of two
The new facility will be named new elevators, and reconstruction of
after Japanese entrepreneur and Berk- the building’s Boylston Street facade.
lee Overseer Mr. Genko Uchida. He Ultimately, this mix of music trainhas sponsored a numberof programs, ing, performance,and student-orientroom/pe~fbrmance space, green
scholarships, and Berklee residencies ed administrative functions will cre~o~m,~tage support; ~nstrument
in Japan, and has madea major gift to ate a gateway to Berklee in this
storage, Registraroffices
support the new building.
prominent location, across from the
MeZzanine
The acquisition of this 40,000 Hynes Convention Center.
Financial Aid offices, scholarship
square foot space will increase the
Acoustic quality is emphasized in
and student ~mptOyment
offices,
college’s educational and administra- the architectural buildout recommenbalcony0f large classroom
tive facilities by about 16 percent,
dations. Specifications include the use
Second FloOr
of double walls, suspended ceilings
and has prompted a campus-wide asLarg~ d~s~toom/rehearsal space
sessment of current space use and fu- and floating floor systems in approture space needs. The college hired priate music rooms, mechanical sysBoston-basedarchitectural firm Mill- tem design improvements, potenti~,l
electronic background sound masker Dyer Spears, who worked with
ing, and a general tightening-up of
both a steering committee (consist(75-100seats0, 5 guitar labs, guitar
ing of the president, the deans, trust- the existing construction to alleviate
ees), and a college committee (con- any sound transfer problems.
The space plans will ultimately resisting of faculty, staff, and student
representatives) to determine future configure the Berklee campus. Two
examplesare: a newstudent activities
space needs and plan accordingly.
Fifth Floor
center that will occupythe first floor
The committees recommended
that the 921-925 Boylston Street
of the 130 Massachusetts Avenue
property be used to provide three building, and a library expansion
which will fill two floors of the 150
large classroom/performance spaces,
and the large rehearsal, ensemble,and Massachusetts Avenuebuilding.
lab rooms needed by the expanded Guitar
and Percussion
Departments and
the new Ensemble Workshop
Program.
These buildings will houseall
of the Student
Affairs departments consolidated at one location to provide
better student
services. These
uses take advantage
of the
unique physical
features of the
new buildings,
not available in
Thearchitect’srendering
of the921Boylston
Streetbuildiingas it will Ilookupon
completion.
existing Berklee
Summer
1995
Berklee today
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50 Alumni of Note...
Duringthe 50-year life
of Berklee College of Music, some30,00(3musicians
from 75 countries across
the globe have come
throughthe college’s doors
to gain knowledgebefore
seeking their destinies in
the world of music.
The50 individuals pictured on the foil.owingpages are a but fewof the many
gifted alumni who have
brought their dreamsinto
the blaze of daylight, and
woventheir ownstrands
into the tapestry of contemporary music.
These 50 alumni represent countless others whose
unique careers have also
enriched manylives during the first half centuryof
the college’shistory.
Then...1958,clockwise
from
theleft, Lawrence
Berk,Bob
Share,
DizzySaI,ArifMardin,
TedCasher,
MikeGibbs,Peter Spassov,
GaborSzabo,
andbassistSkipBeckwith
in front of Berklee’s284
Newbury
Streetbuilding.
Now...1995,Berkleestudents give a salute to
Berklee’s
50thanniversary
fromthe balconyof the
college’sFenway
building.
Summer
1995
Berklee today 11
JohnAbercrombie
"67
Influential jazz guitarist,
ECM
recording artist,
composer,bandleader.
Toshiko
Akiyoshi
’59
Jazz pianist, composer,
bandleader, CBS/Sony
recordingartist.
JustoAlmario
’71
Latin jazz saxophonist,
composer,sideman, Blue
Moonrecording artist.
GaryAnderson
"69
Film and TVcomposer,
former WoodyHerman
saxophonist/director.
AlanBroadbent
’69
Pianist, composer,Grammynomineeas arranger,
memberof Quartet West.
12
Berkleetoday
GaryBurton
"62
Innovativevibist, recording artist, bandleader,3
Grammies,50 albums.
Will Calhoun
’86
Drummerfor Living
Colour, platinum albums,
Grammy, MTVawards.
TerriLyne
Carrington
’83
Drummer,solo CDsfor
PolyGram,tours witlh
Hancock,Shorter, Jarreau.
Cyrus
Chestnut
"85
Jazz pianist, Atlantic
recordingartist, sideman
for W.Marsalis, B. Carter.
AIf Clausen
"66
Composer/orchestrator,
"Simpsons," "Moonlighting," movies,TVseries.
~/lelissaEtheridge
’80
BruceC0ckburn
"65
Canadiansongwriter, 22 Singer/songwriter,multialbums(1 platinum,
GrammyAward winner, 2
platinum albums.
gold), 10 Junoawards.
Vinnie
Colaiuta
’75
l~evinEubanks
’79
Studio drummer, numer- Guitarist/bandleader,
ous pop, jazz, rock cred- NBC"Tonight Show,"
its, StretchRecordsartist. 11 solo albumreleases.
BillFrisell"77
RichieCole’67
Innovativejazz guitarist,
Saxophonist, composer,
bandleader,has released
memberPaul Motian Trio,
11 solo albumreleases.
30 albumsas leader.
AI DiMeola
’74
IVlikeGibbs
"63
Influential poll-winning Trombonist/composer/
guitarist, 17 solo albums, arranger, S. Getz, Sting,
former C. Corea sideman. J. Scofield, B. Hornsby.
ElliotEaston
"74
JuanLuisGuerra
"81
Guitarist, producer. With Guitarist, songwriter,
the Cars: 30 miIlon
platinum merenguealrecords sold, 2 Grammies. bumswith Grupo440.
JanHammer
’69
Composer,pioneering
fusion keyboardist,platinumsoundtrack albums.
Eulaulah
Hathaway
’90
Vocalist, r&b/jazzstylist,
2 albumsand 5 singles on
Virgin Recordslabel.
GregHawkes
’72
Keyboardist and cowriter
for the Cars, 6 platinum
records, 2 Grammies.
DavidHorn
’78
TVproducer, "Great
Performances," "In The
Spotlight," Emmy
winner.
Quincy
Jones
"51
Jazz artist, composer,
platinum record producer,
multimediaentrepreneur.
Summer
1995
JoeyKramer
"71
Drummerfor Aerosmith,
3 GrammyAwards, numerousplatinum albums[
Abraham
Laboriel
Sr. "72
Sessionbassist on over
3,000 top recordings,
founder of Koinonia.
JoeLovano
’72
Leadingsaxophonist, has
released 8 solo albums,
featured on another 75.
MichaelManring
"79
Innovativebassist, 4 solo
albumsfor WindhamHill,
has played on 100 more.
Arif Mardin
"61
Hit producer, composer,
arranger, vice president of
Atlantic Studios.
Summer
1995
EricMarienthal
’79
Saxophonist with Chick
Corea,sessions, 6 solo
albumson the GRPlabel.
Branford
Marsalis
"80
Grammy-winningsaxophonist, composer,Sony/
CBSrecording artist.
TigerOkoshi
’75
Trumpeter, composer,
leader of Tiger’s Baku,
6 solo albumsfor JVC.
Makoto
Ozone
’83
Pianist, G. Burtonsideman,8 solo albumson
CBS,JVC, and Verve.
Danilo
Perez’88
Post-bop, Latin piano
stylist, Novusrecording
artist, touredwith Dizzy.
Bill Pierce
"73
Berkieefaculty, saxophonist for A. Blakey,
T. Williams, F. Hubbard.
HerbPomeroy
"52
Trumpeter,arranger,
Berkleefaculty, mentorto
numerousjazz artists.
John"JR"Robinson
"75
Drummer, Grammywith
Rufus, numeroussessions
for hit records,films, TV.
John
Scofield
"73
Jazz guitarist, composer,
bandleader,21 solo albums,guest on :tO0 others.
Alan
Silvestri’70
Film composer,44 features, Forrest Gump,Who
FramedRoger Rabbit?
SteveSmith"76
Drummerwith Journey,
Vital Information,Steps
Ahead,Ponty, S. Clarke.
Mike:Stern"75
Guitarist/composer, 6
albumson Atlantic, Miles,
Jaco, Breckerssideman.
Neil Stubenhaus
"75
Bassist for 20 Grammy
winne.rs,100 films, TV,40
gold and platinumdiscs.
Harvie
Swartz
"70
Jazz bass sidemanon over
100recordings,7 releases
as leader or coleader.
SteveVat"79
Grammy-winningguitarist, platinumsolo album,
sidemanfor Zappa, Roth.
Sadao
Watanabe
"65
Japan’sleading jazz saxophonist, has released more
than 53 solo albums.
ErnieWatts"66
Saxophonist, 2 Grammies,
manyalbum, film, TV
credits, 12solo discs.
Jeff"Tain"Watts
"81
Former "Tonight Show"
drummer,records, tours
with Branford Marsalis.
BradWhifford
’71
Guitarist for Aerosmith,
multiple Grammiesand
platinum albums.
JoeZawinul
"59
Grammy-winningkeyboardist, composer,
WeatherReport founder.
Bed<lee today 13
Herb Pomeroy
Looks Back
After 40 years, Berklee"stop jazz compositionprofessor
has a different perspective on life andmusic
T
by
Mark L.
Small
"73
hough his name is not a household
word, Herb Pomeroy’s musical influence has been felt around the world. A
busy professional trumpeter and bandleader
since the ’50s, he has shared the stage with
many of music’s greats--including
Charlie
Parker at someof Bird’s Boston appearances.
Herb began teaching at Berklee four decades ago, and has made his most significant
contributions as an educator teaching jazz
composition and arranging, and leading the
college’s premier jazz ensemble, the Berklee
Recording Orchestra.
During his 111 semesters at Berktee, Herb
has provided guidance to a number of students who have gone on to become some of
the music industry’s most prominent composers, arrangers, and instrumentalists. The
list includes TVand film composersAlan Silvestri, Alf Clausen, and Rob Mounsey; Columbia recording artist and composer Toshiko Akiyoshi; saxophonist Ernie Watts; and
Atlantic Studios Vice President Arif Mardin.
Herb was raised in a home which fostered
his musical development. His mother Alice
Pomeroy, a pianist trained at the NewEngland Conservatory, worked professionally as
a 1920s-style jazz player. Whenhe was 11,
after he and his mother saw a movie which
starred Louis Armstrong, Herb decided that
he had to take up the trumpet. He immersed
himself in Dixieland jazz and the early swing
efforts of Armstrong and Benny Goodman.By
the time he was in his freshman year of high
school, he was playing professionally with
dance bands around his hometown of Gloucester, Massachusetts.
A turning point in his musical direction came
when a friend loaned him some early bebop
recordings by Dizzy Gillespie and Charlie
Parker. At first, Herb could not accept the new
music, but after a few more listenings, he perceived that this was the direction jazz was going, and became deeply engrossed in bebop.
At Williston Academy,a prep school in Easthampton, Massachusetts, Herb met other students interested in music. He set his sights on
becominga jazz musician despite the fact that
his father and grandfather, both dentists, were
prodding Herb to follow in their footsteps.
While home during the summer of 1948, Herb
took private lessons at Schillinger House (now
Berklee). He studied piano with Berklee
founder Lawrence Berk’s partner Harry Smith,
trumpet with Fred Berman, and arranging with
Dick Hogan. Most of his fellow students were
PHOTO
BY80B KRAMER
14
Berklee today
Summer
1995
returned servicemen. The 18-year old Herb
found the atmosphere exhilarating working
among so many mature musicians.
After the summer, Herb went back to Williston for his senior year. He graduated second
in his class, with prizes in mathand trigonometry. That fall, Herb enrolled at Harvard in a
pre-dental program. By the middle of the year,
Herb felt like a fish out of water at the Ivy
League college. After graduating second in his
class at Williston, by contrast, Herbnowfound
himself on academicprobation at Harvard. Music beckoned him more than German, philosophy, or the other subjects he was studying. He
left Harvardfor Schillinger Houseand a career
in music.
After completing five semesters by 1952,
Herb performed around NewEngland with a
numberof acts before hitting the road with the
Lionel Hampton and Stan Kenton bands, and
the Serge Chaloff sextet. Berklee founder
Lawrence Berk asked Herb to join the Berklee
faculty in the falI of 1955. Over the course of
his 40-year tenure Herb, developed three specialized courses: Line Writing, Jazz Composition, and Arranging in the Style of Duke El-
tional Jazz Ensemble, and premiered at New
York’s Alice Tully Hall at Lincoln Center in
1974. Widely noted as a specialist in big band
jazz, Herb was sent by the U.S. State Department in 1962 to Malaysia as a music consultant
to the Malaya Radio Orchestra. A similar assignment from the State Department in 1968
sent him on a cultural exchange to Finland to
direct an orchestra at a Finnish governmentsponsored arts festival. Over the past decade,
Herb has been in demand internationally
to
conduct concerts with the NewMusic Orchestra of Finland, the Stockholm Jazz Orchestra,
North German Radio Orchestra, the NewMusic Orchestra of Copenhagen, and the H.E.D.
Music Center Orchestra in Tel Aviv.
Entering retirement, Herb doesn’t plan to
slow his pace. He looks forward to getting a
chance to practice his trumpet again, and continuing to travel internationally to play, conduct, and present seminars.
It was fitting closure to Herb’s educational
career that he received Berklee’s honorary doctorate at the May 7 Commencementfor his
achievements. He can now go into retirement
feeling that he excelled in the career he desired
and carried on the Pomeroyfamily tradition of
having the title "doctor" before his name.
What was the musical atmosphere like at
Berklee when you were a student?
A few soloists around the school were bebop
oriented but most everyone else was writing
dance band and big band arrangements. There
were not many faculty members who were primarily jazz musicians at that time. That changed
over the next decade as the school evolved. I
was in classes with people whowere jazz oriented-like [pianists] Ray Santisi ’54 and Bob
Winter ’54, [saxophonist] Charlie Mariano’52,
and [bassist] RayOliveri ’53.
Whatare some recollections of your gigs with
Charlie Parker?
Ironically, in 1953, the weekI was on stage
lington, which have drawnstudents to his classat
the Hi-Hat Club with Bird, the class I would
es from around the world.
Herb continued an active performing career have graduated with at Harvard was on stage
leading the 16-piece Herb Pomeroy Orchestra with caps and gownson. I felt there was some
just due going on there. I remember walking
throughout the Northeast. The group released
four critically acclaimed albums for the Rou- into the club with myknees shaking, but Bird
was great to me. Here was this man who had
lette, United Artists, and Shiah record labels.
Their first, Life Is a ManySplendored Gig, virtually been a god to me for eight or nine
years whispering in my ear "Herbert, you’re
stayed in the top 10 on the DownBeat jazz
wailing." I knew I wasn’t wailing though.
charts for nearly five monthsin 1957.
He was always a gentleman to the musicians
In the late sixties, Herb was commissioned
to create two scores for the Boston Ballet. The on the stand. If he called a tune and the piano
Road of the Phoebe Snow and Wilderness of player said he knewit, and then scuffled a bit,
Bird wouldn’t pitch a fit. I have worked with
Mirrors are based on the music of Ellington
and Mingusrespectively. His original score to lesser name artists who would do a big ego
Jolly Chocolate was commissioned by the Na- number when that happened. Bird would just
16 Berklee
today
Summer
1995
go stand next to the piano player and call out
the changes to him. I greatly respected him for
that. He counted off the "52nd Street Theme"
so fast that the drummerhad to use two hands
just to play time on the ride cymbal.Bird played
four or five choruses and then went back into
the head. The piano player and I were very
grateful he didn’t have us solo. He was very
considerate that way.
Shortly thereafter, you went on the road with
Lionel Hampton. What was road work like
back then?
In 1953, I might have earned as muchas $80
a weekplaying in Boston. But if I made$40-50,
we got by. I lived with my family in a coldwater flat in Charlestown with no heat, rent
was $21 a month. Times were hard, so when I
auditioned for Hamptonand he said I’d earn
$150 a week, it sounded great.
I quit mylocal gigs and went to NewYork
to rehearse with the band. Lionel’s wife Gladys
came in and told us we’d be getting paid pro
rata, $21 each night. So if we worked seven
nights, we would get about $150. Frequently
we only worked four nights. After taxes, and
$35 a week for food and rooming expenses, I
would send what was left home.
Lionel mostly played one nighters. Sometimes we wouldnot check into a hotel for four
nights while we traveled 700 miles to the next
city. Wewould finish a gig, and travel night
and day to the next one. Often we didn’t check
into our hotel until after we played. The band
was fun, but it wasn’t easy working with Hamp.
WhenI quit in the spring of 1954, I was pretty
disillusioned. I started thinking about college
again and took out my books from Harvard.
wouldsee i~he drive some
musicians brought to their
music and see an imbalance.
Thereis so muchmorein life.
teaching experience and keep their playing career alive without having to go on the road. I
worked with faculty memberslike Ray Santisi
[piano] and John Neves[bass], trumpeters Greg
Hopkins and Lennie Johnson. Also, without
the school, perhaps m~lsicians like Arif Mardin
or MikeGibbs might have stayed back in Istanbul and Southern Rhodesia.
Howdid the Line Writing. course develop?
The first few years I tauglht, I knew in my
heart that I was a poor teacher. Mythoughts
weren’t organized for presenting the material
in the classroom. Someof n2.y students knew
more than I did. I began by putting examples
on the board which I knew worked, and excerpts from various aritsts’ scores. I began to
note principles for whycertain things worked
in these arrangements.
As a trumpet player, I knew well that the
second, third, and fourth voices in a section
were usually unmusical. They were just harmonynotes from a vertical structure under the
melodystrung together with little concern for
their melodic content. Playing those wouldturn
Howdid you join the Berklee faculty?
me off. The melody would be soaring while the
After leaving Hampton, I went on the road second trumpet part would have a bunch of
again with the Kenton band and then with repeated notes, or would have wide interval
[baritone saxophonist] Serge Chaloff’s sextet.
leaps while the melodywas smootlh. I started
In the summerof ’55, at Joe Viola’s recommen- to look at ways to makethe ttnder parts musidation, Larry Berk called and asked if I would cal and have melodic shape.
like to start teaching that fall. I’d had enoughof
After working leading bands from scores
the road by then. It was not too difficult to say for thousands of hours, I have developed a
yes to him.
good eye-ear relationship. Unless it is someI have often thanked Larry Berk for provid- thing very unusual, I can see music on paper
ing me the opportunity to do my thing in an and knowhowit will sound. This eye-ear realacademic environment, unaffected by any as- tionship was very important in developing the
pects of the commercial world. I was able to course materials.
write the musicI felt was honest, and to be in a
school where so many great students from
Can you mention any students who really
around the world to have come study.
grabbed the concepts you were teaching and ran
Over the years, manyof the membersof my with them?
band were Berklee faculty members. I could
There have been so many,and I don’t like to
not have had a band of that caliber without take a lot of credit for what they have gone on
Berklee existing. The school has madeit possi- to do. Alf Clausen [’66] was one. He was also
ble for a number of musicians to have a great the first to play French horn :in the Recording
Summer
1995
Berklee
today 17
Band. Alan Broadbent [’69] was another. He
took a number of courses with me, played piano in the recording band, and wrote a lot of
music for the group. Jaxon Stock [’71] became
a great jazz composer,he is one of myall-time
favorite former students. He is a gloriously
talented musician, and a very down-to-earth
person. Hal Crook[’71] was another great student who is a wonderful writer and now a
faculty member.Mike Gibbs [’63] also studied
with me. While he was a student here, he was
going to NewYork once a week to study with
Gunther Schuller. He has broadened his horizons beautifully. But it was a two way street-these people really enriched mylife too.
Is it true that you are not really a fan of big
band jazz?
I tell myclasses, tongue-in-cheek,that I hate
big bands [laughs]. Of course I say this after
they have taken mythree arranging classes, in
the last week of the semester. Those whohave
come to knowme knowI’m sort of jiving, but
the others will be taken aback.
I always loved playing in a small group. I
reacted as a young person to the physical excitement of a big band--the rich harmonies,
intricate sax solis, and high trumpets. But I
enjoy the interaction of a small group better.
Do you have any anecdotes about the students you have taugh;t who later becamegreats ?
I rememberthe first day I met Arif Mardin.
He is a classy humanbeing. ]~ rememberseeing
him at the corner of Gloucester and Newbury
streets with a hat on. He didn’t look like the
typical Berklee student. He came here without
having any of the scores he’d written played.
The first arrangement he brought for my orchestra was top professional-level writing.
Havethere been people in your classes whose
talent developed and surprised you ?
Thefirst year I taught here, Larry Berk wanted the school to be involved with the local
community. He started a high school ensemble
which I directed. A young fellow came in to
audition for the piano spot, and I didn’t choose
him for the group. Hie let me knowhow disappointed he was. That was Roger Kellaway.
I hated to audition people for the recording
band, but when we didn’t have someoneto fill
a certain chair, we wouldhold auditions. Someone who I didn’t choose was the great drummer Steve Smith. In ihindsight, that was probably a mistake seeing howhe has developed.
Can you speak about the two years you were
the host of a TV show on jazz?
18 Berklee
today
It was for WGBH
in Boston from 1965-67.
I would interview major jazz artists like Earl
Hines, Jimmy Witherspoon, Stan Getz, and
Lee Konitz live on the air. Live TVis risky-sometimes it was great, sometimes you would
bomb. Sonny Rollins came on wearing a New
York Yankees baseball cap. No matter what I
asked him, he would steer the conversation
back to the Yankees. Someof the shows were
wonderful though.
You often state your feeling that people are
more important than music. Howdid you come
to feel this way?
It is easy for meto espouse that philosophy,
but it is not so easy for me to go back and say
what brought me to it. After the death of my
secondwife in 1982, I looked at a lot of things
in mylife.
I had been working really hard to provide a
decent life for myfamily. I was teaching five
days at Berklee and two at M.I.T., leading my
ownband in 45-50 dates a year, contracting the
Boston Garden and the Wilbur Theater, and
working at the Colonial Theater as a trumpeter
20-30 weeks a year. It was ludicrous. I would
look at mybook and tell mywife that I wouldn’t
have a day off for the next 42 days. After she
died, I did somesoul searching.
In other musicians, I would see the drive
they brought to their music, and I wouldsee an
imbalancethere. It is healthy for a person from
their teen years into their 20s to do that, but
there is so muchmore in life. I didn’t start
comingout of that until I was in my40s. Don’t
misunderstand me, I still love music. I am very
fortunate to have found a new wife at age 60
who is a glorious woman.Being in her presence is a richer experience than music ever was.
I have made many musical acquaintances.
I’ve played gigs with them, we’ve sat in the
band room at intermission, and driven to and
from gigs together. Faculty memberGreg Hopkins has played trumpet in my band for 20
years. I keep telling him we have to find time to
get together at myhouse and sit and talk a bit.
Comingto feel these things has made me realize howimportant people are.
Next to the love I have for myfamily, is the
love I feel for the musicianI’m standing next to
on the bandstand. To be giving as openly as
you do in jazz is very special. I want to know
more about those people. But we were all so
involved in our work that for manyyears those
relationships stayed on the surface. In myearly
years, I had put music on a pedestal--to me,
music was the most important thing. It felt
good to love music for all those years, but
cameto realize that I was wrong.., it is people
that are most important.
Summer
1995
Post-productio:n
.,Round Tabl~
Aninside look at TVand film musiccareers in L.A.
and thoughts on breaking in from those whohave
([~r f you need a job done, ask a busy person to do it," goes the old adage. Another says "Timeis money."But in the
post-production music business, time is more
valuable than moneywhentrying to meet the
movieand TVschedules set in stone long before the busymusicprofessionalsare evenhired.
Amidthe heavy rains that disrupted many
L.A. businesses this winter, I foundthe postproduction music people at their posts. Five
key players in the industry found time to talk
about howthey got their breaks, and to offer
their take on the current workingsof Hollywood’spost-production music machine.
I
by Mark L.
Small "73
the instrumentation. I start writing on Monday, and finish late Thursdaynight or Friday
morning.After the spotting session for the next
episode on Friday afternoon, we go to the
soundstage and record the cues I completed
that week.
"IV[any TVcomposerslike doing the work,
hearing their musicright away,and getting the
feedback.It is an interesting challengeto rise to
the deadline pressure. Somepeople, including
myself, thrive on tlhat. I’ve knownTVcomposers whogo into feature film writing and havea
hard time accommodating
the slower pace. With
mycurrent TVschedule--having to record 30
cues in a three-hour session--I would welcomethe opportunity to spend an hour on a
single cueas is often the casewithfeature films.
"I’ve alwaysfelt that if you can start as an
orchestrator it is the best career move.Some
people want to avoid getting pigeonholedas an
orchestrator only, and would rather do two
low budgetfilms yearly instead to get established as a composer.I think it is better to be
practicing yourcraft on a weeklybasis."
LivingbytheClock
WatchingAlf Clausen ’66 conduct a 35-piece
orchestra at a "Simpsons"scoring session is a
lesson in grace under pressure. Alf begancomposing and orchestrating for TVand moviesin
the ’80s. He has workedon 28 films, 24 TV
series, and 24 TVmoviesof the week, and is
one of Hollywood’s most respected TVcomposers. All is quite accustomedto working
under the gun. Hecurrently writes all of the
songs and the underscore for weeklyanimated Establishing
Relationships
series "The Simpsons"and "The Critic."
HummieMann ’76 came to Los Angeles in
Betweentakes, Clausen mused, %can han- 1978, and found workorchestrating for Clausdle the deadlinesabout 85 percent of the time, en on TVshowslike "Fame,""Moonlighting,"
but the other 15 percent is sheer terror. We and "The Simpsons." Hummiemadethe tranusually spot [decide wheremusical cues will sition into films as conductorand orchestrator
go] on Friday afternoons. I get the breakdown for composerMarkShaiman,and also believes
notes [detailed notes with timings and annota- the route for a composeris to be an orchestrations for each cue] by Sunday,and determine tor first.
Summer
1995
Berklee today 19
"I did Misery with Shaiman, and
conducted for him on The Addams
Familyand City Slickers. I feel being
a conductor gave me more visibility
than just being an orchestrator."
Hummiescored his first film 10
years ago, but considers his 1992score
for Year of the Comet the one that
opened doors to his film composing
career. To date he has scored 16 feature films. Last year, he scored eight
one-hour films for the "Rebel Highway Series" on Showtime cable TV.
While that series offered the advantage of working with many top film
makers, there was only enough budget for MIDIscores.
"Before I took it, I did a lot of
soul searching," states Mann."I wondered if I’d be out of the mainstream
by doing electronic scores. I decided
to do it because of the great directors-like
Norman Jewison, John
Milius, and Joe Donte--I’d be working with. Formingrelationships with
directors is really the basis of many
composers’ careers. John Williams
works with Spielberg, Alan Silvestri
works with Zemeckis, Danny Elfman works with Tim Burton."
Although he broke into the business as an orchestrator, Mann, like
most other busy composers, rarely
orchestrates his ownscores any more.
"For Robin Hood: Menin Tights,
they didn’t lock the majorfight scenes
in the film until 10 days before we
scored. All of the four and five minute
cues were written in the last days.
Whenwe started recording the score,
I’d come homeand stay up until six
a.m. writing music. At three a.m., a
whole team of people was there orchestrating. Parts were copied and
we recorded that afternoon. This
went on for three days. If I had to
orchestrate, I never would have gotten back onto the podium."
A DistinctiveVoice
Like Mann, Lawrence Shragge ’77
initially found work in L.A. as an
orchestrator. He arrived in Hollywood in 1989, with writer credits
from the 250 television episodes, 15
TV movies, and 10 feature films he
wrote in Toronto.
"I came to town with a feature
film I’d just finished," states Shragge.
"That enabled me to get an agent. I
20 Berklee
today
than trying to do everything," he advises. "I knowI wouldn’t be hired to
do light comedy;I’m better suited to
action adventure movies. Pursue directors whose projects your music
will fit with. Thereare a lot of people
in L.A. whoare very talented. I think
that it’s best to identify whoyou are
as a composer."
All Clausen
"66:’1 canhandle
the deadlines about85 percent
of the time, but
theother15 percent
is sheerterror."
sent tapes out on a regular basis.
Things started opening up sooner
than I thought they would."
Shragge first scored a TVseries
called "Street Justice" for two years,
which led to TV movies. He has
scored a numberof Hallmark’s larger budget "Hall of Fame" TV movies. In composing,his main objective
is to create a thumbprint score.
"I am always looking for sometlhing different," states Shragge."Film
music is about defining the heart of
tlhe story. I like to do that with an
interesting tone or character in the
score. I learn somethingon a project
by choosing to write for instruments
I have never dealt with before. One
reason I ihave gotten somegood work
is because I am always looking for
something that will sound unique.
Onmylast project, I used five singers with the basic instrumentation as
part of the underscore. By not doing
the expectedthings, I feel I’ll get noticed and moveout of television into
feature films."
Like Mann, Shragge stresses the
value of forming relationships with
other composers. A lot of his initial
work came from composers who
were unavailable for a job and told
him about it. He also recommends
that composers find directors whose
vision is esthetically similar to theirs.
"Know what you do best rather
Crucial BreakAway
Todd Homme’76 is manager of music production at Disney’s HollywoodPictures division. He is responsible for shepherding about half of
the studio’s live action pictures
through the production process to
the point where the music is dubbed
on the soundstage, and prints are
struck. Homme
is the liaison between
Disney, the filmmakers, the composer and his staff, the engineers, and
various sound stages. He oversees the
progress of the music and reports the
monetaryissues to the film studio.
"Last year we did 22 pictures,"
states
Homme. "From August to
December we seemed to complete a
picture every two weeks--an inordinate amount of work. I was involved
in making an endless number of production related deals--setting up studio time, finding out what orchestra
would be there, dealing with music
preparation with the orchestrators
and copyists, and arranging to mix
for three days with the right engineer. If there were to be soundtrack
albums, we’d have to be involved with
recording those as well."
Homme’s business and musical
education and experiences had prepared him for the job he has done for
four years, but it was his avocation
that landed him inside Disney.
"The typical ways to try to get
into this business involve calling people at their office, sending your tape
around, and networking. These people get a fair numberof calls like that,
so it is easy to see whythey might get
calloused. By doing other things from
our regular lives we can make contacts that are far moreeffective than
the beaten paths."
Hommejoined an amateur hockey league upon arriving in L.A., and
soon discovered that some of his
teammates were in high positions in
the entertainment industry. Through
Summer
1995
some agents he coached in shooting
the puck, Hommewas put in touch
with a vice president of music at
Warner Brothers. That person recommendedhim for the Disney job.
’Tin amazed at how many film
makers, writers, actors, and others I
meet out there who have a genuine
interest in something not related to
their work," says Homme."I think a
lot of business is conductedthat way.
The odds are against all of us getting
anywherein this business. You have
to figure out how to become an exception to the rule."
whether we will be
able to acquire the
proper rights for the
music. Then,, I make
suggestions.
Regarding demos,
Grossman prefers
them 10-12 minutes
long, with a beginning, middle, and
end--"like
a good
book." He suggests
submitting for specifof Segue
Music.Segue’s
ic proiects after learn- DanCarlin,left, andJeff Carson
as 100 films annually.
ing via the trades or musiceditorsworkon as many
is the first choiceof many
studios.
by networking about Theircompany
FollowThrough
a production your
David Grossman ’79, vice president
musicmight fit.
signal tlhe conductorfor musical hits,
of Paramount Pictures’ Television
"Newcomers should learn about beginnings, and endings]. The comMusic Production Division, started
the producers of these shows," he puter can place that information on
his career in the ’80s as a drummerin advises. "Sometimes they are look- video and it is simple to makechangL.A. When drum machines started
ing for people whohave not had a lot es. Since this workcan be done fastcutting into his work, he decided to of film experience--they figure they e~;, movieproducers frequently allow
become a music supervisor for TV might get something different that
production to creep into post-proand films. Grossman worked as a way. This business is built on rel[aduction time. This creates stress and
freelance music supervisor for about tionships which you have to nurture.
deadline pressure for the music edione year before being hired by Co- So manypeople will establish an im- tor and the composer."
lumbia Pictures Television when a portant contact and then wait two
Musicediting is a union trade, and
job opened up in there 1986. He years to follow up on it. In the intera stumbling block to newcomers is
joined Paramount in 1989.
ira, a lot of things have happened. getting into the union. One way to
"We have about 28 shows proDon’t expect busy people to remem- get in is by working at a nonunion
duced for Paramount’s network and ber details of your conversation or a editing facility first. After 100days at
domestic television which we are package you sent if you didn’t fola nonunion shop, a music editor can
working on simultaneously," states
low up."
apply for entrance to the union by
Grossman. "Viacom and Paramount
presenting the pay stubs which prove
are nowone, so beyond network teleNoSteppingStone
work experience in the field. Oncein
vision, I haveresponsibilities in cable Daniel Carlin Jr., a memberof Berk- the union, one can work anywhere.
and direct-to-video projects. I amin- lee’s boardof visitors, is president of
Carlin has a caveat about viewing
volved with helping the producers
Segue Music in Burbank, one of the music editing as a stepping stone to
identify what we need to do creativetop music editing and supervision
other post-production careers.
ly, what talent we need to bring on companies working in film and TV.
"We discourage people who want
board, and how we should treat
His music editors’ duties include to become composers from entering
scenes. I have a fabulous staff here to working with the composerand fihnthe business as music editors. I get
help in researching period music for maker to decide where music witl go, commentsfrom composers that I not
shows, licensing music, supervising creating a temporary score from ex- pair them with a music editor who
sessions, and overseeing budgets."
isting music until the composer’s wants their job. Musicediting is the
In his office, Grossmanhas thou- score is dubbed, and preparing the wrong route for composers. While
sands of CDsand tapes from estabfilm so the final score may be con- working at that, you are not polishlished and aspiring artists and com- ducted to picture. Carlin estimates
ing your compositional skills or meetposers. From this library, he makes there are fewer than 100 music ediing the right people. Musicediting is
suggestions to the producers about a tors working in L.A. these days.
a great career in itself and good mushow’s music needs.
"Whenthe technological revolusic editors get paid well."
"I do not makethe final decision," tion first began," Carlin says," I was
Summarily, the post-production
says Grossman,"it is a collaborative a music editor for the ’Lou Grant’ music business will no doubt undereffort. Sometimes the producers
show. Wehad three film editors, three go further unforeseen changes. While
knowexactly whoor what they want, assistants, and two apprentices. Com- no one predicts the workwill get less
other times they seek advice from puters now allow us to work much pressurized or competitive, it is certhe music department. I have to in- faster, but ultimately eliminated jobs. tain that the lure of artistic and proterject howthe direction we are look- Weno longer physically punch holes fessional payoffs these careers offer
ing at affects the musicbudgets, and and scrape streamers on the film [to will always be an attraction.
[~
Summer
1995
Berklee
today 21
Producing
Screen
Music
Predicted increases in demandfor audio-fo>video promise
"lone wolf" composer~producersexpandedopportunities
p
by
Stephen
Webber
roducing musicfor the screen
poses unique and sometimes
very thorny challenges. Done
well, it can be some of the most rewarding work in the business. With
the proliferation of personal project
studios, it is a job that can be done by
a solitary composer/producer.
The placement and style of the
music is agreed upon during a spotting session with the director. It is
important that the director and composer share a commonvision about
what the music is going to say.
TheSpottingSession
Today, manyspotting sessions are
done with a video copy of the project
which has a SMPTEtime code burnin. This will showelapsed hours, minutes, seconds, and fra~nes in a rectangular windowsuperimposed over the
visual. Spotting notes created from
this session assign each musical cue a
number, a name, a short description
of the action or the music to be written, and the location of the cue’s beginning and ending points. A SMPTE
time code burn-in facilitates locating
events to within a 30th of a second.
TheHits
After the spotting session, the next
task is to locate the musical "hits."
These are sync points on the screen
that will be translated into specific
Available tech- musical events. Choosing what to hit
nology enables and what to leave alone will make a
the solitary com- big difference in the final score. The
poser/producer/ act of musically "hitting" everything
instrumentalist
to possible is knownas "Mickey Mousprovidecomplete ing," after the early animated films
musicservicesfor where every tip-toed step or wink of
film productions. the eye was reflected in the score.
Stephen Webber,assistant chair of the
Music Production and Engineering
Department, has composed and produced scores for two dozen PBSdocumentaries, an award winning feature
film, and a CD-ROM.
22 Berklee
today
Summer
1995
Associate Professor Eric Reasoner, whorecently finished musicediting chores on Don Juan DeMarco
and Die Hard With a Vengeance, explains that these sync points can range
"from a dialogue scene where the hits
would be very subtle, to an action
adventure scene where sword hits,
punches, kicks, and other movements
may be caught by the music. They
are all selected by the composerand
become the framework or starting
point for the tempoof the musiccue."
Oncethe hits are selected, translating theminto a cue sheet or hit list
is next. Each hit is numbered and
named, with an indication of where
it is to be placed downto the exact
frame. This can be done with a VCR
with a jog/shuttle wheel and a copy
of the tape with a SMPTE
burn-in.
Findingthe Tempo
The moodof a scene, the way the
film or video is cut, and the timing of
the hits all affect the selection of the
cue’s tempo. Sometimes a tempo is
suggested by the pace of footsteps or
other repetitive action, or the timing
of short, hard cuts in the video.
Before the proliferation of computers, composers used a click book
to determine the tempo of each cue.
These books were filled with columns
of numberstelling exactly where each
beat falls timewisefor every conceivable tempo. Composers and music
editors now use software programs
like Cue, Click Tracks, or Oracle to
find tempos and design click tracks
to meet hits and sync points.
Oncethe hit list is entered in, the
computerwill scan a range of tempos
and report which one nails the most
hits. For example, if a mediumtempo is desired, the computercan scan
a range from 116 bpm to 132 bpm
and report howclose each hit falls to
the nearest quarter, eighth, or sixteenth note. The computer then reports on all given tempos, perhaps
indicating one which accurately nails
all of the hits. Sometimesit is necessary to "ramp" or "slope" the tempos, speeding them up or slowing
them down, or to slightly alter the
tempo for a certain number of measures so that all sync points align.
These programs then provide a hit
map showing in what measure and
Summer
lg95
beat in a given time signature each
sync point will fall. It gives the subdivision of the beat that will be closest: to meeting the hit exactly, and
howmanyframes off that note real][y
is. This hit mapcan be printed out or
imported into a sequencing program
like Vision, Performer, or Master
Tracks. The computer can also provide a click track which can synchronize to picture via a SMPTE-capable
M3[DIinterface.
Once music is written to fit the
cue, a variety of techniques may be
used to record the music. Sequencers
have madeit possible for one person,
acting as composer, producer, and
principle instrumentalist, to provide
complete music services to directors.
It is also possible to add somelive
instruments to the mix without even
leaving the computer via sequencers
which enable recording digital audio
tracks directly onto a hard disk.
Sta~ying
in Sync
After leaving the computer for a
tape-based multitrack recorder,
other type of SMPTEsynchronizer
is required to slave the audio machine to the video master. Many
open-reel analog machinescan do thi[s
with a Time Line Lynx, Zeta Three,
or some other synchronizer.
iModular digital multitracks are
now widely employed in the world
of post-production music. The Ale..sis ADAT
uses its own external syn.chronizer, while the Tascam DA-88
uses an internal plug-in card. Both
the Fostex version of the ADATand
the Sony version of the DA-88include built-in synchronization.
Hard disk-based systems such as
Pro Tools have a niche in recording
music for visual media. The lack of
rewind time, instant nondestructive
editing capability, and a visual inter’face are some of the manyadvantages of these systems.
TheFuture
The expected explosion of cable
channels and other technologies will
likely increase the demandfor music
for visual media.It is an exciting time
for those who write and produce
music for the screen. Technologyhas
madeit less expensive to participate
in this expanding market.
The
TRUE
Spirit
oF Jazz
~
~
BruceGertz5et
THIRD
EYE
Bruce
Gertz- acousticand
electricbass
JerryBergonzi
- tenorsax
JohnAbercrombie
- guitar
JoeyCalderazzo
- piano
AdamNussbaum
- drums
(DigitalLiveRecording)
DDD- RMCD4509
MickGoodrick
4et
SUNSCREAMS
MickGoodrick
- guitar
JerryBergonzi
- tenorsax
BruceGertz- bass
GaryChaffee
- drums
DDD- RMCD4507
Fasoli/Goodrick
DallaPorta/Elgart
~
CITIES
Claudio
Fasoli- tenorand
soprano
sax
MickGoodrick
- guitar
Paolino
DallaPorta- bass
Bill Elgart- drums
ADD- RMCD4503
Claudio
Fasoli
TENTRIBUTES
Claudio
Fasoli- tenorand
soprano
sax
Kenny
Wheeler
- trumpet
MickGoodrick
- guitar
BenriTexier- acousticbass
Bill Elgart- drums
DDD- RMCD4517
U.S.A.
distribution:
SPHERE
MARKETING
&DISTRIBUTION,
INC.,
CargoBuilding80, Room
2A,
JFKInt’l Airport,Jamaica,
NY11430
Tel. 718/656
6220- Fax718/244
I804
Worldwide
distribution(except
U.S.A.):
IREI3
S.p.A.
via SanG.B.DeLaSalle,4 - 20132
Milano
- Italy
Tel. andFax39/2/259
2326
AVAILABLE
AT
Alum n o t e s
Compiled
by
Clayton
Doty
and
"95
Negui
Capriles
"96
Multi-instrumentalistJohn
Carlini "73 hasa newalbum
withhis bandOverthe Edge,
whichblendsjazz, bluegrass,andclassicalstyles.
Carlini is alsofeaturedon
RiverSuite for TwoGuitars
withflatpickinglegendTony
Riceonthe Sugar
Hill label.
24
Berklee today
Herbert113ale"52 of Studio City, CA, is owner of
Dale Enterprises, a wholesale music distribution
company in Los Angeles.
Both Louis Desault ’57
(a.k.a. "HappyLouis") and
StephenKaminski’87 were
nominatecl for a 1994
Grammyfor Polka Album
of the Year.
Saxophonist FredLipsius
"61 released Dreaming of
Your Love on the MJAlabel. He produced and composedall selections.
TrumpeterJohnLaBarhera’67 is musical director
for the 15-piece, all-female
progressive jazz band Diva
which includes
Carol
Chaikin"80 on tenor sax,
Claire Daly’80 on baritone
sax, and Ingrid Jensen’89
on trumpet. The group has
performed with a number
of noted jazz artists.
Elliot Childs"70is living
in Dennis, MA,and is leader of the Bourbon Street
Paraders Jazz Band.
Composer/pianist Randy Klein "71 and Jazzheads
appeared at the NewYork/
San Francisco Swing Series
last March, and performed
selections from their selftitled debut CD.
CharlesMymit’71has released Tu Eras Mi Corazon: The Romantic Piano
of Chuck Mymit.
Multi-instrumentalist
Joseph
SabloneJr. "73 won
the 1993 Billboard Songwriter’s Awardfor his song
"I Don’t Wanna Lose
You." He is signed with a
NewYork publisher.
BerthaWilson’73 of Billerica, MA,teaches music
at NewNarragansett Regional Elementary School,
and was appointed to the
Research Board of Advisors of the American Biographical Institute.
don Hammond
’74 lives in
NYCwhere he hosts a jazz
cable TV show.
Flutist/composer Christine Poole ’74 moved to
Copenhagen, and has released two CDsfor a Danish label. She received the
Bay Area Critics Circle
Awardin ’93 for best score
for a drama.
Michael Simon’74 is
head chef at his own res-
ChrisPoole’74
taurant Italian Colors in
Oakland, CA. He also
plays guitar with bluesman
Freddie Roulette.
Harry Chalmiers
’75 was
namedexecutive director of
the MacphailCenter for the
Arts in Minneapolis, MN.
Vocalist deannieDeva’75
was invited by the Art
Companyof Caracas, Venezuela, to conduct a clinic
called Expresate (Express
Yourself).
Pianist Domenic
Cicchetti ’76 has written and performed music for "Lifestyles of the Rich and
Famous," "Tales from the
Darkside," and the film d
Bronx Tale.
Keyboardist
Dorothy
Wang
’76 is living in Essex,
MA, and was profiled in
the January issue of Marie
Claire magazine.
David Mester ’77 of
Elkhart, IN, is a customer
service representative for
the Selmer Company.
Guitarist RicardoSilveira ’77 is a memberof the
Summer
1995
NewBrasil All-Stars, with of 1994by Beat magazine.
Trombonist/arranger
LeoGandelman
’79 (sax),
CLASSCONNECTIONS
RiquePantoja"82 (key- DennisWilson ’79 was
The Fats Waller tune "This
boards), MarcioMontar- nameddirector of jazz
royos"72(trumpet),Micha- studies in the Department
Joint Is Jumping"describes the
el Shapiro
"84(drums),
and of Music at Kansas State
Bluebird Care this past March
University.
when7."t BerkleesongwritingstuAlfonso Johnson (bass),
dents joined alumniand guests for
andsinger KevynLettau.
JoeAntoun
"80andJohn
tlq.e sixth annual NashvilleAlumMulti-instrumentalist Schumacher
"80 and Zach
Kenneth
Field "78 of Cam- Pitt-Smith’96 completed
a
ni Singer/Songwriter Showcase.
GaryCulley"88, EveGoodman
"89,
bridge, MA,and Birdsongs fourth seasonof OneIs, the
Lynn
Biddick’80,
Lynette
Asheim
"92,
of the Mesozoicreleased Other Isn’t, presented by
Betsy
Jackson
"84,
Debbie
Adams
their eighth CD, Dancing the Centastage PerforAlumni Chapter
on A’A" on Cuneiform mance Group.
"81El,Hunter
Moore
’77, GillianWelch
Presidents
"92, DavidRawlings
’88, RichAdRecords. Kenalso composVeseliza
Clair"80(a.k.a.
New York
ams’83, AlanPowell"89, April
es and producesmusic for Clair Marlo) released her
Steve Ward’87
McLean
’87, Kathy
Greier’94, Rob"SesameStreet."
latest CDentitled BehavMuMusic Int’l.
Composer/producer
ior Self on Wildcat
e~t Nasatir"93, andDavidSherman
(212) 929-1161
William
Garrett
’78 is living Records. She also produc’94 each played. Recognition
in Park City, UT,and com- es such artists as Michael
Orlando
awards were presented to Hunter
Stan Kubit ’71
Moore
andJoeDoyle"87. Sparrow
posed and performed the Ruff andPat Coil.
Music:
Flutist SteveThompson’s Orlando
score for the film Backin
recording
artists ChrisandScott
Teachers Inc.
"80 album, .My Romance,
Dente
"87,
originally scheduledfor
the Days.
(407) 352-9702
Vibist SteveHobbs
’78, was voted one of the top
art award, had to bowout due to
recording commitments.Veteran
signed to a three-record three albumsby Northwest
Chicago
Damon
deal with CandidRecords, artists in 1994 by Joey
jazz saxophonist Richie C01e’67
Booth ’91
andhis group played for the rest
released the first CDwith Cohn, programdirector at
ASCAP
pianist KennyBarton, per- KPLU-FM.
of the evening.
(312) 481-1194
LilianCarmona
’81is livGeorgeWein’sFestival Produccussionist Victor Lewis,
andbassist Peter Washing- ing in Brazil and teaches
tions
andthe Boston GlobeJazz
Nashville
Festival will presentour next Boston. The group toured the drums at Unicamp in
Rich Adams’82
(615) 297-8967
U.S., and was featured in Campinasin Sao Paulo. She
ton-area special event featuring
Jazziz magazine.
toured Denmark,Uruguay
Toshiko
Akiyoshi
’59 andher big
Gerard
Huizinga
’79 lives and Argentina with the
band on June 24. Also slated are
Boston
Jeannie Deva’75
fellow Columbialabel mate Lein Parow, South Africa, Leny AndradeTrio.
The Voice Studio
wherehe openeda recordMichaelCox’81 (a.k.a.
roy Jones, and a student ensem(617) 536-4553
ble. Proceedswill fund scholaring studio to do jingles and Megazoid)composed and
albumsessions.
produced dance music and
ships for Boston-area
students.
San Francisco
Saxophonist
Eric Marisome underscore
for the
On
August
6,
the
Boston
Jazz
Gary Boggs ’82
enthal ’79 released Street film BarGirls.
Society
will
present
a
Salute
to
Guitar Studio
Dancefor the GRPlabel.
Glenn
Harvitz
’81is living
(415) 731-6455
Berkleeat their 19th annualafterBobby
Sanabria’79 and in Abiquiu,NM,and is conoon barbecue and concert at
his band Ascension had founderand audio consultStonehill College. The program
Los Angeles
will feature Danil0Perez’88, Andy
their album NYCAche/ ant for Attic Studios, anda
Leanne
Summers ’88
namedone of the top discs memberof the Main Line
McGhee,and Phil Wilson with a
Vocal Studio
Symphony.
big band. This will be a great op(818) 769-7260
Singer/SongwriterReisa
portunity to picnic, enjoythe surroundings,and hear great music.
Mehlman
’81 (a.k.a. Reisa
Denver
Marlowe)arid her husband
Thanks to all whohave taken
David
Andrewcreated and prothe time to complete the Alumni
Hammoud ’81
Denver School
duced "Reisa and the
Directory questionaire, and reof the Arts
Dream," which was prespond to Harris Publishing’s
(303) 733-5481
sented at the ArlingtonReplhonecallers. Thenewdirectory
will greatly assist networkingacgent PerformingArts Center in Arlington, MA.
tivities amongalumni.
Tokyo
Alumni
Pianist JamesStewart
Watch the mail for upcoming
Coordinator
’81, whohas engineeredfor
eventsin yourarea.
Michiko
such artists as Alice CooYoshino ’90
---Sarah Bodge, Assistant Director of
per, Robbie Neville, and
042-24i-4347
Development
for AlumniRelations
ReisaMehlman
’81
LamontDozier, released a
Summer
1995
Berklee today 25
The cantata War,Peace,
Anger,
and Love, by Mike
VANQUISH
VINCEGILL
Woods
’82, was performed
Countrymusicstar and golf devotee VinceGill
by the North Arkansas
issued a challengeto fellowgolfers of all levels to
Symphony Orchestra.
try to "VanquishVince" on the links. Proceeds
Woodalso played bass in a
fromthe event, part of Berklee’s 50th anniversary
production of Lady Dayat
celebration, will establish a VinceGill Songwriting Emerson’sBar and Grill in
Scholarshipat Berklee.
Syracuse, NY.
Participation is simple. Sendfor a participation
DrummerKathyBurkly
form at "VanquishVinceGolf Challenge"at Berk"83 and her band Girls
lee Collegeof Music,Box48, 1140BoylstonStreet,
Night Out, featuring Sandy
Boston MA,02215, or call the "Vanquish Vince"
Martin’83 on bass, Marianhotline at (617) 266-1400extension8860.
naPontopidan
"74 on saxo- Leigh
Pilzer"84
Thegolfers then plays a round of golf on their
phone,Wendy
Sobel’71 on
ownfavorite course anytimeduring t[he monthof
guitar, Alizon[issance
"78
August 1995. They return the form to Berklee,
on piano, and vocalist Didi graphics for several interalong with a $20 contribution to the "BerkleeColStewart
’73, playeda sold- active
CD-ROMprolege of MusicVince Gill Scholarship Fund" with
out reunion concert in grams, and is working on
their score card, showingtheir gross score, their
Somerville, MA,in March. an interactive programfor
handicapand the net of handicapscore.
Guitarist RichieZellon Homer’s "Odyssey."
Berklee will comparethe participants’ net of
’83 releasedhis debutalbum
Chris
Florio
’84is currenthandicapscore to Vince’sscore net of his handicap
Care Con Leche. Sidemen ly the director of Jumpcut
for his round played on Monday,August 28 in
include JerryBergonzi
’68 Orchestra with Jonathan
Nashville. Those whose scores are lower than
"82on guitar, Rodand Paquito D’Rivera on Keezing
Vince’swill receive a signed %VanquishedVince"
saxophone,DaniloPerez’88 neySmith
’81 on percussion,
certificate. Thosewith scores higher than Vince’s
Cobb
"81onbass, Craig
on piano, and percussion- Kevin
will receivea certificate reading,"I wasVanquished ist Alex Acuna.
Marble’94 on alto sax and
by Vince." Participants mayalso purchasetickets
Robert"Red"
Forrest’83 flute, and DavePek on tenat a cost of $5 each to Berklee’s annual Country
founded songwriting and or sax. The band will reMusic Night concert, scheduled for November9,
music publishing compa- lease a CDthis summer.
LeighPilzer’84of Silver
1995,at whichtime the scholarshipwill be presentnies in the San Fernando
ed to the College.
Spring, MD,was featured
Valleyin California.
Sandy
Martin"83is tour- on woodwinds on the
ing the Ne~vEngiandarea Chuck Brown CD Hah
The album Among the with her Patsy Cline trib- Man, and on Bruce Gates’
CDon YMPRecords entiRuins by guitarist Lauren ute show,and will openfor Jazz ConsortiumBig Band
tled Underthe Pyramid.
DrummerZoro ’81 of Passarelli
’82 andTwoTru, Willie Nelson on several CD,ForcedAir Heat.
BarryRocklin
"84orchesSylmar, CA has played was namedone of the most dates. She released a live
unique
indie
albums
of
the
CD
of
the
show
with
her
trated
the
musical
comedy
with LennyKravitz, Jody
Watley, Vanessa Paradis, AmericanMusicSeries for band which includes Adam Riddle with a Fiddle which
’79, piano,EdFried- played in Cambridge, MA,
Lisa-Marie Presley, Sean 1994by the DXRadio Net- Feldman
Lennon and Yoko Ono, work (syndicated Europe- land’79, bass, andKathy and in Fort Lauderdaleand
Burkly
’83, drums.
Palm Beach, FL. The orand is touring with Frank- an radio).
ie Valli &the FourSeasons
JoeSanterre
’82 released
JamesCarpenter ’84 chestra includedDavidSass
a solo CDentitled Straight plays keyboardsand sings ’87 (reeds and violin) and
this summer.
Shooter featuring drum- with the Voodoosin Hills- Russ G01d’84 (drums).
mers SteveWilkes"80 and ville, VA,and is featured Rocklinalso conductedthe
AlanHall, guitarist JonFinn on the debut CD by Slice of Saturday Night
’82, andDinoGovoni
’83 on Smokin’ Oak.
band at the Charles Playwoodwind.,;.
David Masher’84 of house in Cambridge.
DrummerPaul Stowell Swampscott, MA,is curJohn
Axelrod
’85 of L.A.,
’82 and the BlueHill Kick- rently animationteamlead- credited with discovering
ers won the WCLB-FM er for the PBSchildren’s and recording MarcCohn,
Battle of the Bands, and show"Wherein the World Jellyfish, WarrenHill, and
were hailed 1995 band of is CarmenSan Diego?"and Smashing Pumpkins, comthe year by the National is a contributor to "Nova" posed and orchestrated
Country Music Associa- productions at WGBH-TVHow Do I Love Thee-tion. Theywill performat in Boston.Hehas also de- Love Songs for the RomanFoxboroStadiumin July.
veloped animation and ticAt Heart. The CDcomJoeSanterre
"82
26 Berklee today
Summer
1995
bines classical poetry with operatic
vocalizing.
DrummerRick Beligni ’85 of Las
Vegas is audio visual technician at
the Aladdin Hotel and Casino, and a
first-call drummerin the area.
Saxophonist RodneyCaron’85 of
Smithfield, RI, joined the r&b group
Steve Smith and the Nakeds. The
band has backed saxophonist Clarence Clemmons.
Composer Roland"R" Katz "85 of
Sepulveda, CA, recently completed
an albumtitled Likin’ the Trees featuring Freddie O’Doddon drums.
JohnAxelrod’85
RalphPetrarca’85 is living in Warren, RI, and is co-owner of Normandy Sound which has produced
several platinum records.
MichaelSemanick
"85 is an engineer at Fantasy Studios in Berkeley,
CA, where he mixed Freddy Cole’s
new CDand the soundtrack for Boys
on the Side. He will work on the film
To Die For and an album by Jerry
Gonzolas and the Fort Apache band.
DrummerDanielCantor’86 is featured composer, performer, and producer on Virtual Guitar, a CD-ROM
of interactive guitar lessons. Daniel
was also cited by Keyboard magazine for his composing and production work on the film Strong City.
Guitarist/composer JohnDirac ’86,
of Poughkeepsie, NY, performed a
jazz guitar concerto written by Ken
Schaphorst at Lawrence University
in Appleton, WI.
Michael Evans’86 of Greensboro,
NC, is working on a quantitative
model for predicting album success
based on its early performance.
Summer
1995
L.A. NEWSBRIEFS
I write this columnafter re:turning from Boston where I attended the Herb Pomeroy Tribute events. The entire weekend
was quite remarkable. The cockcert provided many memorable
momentsas did the reception for
alumni from past decades. It was
an impressive kick-off to a yearlong series of events celebrating
the college’s 50thanniversary. Ar.~other 50th event will be held in
L.A. in November. The NARAS
and MusiCares foundations will
host a tribute to Berklee and
Lawrence Berk at the House of
Blues. Moredetails will come.
After the April 15 spread on
Berklee in Billboard, I have re.ceived calls from companieswanting to know more about the college. Several new internships were
Monica and will feature a discussion and[ demonstrationof the latest in integrated digital audio and
MIDItools. This session is designed to help composers become
familiar with what is rapidly becoming essential technology. Another ASCAP/Berklee showcase
is also in the works. This one will
focus on jazz and it is being
planned for September--so send
in those tapes!
As for alumni in the news . . .
drummerBobHarsen"82, has been
playingwith guitarist Frank Gambale, touring with Eric Marienthal
’79 and is heard on the new CDby
Melissa Manchester, which also
features guitarist Peter Hume
’78.
Curt S0bel "78 coproduced the
soundtrack to Dolores Claiborne,
with Danny Elfman. He also
served as music
consultant
on
The Perez Family, scored by
AlanSilvestri"70.
Hummie
Mann’76
wrote the theme
for, and is scoring episodes of
the Showtime
series "Picture
Windows," and
also scoring the
new Mel Brooks
Backrow, fromthe left, Peter Gordon,Grammy
win- film Dracula:
hersAII-4-One,andJimBerk,executive
directorof the Dead and LovNARAS
Foundation
with four L.A. regional"Grammy
in ing It. CompoTheSchools"
Berkleescholarship
winners(front row). sition credits for
StevenStern ’90
include Sweet
created as a result. It is encourag- Nothing and Outer Limits. He was
ing to see a growing awareness of al:so assistant recording engineer
Berklee in the music industry.
on The Lion King, Renaissance
The second seminar in the
Man, and Speed. ChristopherKlat"Taking Care of Business" serie.s
man’80 recently orchestrated for
took place in May. The guest was The Pebble and the Penguin, I
composer All Clausen’66 ("The
Love T~ouble, and "Murder, She
Simpsons," "The Critic," "Alf,"
Wrote." TimJones’94 and James
and "Moonlighting"). It was
Sale ’~ provided orchestrations
great evening. All shared lots of for the TVmovie Keys.
career anecdotes and practical adThat’s it for now.Stay in touch.
vice. Anotherseminar, planned for
July, will be held at the Apple Peter Gordon’78, Director of the
Computer headquarters in Santa Berklee Center in Los Angeles
Berklee
today 27
co "86, of Parma,Italy, operates Bass Studio, and has
just put out a CDentitled
Moods,featuring guitarist
Raimondo
Meli Lupi"88.
Vocalist Julie Gibbons
"86 of Somerville,writes for
New England Performer
magazine and plays with
Julie Gibbons and Family.
The band features Ralph
Kinscheck ’96 on keyboards, wlhom Gibbons
will marry :in August.
Mordy
Ferber"86
Drummer Todd Glacy
"86 presented his latest
work entitled Rhythms of
Guitarist M0rdyFerber Illumination at Brandeis
’86 has released Mr. X on University in April.
AnnelyseReneeColon
the OzoneMusic label. Sidemen include Jack De- ’87 (a.k.a. ReneeCologne)
Johnette (drums), Eddie of Hoboken, NJ, received
Gomez(bass), Dave Lieb- a composition grant from
man (saxophone),
Nana the NewYork Foundation
Vasconcelos (percussion),
for the Arts and released
GeorgeGarzone"72 (saxo- her debut recording on
phone), and BradHatfield Back Door Records with
’80 (keyboards).
Aromatherapy. The band
DrummerLarry Finn ’86 includes MiikeStanzilis’85
recorded with KenSelcer on guitar and drummer
Elliot ’87.
’81 and Jill Stein on their Hugh
Flashpoint CD and also
Gordon
Beadle
"87(a.k.a.
played with Tiger 0koshi’75 Sax Gordon) of Boston,
in the Boston area. Larry has played with numerous
will be recording with
blues artists. He recently
Heart and Fire led by Berk- toured with Matt "Guitar"
lee faculty member,trum- Murphy and toured with
Roomful of Blues across
peter Wayne
Naus"78.
BassistScagliaGianmar- Canada.
Aromatherapy,
fromtheleft, MikeStanzilis’85,PaulPimsler,
Renee
Cologne
’87, andHugh
Elliot ’87.
DennisMitcheltree "87
had his Suite No. 1 for jazz
sextet and string quartet
performed at the Weill Recital Hall at CarnegieHalt.
Dennis has performed with
such artists as Bob Moses,
Charlie Persip, Jim McNeely, and Ralph Lalama.
His debut recording is titled Transformation.
HeidiJ. Vierthaler’87 of
Portland, ME,received her
bachelor’s degree in geography and anthropology
from the University of
Southern Maine. She is pursuing work in broadcasting, multimedia production, and performance.
Flutist/composer Rate
Down’88 is music director
of the Arts Coalition For
Humanitarian Relief in
Boston, which produced a
concert for Bosnian relief
featuring vocaIist Mill
Bermejo
’84 and pianist Laszle Gardony
’85.
Pianist Adamski
Piotr "88
is living in Poland and won
the Fifth AmericanJazz Piano Competition in Jacksonville, FL, and gigs regularly in NYC.
Vocalist Nola Rose Shepherd "88 and her country
group Nola Rose and The
Thorns, which includes
ClarinetistHarrySkoler’88andhis band,featuringdrummerguitarist Phil Lipman
"86, are
TimGilmore’78, vibist EdSaindon
"76, andbassistRoger playing regularly in the
Kimball,releasedConversations
in the Language
of Jazz.
Boston area.
28
Berklee today
Bassist Jim Whitney’88
is a memberof Crosscurrent with Bertram Lehman
"94 on drumsand Carl Clements "87on tenor sax.
Faculty member Lucy
Holstedt’88 had her threeact play Dinner staged at
the Emerson Playwrights
Festival. Itwon her the Rod
Parker Fellowship for Play
Writing.
HarrySkoler"88recently released his CD Conversations in the Language
of Jazz with his group Adventures in Jazz, featuring
vibist EdSaindon’76, bassist Roger Kimball, and Tim
Gilmore"78 on drums.
Brazilian vocalist/composer LucianaSouza"88 and
her quintet are playing in
the Boston area and have
been profiled in publica-
ScagliaGianmarco
’86
Summer
1995
Wes Montgomery/
The Early Years
Transcribed by DanBowden
DanBowden
is a guitarist and musiceducator
whoresidesin Brookline,Ma.with his wife; and
son. Havinggraduated
from BerkleeCollegeof
Musicin 1980, he joined the Berkleeguitar
faculty in 1989whereheteachesblues, jazz and
rock styles. Danhas, and continuesto pedorm
extensively aroundNewEngland.
HeidiJ. Vierthaler
"87
Other transcription books available; by
Dan Bowdenare: Lightnin’ Hopkins/Blues
Guitar Legendand ManceLipscomb/Texas
BluesGuitar Solos.
tions like the Boston Globe
and O Estado de Sao PauBook$9.95.
lo. Her quintet includes
Fernando
Huergo
"92 on bass
and BertramLehmann
"94 on
Cassette $10.98.
drums.
WesMontgomery/
TheEarly Years (95315). The artistry exhibited by Wes
Montgomery
ultimatelyled to a redefinitionof jazz: guitar. Thesetranscriptionsfrom
Lello Molinari "89 reWes’early recordedworkcapturehimin contrastingsettings androles--assideman,
leased On a Boston Night
leader,andwith variousgroupconfigurations.All ,.solos transcribedby DanBowden
featuring Assistant Chair of
in notationandtablature.
Guitar Rick Peckham, and
saxophonist George GarOrder
TollFree1-800-8-MEL
BAY (1-800-863-5229)
zone’72.
MelBayPublications, Inc. ¯ #4 Industrial iDr. ¯ Pacific, MO
63069
Patrick Skvoretz"89 is
marketing manager for the
blues/roots label Blind Pig.
Patrick’s band Moonshine
Lizette Zitzow’89 is the CD entitled
Down the
PaulDosier"90 released
Willy recently released a lead singer of the band World, which was copro- his album Made In the
self-titled debut CD.
XIXXO,which released a duced with Chris Halqles Shade, featuring Berklee
"94. Band membersinc].ude student Nathan Cook on
Yuri Zbitnoff ’92 on drums, tenor sax and vocals, Crick
CoreyRedonnett
’93 on gui- Diefendorf’91 on guitar and
tar, JasonCarr "93 on pi- banjo, DanFox ’92 on tromano, and EdLanolette"95 on bone, JohnMcLellan"92 on
bass.
drums, and Mike Peipman
Andrea
Bensmiller’9Cl
has ’80 on trumpet.
written lyrics for Berklee
JohnGreiuer’90released
student Eve B.’s new CD, the CD From A to B on
f r~nocence.
Altenburgh Records. In
RobertBonfi!]lio ’9,B is April he toured Japan with
guitarist and co-leader of MakotoOzone’83 and the
the Philadelphia-based
Newport Jazz Orchestra.
rock band Wanderlust who
Harald Hanisch"90 rereleasedtheir self-titled de- cently completed his disbut album last November. sertation titled the Songsof
Guitarist TomCostanza Youssou N’Dour, to earn
"90 is nowliving in Mass- his master’s degree in ethapequa, NY, and is presinomusicology from the
dent of Diesel Records.
University of London. He
Tomis also the guitar play- also released Who’s the
er for the band Scapegoat Third
Man on Sony
whose upcoming album
Records/Austria.
ThedebutreleaseTata(Grandmother)
by jazz guitarist/com- will be produced by singer
Douglas
Murphy’90
is livposerJuanCamacho
"91 of Madrid,is on the Severallabel Daryl Hall.
ing in Westchester, IL, and
Summer
1995
Berklee
today 29
poser/arranger Yumiko
Murakami"91 of Osaka, Japan
and released a self-titled
CD with her Yumikonian
Orchestra. The disc was
produced by EustavoGregeri0 "91, who also played
bass and composedone cut.
Diego Urcola ’91 played
trumpet.
EnikoKonye-Platteel
"91
is living in Quincy, MA,
where she teaches piano
and voice. She was featured
in a jazz special on the AndersMogensen
’91
Quincy cable channel.
JeffreySeptoff
’91 is cur’70.
rently living in Morris tarist LanceGunderson
Saxophonist
Robert
Township, NJ, and is assistant engineer at Sync Schulz "92 of Newmarket,
Sound, an audio-for -video NH, received his master’s
Mia Olson’92
post-production company. degree from the UniversiSusanTedeschi"91 and ty of NewHampshire.
Drummer/vocalist
her
band were profiled in
is percussionist for Big Los Homeboys released
Blake
Windal’92 and guithe
Boston
Sunday
Globe.
What’s
Up?
What’s
Up?
for
John Howell ’82, a DJ for
RobHall ’92 is featured tarist AndrewGermain’92
the EMILatin label.
the Chicago radio station
of L.A., released their own
Jeff Thatcher
’90 and the on a new CD on Hotwire
US 99.
Records with Mike Stern CD Leelanau, featuring
Composer Mark Nem- NewYork-based a cappelSomers
’88,
"75, drummer Danny Gott- vocalist keanne
c0ff "90 has had his music la group Rockapella rebassist
Wes
Wehmiller
"92,
selected for the Winter leased a second CDfor the lieb, and guitarists BretWilmott’77, PhilippvanEnded and SanderSelover’80 on
Japanese label For Life
Olympics, three national
trumpet. Sander’s original
"87.
network series, a PBSdoc- Records, and toured Japan "94, andA~exGnnia
song "Should’ve Known"
Flutist
Mia
Olson
’92
of
in
November.
Rockapella
umentary series, and a Mais heard in the movie Dumb
Boston,
released
a
classical
will
provide
music
for
the
cintosh adventure game.
fifth season of the TVshow CDtitled Images with gut- and Dumber.
Multi-instrumentalist/
songwriter GarySchutt"90 "Where ill the World Is
has released his first CD Carmen San Diego?"
The Jimmy Weinstein
entitled Sentimetal on the
X Zero label for release in Group, featuring saxophonist Chris Cheek"91,
Japan and Europe.
’91,
Pianist/arranger Henry guitarist Elie Massias
bassist
Masa
Kamaguchi
"92,
Jimenez ’90 and his band
and drummer JimmyWeinstein’90,
have released the
CD Nostalgia on
Accurate Records.
Drummer
Anders Mogensen
’91 released his debut CD Taking
Off for Storyville
Records with saxophonists
Rick
Margitza
and
Gary Thomas,
bassist Ron McC, lure, and pianist
Drummer
BlakeWindal’92 andguitarist Andrew
Germain
"92
Composer
YumikoMurakami
"91 and Neils Lan Doky.
released
teelanau,a CDof their originalsongs.
bassistGustavo
Gregorio
"91
Pianist/corn30 Berklee t 0 d a y
Summer
1995
COI/E
"90
PAULA
The first few years of Paula
Cole’smusic career have been unfolding like a teenager’s ultimate
pop star fantasy. She released a
critically acclaimed debut recording and is presently writing songs
for a new one; toured and recorded with Peter Gabriel; and performed in a host of sold-out arenas on a recent national tour.
But while acknowledging the
hard work and occasional breaks
that have started transforming her
dreamsinto reality, the 1990alumna prefers to reflect on the selfdiscovery and self-acceptance that
she says is critical to her success.
"I’ve learned that the more I
becomemyself, with all of myeccentricities, the better I amfor it,"
Colesays. "It’s great to let all your
barely look at one person in the
audience. Myeyes were shut the
whole time because I was so shy,"
she recalls. "But Peter Gabriel’s
[Secret World] tour forced me to
become a more extroverted performer because he was always trying to push me out front."
On subsequent tours, Cole
traveled with Counting Crows,
Jeffrey Gaines, Jules Shear, and,
last spring, Sarah McLachlan.
McLachlan was advised to
avoid touring with another woman, but insisted on having Cole as
her openingact, according to Cole.
"I guess people were afraid of
upstaging or comparisons between
us, but Sarah didn’t bow down,"
Cole says. "I really respect her
for that."
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PaulaCole’90:Self-discovery
andself-acceptance
werecritical elements.
quirkiness--your
thoughts and
feelings--into
your music. That
makes it much better, much more
original."
Cole’s personal approach to
music is evident in her Imagodebut, Harbinger, whose 14 songs
run the gamut from high school
angst to a tribute to her mother.
Her agile and powerful voice is
the most stunning element of her
music, dipping and soaring over a
blend of contemporary pop and
soft rock that has proven popular
on adult alternative radio stations.
Performing her music without
self-concern in front of audiences,
at first, proveddifficult.
"WhenI got to Berklee I could
Summer
1995
This summer, Cole and her
band--percussionist Jay Bellerose ’87 and guitarist Gerry Leonard-will
open for Melissa
Etheridge "80 on a summertour.
Cole predicts her next recording will be just as introspective as
Harbinger, but won’t feature as
many "dark and brooding adolescent things. I’m a little morerelaxed and self-confident now, so I
think the music is going to flow
forth a little moreeasily this time.
Plus, after all this touring the
band’s sound is really focused."
Cole hopes to release her second record early next year.
--Rob Hochschild
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Drummer Mark Vadnais
’92 is currently choral music director for Barrington
Middle School in Barrington, RI.
Guitar player Niklas
Winter’92 and his Scandinavian Jazz Quartet which
features Emil Hess ’92 on
saxophone and Neils Werner Larsen’89 on drums, and
bassist Jesper Bodnilsan,released the CDNewDeal.
Hermanes
Abreu’93 and
THEY’RE
COIMONG
Our Berklee College of Music Alumni Directory project
is nearing completion and soon
the directories will be shipped.
This comprehensive new
volumeis a compilation of the
most current data available on
over 18,844 Berklee College of
Music alumni. The information
was obtained from questionnaire mailings, telephone verification,
you wish to place an order, please conand from the college’s alumni records.
tact the publisher at the address below.
Nowthat the editing, proofreading, and
CustomerService Department
BernardC. Harris Publishing
printing are almost finished, the distribution of this impressive edition will
16 KogerCenter, Suite 103
Norfolk, VA23502
begin.
The directories are scheduled to be
Phone:(800) 877-6554
released some time around August 15.
Our new directory is an excellent
All alumni whoreserved a copy of the way of reliving your school days and
directory during the verification phase getting reacquainted with former classshould be receiving their copies two or mates. To those who returned their
three weeks after the release. If you questionnaires--many thanks for all of
have a question on your order, or if
your cooperation.
the distinction of being the
The Scandinavian Jazz only female radio engineer
Quartet,fromthe left, Emil in the city of Boston.
John KendMI "93 of
Hess’92, JesperBodnilsan,
Nicevile,
FL, is an instrucNiklasWinter’92,andNiels
tor
in
jazz
studies at OkaVernerLarsen’88
1oosa Walton Community College.
Engineer JamesStare
the Hermanes
Abreu
’93 enrolled[ in the InstiGroupreleased Cria
tute of Audio Research in
neira--A Fetus in the
Womb.The group plays in NYClast year. He has
worked at Giant Recordthe NewEngland area.
Carol Huffman
’93 is an ing Studios in NewYork
engineer
at WMJX-FM, and Emerald City Studios
in Boston.
and WBCS-FM.Carol has
Guitarist StefanHiller’94
and his quartet featuring
drummer Goetz Gruenberg
’91, played 10 shows
throughout southwestern
Germany during January.
Pianist RoyPerez"94 is
living in Naguabo, PR, and
is recording with the band
La Dominante.
ComposerBobblePittleman’94 of Hyde Park, NY,
scores the TV show "Doing Business Internationally" for the USANetwork,
works as an engineer/corn-
poser for Pharaoh Audiobooks in Phoenicia, NY.
ZachRichards
’94 of Santa Fe, NM,is an assistant
engineer at Stepbridge Recording Studios and Mismaster Sound, and has
worked with Buckwheat
Zydeco, Tito Puente, Rita
Coolidge,
Three Dog
Night, Bo Diddley, and
Junior Wells.
Sander Wolf "94 owns
Sander’s Conspiracy, a
publicity company and is
representing several Bos-
THINKABOUTTHE 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
35. We will send you more information on the
BARprogram along with an application. Join us.
Berklee today
TheJimmy
Weinstein
Group,fromthe left, ChrisCheek
"91,
Elie Massias’91, MasaKamaguchi
’92, andWeinstein
"90
Summer
1995
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Drummer Jon Dowling
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zlo Gardony
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Alumni Student Referral
rently living in Los Ange- with Sol y Canto, a Latin
Help give an interested, deserving young musician
les and was music superviband on Rounder Records
more information on Berklee by filling out this form
sor for the film A Walk in which just released Sancoand sending it to the address below.
the Clouds.
cho. The band includes FdilClaytonDoty’95 is work- io Bermudez
’92 on violin
Name
ing for singer JimmyBuf- and bass, and EduardoTamfet’s Margaritaville Records credi "93 on piano.
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
ETOD
Sumrner
1995
0695
ChrisJones’95
Berklee
today 33
SPIRITUALFOOD
"safe" career choice to becomea us of the truth that lies beneathand
musician.Thereare risks involved, beyondthe illusion that welive in.
James Taylor’s May7 Commence- and I think it’s important to re- It gives us relief fromthe insanity
of constantly trying to invent ourmentAddressto the Class of 1995 :memberwhywetake those risks.
Mywife Katherinerefers to this selves. Andin this way, musicis
Ladies and gentlemen of the period of time that we’rein nowas true spiritual practice. I thankGod
graduatingclass of 1995,President "high late capitalism," andI agree for music, and I thank music for
Berk, assembled faculty, family with her that it’s characterizedby a God.
So, render unto Caesar that
members,well-wishers, and hang- general, ongoingattempt to put a
which
is Caesar’s, but keep the
ers-on, congratulations!I feel deep- dollar value on pretty mucheverymoneychangers
out of the temple,
thing.
In
fact,
as
a
culture
we
seem
ly honored to be with you here
and
keep
music
to yourself.
to
feel
uneasy
and
skeptical
about
today and in such distinguished
I
would
advise
you to keepyour
anything
that
doesn’t
have
a
numcompany.It’s a beautiful day and
overhead
down;
avoid
a major drug
ber
attached
to
it
that
represents
it was a lovely performancelast
habit; play everyday; andtake it in
night; very movingand wonderful moneyin the bank.
I wouldjust like to makeone front of other people -- they need
to feel includedin it.
I get the feeling that peopleall simple and obviouspoint that was to hear it, and you need them to
over the countryare graduatingand clear to mewhenI started out, but hear it. Andpersevere. The Japathey’re leaving one phase and mov- that has becomemore obscure as nese say, "fall downseven times,
ing on to another with a combined I’ve repeatedlytakenmyselfto mar- and stand up eight times."
So, remember why you chose
feeling of anxietyandelation. I feel ket. Andthat’s simply that it’s a
this
risky enterprise. Well,Classof
gift.
It’s
a
blessing,
and
we
really
it too; as weapproachthe millen’95,
carry on.
are
the
lucky
ones
to
have
music
in
nium,the worlditself is in a state
of profound transition. And, in our lives andat the centerof things.
Because, as you know,music is
these timesandon this day, there’s
bound to be a lot of talk about the true soul food, and not that
musicas a career, musicas an in- other stuff. Youcancriticize it, you
dustry, and the "entertainment can put a spin on it, you can analyze it and interpret it in termsof
business." Andthat’s fine.
But I want to talk about music its cultural significance.But, basias spiritual food. I applaudandad- cally that doesn’taffect music.Mumire your decision to makemusic sic is beyondthe fashion of conthe focus and the center of your sensusreality, andbasically,it either
lives, becausein spite of the in- connectswith us, or it doesn’t.
Andbecauseit follows the laws
creasing presenceof corporatepriorities in musictoday, it is not a of the physicaluniverse, it reminds
TOP HONOR
Composer Michael
JudeBergeman
’96 took
first place in the Music
and Humorcategory of
the 1994 Computerand
34 Berkiee to day
Electronic MusicInternational Competitionin
Bourges,France.
Over 562 compositions from composers
from 41 countries were
submitted,to the contest,
whichis the most prestigious one in the electronic musicfield.
Bergeman’s winning
piece, "Hershey Tube
Rundown," was featuredin tlhis year’sfestival in May,andwill appear on a CD to be
released anddistributed
internationally.
A FRIENDIN NEED
David
Bergell’88 graduated with honors from
Berkiee and immediately found workas a bassist at the Trumpcasinos
in Atlantic City. In 1992,
he sustained a tragic
brain injuryas a result of
the misdiagnosis
of an illness he had contracted.
After monthsin a coma,
David revived, but remainsin a rehabilitation
NewJersey center.
Music has a healing
effect on David. Anyof
his Berklee friends who
could offer inspiration
or encouragementalong
the road to his recovery
maywrite or call himat:
DavidBergell
41 Gulph Mill Road
Somerspoint, NJ
08244
(609) 926-9720
Summer
1995
FINAL CADENCE eight grandchildren.
PeterDiCarlo
Sr. "71,of
Gene
Cherico
"59, former Stoneham,MA,died April
bassist with BennyGood- 5, 1995. He was72.
man,GeorgeShearing, Stan
After years as a bassist
Getz, PeggyLee, and Frank with big bands (including
Sinatra, died August 12, the Basle Band), Peter en1994, in Santa Monica,CA, tered Berkleeat age42, and
from non-Hodgkin’s lym- earnedhis musiceducation
phoma.He was 62.
degree. He taught in eleGene’sfirst trio includ- mentary schools in Iped pianist Toshiko
Akiyoshiswich,MA,until he retired.
’59 anddrummer
JakeHan- Heleaves his wife Philomna’56.Geneleaves a daugh- ena, and three children:
ter Amyand a stepdaugh- Mary,Peter, and Roseanne.
ter Ann.
Terry Richmond
’79 of
Robert"Bobble"
Alston Gettysburg, PA,died Feb’69, of Columbus,OH,died ruary 7, 1995. Hewas 35.
August1, 1994. Hewas 49. Terry was a guitarist at
A trumpeter, Alston led Berklee.Heleaves his wife
the Bobble Alston Quin- Jodi, and two children:
tet, and wasa faculty mem- Heatherand Scott.
ber at Capital University,
Lillian"Lily"Kushi
’81of
and the Jazz Workshop.He Brooklin, MA,died Januleaves two daughters and ary 8, 1995of cervical can-
cer. Shewas41.
gree in professionalmusic.
A keyboardist, Lily
Upto his last days, Eric
earned her degree in film was dedicated to teaching
scoring. She wrotethe mu- musicto children at Ecole
sic to the independentfilm Bilinguein Boston,and had
TheLast of Alpt.,a, andhad plans to pursuehis master’s
written music to accompa- degree.In addition to his
ny audio tapes of lectures wife, he leaves his children
by her father, macrob:iotic Sophie, 5, and Thomas,3.
dietitian MichioKushi.
Daniel
Gavini
"93,of HolLily had also workedas liston, MA,died of a brain
an extra in movies, TV tumorin March,at 21.
shows, and commercialsin
His family has estabLos Angeles. She is sur- lished the Dan Gavini
vived by her mother and Scholarship Fund at Berkfather and four brothers.
lee. Contributionsin Dan’s
EricBaboin
’88of Arling- namemaybe sent to Berkton, MA,died o~ lung can- lee’s Office of Developcer on April 5, 1995. Eric ment,1140BoylstonStreet,
was30.
Boston, MA,02215.
Aguitarist and pianist,
Richardtatham’93 of
Eric and his wife Sabine MenloPark, CA, died May
movedfrom Paris to Bos- 5, 1995,of cancerat 34. Riton so Eric could study at chard majoredin jazz comBerklee. Heearned his de- position at Berklee.
ALUMNOTESINFORMATION
FORM
Full Name
Address
City
State
ZIP
HomePhone #
~ This is a newaddress.
YourInternet address:
Last year you attendedBerklee
Did you receive a
~1 Degree
Diploma?
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Professional Address
City
State
ZIP
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Please give details of newsworthy
performances,recordings, musicprojects, awards, recognitions, or other
events youwouldlike us to knowabout (please print or type, use a separate sl~eet if necessary):
~ Send me more information on the Berklee AlumniRepresentativeprogram.
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Pleasesendthis form,alongwithanypublicity,clippings,
photos,CDs,or itemsof interestto:
Berklee
today,Berklee
Collegeof Music,1140Boylston
Street, Boston,
MA
02215-3693.
Internetaddress:[email protected]
Summer
1995
Berklee today 35
CODA
The Value of Music Therapy
Karl
Brahn
~
Berklee’s announcement
that it will soonbe hometo a
s some of you mayknow, I am the presidential
advisor to the NationalAssociationfor MusicTher- newmusic therapy curriculum is a well-timed landmark
py (NAMT)
located outside of Washington, D.C. One decisionfor the college, for the professionof musictherfacet of myjob as presidential advisor is to encourage apy nationally and internationally, and for society at
partnerships betweenthe music therapy communityand large. Berklee will be one amongsome70 institutions
nationwidewhichwill be offering approvedmusictherathe musicindustry.
py
curriculums. Coursework
at these institutions ranges
I’ma recent convertto a belief in the value of music
from
the
baccalaureate
through
the doctoral level.
therapy. I first becameawareof the scope and depth of
Berklee’s
timing
is
particularly
opportunein that there
the profession several years ago when, as director of
market developmentof the National Association of Mu- has beena recent explosionin the interest and needfor
sic Merchants (NAMM),
I was contacted by NAMT music therapy. The U.S. Administration on Agingfundprovideassistance in a U.S. Senatehearingon the thera- ed six research and training grants investigating music
peutic effects of music on elderly persons whichNAMTtherapyfor elderly persons. Musictherapyalso benefited
fromsociety’s increased interest in health care reform
was coordinating.
Musictherapy is an allied health profession in which and concernabout alternative treatments. Evidentof that
musicis used to addressphysical, psychological,cogni- concernis a newoffice within the NationalInstitutes of
tive, andsocial needsof peopleof all ages. After assessing Health, the Office of Alternative Medicine,whichhas
the strengthsandneedsof eachclient, the qualified music fundeda musictherapy and brain injury study.
Berkleeis in a position to makea uniquecontribution
therapist provides treatment in muchthe samemanneras
a physical or occupationaltherapist would.This treat- to the musictherapy profession becauseof the college’s
mentincludes creating, singing, moving
to, and/or listen- focus on contemporarymusic education with emphasis
on jazz improvisation, pop music, and musictechnology.
ing to music.
Musictherapy also provides avenues :for communica- Musicalcreativity or improvisationis the foundationof
tion that can be helpful to those whofind it difficult to effective musictherapytreatmentof patients. Since Berkexpress themselves in words. Some6,000-10,000 music lee’s missionis to train creative musicians,a combination
of this creative training and music
therapists worldwideprovide servictherapy training bodes well for the
es to those with psychiatric disornew program.
ders, mental retardation and develThe music therapy profession is
opmental disabilities, speech and
currently expandingto include ideas
hearingimpairments,physical disabiland support from the music enterities, neurologicalimpairments,cantainment industry, the musicprodcer, and AIDS,amongothers. Over
ucts industry, and the medicalprofour decadesof researchin musictherfession. This expansionwill provide
apy substantiate the effectiveness of
exciting opportunitiesfor Berkleeto
music therapy in manyareas such as
develop contemporarymusic therafacilitating movementand overall
pists equippedto provide a wide vaphysical rehabilitation, motivating
riety of servicesin the field.
people to cope with treatment, proThe 21st century will see a need
viding emotionalsupport for clients
for
music therapists knowledgeable
and families and providingan outlet
in
contemporary
music, technology,
for expressionand feelings.
and entrepreneurship. As Berklee
celebrates its 50th anniversary, the
announcement
Karl Bruhnserved as a visiting lec- Karl Brehn:"Berklee’s
a music
therapy decisionto offer a musictherapycurturer in Berklee’sProfessionalEduca- thatit will implement
~
is a landmark
decision." riculumis another milestone.
tion Divisionfor the springsemester. curriculum
36 8erklee today
Summer
1995
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